The origins of Hagi ware can be traced back to the arrival of Korean potters to Hagi, a town situated in Yamaguchi Prefecture on the Japan Sea, following Japan's military invasion of the Korean peninsula in the late 16th century. As a result, a large number of Korean craftsmen were abducted and transported to Japan, where they played a crucial role in establishing new pottery types such as Satsuma, Arita, and Hagi yaki.
The local feudal lord of the Hagi area at the time, Terumoto Mori, had appointed potters in a castle town of Matsumoto (presently the city of Hagi) in order to create Hagi wares for his personal tea ceremonies and as gifts. The potters in Matsumoto steadily increased their production so that more kilns were established in Fukawa territory (presently the city of Nagato) during the mid-17th century. However, due to the Meiji Restoration in 1868, the potters employed by Lord Mori were dismissed and began to run their own independent businesses. Gradually, more kilns were built outside of Hagi, spreading to the Miyano area of Yamaguchi city and also to other parts of the southwest region of Yamaguchi Prefecture. Thus, Hagi ware production continued throughout the Edo era.
The subtle form and natural, subdued colors of Hagi yaki are highly regarded. In particular, the beautiful contrast between the bright green color of matcha and the warm neutral tones of Hagi ware is aesthetically notable. Regarding tea wares, there is a famous expression in Japanese that is "Raku first, Hagi second and Karatsu third". This old tea adage indicates the rank of tea wares preferred for tea ceremonies. It implies that tea wares with distinguishing characteristics of earthy feel and looks are most valued.
Two types of fine-grained soft clay are used as the base material. The earth is first mixed with water, then strained. During the process, wood chips are often added, causing the less dense parts to rise while the heavier parts sink to the bottom. This preparation process is repeated for two weeks until the water is entirely filtered without any residues, and the pure, fine clay is obtained from the bottom of the vat. The reddish to orange color of the clay is important as it will determine the texture and color of the Hagi surface.
