It can be confusing to try to figure out the different types of ware and the different terms used with porcelain from the
Arita area of Japan. The long history coupled with changes in terms can also confuse.
The terms Arita and Imari are often used interchangeably. While not technically correct one can hear the terms used to
refer to the same object. The term Hizen is most often reserved for older ware. Hizen ceased to exist around 1868
An overview of the Japanese names, English equivalents, and descriptions.
Hakuji
Hakuji refers to undecorated white porcelain. It is unclear what was first produced in Hizen, plain white porcelain or
blue and white. The general consensus is that they were both made in Hizen at roughly the same time. The potters that
started the Hizen kilns were Korean. In Korea white was the most highly regarded color of domestically produced
porcelain. There are many reasons for this. One being it was a color associated with religious ceremonies. Another
reason put forward is cobalt wasn’t readily available.
The range of items produced in the Hizen kilns is impressive. Plates, bowls, incense holders, containers for cosmetics,
funerary ware including jars to hold the ash from cremations to more mundane items such as the rollers for sliding
doors. Not every kiln produced every item. The kilns that produced high quality items far out numbered the kilns
producing items for everyday use.
There are a lot of differences in the quality of the materials that went into the clear glaze that was used. If the iron
content was high in the base materials the glaze would appear more blue. The less iron the whiter the glaze would
appear. The word for the most sought after of the whitest ware is Nigoshide. Nigoshide is the whitest of the white
porcelain from Hizen. Produced from 1650-1690. By 1690 it wasn’t possible to get pure enough ingredients anymore.
Tetsuyu
Tetsuyu is the Japanese name for a number of iron bearing glazes. With iron content running from 1% to over 10% the
color changes toward black as the iron percentage goes up. In order from least iron to most, the names are Kikashoku,
Kashoku, Ame, Temmoku . The highest percentages result in black glaze. Iron glazes start out with a base of ash
glaze. To that is added the iron. Fired iron glazes, to meet Japanese expectations, should be as matte as possible.
There are many different ways the ware was glazed. The ware glazed only half way down from the top, half iron glaze
and half clear glaze or black only applied in small areas. Black glazes have been around for a very long time. They
were very common as an everyday glaze for ware in daily use, often found on regular bowls or grinding bowls.
Ruri
Ruri is the Japanese name for a natural cobalt bearing bluish glaze. There are a number of types of application. On
ware that has raised decoration the glaze was painted on. This would leave the raised parts a little less covered, giving
an effect of blue background and a white foreground. Ruri glaze applied to the outside, the inside left white. Underglaze
applications of ruri with an over application of the same, for a blue on blue effect. For a short period ruri with silver over
glaze application was made. The period was roughly from 1650-1700. Over glaze application of gold had a much
longer period of manufacture. Starting about the same time as silver overglaze decoration it really became popular as
the 1700s progressed.
Seiji
Seiji , celadon in English, is rare out of the Arita kilns prior to 1637. There are many reasons. Basically the kilns in Arita
were busy making other types of decorated ceramics. China and Korea were the chief areas for producing celadon
being another major reason. After 1637 the Japanese started to produce celadon in large quantities.
Of the celadon that was made there are several types of decoration. Underglaze carving and underglaze etching of
lines being the most common. Celadon was also used as a complement to other types of glazing. That is to say there
are pieces that have an application of celadon glaze to highlight decoration.