tourism

First learn about the history and unique characteristics of Ryumonji ware before observing pottery-making techniques directly from a craftsperson themselves. What you’ll see will depend on what step of the production process the workshop is completing that day, but the main contents of the tour include seeing the raw materials that go into clay and glaze, suihi elutriation (the process of refining clay), shaping vessels with a potter’s wheel, along with carving and glazing. After this, head to the doma earthen-floored workshop, a rarity in Japan, to try your hand at creating a rice bowl or teacup with a potter’s wheel. These vessels will then be glazed by a craftsperson, fired to completion, and then delivered to you at a later date. Ryumonji ware is also available for purchase in the annex shop.

Not far from the Kirishima Hot Springs lies Aira, a land where the history of the 19th century Meiji Restoration is so entrenched that it is said to be a “sacred place for historical TV dramas.” Mossy cobblestones create a mysterious atmosphere at Tatsumonjizaka, a road that the famous samurai Saigo Takamori took on his journey southwest. Verdant Kagoshima greenery glistens behind the nearby Kinzan Bridge’s exquisite archway, built by the Shimazu family around 1890 as part of a mining business. In a land with such a rich history, the Ryumonji ware craft tradition has been around since long before the Meiji Restoration.

The Satsuma wares of Kagoshima can be divided into two categories: White Satsuma that uses light-colored clay, and Black Satsuma, which is made from the dark shirasu soil from volcanic regions. Ryumonji ware specializes in Black Satsuma pieces that can incorporated into everyday life. All the ingredients for its clay and glaze are harvested from local mountains and refined in the workshop. Few makers still collect raw materials in such a way. A variety of glazes make the natural beauty of Kagoshima come to life: from the brightly colored sansai (three-color) and gracefully beautiful “blue trailed black,” to the powerful presence of the dakatsu (lit. serpent) and samehada (lit. shark’s skin) glazes.