Lacquer art, dyeing and weaving, joinery... The 1200 year old capital has nurtured various traditional crafts. Ceramics is one such art, and there are several museums in Kyoto that specialize in ceramics. From these ceramic art museums, we have selected three to introduce: the Raku Museum, the Kawai Kanjiro Memorial Museum, and the Kondo Yuzo Memorial Museum. The home of a tea bowl maker that has continued for more than 450 years, the home and workshop of a potter who pursued the ``beauty of use'', and the evolution of three generations that began with dyeing. As you tour these three art museums with different personalities, you can experience the deep connection between ceramic art and Kyoto. All of the museums are located in the center of Kyoto city, so you can visit all three in one day.

Among the various utensils used in tea ceremony, the matcha tea bowl is the main one. Many famous bowls have been made since ancient times and have been handed down to this day, but among them, the Raku tea bowl holds an unwavering position as a symbol of Matcha tea bowls.

In the late 16th century, Raku Chojiro, the first member of the Raku family, created simple pottery that was shaped using only his hands and a spatula, without the use of a potter's wheel, and fired at high temperatures without glaze. This pottery created with Sen no Rikyu gradually came to be known as ``Rakuyaki,'' and the tea bowl in particular became a coveted tool for many tea ceremony masters. The Raku family, whose current generation is known as ``Kichizaemon,'' has been producing Raku ware for over 450 years, including the current XNUMXth generation.

The 2019th generation Kichizaemon assumed the current name in 1981. The current generation, born in 2022, not only inherited the tradition of the Raku family, but also attracted attention by appearing in short films produced by luxury brands. His predecessor, the XNUMXth generation Kichizaemon, who called himself ``Naoiri,'' will hold a collaborative exhibition in the UK in XNUMX with a deceased Russian abstract painter. He continues his active creative activities.

A method of shaping using hands and a spatula that has remained unchanged for 450 years.

The Raku Museum opened in 1978, adjacent to the main building where the Raku family still lives their daily lives and also has a kiln on the premises. It is a building with a modern atmosphere that contrasts with the main building, which was built in the mid-19th century and is designated as a nationally protected cultural property.

The works from generation to generation on display inside the museum are truly a sight to behold. Black Raku absorbs all colors and gives a sense of the deep universe, while Red Raku gains deeper depth over time. The basic pottery making technique of shaping pottery using hands and a spatula without using a potter's wheel has remained unchanged for 450 years. However, when you see the works, you can vividly realize the individuality of each generation that each bowl conveys, and the 450-year history of the 3 Raku family that has connected them. The exhibition focuses on works by generations of the Raku family, but special exhibitions are held three times a year with the keyword "Raku ware." Up until now, exhibitions with innovative perspectives have been held and have attracted attention, such as ``Rikata no Shuhaari - Creation and succession of Rikyu forms'' and ``Azuiju is coming - Mysterious animals from the history of Raku.'' When visiting, please check the contents of the special exhibitions that are being held beforehand.

The Kawai Kanjiro Memorial Hall still stands in a quiet area just south of Gojo-dori, where many old-fashioned ceramic shops and pottery galleries still line the streets. The home and workshop of Kanjiro Kawai, known as a master of folk art, was turned into an art museum, and you can feel the spirit of the potter who lived and worked here.

A space that embodies Kanjiro Kawai's aesthetic sense and philosophy

Take a step forward. The space is filled with the aesthetic sense and philosophy of Kanjiro Kawai, a central figure in the folk art movement. The thick beams, vintage furniture, and floorboards are all either deep black or a rich amber color, and the folk art from around the world, collected by Kanjiro Kawai, creates a perfect harmony.

Most wonderful of all are the works of Kanjiro placed here and there. Large flat pots, powerful wooden carvings, pots with amber-colored flowing patterns... While focusing on the folk art movement, we can see the changes in Kawai's style, starting with ``Chinese ceramics,'' and gradually pursuing the beauty of form itself from ``beauty of use.''

Uniquely designed by KanjiroMochihana that blends beautifully into the space of

In the atrium where the hearth has been cut, mochi flowers, which are normally reserved for New Year's, are displayed throughout the year. It is said that Kanjiro loved its gorgeous beauty, and before he knew it, he began to decorate the hearth room without removing it even after the New Year. The mochi flowers, which blend beautifully into the profound atmosphere of the space, tell us a part of Kanjiro's aesthetic sense, as he pursued ``beauty'' without being bound by preconceived notions.

A 15 meter deep climbing kiln with an overwhelming presence

Step out from the main building into the courtyard and tour the small rooms and workshops reminiscent of a tea room. The last thing you will see is a huge climbing kiln. 15 meters deep and just under 5 meters wide. The climbing kiln, which was actually fired until the mid-40s, looms over you with an overwhelming presence. There were once many climbing kilns in the Gojozaka area, but these days you can hardly see them anymore. In that sense, this climbing kiln can be said to be a very valuable cultural heritage.

A museum where you can spend time with a pleasant atmosphere

Tamae Sagi, grandson of Kanjiro Kawai and curator of the memorial museum, shared her memories of the Noborigama. ``When I was a child, the climbing kiln was a great place to play when it wasn't lit. We played hide and seek and picked up beautiful pieces... But once the kiln started cooking, it turned into a sacred place. Everyone at the workshop, including my grandfather, looked serious and immersed in the firing process, so I didn't go near them.''

The ``Kaijiro Kawai Memorial Museum'' can be said to be more of a ``museum for spending time'' than a ``museum for viewing,'' where you can not only admire the works on display, but also feel the atmosphere in which Kanjiro lived. Sitting in a chair designed by Kanjiro himself in the hearth room, enjoying the breeze and greenery in the courtyard, immersing himself in the presence of the climbing kiln, and letting time pass by. This is an art museum that will give you such a luxurious time.

Chawanzaka turns to the right in the middle of Gojozaka and leads directly in front of Kiyomizu-dera Temple. As the name of the slope suggests, this area has long been a production center for pottery, and many craftsmen have set up workshops, making not only tea bowls but also a variety of ceramics.

As you walk up Chawanzaka, which is crowded with tourists, and approach Kiyomizu-dera Temple, a large plate with an overwhelming presence catches your eye next to the handsome entrance. A plum blossom is painted in bright cobald blue on a white porcelain platter over 1 meter in diameter. Yuzo Kondo created this work, which is clean and dignified, yet has delicate brushstrokes in the details. And behind the neat gated entrance is the space of the Yuzo Kondo Memorial Museum.

``Kondo Sometsuke,'' which incorporates a modern sensibility into the ``Sometsuke'' technique.

The technique of ``sometsuke'', which involves painting white porcelain with gosu porcelain, originated in China, and was dominated by landscape paintings and flower and bird patterns drawn with fine brush strokes. Yuzo Kondo, who was born in this Chawanzaka area in 1902, established a unique style called ``Kondo Somesuke,'' which incorporates modern sensibilities into the technique of ``Sometsuke''. He was certified as a Living National Treasure in his field. As the plum pattern on the platter tells the story, the thick, powerful brush strokes have an impact reminiscent of an oil painting. The red and gold paintings of Mt. Fuji that he painted in his later years have a harmonious balance of splendor and solidity, and have an atmosphere similar to Western paintings.

Passion for pottery passed down to children and grandchildren

Yuzo Kondo's passion for pottery has been passed down to his descendants. The eldest son, Yutaka Kondo, aimed to create avant-garde works that were different from his father's and pursued abstract patterns; the second son, Tadashi Kondo, inherited his father's techniques and created a ``beauty of use'' with elegant and delicate brushstrokes; Kondo Takahiro, the eldest son of Kondo Takahiro, created a unique technique called ``Ginteki Sai'' to crystallize platinum, gold, silver, etc., and became an artist who has moved beyond the realm of pottery and is attracting international attention. ing. The museum also exhibits the works of these three Kondo family members, starting with Yuzo Kondo. The way the ancient technique of ``sometsuke'' has been inherited, developed, and progressed through three generations gives us a strong sense of the potential of pottery as art.

A modern exhibition space based on black designed by an up-and-coming design office.

The museum, which opened in 1987, underwent a major renovation to commemorate its 30th anniversary. The company responsible for the renovation was Shinichi Mamiya Design Studio, which is known as an up-and-coming design office. It is a unique space that retains the traditional beauty of Japanese houses throughout, while also incorporating a sharp modernity through the use of mainly black colors. The original workshop where Yuzo Kondo set up his workshop at this location remained even after the renovation. Yuzo's many works and the many sake cups that make their presence felt in his studio, as well as Takahiro Kondo's 7-meter-long relief painted with silver droplets. One of the joys of this museum is being able to enjoy the contrast between two ceramic artists from different generations.