A Look at Mino-yaki, the Tableware Icon Shaped by Tradition -Enjoying Ceramics-

This is the "Enjoying Ceramics" series, which rediscovers the appeal of Japanese ceramics.

Following the first installment on Kutani-yaki from Ishikawa Prefecture, our second feature is

Mino-yaki, which has continued to be made mainly in Gifu Prefecture.

◇The Origins of Mino-yaki

The area once called Mino corresponds to present-day Gifu Prefecture,

and the ceramics produced across that region are generally known as Mino-yaki.

What characterizes Mino-yaki above all is its remarkable diversity.

Rather than being confined to a single firing style,

it encompasses Shino, Oribe, celadon, kohiki, sometsuke, tenmoku, and many other styles—

ceramics have been made here using a great variety of methods.

It is said that ceramics production in Mino began long ago,

triggered by the introduction of sueki (a type of ancient stoneware) firing techniques from Korea,

and afterward the region was influenced by Seto-yaki from Aichi Prefecture.

During the Azuchi-Momoyama period, potters and tea masters who came from Kyoto

helped the area develop into a major center of ceramics production.

The wide range of firing styles unique to Mino-yaki

may well be the result of ceramic techniques from various regions coming together in this way.

Today, Mino-yaki made using many different production methods

has been designated a Traditional Craft by the Minister of Economy, Trade and Industry.

It is even said to account for around 60% of all tableware produced in Japan,

and Mino-yaki is used not only as Japanese tableware but also as Western-style tableware.

It has truly been ceramics that have stayed close to people's daily lives since long ago.

◇A Glasslike Transparency

Describing pottery as "glasslike" or "transparent" might seem odd,

but the Giyaman-toh series from Kaneko Kohei Seitosho that we're introducing here

is a piece of Mino-yaki for which such words fit perfectly.

Kaneko Kohei Seitosho opened its kiln in Oroshi-cho, Toki-cho, Gifu Prefecture, in Taisho 10 (1921).

Originally, the workshop focused on producing tokkuri (sake flasks), thanks to the clay found locally, which was well suited to hollow vessels—

items such as vases and tokkuri made by pouring clay into molds.

The kiln itself was also changed over time, switching from a climbing kiln to a tunnel kiln,

adapting its production methods to the times, and by the 1965–1974 period, it boasted the highest tokkuri output in Japan.

However, as drinking culture diversified afterward,

Kaneko Kohei Seitosho also shifted its focus away from tokkuri production.

The result of that shift was the birth of the "Giyaman-toh" series.

From the Edo period into the early Meiji era, "giyaman" was a loanword meaning glass.

With a rich, deep color reminiscent of urushi (Japanese lacquer),

it shines with a glasslike brilliance.

By using a technique called reduction firing—

in which the kiln's oxygen levels are kept low, essentially firing under incomplete combustion—

the pieces take on a deep coloring and become sturdy tableware with low moisture absorption.

When touched, it has a hard, knocking texture,

yet its surface is remarkably smooth, almost inviting you to trace it with your finger.

The design is said to be based on the motif of a chrysanthemum blossom,

and the form, as if the flower had just burst open, gives a delicate and elegant impression.

Among the many techniques found in Mino-yaki, the glasslike transparency of Giyaman-toh

paired with a depth reminiscent of urushi ware is said to be a masterpiece born from the pursuit of beauty. 

This high acclaim has been recognized not only in Japan but overseas as well—

the ware has been sold under famous overseas brands

and has even been used at a party held at the Palace of Versailles.

Kaneko Kohei Seitosho's Giyaman-toh can be described as

traditional Mino-yaki evolved into a form

that has found its way into the hands of many people.

◇A Rustic Flavor

Now, alongside porcelain like Giyaman-toh, which uses toseki (pottery stone),

Mino-yaki also includes

stoneware made primarily from toji (clay).

TOJIKI TONYA is a maker that produces quality ceramics suited to modern life,

carrying on the outstanding techniques and products of the ceramics industry centered in the Tokai region.

TOJIKI TONYA also offers Mino-yaki made using a variety of techniques.

First, from Takata—a region known for producing high-quality clay and classified as home to one of the oldest kilns in Mino-yaki history—

come suribachi (mortar bowls) that have long been cherished as everyday household items.

Mino-yaki from Takata is said to have begun when craftsmen who once made costly ceramics

relocated to Takata, drawn by its high-quality clay,

in order to make vessels for ordinary people.

A food processor can grind ingredients, of course,

but using a suribachi lets you enjoy the rough, grinding sound of the surikogi (wooden pestle)

and even the aroma of the ingredients themselves.

The finely textured, carefully fired suribachi

is etched with countless thin, comb-like lines, and this shape

plays a role in bringing out both the fragrance and texture of the food.

Next is the Kohiki Rim Plate from TOJIKI TONYA.

Also made in the Mino region, it is ceramic ware

whose "kohiki" technique produces a distinctly different texture.

Kohiki is a method in which the vessel's base clay is coated with white clay slip and then covered with a transparent glaze,

resulting in an overall white appearance.

On the Kohiki Rim Plate, the inner edge is further shaved down,

allowing the color of the base clay to show through faintly, giving it an artistic atmosphere.

A hallmark of kohiki is the layering of clay particles of differing sizes,

which gives the surface a slightly gritty texture,

and if you look closely, you can see what appear to be tiny air bubbles across the surface.

These characteristics give the Kohiki Rim Plate its somehow rustic charm.

It shows another different side of Mino ware.

◇Using Mino ware

As mentioned earlier, Mino ware makes up the majority of Japanese tableware, so

many of you are probably already using it.

Thanks to its many forms, Mino ware isn't limited to Japanese cuisine—

it's also recommended for noodle dishes, Western-style meat dishes, and desserts.

One thing worth remembering when choosing tableware is the notation used to indicate size.

Kaneko Kohei Pottery's Giyaman-tou and

TOJIKI TONYA's Kohiki rim plates

are labeled with sizes using the unit "sun."

This notation indicates the diameter of the piece,

and since one sun is approximately 3cm, four to five sun is about 13–14cm,

seven sun is about 21cm, and nine sun is about 27cm.

All of these are convenient sizes for the table, but when it comes time to actually choose, it can be hard to decide.

While preferences vary from person to person, here's a general size guide:

Four to five sun is a good size for side dishes, sharing plates, or desserts.

Seven sun is recommended for breakfast plates or as a single serving plate for those with smaller appetites.

Nine sun is about the size of a typical single-serving plate,

large enough for a main dish plus a few side dishes.

Alternatively, it may help to measure tableware you already own and compare it to these sizes.

Also, nine-sun pieces and the Giyaman-tou oval platter

work well as a centerpiece dish placed in the middle of the table for everyone to share from.

Mino ware alone can cover all the tableware you need at your table.

◇Things to keep in mind when handling Mino ware

■Mino ware is durable and sturdy, but

some pieces cannot be used in the microwave.

Please be sure to check the product's care instructions carefully before use.

■Mino ware includes porcelain made from hard ceramic stone,

as well as pottery made from clay.

Pottery pieces have higher water absorbency, so to prevent staining,

we recommend soaking them in water before use so they become thoroughly saturated, a process known as mizu-domari (sealing with water).

Simply soaking it in water for 5 to 10 minutes is effective.

■After washing, please be sure to dry the piece thoroughly,

as insufficient drying can lead to mold.

■When stacking plates for storage, we recommend placing a cloth or thin paper between them

before storing.

>> Enjoying Pottery Series, Part One: Kutani ware is here