Anagama: History

The anagama (single-chamber kiln, wood-fired) was first introduced to Japan from Korea in the fifth century. Prior to that, firing in Japan took place in outdoor bonfires, open pits, or ditches. Since the temperature was unlikely to exceed 700 degrees, Japan's ancient wares are typically referred to as low-fired earthenware -- ware that is largely water-soluble. The two styles associated with ancient Japanese pottery are Jomon and Yayoi (see Timeline for more). During those ancient times, the potter's wheel and the kiln were not yet used.

Fifth Century - Introduction of Anagama and Potter's Wheel
The introduction of Sueki (Sue) ware to Japan from Korea in the middle of the fifth century marks a major turning point in Japanese ceramics, as both the anagama (single-chamber kiln) and the potter's wheel enter the Japanese scene. Sueki was fired to yellow heat, between 1100 - 1200 degrees centigrade, in a reduction atmosphere, and generally made on the wheel. The Bizen, Shigaraki, and Tamba styles stem from the Sueki Tradition. Sueki ware is typically gray, as a common firing technique at the time was to introduce excess fuel at the very end of firing, turning the surface of the pots to charred gray. This technique is called Kaito in Chinese.

For many centuries the anagama continues to fire a wonderful creativity in Japanese aesthetics and ceramics. But in the early 17th century, the anagama loses its importance and is replaced by the noborigama (multi-chamber climbing kilns). There are a number of reasons for this change. First, the multi-chambered noborigama greatly improved productivity -- ten to twenty times more pots could be created in one firing compared to the volume of the average anagama. Second, for glazed ware, the noborigama brought a greater level of consistency and predictability to output, as well as economies of scale. As we move closer to the modern era, mass production comes into favor, and the anagama is more or less abandoned

The anagama has enjoyed a revival in the last few decades thanks in part to the work and efforts of Furutani Michio (1946-2000) and Yasuhisa Kouyama. Furutani (deceased) is considered by many to be the King of Anagama in modern Japan. Today there are hundreds, possibly thousands, of potters using an anagama in Japan. In the West, moreover, the anagama is making strong headway (it has only been in the West for the past 20 or 30 years), so much so that it has become part of the jargon of Western potters.