RYUTA GAMA
隆太窯
NAKAZATO TAKI & KENTA
中里 太亀・健太
At a Glance
| Location | Karatsu, Saga Prefecture, Japan |
| Founded | 1974 |
| Style | Karatsu: Mishima, Hakeme, Madara, Nanban Karatsu... |
| Kiln | Noborigama. gas and electric kilns |
| Clay | Local mountain clay from Karatsu |
| Glaze | Slip, ash glaze, etc. |
Ryūta Gama is a workshop built on a very long tradition and forms part of the renowned Nakazato family lineage.
The path to the workshop leads from Karatsu Station up into the hills of the surrounding countryside. On a hot, humid day in particular, the abundance of trees and foliage offers a welcome relief, bringing a sense of cool freshness.
The complex of several buildings is tucked away in the dense greenery, well concealed. Alongside the old private Japanese house, there is a beautiful traditional building that serves as a gallery and guest reception space. Further down the gently sloping, idyllic grounds lies a spacious studio overlooking a large garden where events are also held. Above the gallery, several sheds house various equipment, a noborigama kiln, and wood storage. Everything is meticulously maintained and well organised. Even small vases with floral arrangements decorate the sheds.
Nakazato Tarōemon — a long family lineage in pottery.
In Karatsu, it is impossible not to come across the name Nakazato. With fifteen generations, it is likely the oldest pottery family in the region, tracing its origins back to the beginnings of Karatsu ware and having once been supported by the local feudal lords of Karatsu.
Accordingly, it is no surprise that the Nakazato family is extensive and divided into various branches and fields. The current head of the family line is Nakazato Taroemon XIV (Tadahiro). His workshop is located in Tōjinmachi and includes a museum as well as the historic noborigama kiln Ochawankama, which is now a designated cultural heritage site. Situated close to the main station, it is well worth a detour.
Ryūta Gama was founded in 1974 by Nakazato Takashi (b. 1937). He is the fifth son of Nakazato Muan, Taroemon XII (1895–1985). Nakazato Muan was awarded the title of Living National Treasure in 1976 in recognition of his invaluable contribution to the revival of Karatsu ware.
Due to the workshop’s exceptionally beautiful setting, it was given the name Ryūta Gama by Koyama Fujio, one of the most influential ceramics scholars and potters.
Today, three generations work together at the Ryūta Gama workshop: Takashi, his son Taki (b. 1965), and his grandson Kenta (b. 1993).
Karatsu and its Asian influences
Karatsu is a coastal city on the western side of Kyushu in Saga Prefecture. The city’s name—and that of its local pottery tradition—reflects this history: Karatsu literally means “Chinese harbour.”
Karatsu ware has historically been strongly influenced by Korea. 15. In the 16th century, following the so-called “potter wars”, many Korean ceramicists were brought to Japan. They introduced innovative techniques and styles that continue to strongly influence Karatsu ware to this day. A representative example is a style known as Chōsen Karatsu, which literally translates as “Korean Karatsu”.
Nakazato principle
Ryūta Gama continues the traditional techniques of Karatsu ware, even though each individual refines their own personal style in a distinct way. As a general principle, the workshop produces functional ceramics in a variety of styles, including several examples shown here:
- Mishima: This technique has nothing to do with the town of Mishima near Shizuoka. Rather, it refers to an inlay or slip-decoration technique inspired by Korean Goryeo tea bowls from the Goryeo period (935–1392). Motifs are stamped or carved into the clay—typically on bowls, dishes, or plates—before being filled by brushing or dipping in a white slip. Excess slip is then carefully scraped or wiped away, revealing the white inlaid design against the dark, iron-rich clay body. Finally, a transparent glaze is applied and the piece is high-fired to seal the surface.
- Hakeme: The Hakeme technique is itself inspired by Korean Buncheong ware, which was widely produced during the 15th and 16th centuries in the Joseon period (1392–1910). In this method, a contrasting slip is applied to leather-hard clay using a coarse brush made from twigs or rice straw. As with Mishima, the piece is typically finished with a transparent glaze and fired.
- Madara: This style also involves glazed ceramics, but is usually without decorative motifs. The milky straw-ash glaze is characterised by bluish speckles or spots, which give the Madara style its name. In fact, madara means “mottled” or “spotted” in Japanese.
- Nanban Karatsu: After several years of experience with Tanegashimayaki, an unglazed wood-fired ceramic, Nakazato Takashi developed his own yakishime (unglazed stoneware) technique. The name Karatsu Nanban reflects influences from Southeast Asia.
The Nakazato family follows a shared philosophy: ceramics should enhance food, bringing joy both visually and tactilely. In fact, the Nakazatos are also passionate cooks and view cuisine—and ceramics as part of it—as a source of pleasure, a meaningful moment to be shared with others.
Clay and Firing
When it comes to raw materials, Nakazato Takashi, Taki, and Kenta naturally rely on locally sourced materials such as wood and mountain clay. The Karatsu clay from the surrounding hills is particularly notable for its high iron content and the deep, dark colour it develops after firing.
In addition, a range of firing methods is used, depending on the desired effect:
The electric kiln is well suited to Mishima ware, as reduction firing at high temperatures produces small iron “bursts” within the clay, adding an additional visual dimension to the work. In addition, the white slip develops subtle and varied tonal shifts under reduction. Gas kiln firings are also used, for example for Hakeme ceramics.
For the painted “E-Garatsu” or “E-Hakeme” wares, as well as the Karatsu Nanban pieces, the noborigama wood-fired kiln is preferred. There are two kilns on site, although the larger and older one is now rarely used. On the day of my visit, Nakazato Kenta was loading the kiln. The skill and judgement required to know exactly where each piece should be placed can only be acquired through experience. On average, firings take place around four times a year, using local pine or oak wood over a period of approximately 50 hours.
