VOL.209 NOVEMBER 2025
ENJOYING JAPAN’S MARKETS [Introducing Precious Traditional Japanese Culture to the World] Karatsu-yaki: Charm That Grows with Everyday Use

A selection of vessels by Martino, crafted to enrich everyday life.
Photo: ISHIZAWA Yoji

Ceramic artist Mike Martino, who continues to create items for everyday use, believes that the true value of pottery is realized through use. We spoke with him about the enduring appeal of Karatsu-yaki¹ (Karatsu ware), whose character deepens the more it is used, and about how to foster a meaningful relationship with the vessels that enrich daily life.

All the vessels I create are intended for everyday use, including tea utensils,² tableware, sake cups, and flower vases. Each piece is designed to be used in daily life rather than simply displayed. Visitors to my studio often admire the beauty of my work and want to showcase it, but I encourage them to use the vessels fully, as Karatsu-yaki vessels mature with use and their character and charm deepen over time.

I select different clays depending on the piece I am creating. While functionality is always my top priority, I also consider the beauty and enjoyment that come from using the vessel. For example, for tableware intended for restaurants, I use a dense, highly fired clay that can withstand daily washing. On the other hand, for tea utensils or pieces for private customers, I deliberately choose clay that is meant to develop character with use, so that the vessel can evolve as it is incorporated into daily life.

Vessels made from this clay gradually develop unique characteristics. Tiny cracks in the glaze³ absorb tea stains⁴ and other marks, subtly transforming the vessel’s appearance over time. These changes and the depth of character cannot occur if the piece is merely displayed. In other words, a vessel that is not used is a lost opportunity. The true charm of Karatsu-yaki lies in allowing each vessel to mature alongside its user, and I hope people will enjoy watching their vessels evolve little by little.

Martino selects different types of clay for each piece, ranging from fine-textured to more workable varieties.
Photo: ISHIZAWA Yoji

The connection between vessels and daily life runs deep in local culture. In Saga Prefecture, where my studio is located, a traditional autumn festival called Karatsu Kunchi⁵ is held each year. During the festival, households serve a whole big fish in a dish known as ara⁶ no sugatani, a simmered, white-fleshed fish traditionally prepared for guests. To present these fish, large Karatsu-yaki platters over 50 centimeters in diameter have been made for generations. Even today, as the festival approaches, I still receive orders for these oversized plates.

Crafting such large platters is a technical challenge because Karatsu clay, with its relatively low plasticity, is prone to cracking during drying. Nonetheless, creating vessels tied to local culture remains, in my view, one of the most important aspects of my work as a ceramic artist.

I seek to understand how my vessels fit into daily life by being the foremost user of my own work. In my studio, some pieces have minor imperfections that prevent them from being sold to customers but remain perfectly functional for everyday use. These are the vessels my family and I use in our day-to-day life. When I create a new form, I test it at home—serving actual dishes, evaluating the size, ease of use, and how simple it is to clean. My wife is my most honest critic, offering candid feedback such as “This is hard to hold” or “This makes serving food difficult.” I incorporate this feedback into the design of future pieces.

In the West, practical vessels are usually seen as separate from works of art, but in Japan, everyday utensils can also be appreciated as art. I hope to continue creating pieces that blend beauty and functionality, enriching daily life in the process.

Mike Martino
Originally from New Mexico, USA. From a young age, he developed an interest in pottery, exploring ancient sites and collecting ceramic fragments. He came to Japan in 1990, and in 2002 began studying under a master Karatsu-yaki potter, creating his own works. In 2005, he established his own kiln, Gotanbayashi Kama. Many of his pieces are used as tea utensils for the tea ceremony, and he also actively produces Japanese and Western tableware, as well as sake vessels. Note: Visits to his studio require advance reservation.
Photo: ISHIZAWA Yoji

• 1. A general term for pottery produced mainly in Karatsu City, Saga Prefecture. While there are several theories, it is said to have begun in the late 16th century, incorporating techniques brought over by potters from the Korean Peninsula, which boosted production. Made with coarse, unrefined clay, its vessels convey a rustic yet powerful impression.
• 2. A collective term for utensils used in the Japanese tea ceremony, the art of preparing and serving tea. In a narrower sense, it refers to vessels used for thin tea (usucha), where only a small amount of powdered green tea is whisked or steeped. 
• 3. A glass-like coating applied to the surface of pottery to prevent leaks and for decorative purposes.
• 4. Residue from tea that adheres to tea bowls and other utensils.
• 5. An autumn festival held at Karatsu Shrine in Karatsu City, Saga Prefecture, from November 2 to 4 each year. During the festival, people pull elaborately decorated floats, called hikiyama, through the city streets. In 2016, the festival was inscribed on the UNESCO Intangible Cultural Heritage list. 
• 6. Ara is a white-fleshed saltwater fish that can be enjoyed not only as sugatani (simmered whole) but also as sashimi or in hot pot. Although available year-round, its peak season is from October to December, making November—the month of Karatsu Kunchi—an especially delicious time to enjoy ara.

By MURAKAMI Kayo
Photo: Karatsu Tourism Association; ISHIZAWA Yoji