Originally, Karatsu-yaki was primarily produced as everyday tableware. In the 16th century, however, another important factor came into play: the tea ceremony. It became a key political and social instrument—a space for exchange and, in modern terms, a kind of networking platform for the elite.
Tea masters reflected the aesthetic values and prevailing trends of their time through the selection of tea utensils.

The 16th century was strongly shaped by Sen no Rikyū’s (1522–1591) concept of the austere wabi tea aesthetic. Influential tea masters such as Takeno Jōō (1502–1555) and Sen no Rikyū were drawn to the simplicity of Korean Ido bowls, as well as the unadorned beauty of Japanese ceramics such as Bizen and Karatsu.
For the first time, Japanese ceramics embodying a wabi-sabi aesthetic were placed at the centre of the tea ceremony.

In the world of tea bowls and the tea ceremony, a saying emerged that expresses how different ceramic wares were perceived and valued: “#1 Ido, #2 Hagi, #3 Karatsu.” In another variation, the order appears as: “#1 Raku, #2 Hagi, #3 Karatsu.”
This ranking reflects the aesthetic values of the tea world rather than a fixed hierarchy. Within this context, Karatsu ware consistently held a respected position. It was highly regarded and reached its stylistic peak during the Momoyama period. It is estimated that there were over 300 workshops in the Karatsu region at the time.

With the Meiji Restoration (1868–1912), Karatsu ceramics—like many other ceramic regions across Japan—unfortunately went into decline. Many kilns could no longer rely on the protection and patronage of local daimyō, while industrial production increasingly took precedence.
One family, however, managed to continue its practice uninterrupted for over 14 generations: the Nakazato family.