Kyōyaki 京焼 is a broad term for pottery produced in Kyoto, while Kiyomizuyaki originally referred specifically to wares made in the Gojōzaka area along the approach to Kiyomizu Temple. Today, the two terms are often used together to describe all pottery created in Kyoto.
Like many traditional industries in Kyoto, Kyōyaki has developed with a strong artistic focus and has long held a leading position among Japan’s ceramic traditions. As the seat of the imperial court for centuries, Kyoto benefited from rich cultural exchange, convenient transport, and the constant presence of master artisans from across the country. This environment allowed techniques to be gathered, refined, and shared widely. The true value of Kyōyaki lies less in large-scale production and more in its character as an art form. Each piece is typically signed or marked with the potter’s or kiln’s name, and can easily reflect the individuality and expression of its maker.
The term kyōyaki was recorded for the first time in 1605 by Sotan Kamiya, a merchant from Kyushu, in connection with tea ceremony utensils – likely a rakuyaki tea container. In 1624 a potter from Seto built a climbing kiln in Awataguchi giving start to stoneware production in the city. Around 1647, Nonomura Ninsei established the Omuro kiln to fire tea ware. The kiln lied in front of Ninnaji temple and the potter became renowned for his refined overglaze designs. During this period, numerous kilns emerged across Kyoto, particularly in temple areas, to produce finely crafted stoneware (Yasaka, Kiyomizu, Mizorogaike, Shugakuin, Otowa, and Seikanji). In 1699 Ogata Kenzan, a disciple of Nonomura Ninsei, went to establish his kiln in Narutaki. From records we also know that most kilns around this time were built along the eastern mountains of Kyoto, with 13 climbing kilns at Awataguchi and 3 at Otowa and Kiyomizu. This area, called Gojōzaka, would later became the main ceramic centre and these kilns produced refined wares often commissioned by the shogunate, imperial court, and daimyō families. In the late 18th century, Okuda Eisen introduced porcelain production to Kyoto, a technique that spread to Gojōzaka and led to significant growth in kiln activity. At the end of the Tokugawa shogunate there were 9 climbing kilns in Kyoto.
A succession of highly skilled potters – including Kiyomizu Rokubei I, Kinkodō Kamesuke, Aoki Mokubei, Nin’ami Dōhachi, and Eiraku Hōzen – emerged during this period. They sought to reintroduce both Chinese and Japanese traditions and by adding their own unique creativity, they produced a wide range of works such as tea wares for both whisked tea and steeped tea, food dishes and other purposes. Their expertise extended beyond Kyoto, as they guided regional kilns across Japan, helping to spread Kyoto’s advanced ceramic techniques to areas such as Hyogo, Ishikawa, and Wakayama.
In the early Meiji period, Kyoto’s ceramic industry faced major changes as the capital moved to Tokyo and traditional patrons declined. In response, potters turned to international markets, promoting Awata ware abroad. At the same time, Kiyomizu and Gojozaka kilns were unified, and Kiyomizu ware continued through the production of sencha tea wares.
Kyoto remained a leading centre of ceramic artistry, with several potters appointed as Imperial Household Artists or receiving other important positions, highlighting its national importance. The establishment of the Kyoto City Ceramic Research Center in 1896 further strengthened the industry through technical innovation, research, and education, shaping many modern production methods. Although production shifted during World War II, artistic ceramics quickly revived afterward, with artists such as Yagi Kazuo exploring new, non-functional forms.
Today, despite the rise of mass production, Kyoto remains a key centre for handcrafted ceramics, known for its artistic quality and enduring traditions.
