About Japanese Ceramics

Contents

03

02 Prologue
03 Contents

Gifu Prefectureʼs Tono region is blessed in nature with good quality clay,
red pine forests for ﬁrewood, and mountains with gentle slopes suitable for kilns.
These blessings of nature have been leveraged in the creation

04 Minoyaki Production Region
06 History of Minoyaki

of various types of ceramics over more than 1,300 years

14 The Possibilities of Minoyaki

of history, from unique and innovative tea bowls for use

16 See Minoyakiin tea ceremony to mass-produced tableware for daily use.

18 Living National Treasures

All of these ceramics are collectively known as "Minoyaki."Minoyaki does not refer to a speciﬁc style, technique, or form,

Associated with Minobut to the region in which these ceramics have been created.

20 Ceramic Artists of Minoyaki

Minoyaki has evolved over the years, while meeting

26 Lovers of Minoyaki

the changing needs of the times

28 Experience Minoyaki

and the people, quietly supporting daily life.

30 Gourmet and MinoyakiThis ﬂexibility, alongside the techniquesand skills used to achieve it, is one of Minoyakiʼs charms.

32 Buy Minoyaki

If the cup you drank your morning coffee in

34 Tono Event Calendar

was actually Minoyaki, wouldnʼt you be struck

36 Area Map

by the romanticism of it all?

38 Minoyaki Travel INFORMATION

Letʼs embark on a journey to glimpse

Ofﬁcial site

the diversity of that “Minoyaki.”
The tender, beautiful stories that take place
between maker and user await you.

This is Minoyaki, thatʼs Minoyaki, theyʼre all Minoyaki.

Information about Tajimi City,
Toki City, and Mizunami Cityis available on the website.

Inside the Hearts of 30 Minoyaki Lovers
Messages from lovers of Minoyaki to you on yourjourney in the land of Minoyaki. They will present theappeal of Minoyaki as you continue on your travels.

04 M i n o y a k i P r o d u c t i o n R e g i o n05

Explore the Home of Minoyaki
Minoyaki is a collective term for styles of ceramics that are produced mainly in the cities of Tajimi,
Toki, Mizunami, and Kani in Gifu Prefecture.
This region is one of Japan’s most prominent ceramics production areas, currently accounting for
more than half of Japan’s production of Japaneseand western tableware.
In line with the shift toward mass production
from the Meiji period (1868-1912), the region saw a
progressive division of production areas by product. Areas with distinctive characteristics formed
within the individual cities, where techniques andculture continue to be passed down as production
continues.
In Tajimi City, Ichinokura is known for sakazuki(sake cups), Takata for tokkuri (sake bottles),Takiro for western tableware, and Kasahara fortiles. Toki City also has a variety of distinctive
areas, such as Dachi for donburi bowls, Tsumagi
for Mino-Hakuji (white porcelain) and Oroshi,
which is Japan’s top area for tokkuri production.
Mizunami City is divided into two areas—the
Mizunami area, where various ceramics from tableware to new ceramics are produced, and the Suearea, a major production area of western tableware.
Many ceramic artists have based themselves inthis region, and pottery studios have opened in various locations. The region is also dotted with a variety of facilities related to Minoyaki, such as museums and art galleries.

Rebuilding the Minoyaki Brand

Ceramic Valley Concept
As the division of work and specialization have progressed in the Minoyaki industry, a new movement is emerging with the aim of revitalizing local communities by rebranding their culture, history, and industry, while making efforts to integrate diversity and share the traditions and values of Minoyaki.
That movement is “CERAMIC VALLEY Mino Japan.” It is a sloganthat expresses the origin of Minoyaki, primarily the four cities ofTajimi, Toki, Mizunami, and Kani, where ceramic artists, potteries,
trading companies, and other related businesses have gathered. In
April 2021, the Ceramic Valley Council, a private-sector organization
for the development of the entire local community, was launched.
With its slogan of “Mino, the Envy of the World,” the Council hastaken its first steps toward communicating the charms of Minoyaki far
and wide, both in Japan and overseas. “From Mino” refers to the dissemination of Japanese culture through product sales and ceramics tothe world. “To Mino” aims to revitalize industrial tourism by attracting tourists to the region. There are high expectations that initiatives
under these two approaches will
open up the future of the Mino ceramics industry.

The red shape at the bottom right of the logo ispart of a large circle. The unseen remainder ofthat circle represents various tangible and intangible things, such as the region, the environment, the Earth, and the intentions of thepeople who live there.

Starting at the Mosaic Tile Museum, wander along the narrow streets that are characteristic of a ceramics town, and you can encounter the special sight of tile art and sculptures dotting the laneways. This is Tajimi, “Town of Tiles.” /Masashi Kasai, Chairman, Ceramic Valley Council

Coming in 2024! The worldʼs largest ceramics festival

International Ceramics Festival
Mino, Japan“International Ceramics Festival Mino, Japan” is a ceramics festival held every three
years in the production regionsof Minoyaki ceramics. The inaugural event was held in 1986
with the main theme of “International Exchange over the
Clay and the Flame.”
The 12th festival, which was(Above) The theme of
the Exhibition Hall was
originally scheduled to be held
“Space of Wood, Green,in 2020, was postponed by a
and Ceramics”(Left) Grand Prix work by
year due to the COVID-19 panMa Huiyuan (China) A
combination of 81(9x9)demic. “International Ceram30-cm square white porceics Festival Mino’21, Japan” filain tiles featuring paintings of ceramic wares.
nally took place over 18 days
from September 30 to October
17, 2021 at the main venue of Ceramics Park Mino and several other locations.
The main event, the internationally recognized “The 12th International Ceramics Competition MINO, Japan,” attracted a record 2,435 entries by 1,292 people
from 64 countries and regions. The Grand Prix was awarded to “Porcelain series”
by Ma Huiyuan (China), and the Gold Award was presented to “Act/” by CeramicJapan Co., Ltd., a ceramics manufacturer based in Seto City, Aichi Prefecture.

Enjoy wonderful encounters and experiences in the land of Minoyaki, where over 1,300 years of history have been passed down and where tradition and innovation continue to merge. /Masamitsu Higuchi, Secretary General, Ceramic Park Mino

06 H i s t o r y o f M i n o y a k i

07
Kofun period ‒ Muromachi period

PeriodKofun period ‒Nara period

Sue pottery

Typical ceramics

Stoneware brought
to Japan from the
Korean peninsulain the 5th century.
Production techniques were introduced to Mino in around the 7th century, marking the
beginning of Minoyaki.

Heian period

Ash-glazed
pottery

Kilns Over the Ages

Kofun ‒ Nara

Yamajawan(unglazed pottery)
Ｐ7➡

Ｐ7➡

Lead-glazed
pottery

Sueki Bowl
Tajimi City Board of
Education collection

Kamakura period ‒Muromachi period

Koseto glazed
pottery
Glazed pottery brought to the region
from Seto in the late
15th century. Originally produced in
Owari-seto kilns,
modeled on ceramics
and metalware frommainland China andthe Korean peninsula.

Azuchi-Momoyama
periodKizetoMomoyamaperiod Minoyaki
Ｐ8➡

Oribe

Momoyamaperiod Minoyaki
Ｐ9➡

Porcelain

Setoguro

Ofuke

Shino

Ofuke is pottery
with an ash glaze
mixed with feldspar. Due to theglaze’s jade green
color, it was also
known as “MinoSeiji (celadon).”

Ｐ10➡

Momoyamaperiod Minoyaki
Ｐ8➡

Momoyamaperiod Minoyaki
Ｐ9➡

(single-chamber,

Underground or semi-underground kilns
built into the slopes of hills. Improvements
made to these anagama kilns over the ages
enabled mass production of pottery.

Kamakura ‒ Muromachi

Ogama kiln

(large kiln)

Above-ground kilns were invented around theend of the 15th century. They were built with highceilings so that the flames would reach up toward
the ceiling, enabling products to be stacked highfor firing.

NishiurayakiShowa period ‒Present

Resurgence ofMomoyamaperiod
Minoyaki
Ｐ11➡

Ofuke glazed
le a f- sh a p e d s m a l ldish Mino Ceramic
Art Museum, Tajimi
collection

Ash-glazed altar
vase (Koseto style) Mino Ceramic Art Museum, Tajimi collection

Anagama kiln small-hole kiln)

Edo period

Meiji period ‒Taisho periodEdo(multi-chambered climbing kiln)

Renboshiki-noborigama
A new type of kiln introduced in the early 17th century. These kilns, which had
multiple connected chambers built in astaircase formation, led to progress inmass production.

Meiji ‒ Taisho
Coal kilns were developed and be came popular duri n g t h e Ta i s h operiod and into theShowa period.

Showa ‒ Present
Heavy oil kilns, gas kilns, andelectric kilns were introduced. Recent years have seenp r og r e s s i n t he r e se a r ch a nddevelopment of m icrowave
sintering.

“Unparalleled.” “Exceptional.” I bow my head to the extraordinary trajectory of ingenuity of Momoyama-period Minoyaki. And yet, unable to suppress my strong desire to pursue the ideal, once more today,
I find myself creating objects from clay. / Toshimi Iwai, Director, Mino Ceramic Art Museum, Tajimi

Prologue to One Great Ceramics Region“Ash-glazed pottery” for the afﬂuent classes“Yamajawan,” mass-produced wares for the common people“Sueki” is a type of unglazed stoneware brought to Japan from the Korean
peninsula in the early 5th century. It was introduced to Mino in around the
7th century. Sueki wares were fired in anagama, or single-chamber,small-hole kilns, which were underground or semi-underground kilns built
into the slopes of hills. About ten sites with remains of these kilns have been
discovered in various locations in the region, including Tajimi, Toki, Mizunami, and Kani. Given the small number of kilns discovered, it is believedthat the scale of production in that era was only large enough to meet local
demand. This is where the history of Minoyaki begins. In the late 9th century (Heian period), the technique of “Kaiyu (ash glaze)” was introduced.
“Ash-glazed pottery” is pottery with glazes that are predominantly madefrom plant ash, which was made to resemble Chinese porcelain. This type of
pottery were widely distributed as high-quality wares for the affluent classes, including the aristocracy and temples, bringing Mino to prominence asa ceramics production region. After
that, ash glazed pottery production
flourished until the 11th century(Heian period). Some kilns also fired“g r e e n - g l a z e d p o t t e r y.” W h e ncopper is added to lead glaze andfired at low heat, the glaze takes on agreen color. This method was mainly
used to produce ceremonial vessels
Ash-glazed pottery jar with long neckand ritual articles.
Tajimi City Board of Education collection

Around the end of the 11th century, production of unglazed pottery began in Mino.
There are several plausible reasons for this change, but one likely major reason is that
production of ash-glazed pottery was time-consuming, and it could not be producedin large quantities. Production without glazing enabled the mass production of bowls
and dishes, which were sold as tableware for the common people. The name, “yamajawan” (lit. “mountain tea bowl”), comes from the fact that many discarded fragments have been found at ancient kiln sites in the mountains. Although simple, thesebowls had thin walls and were made with fine clay, demonstrating the high standardof skills and techniques of their makers. Yamajawan were produced over a long
period of about 400 years from the 12th century (end of Heian period) to the 15th
century (Muromachi period) and were used mainly in the Tokai area. Around the14th century, in a bid to improve efficiency, the bowls and dishes produced became
thinner and smaller, and production started to become less meticulous, with potter’s
wheel marks becoming more
noticeable. Eventually, yamajawan even lost their kodai(feet). In the mid-15th century,
Koseto glazed pottery started to
be produced in parallel with the
production of yamajawan.
Potters from Seto came to Minoto produce them. The remainsof eight kilns for Koseto production have so far been conYamajawan bowl and small dishfirmed.
Tajimi City Board of Education collection

There are many facilities where you can see, touch, and enjoy various pieces, from tea bowls created by Living National Treasures to the creations of young creators.Discover the charm of ceramics and the richness of their individuality. /Kozue Yogo, Curator, Toshin Mino Ceramic Art Museum

08 H i s t o r y o f M i n o y a k i
Azuchi-Momoyama period

Minoyaki Highlights

Kizeto Hanaire (flower vase),
excavated from Motoyashiki
Higashi Kiln. Important Cultural Property, Toki City Historical Museum of Mino Ceramics collection

Iron-glazed pottery is removed from the kiln during firing at around 1,200°C andrapidly cooled to room temperature. With this process, the pottery takes on a jet
black color and sheen. This technique of removing the piece from the kiln mid-firing is known as “hikidashiguro” (lit. “pull out black”). The jet black color gave thepottery a kind of softness that was much loved by masters of the tea ceremony.
Setoguro tea bowl, Dentosho Tane Collection, Mino Ceramic Art Museum, Tajimi collection

It is the vitality of the people who have been involved in Minoyaki that has maintained its history of over 1,300 years. / Mimi Kasuga, Curator, Toki City Historical Museum of Mino Ceramics

Born from a passion for white
Shino was white pottery created in the process of replicating China porcelain. The main ingredient of the glaze used in the Shino style is notplant ash, but a mineral called feldspar. The most distinctive aspect of
Shino is that, for the first time in Japan, a technique of painting designs
prior to glazing (shita-etsuke) was used. Shita-etsuke refers to a technique of painting
desig ns onto theformed piece prior
to applying theglaze. The paints
u s e d we r e m a d efrom materials that
contained iron.

Shino tea bowl Miyakodori
Toki City Historical Museumof Mino Ceramics collection

ORIBE

Be drawn in by the striking jet black

The Momoyama period was a time when a culture of luxury and splendor flourished.
With the popularity of cha-no-yu, or the Japanese tea ceremony, domestically produced
tea utensils attracted attention. Richly colored ceramics with free and innovative shapes
were created in Mino, moving away from the replicas of ceramics from China that werethe mainstream in those times. These new styles were Momoyama-period Minoyaki. Although only a brief period in Minoyaki’s history, lasting for about 30 years from the late
16th century into the early 17th century (from the late Azuchi-Momoyama period to theearly Edo period), many masterpieces, which have been highly acclaimed as works of art,
were created in this period.

SHINO

The emergence of the Kizeto style is believed to have been
influenced by the Kanan-sansai style from China. Smallquantities of iron contained in the ash glaze produce a dull
yellowish brown color when the piece is fired with an oxidizing flame, giving the whole piece a sense of warmth.
The shapes of Kizeto ware are very neat and orderly, withno deformities.

SETOGURO

KIZETOBe enchanted by thewarmth of color

09
Innovative design witha focus on green glaze
This style is called Oribe after the tea master, Furuta Oribe,
who had an appreciation for the comical. With distinctive features such as highly distorted and eccentric forms, adornment
with a variety of colors, such as green, red, white, and black,and bold geometric patterns, Oribe was avant-garde for its time,
overturning conventional notions of pottery. It could also be described as the culmination of Momoyama-period Minoyaki.

Narumi Oribe Mukozuke (small dish) excavated from Motoyashiki Kiln.
Important Cultural Property, Toki City Historical Museum of Mino Ceramics collection“The spirit of Japanese people” is now being put to the test. We want to cherish our fresh mountains, rivers, and water, our philosophical people who love nature and humanity, and the beautiful lifestyle they create. /Seiko Kondo, Director (Ceramic artist), Mizunami Art Center10 H i s t o r y o f M i n o y a k i

11
Edo period ‒ Taisho period

Shift from pottery to porcelain

Wares for daily use that supported the lifestyles of the common people
Where Momoyama-period Minoyaki once flourished, with the change in the powers that be, the industry shifted toward a new style of ceramics. The Oribe style, with
its originality and sense of freedom, gave way to the Ofuke style, which was characterized by order and elegance. With this shift, memories of the Momoyama-period
Minoyaki styles were gradually lost.
In the middle of the Edo period, however, daily-use items such as iron-glazed andash-glazed bowls and dishes, tokkuri (sake bottles), and clay pots came to take center
stage in the region’s pottery production. This change was the outcome of a renewedstrong awareness of the market, with a view to Mino’s survival as a pottery region.
Minoyaki items were used in various parts of people’s lives in the Edo period. They
included tableware, light fixtures such as hyosoku lampshades, flower vases and other ritual articles, hair oil pots, and bird feeder cups. Local products such as tokkuri(sake bottles) in Takata and dobin (clay teapots) in Dachi also emerged.
Porcelain production began in the
Mino region in the late Edo period.
Because porcelain stone, the raw
material of Kyushu’s Aritayaki, was
not available in Mino, Gairome clay
blended with feldspar and silica wasused instead to make porcelain. The
production of porcelain, which isharder and whiter than pottery, beOfuke-yu Surie Bindarai (hair oil pot) , excavated fromcame widespread, and many new
Otozuka Higashi Kiln,
potters entered the field.
Toki City Historical Museum of Mino Ceramics collection

Minoyaki enters the global market
The Meiji period saw a dramatic increase in domestic demand for Minoyaki. Instead of hand-drawing, decorative techniques such as underglaze transfer printing
with copperplate and paper templates were adopted in the pursuit of economic andoperational efficiencies, allowing producers to implement mass production at low
cost. This trend led to Mino’s emergence as a leading production area for ceramics.
On the other hand, it also resulted in Minoyaki being regarded as mere mass-produced goods. With the aim of redeeming Minoyaki’s reputation, Enji Nishiura III, aceramics merchant from Tajimi, started Nishiurayaki at his own kiln. Master craftsman, Gosuke Kato, was the first to take charge of production. Products with elaborate and intricate sometsuke (underglaze blue) were made and presented to the market both in Japan and overseas. In 1878, Nishiurayaki received an honorary award
at the World Expo in Paris. This kind of international fame opened the doors to theoverseas market for Minoyaki. In the timeof Enji Nishiura V, a painting techniquecalled yukasai (underglaze), which involved
patterns being painted with various paints,
followed by the application of a transparent
glaze on top before firing, became themainstream. Adopting the art nouveau stylethat was popular at the time, while using
beautiful Japanese nature as motifs, Nishiurayaki was highly regarded internationally
Nishiurayaki, Yukasai Ajisaizu Kabin (flower vase)and loved by people all over the world.
Mino Ceramic Art Museum, Tajimi collection

The Minoyaki region produces more ceramics, both tableware and tiles, than any other region in Japan. Minoyaki refers not only to ceramics, but to the culture of this area. / Wataru Hayashi, Representative Director, Sugiura Seito Co., Ltd.

Showa period ‒ Present

Resurgence and succession of Momoyama-period Minoyaki

Toyozo Arakawaʼs efforts to restore Shino to his former glory
In the Showa period, responding to calls for further mass production and increasingly
diverse demand, the Minoyaki industry pursued mechanization and the developmentof original technologies.
Alongside the steps being taken as a local industry, this era also witnessed the emergence of ceramics artists who created highly artistic Minoyaki pieces and pursued theirown creative expression. One such ceramic artist, Toyozo Arakawa, found some fragments of Shino ware in Kani City in 1930. This revolutionary discovery overturned thecommon wisdom that Momoyama-period pottery was made in Seto and proved that
Mino was the production region of Momoyama-period styles. Toyozo researched thefragments he had collected and set out to restore the Shino style, and later the Setoguro
style, to prominence. His works were not just reproductions, instead demonstrating
unique beauty of form and color. Inspired by Toyozo, many ceramic artists followed
him in bringing new life to the Momoyama-period styles of Minoyaki.
So far, the Mino region has produced six Living National Treasures,
including Toyozo. Today, some 400
or 500 ceramic artists, including renowned masters, are committed totheir creative work in the area. Having inherited the techniques and spiritof their predecessors, they are creating new and unique works with a
Shino Ichimonji Mon Chawan (tea bowl), Toyozo Arakawa
freedom of imagination.
Mino Ceramic Art Museum, Tajimi collection

15 styles designated as traditional crafts
In 1978, Minoyaki was designated as a traditional craft of Japan. In addition to “Kizeto,”“Setoguro,” “Shino,” and “Oribe” presented on pages 8 and 9, the following 11 categories
were part of that designation.
Kaiyu(Ash glaze)

Sometsuke(Blue and white pottery)Tenmoku
Akae(Overglaze red enamel)

Seiji(Celadon glaze)

Tetsuyu(Iron glaze)

Kohiki(White slip glaze)

Glaze made of ash from burnt plants as a solvent, as well as ceramics
on which such glazes are used
White ceramics on which designs are brush-painted with underglaze
cobalt blue, after which a transparent glaze is applied on top
Typically, Tenmoku ceramics have a tea-bowl shape with a small foot,and are decorated with a black or brown iron glaze.
White ceramics on which designs are painted with a variety of paints,
with red as the main color
Wares glazed in a pale green or blue color before being fired at hightemperatures
A glaze produced by adding oxidized iron to plant ash, as well as
ceramics on which such glazes are used
Wares that have an iron-rich brown base material to which white engobe,or liquid clay, is applied before the application of a transparent glaze

Ofuke

The iron found in the glaze produces a jade green color, creating aceladon-like feelAmeyu

A type of iron glaze, the main ingredient of which is iron, that produces
an amber color with oxidized firing

Mino Iga

Wares in an Iga style often seen in flower vases and water jugs

Mino Karatsu

Karatsu-style wares fired in Oribe kilns, also known as Karatsu-Oribe

Minoyaki boasts a history of more than 1,300 years! I love Minoyaki, which has inherited the spirit of our predecessors. / Hiroko Yamauchi, Minoyaki Okami Juku, Representative Director of Yamaka Saiki Seitousho Co., Ltd.

12 H i s t o r y o f M i n o y a k i

13Present Day

Firm grasp on No. 1 position in domestic market
for Japanese and Western tableware

High-quality pottery clay holds
around 60% of market share

Mass production of Minoyaki started after the end of theSecond World War, ahead of other production areas in Japan.
Focusing on wares for daily use, the industry strived to increase production of Japanese tableware. For Western tableware as well, machine molding was introduced at an earlystage with the aims of standardizing quality and reducing
costs, giving Minoyaki an edge in price competitiveness. Minoyaki established its superiority as a mass-production region
around 1970, and the region became Japan's largest producerof ceramics.
According to manufacturing industry statistics compiled by
the Ministry of Economy, Trade and Industry (METI; see table below), Minoyaki has held onto its No. 1 position in the domestic market for Japanese tableware, showing slight increases in that share over the years. It has also maintained the top
share of the Western tableware market, although, after increasing for some time, the percentage has leveled off in recent

In the Tono and Seto regions, there is a wide distribution of clay layers formed
from granite. This high-quality clay is a major reason why the ceramics industry flourished in Mino.
Clays mined in Mino include Gairome, Kibushi, and Sokei/Saba. Gairome isa white clay with the highest malleability in the world. The name, Gairome (lit.
“frog’s eye”) comes from the fact that quartzite grains in the clay looks likefrogs’ eyes when the clay is wet. Like Gairome clay, Kibushi clay is a whiteclay with high malleability. It is relatively fine and contains silicified wood.
Sokei/Saba is decomposed granite soil, comprising mainly feldspar and silica(5:5). This easily grindable material is an important raw material for ceramics.
A wide variety of Minoyaki, such as pottery, porcelain, and tiles, have been
produced over the years by mixing these raw materials together.
This area also has the largest share of the pottery clay market in Japan. According to METI’s manufacturing industry statistics, the Mino region’s shareof “pottery clay” shipment value has hovered around the 60% in recent
years—62.7% in 2013, 58.5% in 2017, and 61.3% in 2019.

years. Under these circumstances, new trends have emerged,
such as the shift in both Japanese and Western tableware toward small-lot production of multiple products, more design-conscious production, and proposals for Japanese tableware that suit French cuisine.
Re-Shokki, an environmentally conscious initiative in which
discarded tableware is collected for recycling, is also attracting
attention. Further, the industry is also pushing ahead with the
Ceramic Valley Concept, which aims to enhance the brandpower of Minoyaki and expand sales channels overseas.
Other initiatives that are helping to expand domestic consumption of Minoyaki include holding ceramics festivals,
such as the Toki Minoyaki Festival, selling ceramics at roadside stations, Michinoeki Shino-Oribe and Michinoeki Donburi Kaikan, and other locations, and setting up other opportunities and locations for customers to become more familiar
with Minoyaki Japanese and Western tableware.

Shipment Value(million yen) of Ceramics-related Products and National Share, Adapted from Statistics Table
2003
Items

Shipment value

2013

2017

Over 80% of Japanʼs mosaic tile market
The tile industry started in Tajimi in 1914. In around 1935, Itsuzo Yamauchi, who
was born in Kasahara-cho, Tajimi City (then Kasahara-cho, Toki-gun), establishedthe production technology for glazed porcelain mosaic tiles. Although production
volumes remained low initially, there was a sharp rise in demand after the war, especially with the economic and construction boom during Japan’s economic miracle period from the mid-1950s to the early 1970s. With the increase in exports to
the United States as well, Kasahara-cho, already a major ceramic production area,grew to become Japan’s top production regions for tiles.
According to METI’s manufacturing industry statistics, the Mino region accounted for 86.0% of mosaic tiles’ shipment value in 2017.
In recent years, with the aim of opening up new demand, research and development of tiles that offer various functions as well as a high standard of aesthetic design is being conducted. The Minoyaki tile industry aims for further growth anddevelopment, with manufacturers working together in friendly rivalry on various
efforts, such as the commercialization of anti-bacterial
and deodorizing tiles and ultralight tiles.

2019

National share

Shipment value

National share

Shipment value

National share

Shipment value

National share

Japanese tableware ceramics

25,876

39.7%

11,77639.0%

12,49640.7%

12,852

43.4%

Western tableware ceramics

16,045

40.6%

9,763

59.9%

10,412

70.7%

8,915

69.8%

Mosaic tiles

19,85487.9%

14,28585.1%

13,431

86.0%

ー

ー

Pottery clay

12,562

46.2%

7,010

62.7%

6,685

58.5%

7,009

61.3%

(Census of Manufacture) (by product category; enterprises with four or more employees) *Data for mosaic tiles is not included in 2019 statistics

I am excited by the techniques and knowledge that are hidden in the production process of ceramics. / Mariko Ono, Mizunami City Ceramic Industrial Technical Laboratory

Seeking new ways of enjoying Minoyaki tiles, we are committed to creating things every day. / Koji Suzuki, Representative Director, Nanayosha (Suzukentougyou Co., Ltd.)34 T o n o E v e n t c a l e n d a r
MIZUNAMI

Tono Event Calendar
Spring (Mar. – May)
TAJIMI

Summer (Jun. – Aug.)

2nd Sat. and Sun. of April

Tajimi Pottery Festival (Spring)
A fixture on the spring calendar that attracts lively crowds
from all over the prefecture and beyond. Discover a varietyof ceramics at the bargain market.

MIZUNAMI

Sun. close to April 14

Hanbara Bunraku Hono Performance
Performance of bunraku, Japan’s traditional puppetry featuring
puppets and Joruri chanters, dedicated to the gods. This
performance has been designated as an Important Intangible
Cultural Heritage of Gifu Prefecture.

TOKI

May 3 to 5

Traditional Industrial

Crafts Festival

Sales of single items created by certified traditional
craftspeople, as well as tea ceremonies conducted withtraditional craft items.

TOKI

May 3 to 5

Toki Minoyaki Festival
One of the three largest ceramics markets in Japan, withmore than 300 booths.

Autumn (Sep. – Nov.)

Winter (Dec. – Feb.)

In the Tono Area, major Minoyaki events are held in spring andautumn, while other lively events, such as local folk events andsummer festivals, are held throughout the year.

Last Fri. and Sat. of Sept.

Mino Kabuki Performance
Performance by the Mino Kabuki Preservation Society at
Aioiza, a Meiji-era playhouse that has been relocated andrestored.

TOKI

35

Nov.

Light-up of Anakobo Fall Foliage

and 100 Jizo Statues

Fall foliage in the twilight and 104 candle-lit stone Buddhist
statues make a beautiful sight.

…Minoyaki-related Events
TOKI

Late Jul.

TAJIMI

Fire Festival

Tajimi Pottery Festival(Autumn)

Toki City Oribe Festival

A massive Minoyaki bargain market and warehouse sale. A
giant raffle and attractions are also held at the same time.

Fireworks festival held on the riverbed of the Toki River. A
fixture on Toki City’s summer calendar.

TAJIMI

Sun. closest to Aug. 1 (TBC)

TAJIMI

Tajimi City Foundation

Mid Oct.

Minoyaki Ware Festival

Commemorative Fireworks Festival

Communicates the appeal of Minoyaki through exhibitionsof works by master ceramic artists and sales of ceramics
produced by local potteries.

Fireworks display set to music.he Gozasse Yokocho
summer festival attracts many children.

MIZUNAMIMid Oct.

Fri., Sat., and Sun. close to Aug. 7

TOKI

2nd Sunday of Oct.

TAJIMI

Nov. 3

Tajimi Festival
A parade in which military commanders with connections to
Mino and their wives proceed down the streets of Tajimi.
Events are also held in the station square.

MIZUNAMI

Nov.

Mizunami Ceramics Festival
Including potteries selling their wares direct to the public,
ceramic painting experience corner, and Mizunami specialty
food corner, there is something for visitors of all ages to enjoy.

TOKI

Early to mid-November.

Mizunami Mino Genji Tanabata Festival

Hachiman-jinja Shrine Annual Yabusame Festival

Sogi Park Momiji Light-Up

Attractions include Basara street dancing, fireworks, and aceramic clay festa, where you can play with the clay used in
Minoyaki.

Six boys dressed in the hat and coat of the ancient common
soldier and other ancient costumes gallop on horseback
down the shrine approach in a powerful display.

About 300 maples and other trees in all their autumnal
glory are lit up at night. Test your photography skills by
capturing the upside-down reflection of the fall foliage inthe eight ponds of various sizes.

TAJIMI

Mid-September to mid-OctoberInternational Ceramics Festival MINO, JapanOne of the world’s largest ceramics festivals, held every
three years. Ceramic works from all over the world are
exhibited.

ダミー

TOKI

Late Oct. or early Nov.

Oroshi Ceramics Festival
Held in the town of Oroshi, home to close to 100 potteries.
Explore the different potteries and enjoy the various stage
events.

MIZUNAMIMid Dec.

Basara CarnivalMore than 10,000 people gather from all over Japan toshow off their dances. A commemorative mochi-throwing
event is also held.

*Schedules and details of events may vary from year to year.