Uzan-yoh on the Present and Future of Shigaraki Ware: The Luminous 'Shigaraki Touki' and a Philosophy for Modern Times

2025.09.25

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#Shiga

#Shigaraki ware

#Tradition

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#History

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Shigaraki, a town in Koka City, Shiga Prefecture. Shigaraki ware, from one of Japan's Six Ancient Kilns, is known for its charmingly rustic and powerful character. Nestled in this pottery capital is the Uzan-yoh studio.

Since its founding in 1939, Uzan-gama has continually adapted its craft to the times, shifting from traditional large-scale pottery to smaller items that complement modern lifestyles. In this article, we sit down with Nishio, the third-generation head of Uzan Seito Co., Ltd., to explore the past and future of Shigaraki ware, delving into the studio's journey, its struggles, and the story behind the development of the new "Shigaraki Touki" material.

PROFILE

Teruyuki Nishio

Born in Shigaraki, Shiga Prefecture. After graduating from university, he worked as a designer in Tokyo for an agent of an international furniture manufacturer. He later joined the family business, Uzan Seito Co., Ltd., and studied the techniques for throwing large pottery on the wheel at the Shigaraki Ceramic Research Institute. His craftsmanship emphasizes the natural texture of the clay, creating works that incorporate new materials while leveraging traditional techniques. He aims to create pottery that blends into daily life and spaces, fusing tradition with contemporary design in his work.

The Kiln Inherited from His Grandfather, a Third-Generation Successor's Struggle

The history of Uzan-gama began in 1939 when Nishio's grandfather built a climbing kiln. Nishio explains that when he took over the pre-war pottery studio as the third-generation head, it was driven by more than just simple business succession.

"My parents were getting older, and I had been back home for a few years, so I took over with a simple, 'Alright, I guess it's my turn.' I assumed becoming the third-generation head meant I could do whatever I wanted, but reality wasn't so sweet."

Initially, Nishio considered promoting Shigaraki ware abroad with the idea of "re-importing" its value back to Japan. However, his perspective shifted as he gained more experience.

"As I participated in various events, I gradually came to believe that if your work isn't recognized in Japan, it won't succeed overseas either. I felt that even if I took it abroad, it wouldn't lead to anything further or catch anyone's eye."

In the past, the studio had exhibited internationally, including at the Salone del Mobile in Milan, but Nishio had never attended these events in person. Just as he resolved to travel to overseas exhibitions himself and hear feedback firsthand, the COVID-19 pandemic struck, forcing him to put his plans on hold.