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After applying a line pattern from the body to the green of the mouth, it is shaped into a square shape, coated with a thin layer of ash glaze, and fired to a high-grade finish, resulting in a piece full of elegance.

The clay ash glaze changes to a rusty leaf color during neutral firing, and ash falls on the inside of the bowl. The diameter of the foot is wide compared to the diameter of the opening, and the carved foot is also wide and shallowly carved.

The round seat-like tatami mat is finished with an acutely angled axle shape. The technique is similar to that used to make the rim of a tea caddy, creating a sense of tension. The body is joined in two places. The entire piece is covered in candy glaze.

This sake bottle is meticulously crafted. It is divided into three sections using green glaze, powdered glaze, and yakishime, and features chrysanthemums and fences in line and iron painting. The carved base is fitted with a tatami mat and has the markings of a left-hand comma and the Yoshida family.

The side of the base is engraved with "Made by Watari Kyubei, age 81." It was fired during the Horeki period (1750s) by the fourth head of the Watari family, Kyubei. It is believed to have been a custom order from a tea master of the time to a potter with a long life expectancy.

Although it is a simple sphere, the rim is narrowed by the width of one finger, enhancing the sense of richness of the form. The light, three-legged bowl is made of iron-rich clay with a decorative brush, and there is no inner glaze.

The combination of the straight comb pattern on the body and the wavy comb pattern on the rim enriches the monotonous spherical water jar with a tea ceremony ceramic design. The wide, taut double ears maintain a light and elegant aesthetic in the Nanban style.

This is one of the techniques used in Western Japan ceramics. This tea bowl from the early Ueno period has spotted iron painting on three sides. The ash glaze is applied all the way to the inside of the base. The high base is impressive. The base is covered with sand.

This beautifully crafted lidded water jar features a beautiful pattern that resembles a cloudburst, and is made with meticulous care. The base is carved using a potter's wheel, and is engraved with the Hidari Tomoe and Yoshida family markings.

A small, bowl-shaped tea bowl. The wide foot, common to Kamanokuchi kilns, provides stability and reassurance. The iron-rich mud glaze turns black when fired in a reducing flame. It is reminiscent of the Black Goryeo style of the Joseon Dynasty.

Based on the shape of a salt pot, the three high cut-off bases and curved edges of the mouth enhance its appeal as tea ceremony ware. The ash glaze creates beautiful yellow crystals due to kiln changes.

From the mid-to-late Edo period, soft earthenware was produced. It is made of white clay with no iron content and is completely covered with a transparent glaze. It is called Tamagote because of its smooth texture and pale yellow glaze surface.