The Vessels of Ryutaro Yamada
Ryutaro Yamada’s works are distinguished by bold hakeme brushwork and the soft, pale tones of kohiki white slip. Each vessel carries its own organic texture—an elegant balance of rustic simplicity, subtle refinement, and everyday functionality.
The Kiln of the Late Ryo Aoki
In 2014, Yamada relocated his studio to Sagamihara City in Kanagawa Prefecture, inheriting both the workshop and kiln of the late ceramicist Ryo Aoki.
“I first visited the studio to see Aoki-san’s work. That eventually led to my taking over this space. Despite working with simple elements—clay and glaze—Aoki-san explored a wide range of expressions: kohiki, hakeme, white glaze, and yakishime. Since I owned several of his works that I admired deeply, I wanted to experience the environment where they had been created. When I was asked, ‘Would you like to take over this place?’ I already had a desire to work with a wood-fired kiln.”
Aoki left behind two wood-fired kilns. One, originally an electric kiln retrofitted for wood firing, is no longer in use. The other—a traditional climbing kiln—continues to inspire Yamada as he experiments with new firing approaches. Yamada has also built his own wood-fired kiln and uses different kilns depending on the character of each piece. Additionally, three kerosene kilns provide consistent results, especially for tableware such as plates.
Around the studio grounds, kilns and works-in-progress are scattered among the natural landscape.
The space reveals a diverse interplay of forms, colors, and textures.
Even on cool days, the traditional veranda and shoji screens offer a quiet, comforting warmth.
To Create Pottery or to Die
How did Yamada begin his life as a ceramicist?
“While attending art university, I developed panic disorder and alopecia. I returned to my parents’ home and entered a kind of moratorium. My now-wife—then a classmate—suggested pottery as a form of therapy. I attended pottery classes while working part-time, and gradually, I became deeply drawn to ceramics. I had no money or connections, but it felt like a choice between dying or living through pottery.”
Determined to pursue this craft, Yamada researched pottery regions and decided on Tajimi City in Gifu Prefecture, known for its concentration of young, innovative ceramic artists. Discovering the Tajimi City Institute of Ceramic Design, he made the decision to relocate and train there.
In conversation, his thoughtful manner and careful choice of words leave a lasting impression.
Around the studio, traces of his ongoing trial-and-error process reveal the persistence behind his craft.
Though artisanal in quality, his works retain an approachable practicality suited to daily life.
The Lessons of Tajimi
In Tajimi, Yamada learned ceramic history and mastered the potter’s wheel through intensive daytime training at the institute. In the evenings, he visited local factories and workshops, earning modest wages by throwing tea bowls—repetitive work that strengthened his technical foundation.
After three years of balancing study and part-time work, he began his independent career, participating in craft fairs and selling his pieces. He later expanded by contracting with wholesalers, managing everything from production to sales himself—experiences he recalls as “learning through overcoming challenges alone.”
“Tajimi had everything—materials, glazes, kilns, specialty shops, and professionals. For someone starting from nothing, it was an ideal environment. But the social dynamics among ceramicists eventually began to feel confining. After I married at 30, I felt it was time to move on.”
Rather than sourcing materials from specific regions, Yamada selects clays purely by quality, blending white clay with red clays of varying grain sizes.
Rather than sourcing by region, he selects clays for their quality, blending white clay with red clays of different grain sizes.
In his studio, the quiet hum of the potter’s wheel creates an almost meditative atmosphere.
While his pieces have an artisanal quality, Yamada's works remain practical for everyday use.
Inseparable from the Times
Yamada’s creations embody traditional aesthetics while embracing a modern sensibility that harmonizes effortlessly with contemporary cuisine. When asked why hotels and restaurants often seek out his work, he replies modestly:
“It’s difficult for me to see clearly. What I want to make, what I can make, what I want to sell, and what actually sells—these are all different. Perhaps the approachable nature of my work comes from not pushing any strong ‘This is it!’ message.”
He continues:
“I can’t escape being an artist shaped by the 2010s. That’s inevitable since I live in this time. I examine each fired piece, reflect on it, refine my techniques, and evolve slowly. Like home cooking—seemingly the same every day yet subtly changing—perhaps that’s something I aim for.”
Through his unembellished honesty, the once vague impressions of his work sharpen into clarity.
In Part 2, we will explore his pottery-making process in detail.
Around his studio, unfinished pieces are arranged systematically.
Clay and fire—primordial elements—give rise to the natural textures that define his vessels.
His works invite contemplation:What dishes would I serve on these?
TABAYA United Arrows GLOBAL
In November 2024, we launched the cross-bordere-commerce site "TABAYA United Arrows" to offer Japanese lifestyle goods for overseas markets. Through this e-commerce site, we will continue our efforts to promote Japanese lifestyle and culture overseas.
