Hello and welcome to our blog.
This is Masatoshi Yokoyama, owner of KOTOPOTTER.
Today, I had the pleasure of interviewing Ryuta Takagi, the sixth-generation artist at Ganka Kiln, a pottery studio in Kyoto with roots dating back to the early Meiji era.
Known for his dedication to traditional techniques like sometsuke (blue-and-white porcelain) and iron painting, Mr. Takagi brings a fresh perspective shaped by his years of training in Okinawa. We discussed the kiln's heritage, his unique approach, and the future of handmade Japanese ceramics.
Interview with Ryuta Takagi of Ganka Kiln
Yokoyama: Could you tell us about the traditional techniques that Ganka Kiln has preserved since its founding? Are there any particular styles or methods you emphasize?
Mr. Takagi: We mainly work with porcelain, or what we call “ishimon.” Our specialties are sometsuke (underglaze blue) and overglaze painting. These are techniques passed down from the first generation, and we’ve kept them alive ever since. Everything is still hand-painted, but we’re also adapting the aesthetics to fit modern tastes.
*Sometsuke: A cobalt-based technique where blue patterns emerge after firing, giving the piece depth and elegance.
*Overglaze painting: A method of applying colorful enamels after the initial firing, then firing again to achieve vibrant finishes.
Pictured: The second-generation potter and grandfather of Mr. Ryuta Takagi.
Yokoyama: A six-generation history is remarkable. Could you share a bit more about the kiln’s origins and evolution?
Mr. Takagi: The kiln was founded by Ganka Ryajiro, who initially made ceramic dolls and even worked with earthenware. From the second generation on, we focused more on porcelain. My great-grandparents, grandparents, and my father—all contributed to this legacy, and now I carry it on as the sixth generation. While things evolve, our passion for pottery remains constant.
Pictured: A rare surviving ceramic doll by the founder Ryajiro, depicting Jurōjin (a god of longevity).
Yokoyama: You clearly have a deep commitment to porcelain. Are there other techniques or characteristics that define your work?
Mr. Takagi: One technique I’m especially drawn to is iron painting. The iron pigment bleeds slightly when fired, so it's not great for intricate designs—but it creates a soft, modern feeling. It contrasts nicely with the crispness of sometsuke, and I think that balance reflects our kiln’s personality.
*Iron painting: A technique using iron-based pigments to create earthy, reddish-brown motifs that soften when fired.
Yokoyama: Do you focus on any particular types of ceramics?
Mr. Takagi: I think of everything we make as "vessels"—whether it’s a vase or a plate, the idea is the same. The piece only comes alive when something is placed inside it. So, I aim to create forms that are flexible and easy to incorporate into daily life. A vessel should feel natural and effortless for the user.
Yokoyama: You trained in Okinawa. What inspired you to step outside Kyoto for your apprenticeship?
Mr. Takagi: I wanted to see the world beyond Kyoto. I trained at Yachimun-no-Sato, a traditional pottery village in Okinawa. There, we sourced our own clay and used climbing kilns. The environment was completely different, and it opened up my perspective. That experience still influences my work today.
*Yachimun-no-Sato: A pottery village in Okinawa known for preserving distinct regional techniques of traditional Japanese ceramics.
Pictured: A mug fired in a traditional climbing kiln during Mr. Takagi’s time in Okinawa.
Yokoyama: Has your Okinawan experience had a visible impact on your current work?
Mr. Takagi: Definitely. For instance, I sometimes use turquoise glaze, which evokes the sea around Okinawa. Customers have told me it reminds them of ocean views. Of course, I incorporate my own twist, but I’m happy when people feel that connection.
*Turquoise glaze: A vivid blue glaze created by firing minerals. Color and texture can vary widely depending on the potter’s technique.
Yokoyama: What would you like people to experience when using your ceramics?
Mr. Takagi: I want them to use the pieces however they like. A small bowl can hold sauces or sweets. A large plate can be used individually or for sharing. My hope is that the vessel blends into their daily life and brings quiet joy.
Yokoyama: Lastly, do you have any advice for selecting pieces from Ganka Kiln?
Mr. Takagi: Honestly, just go with what resonates with you. People often ask, “Which one do you recommend?” but I put my heart into every piece. If you find one that speaks to you, that’s the one for you. Living with a piece you love is what matters most.
We hope you enjoyed learning about the artistry of Ganka Kiln.
With refined sometsuke techniques and fresh vision from the young sixth-generation artist, this Kyoto-based traditional pottery studio continues to evolve.
We look forward to the future creations from Ganka Kiln!
KOTOPOTTER Owner
Masatoshi Yokoyama
With over 10 years of experience in traditional Japanese crafts, including Kyo and Kiyomizu ware.
I collaborate closely with Kyoto-based kilns and artists, constantly seeking new ways to present handmade Japanese ceramics to the world.
In 2024, I launched KOTOPOTTER, an e-commerce platform specializing in traditional pottery from Kyoto.