Cultural Treasures of Imari and Arita
A three-day itinerary through the cultural treasures of two fascinating prefectures in Kyushu
Over 400 years ago, Ko-Imari ceramics captivated Western aristocracy with their exquisite design and unparalleled craftsmanship. Today, Arita-yaki artisans continue to enchant us with their porcelain in Imari and Arita, the birthplace of Japanese porcelain, and Nagasaki, where you will experience a unique blend of Western and Chinese influences for a fascinating trip through Japan’s multifaceted and complex cultural background.
1 The Hidden Porcelain Village of Imari / Okawachiyama
2 The History and Future of Porcelain / Arita
3 Experiencing an Elevated Tea Ceremony Space / Ureshino
As the cityscape transformed into winding countryside roads, I reached Okawachiyama, the first of many stops to delve into Saga's porcelain history. Okawachiyama, also known as the "Village of Secret Kiln," traces its origins back to the 17th century, when the heavily guarded village made porcelain often used by Daimyo and Shogun families. This exquisite porcelain, also known as Nabeshima-yaki, was safeguarded to prevent the secrets of its highly sought-after production from being disclosed. Though, to me, the name also felt fitting because of the appearance of this porcelain village tucked against a towering mountainous wall — like one of those mysterious old paintings of misty mountains of the past.
The Nabeshima Clan Kiln Bridge marks the town's entrance with its blue and white porcelain bridge, leading into the adjacent kiln streets. These are the kinds of roads you would want to get lost in, an atmosphere occasionally interrupted by the gentle chimes of porcelain bells during the summer.
Among the many porcelain houses is Hataman Toen, a family-owned maker of exquisite Imari-yaki whose potters inherited the traditional techniques of Nabeshima-yaki, now operating under the leadership of the family's fourth-generation owners. This is also one of the few places that offers behind-the-scenes tours to observe the artisans painting porcelain pieces by hand.
Family member Hiroaki Hataishi took me through the facilities to observe the craftspeople at work. Each artist's still and steady hand, using delicate painting and handwork techniques passed down through the ages, turns everyday objects into works of art.
"Currently, there are several dozen people left to uphold this tradition," he emphasizes. Regardless, Hataishi is steadfast in ensuring this tradition will endure for generations, and that porcelain doesn’t have to suffer from the confines of tradition. Specifically known for its distinctive "cuir” series, this is one of the modern interpretations of porcelain that Hataman Toen has created. This new technique creates a beautiful aged leather texture on the porcelain, creating a distinctively contemporary aesthetic. This highly inventive studio has found a way to appeal to a more forward-looking, modern-day consumer within this deeply rooted tradition.
After a day of exploring modern and traditional variations on porcelain at Hataman Toen, I spent the night surrounded by its delicate beauty at Shukubo Shingetsu. Upon entering one of its villas, I was also greeted by the gentle aroma of wood. Natural light streamed in from the private garden view, embracing Japanese modernity and the soothing presence of nature into an alz so l-around sensory retreat. With a kitchen stocked with coffee and snacks in porcelain bowls and a collection of antique porcelain ware and calligraphy curated by the innkeeper's predecessor, it hit all the necessary notes of a home away from home.
The porcelain artistry is also on display at Yasuna, a restaurant on the property run by the inn’s owner. Here, you can enjoy a traditional Japanese-style lunch in a porcelain bento box. Under the lid is a treasure trove filled with a stunning array of seasonal foods. The presentation is a work of art, and you may even feel a twinge of regret when you start eating.
The following day, I delved deep into the history of Saga's porcelain industry at the Kyushu Ceramic Museum. This expansive museum houses numerous galleries exhibiting the journey of development after the discovery of raw porcelain and the pivotal role played by Arita in supplying porcelain to European nobility, alongside a mechanical clock that opened every 30 minutes to reveal a delightful display of porcelain figurines dancing.
The rich history of Saga's porcelain dates back to the 17th century when two distinct styles emerged: Nabeshima porcelain, crafted exclusively for the Shogun family, and characterized by its bluish tinge and meticulously detailed patterns, and Kakiemon porcelain, distinguished by its delicate overglaze enamel on a background of striking milky white. The burgeoning Arita porcelain industry gained momentum due to trade restrictions imposed on Chinese porcelain, leading Dutch merchants, who previously relied on Chinese porcelain, to turn to Arita porcelain as a viable alternative.
Following the lifting of maritime trade restrictions, Arita shifted its focus back to the domestic Japanese market, leading to the production of a diverse range of porcelain products. This ranged from luxurious items catering to the elite to more affordable options accessible to the general population
With a better understanding of Saga porcelain under my belt, I next visited Kakiemon, a shop, gallery, and ancestral home of the Kakiemon family, who originated the classic Kakiemon style. In the 17th century, Sakaida Kakiemon perfected the method for creating a translucent white glaze called nigoshide. Today, the 15th-generation Sakaida Kakiemon XV continues the Kakiemon legacy by sketching nature in his notepad wherever he goes, allowing this drawing practice to subtly influence the exquisite designs the Kakiemon name creates today.
My visit to Kakiemon also included viewing the thatched-roof homes of the Sakaida families and a private gallery with porcelain works from the 12th to the 15th generation of Sakaida successors, which showed how tastes and styles have changed over the centuries.
Kouraku Kiln, another prominent porcelain producer in Arita, has continued using the traditional techniques of Arita-yaki and helping to preserve the porcelain industry Saga. I was privileged to tour the factory with Takanobu Tokunaga, the company's president and CEO, who emphasized the necessity of traditional mass production techniques to preserve the Arita-yaki porcelain tradition. According to Tokunaga, modern mass production techniques cannot replicate the detailed work that is the trademark of more traditional techniques.
During my visit, I also participated in a unique porcelain treasure hunt. For a flat rate, I got 90 minutes to fill my basket to the brim with eclectic porcelain pieces laid out in stacked trays. This is a fun and interactive way to search for new tableware, perfect for traveling families and friends looking for a fun way to stock up on ‘treasure.’
A comprehensive exploration of Arita's past wouldn’t be complete without visiting the Arita Uchiyama Historic District, the town's porcelain manufacturing center. Notably, the Sueyama Shrine, located above the local train line, stands out for its torii gate crafted from porcelain and komainu porcelain statues resembling lions.
After walking along the main road of old merchant houses and porcelain storefronts, I ventured down one of the narrow side streets. Here, stone bridges crossed over creeks alongside the tonbai fence, made from fireproof bricks, with twists and turns down the quiet corners of this atmospheric district. With nobody around, it wasn’t too much of a stretch to imagine this place 400 years ago, a private peek into the secret side of Arita.
Not far from here is Izumiyama Quarry, where Korean potter Ri Sanpei first discovered the raw material used to make Saga porcelain. After spending a day learning about porcelain history, from its introduction by Korea to its boom in Europe, it’s almost surreal to imagine that it all started right here on this rocky wall.
Before heading to Nagasaki, I had a one-of-a-kind tea ceremony space at Ureshino atop a platform built into a tea field. Shuichi Kitano, a third-generation tea farmer of one of the only organic tea farms in the area, was my host for the morning. “This tea experience is the result of the collective efforts of numerous talented individuals from diverse backgrounds,” Kitano said, brewing the first of three teas I would try. “It represents the culmination of regional players combining their skills and creativity, incorporating the knowledge of tea farmers, potters, and ryokan hotels that came together to create this experience you can’t find anywhere else.”
After pouring boiling water into the lined cups of commissioned Hizen Yoshida-yaki to lower the water’s temperature to perfect tea-sipping heat, I was served a yuuki sencha green tea. The second cup was chilled black tea served in a wine glass, followed by lemongrass green tea, a refreshing burst of flavor paired with the salted roasted green tea cookies that came on the side.
There is something incredibly elegant and refreshing about the entire experience. I also deeply appreciated Kitano's love and pride in the collaborative efforts of specialists, from tea farmers to ceramicists, to introduce new and distinctive ways of enjoying tea. On this hot summer day, enjoying a couple of chilled teas against the backdrop of the blue sky and undulating tea fields created an elevated experience that I will never forget.
To delve further into Kyushu’s diverse history, I journeyed to Nagasaki. Nagasaki's appeal lies in its fusion of Japanese, Western, and Chinese cultures, which originated when the city's ports were opened in 1570. This cultural blend is evident in its architecture and cuisine, making Nagasaki an intriguing and diverse destination to explore.
The first place where I experienced this cultural fusion was through the culinary delights at Shiseki Ryoutei KAGETSU. Adorned with lanterns bearing the restaurant’s name, this over 200-year-old building not only pays homage to this neighborhood's history as one of the three major geisha districts in Japan but also hosts live performances for visitors for a fee.
We were treated to a mesmerizing and graceful dance by two geiko while enjoying a delightful spread of shippoku-ryori, a traditional meal that blends Japanese flavors with influences from China, Portugal, and the Netherlands. While geisha culture is prominent in Tokyo, Kyoto, and Kanazawa, the geisha culture of Nagasaki hold a rich history of engaging with people from around the world.
Continuing onwards, I headed to Glover Garden, an open-air museum of nine Western-style buildings, one of which is registered as a UNESCO World Heritage site, built from the end of the Edo period to the Meiji period (1863–1912). They stand as a physical representation of the significant influence of the Western world on Japan's industrial advancement. The garden is named after Thomas Blake Glover, a Scottish merchant who played a crucial role in the Western industrialization of feudal Japan during the Meiji era by establishing the first coal mine in Nagasaki and contributing to developing a shipbuilding company.
The garden is home to an assortment of charming Western-style houses, some adorned with white paint, pink trim, blue ceilings, and light green accents reminiscent of the vibrant hues in tropical regions. Notably, the Thomas B. Glover Residence, Japan's oldest existing wooden Western-style dwelling, is also part of this collection. Despite the sweltering summer temperatures, a refreshing breeze gracefully flowed through each house, offering a soothing respite alongside the stunning vantage point of the city and its port.
Photo credit:大浦天主堂 © NPTA
Oura Cathedral is yet another site that represents a convergence of cultures in Nagasaki. As the existing oldest wooden Christian church in Japan, this historic landmark is a poignant symbol of the Hidden Christian Sites in the Nagasaki region, linked to the clandestine practices of Christianity during the era of the Shogunate's anti-Christian edicts. The cathedral, designed in the Gothic architectural style, was purposefully constructed for the foreign populace residing in the Nagasaki settlement area and dedicated to the 26 Christians who were martyred in 1597. Entering, I’m greeted by the tranquil beauty of the intricate stained glass and a moment of stillness to contemplate Nagasaki's history.
For dinner, I decided to indulge in some Taiwanese cuisine at Laolee near Nagasaki Chinatown. I opted for the yamcha set, a delightful assortment of snack-sized Taiwanese dishes served on small plates including savory sesame-marinated snapper to salty fried rice and their signature “wet” dumplings. Along with the rice pudding's sweetness and the mochi's delightful stickiness, each dish had a burst of flavor. As I enjoyed my meal, I couldn't help but notice the restaurant's vibrant atmosphere, with tables filled with families savoring the same timeless Taiwanese dishes that have been delighting taste buds in Nagasaki for decades.
After enjoying my delightful dinner, I strolled around the corner to explore the vibrant and culturally rich Nagasaki Chinatown. Renowned as the oldest Chinatown in Japan, this small but busy street is marked with traditional gates at both ends of the block, teeming with an array of shops and restaurants, each offering a delightful glimpse into the area's culinary traditions.
As the day faded into darkness, the illuminated signs lining the street began to project their festive light. Looking past the glow of the vendor's signs, I could see another light come to life in the distant night sky. Inasayama Mountain, which sits on the outskirts of town, is crowned by a bright red spire that shimmers in the darkness and can be seen from the city streets. The nighttime scenery from this peak is celebrated for its breathtaking panoramic views of the city, recognized as one of Japan's top three new night views.
After reaching the mountain base, a swift five-minute ascent to the summit via the ropeway led me to the observation deck. Below, the city sprawled out like a celestial galaxy, with its distinct districts, bustling train stations, and glistening traffic casting an enchanting glow.
Here, my trip ended at Nagasaki Airport to return home after my whirlwind trip. During my three day adventure, I came to understand that Japan has a wealth of cultural offerings beyond what initially meets the eye. Whether it is Arita porcelain, the flair of Nagasaki Chinatown, or the Western influences of Glover Garden, what stood out from its diverse cultures in Saga and Nagasaki is that they are clearly cherished and imbued with pride by the people and cities. I hope you also have the opportunity to encounter this aspect of Japan someday.
