Koseto is a type of pottery that represents the medieval period in Japan. Kosedo ceramics, such as jars and vases glazed in yellowish green or blackish brown and decorated with various designs, including inka (seal) and painted floral motifs, as well as tenmoku (tenmoku is the Japanese word for “bowl”) and chajiri (tea caddy), form a unique and distinctive world as the only glazed ceramics of the medieval period. On the other hand, during the medieval period, there were also many other types of unglazed pottery produced throughout Japan, such as Old Tokoname jars and pots with a wild beauty of dark green natural glaze running down the rough brown surface, Shigaraki jars with fiery red surface and white feldspar spouting out, and Echizen, Suzu, Tanba, and Bizen pottery, mainly pots, jars, and mortar-shaped bowls. Kosedo has a rich variety of pottery. Despite its rich variety, Kosedo does not alone provide all of the pottery used in daily life. Combined with Tokoname, Bizen, and other shimeyaki ceramics, they shared their functions with each other to meet the needs of daily life. Furthermore, the red unglazed earthenware and black tile ware that have existed since the Kofun period (tumulus period) also played a major role in the daily life of medieval ceramics.
When the medieval period is said to have been a samurai society, these two types of pottery symbolically represent the dualistic elements of the warrior class, that is, the peasant-like appearance full of the smell of the soil and the ruler-like appearance as the leader of the regime. Today, however, the dominant view is that these two types of pottery did not necessarily share a common starting point. In other words, while unglazed Tokoname and Bizen ceramics originated in the late Heian period, glazed Kosedo ceramics were established in the middle of the Kamakura period (1185-1333). How did such a difference arise between the two major medieval ceramics? It has to do with how we understand the contents of Koseto.
Generally, the beginning of the medieval period is marked by the establishment of the Kamakura Shogunate (1192), but in the field of postwar historical research, various ideas have emerged depending on the position of the researcher and the data on which he or she stands, such as the beginning of the Insei government or the civil wars of the Nanbokucho (Northern and Southern Dynasties). What can we say about the beginning of the medieval period in terms of ceramics?
Apart from Kosedo, the only medieval glazed pottery, medieval ceramics in various regions are characterized by the fact that they all produced jars and pots as their main products. They were newly emerged as necessities in rural life, in a form different from that of the previous period. Therefore, if we consider the beginning of the medieval period as the time when the various vessel forms of Heian-period Sue ware and ash-glazed pottery began to be limited to jars, pots, and mortars, we can place the beginning of the medieval period at around the beginning of the 12th century, although there are some regional differences. If we consider this as the beginning of the medieval period, we can place the beginning of glazed ceramics as a form of division of labor, as a type of high-quality daily vessels, at the beginning of this period.
In discussing Seto Mino as glazed ceramics in this volume, it is necessary to point out in advance their position in medieval ceramics. Today, the concept of “six ancient kilns” is generally used to describe medieval pottery, but this concept is not necessarily appropriate when considering the medieval pottery industry as a whole, which now encompasses 70 kiln sites. Rather, it is necessary to classify medieval pottery according to its function based on the genealogy of the previous period in order to clarify the position of each type of pottery. This is because no single type of medieval pottery was sufficient to meet the needs of daily life, but a combination of various types, including imported ceramics. Based on this idea, medieval ceramics can be classified into three series: earthenware, Sue ware: and japanned ware. The earthenware type includes both earthenware itself and tile ware, the latter of which was used only in western Japan. The Sue ware type includes the Bizen ware, which was fired with oxidizing iron to produce brownish-brown ceramics during the Kamakura period (1185-1333) while retaining the Heian period Sue ware tradition, the Suzu ware, which was fired with reducing iron to produce grayish-black ceramics, and other kilns from the northern half of Hokuriku to Tohoku and in western Japan, including Uozumi, Kameyama and Kachimada kilns. The taiyaki type also includes the Heian period (794-1185). In the area of the jiyu ware lineage, there is Seto Mino, a type of glazed pottery that is descended from the ash-glazed ceramics of the Heian period; Yamachawan kilns in the Tokai region that fired unglazed daily tableware and some storage containers; and Tokoname, Atsumi, Kosai, Kanenyama, Nakatsugawa and other kilns that mainly produced jars, pots, and mortar. Furthermore, in the Hokuriku and Tohoku regions, which did not have a tradition of ash-glazed ceramics during the Heian period, there are Echizen, Kaga, Sasagami, Oto, Hachiro, Kumagari, and Takada kilns, which were influenced by the ceramic kilns of the Tokai region and transformed into medieval kilns, and in western Japan, Shigaraki and Tanba kilns were formed. In western Japan, Shigaraki and Tanba kilns were formed. In this way, Seto and Mino were the only places in the medieval pottery industry that produced glazed ceramics, while maintaining the same Heian-period tradition.
Let us consider the significance of Kosedo as the only production site of glazed ceramics in the medieval period. Kosedo ware is a type of small, high-grade glazed ware that is completely different in function from Tokoname and Atsumi ware, and it has a unique position among medieval ceramics in that it includes almost all types of daily vessels. Needless to say, these glazed wares were not intended for the general public at that time, but for the upper classes, such as aristocrats, warriors, temples and shrines. Among the many types of ceramics produced at Kosedo, there are many miscellaneous daily wares from the previous period, but the most characteristic types of ceramics at Kosedo are those made for religious purposes, such as four-mimi jars and vases (Buddhist vases), and daily utensils such as water jars, water droplets, goji (a small vessel for pouring water) and candlesticks decorated with rich patterns and gorgeous glazes. They are also excellent tea ceremony utensils that were produced actively from the late Kamakura period onward. The essence of Kosedo is that it was produced in response to the needs of the upper classes of the time, who valued Chinese ceramics as Chinese artifacts. Chinese ceramics had already been imported to Japan as early as the Nara period (710-794), when they were brought to the central court shrines and temples through the official trade based in Dazaifu, and even after the abolition of the Japanese envoys to the Tang Dynasty, a small amount was brought to Japan through private trade without diplomatic relations. In the late Heian period (794-1185), when the Sung-Japan trade was initiated by Tadamori and Kiyomori Taira, a large amount of excellent ceramics such as celadon and white porcelain were imported along with a large amount of coins, textiles, and medicines. Through the port towns that were just beginning to form at the time, these products penetrated into the upper classes of each region.
As demand for superior Chinese ceramics increased, the Sanage kilns, which had already been producing glazed ceramics under Chinese influence in the previous period, began to imitate them again. How was Kosedo used as an imitation of Chinese ceramics? Today, research on medieval ceramics and medieval sites is still very limited and has not yet reached the stage of correctly answering this question. However, there have been relatively many cases of Kosedo four-mimi jars and plum vases excavated as warehouses in the Tokai region, where they were produced, and in the Kanto region centering on Kamakura (1185-1333), and not many have been found west of the Kinai region. If this is the case, it means that the main consumers of Kosedo were the samurai class and temples and shrines in the western part of the Tokai region and the Kanto region centering on Kamakura. In western Japan, which was much more advanced than eastern Japan at the time, large quantities of Chinese ceramics were brought to this medieval port city along with ceramics from other parts of Japan, as excavations at the famous Kusado-Senken site in Fukuyama City, Hiroshima Prefecture, have revealed. Therefore, it is thought that the upper classes in western Japan were direct recipients of Chinese ceramics, and their demand for Kosedo was not so high. It was not until the Muromachi period (1336-1573), when the firing of tea ceramics began to flourish, that Kosedo products became popular in the Kinai cities.
As described above, the main players of Kosedo were the samurai, shrine and temple classes in eastern Japan. The Kamakura Shogunate was established and Kamakura began to gain power as a political and religious center, and Kosedo found its first major patrons there. This is the reason why Kosedo is said to have been established in the middle of the Kamakura period. Before that time, Kosedo was probably in a slight stage of formation in the chain with the Higashiyama area of Sanage Kiln. However, the fact that the products of that period constantly show a sensitive response to Chinese ceramics is a tradition that has continued since the previous generation.
Seto Mino
As is well known, Koseto, which was the only medieval glazed pottery along with Mino, was fired in the low hills at an altitude of 100 to 200 m above sea level surrounding the Seto urban area, about 20 km east-northeast of Nagoya City. The Seto kiln in the narrow sense of the term extends from the eastern edge of Owari-Asahi City to almost the entire area of Seto City, covering an area of about 11 km from east to west and 10 km from north to south, and nearly 600 old kiln sites are known to exist. The actual number of kiln sites was probably much larger than this. These ancient kiln sites cover the entire period from the late Heian period (794-1185) to the Middle Ages, but they are not uniformly distributed over the entire area.
According to “Seto City History of Ceramics” (see the distribution map at the end of the book), the late Heian period ash glaze pottery kilns, which are the outer extension of the Sanage kilns, are distributed south of the Yada River (Yamaguchi River) in the southern part of the city, the mountain tea bowl kilns are distributed in the western half of Seto city center, and medieval glazed pottery is distributed from the eastern part of the city center to the northwestern foot of Mt. This is because Seto kilns are distributed from the west to the northwest of Mt. This indicates that Seto kilns developed from west to east over time. The breakdown of the 448 old kiln sites of known age is as follows: nine gray pottery kilns in the Heian period, 201 glazed pottery kilns in the Medieval period, and 238 sancha-bowl kilns, but the actual number of sancha-bowl kilns is thought to be much larger than this.
There is a legend of Fujishiro about the origin of Koseto. There are various theories, but the best known is that Shirozaemon Kagemasa Kato, the founder of Koseto, followed Dogen to the Sung Dynasty in 1223, trained in the art of pottery, and returned to Japan in 1228. Leaving these traditions aside, there are currently two different views on the establishment of Kosedo based on the remains of artifacts. One is that the Koseto was established in the middle of the Kamakura period, based on the chronology of the accompanying mountain tea bowls, using the occurrence of ash-glazed four-mimi jars and bottles made by wheel-loading as an indicator. According to Akatsuka Mikiya, the production of ash-glazed ceramics that began at the Hirokute kiln in Yamaguchi, Seto City in the early 11th century declined in the 12th century and was transformed into a mountain tea bowl kiln, but in the mid Kamakura period, the kiln moved into the southern hills of Seto City and was revived as an ash-glazed kiln that produced a large number of four-mimi jars and jars. In response to this, the author traced the origin of four-mimi jars unique to Koseto to the Higashiyama kiln sites in the late Heian period, and once argued that it is necessary to view the Koseto area as part of the flow of Heian ash-glazed pottery production at the Sanage kilns. Of course, Akatsuka also pointed out the existence of early four-mimi jars at the Higashiyama kilns early on, but these differences in thinking are related to the question of how to understand their contents. In the late Heian period, when the Sanage kilns disintegrated through the collapse of the ancient production system and the Tokoname kilns, which mainly produced jars, pots, and mortar, were established in the south, it is possible that a production site for fine glazed ceramics arose in a part of the same area, even taking into consideration the enormous amount of imported ceramics at that time. The origin of the Sanage kiln has recently been discussed. The Higashiyama Kiln, the birthplace of the Sanage Kiln, which was revived in the 11th century as a production site for ash-glazed ceramics after a long gap, is known to have been involved in the production of luxury goods such as roof tiles and Buddhist ritual objects against the backdrop of the central imperial regime and the power of new local temples, while other areas in the 12th century switched to the production of unglazed miscellaneous objects, mainly mountain tea bowls and small plates. In contrast, it is now known that the central government and the newly emerged local temple power were involved in the production of luxury goods such as roof tiles and Buddhist vessels. It is an important fact that recently we have learned that they began to imitate a new type of porcelain that was the mother of Kosedo, such as double chinkansen lines on the body of wide-mouth jars with a peony design between them, as well as four-lobed jars and Buddhist vessels. It is rather natural to think that Seto as a production site of high-grade glazed ceramics was established by migration from the Higashiyama kilns, just as the Tokoname kilns were established by moving from the southwestern part of the Sanage kilns to the central part of the Chita Peninsula.
Needless to say, the products of Kosedo, along with Mino, were the only glazed ceramics in the Middle Ages. Therefore, the more than 200 glazed pottery kilns, excluding the numerous mountain bowl kilns, mainly produced relatively small, high-quality daily utensils and Buddhist ritual objects, and divided the work by vessel type with the Tokoname and Atsumi kilns, which fired large jars and pots. These fine ceramics were widely used as daily vessels for shrines, temples, aristocrats, warriors, and wealthy farmers, and were mainly imitations of Chinese ceramics. Kosedo ceramics are characterized mainly by their imitations of Chinese ceramics, including bowls, plates, and bowls for eating and drinking, water jars, earthenware pots, grating dishes and mortar for cooking, pots and jars for storage, medicine jars, water dropper pots, candleholders, cylindrical containers, wash bowls, vases, Buddhist offerings, light dishes, incense burners, and stupas for Buddhist rituals, tenmoku tea bowls and tea containers for tea, as well as iriko (round guardian dogs) and chinko pottery. Of course, not all of these vessels were produced uniformly throughout the Kamakura and Muromachi periods. In particular, there is a significant difference in character between the Kamakura and Muromachi periods. In the first half of the Kamakura period (1185-1333) to the beginning of the Muromachi period (1333-1573), ritual implements such as four-eared vases, jars, Buddhist vases, incense burners, etc. for shrines and temples were prominent, while daily utensils such as tenmoku tea bowls, tea containers, ash glazed flat bowls, small plates, etc. for consumer cities, especially tea ceramics, were prominent in the Muromachi period. In addition to these differences in type, there are also significant differences in the decoration of the vessel surfaces, with the former being richly decorated with inlaid floral motifs, painted floral motifs, and pasted floral motifs, while the latter is remarkably uncultured, focusing rather on the glazes.
Next, let us discuss the production techniques of Koseto. The most important reason for the establishment of Seto as a production center of glazed ceramics is that it was blessed with high quality pottery clay with high refractoriness. As is well known, the area around Seto City has abundant deposits of high quality clay called Kisetsume Clay, which is a sediment of the Tertiary Pliocene Seto Pottery Clay Formation and the Yada River Accumulation Formation, based on the granite that forms the base of Sanageyama, and consists mainly of kaolin minerals in a white clay layer between gravel layers. These clays are usually used without watering. The clay used for the large pieces was rather rough, while the clay used for the small pieces was fine-grained. As is known from inscriptions on tea containers and tea pots and from documents, rather rough grandmother clay with iron content was used for tea containers and tea pots.
There are four molding techniques used in Koseto, depending on the type of vessel and its size: wheel-thrown molding using a water wheel, wheel-rolled molding with clay strings, wheel-formed molding with clay strings, and wheel-formed molding with clay strings using a part of the molding material. Smaller vessels up to 10 cm in height are wheel thrown, while the other three methods are used for vessels larger than 10 cm in height. In the very early period, some four-mimi jars retained the water-wheel wheel-formed technique that had been used since the Heian period (794-1185), but most of them were made by wheel-forming. According to Mr. Mikiya Akatsuka, the vase at its peak was made by first making the shoulder part by turning up the inner shoulder mold, then joining the body by wheel-jointing, and attaching the mouth and neck separately ground on the potter’s wheel.
The surface decoration of Kosedo vessels was originally copied from that of Chinese ceramics, but a wide variety of tools and techniques were used to draw patterns unique to Kosedo.
The four most common techniques are: Inka (sealed flower) decoration, in which a pattern is engraved and pressed onto the surface of the vessel; Gahana (painted flower) decoration, in which a round chisel is used; Pachibana (sealed flower) decoration, in which clay strings or small disks are pasted over the surface and sealed or engraved on top; and Kushigaki (comb painting) decoration, in which a comb is used to draw patterns. In the Seto area, these patterns first appeared with the inka design, followed by the painted flower design, pasted flower design, and comb drawing design, and finally ended with the comb drawing design. The subjects of these designs include geometric patterns such as rounded corners, diamonds, crosses, lattices, beads, and dots, botanical patterns such as peonies, lotuses, chrysanthemums, plum trees, camellias, willows, arabesques, and hollyhocks, animal patterns such as fish and butterflies, and some patterns that seem to have been made in imitation of the vessels themselves.
The two basic glazes used in Kosedo are ash glaze and iron glaze, but ash glaze was used first, and iron glaze was used in parallel from the Kamakura period onward. In the early stages of ash glaze, the glaze layer was thin and consisted only of wood ash, but gradually a feldspar glaze material called saba was added, and the glaze layer became thicker and more stable. Iron glaze was mainly made of iron oxide in the form of solid plates deposited on the top of the clay layer called oniita, but it is thought that kurohama and mizuuchi were also used after the Nanbokucho period (14th century), and after the development of these iron glaze production methods, the excellent black-brown glaze unique to Seto (koseto glaze) was produced. Firing techniques will be discussed in the course of the transition of Koseto.
The transition of Kosedo is usually described by dividing the period from the early Kamakura period to the middle of the Muromachi period into three stages: the first, middle, and second stages. The following is the classification of the seven phases. The following is a summary of the transition of Kosedo according to this classification.
The first stage is the pioneer period of Kosedo, when the kilns moved from Higashiyama to Seto. The earliest Ko-Seto pottery in the Seto City area can be traced back to the end of the Heian period or the beginning of the Kamakura period (1192-1333), at the Okusa-dokuchi kiln in Hishino Shinden, located south of the Yada River (Yamaguchi River). This kiln is a mountain tea bowl kiln, and the subsequent Okusa-do Kiln No. 1 also fired ash-glazed four-eared jars as well as mountain tea bowls. It is likely that the production of ash-glazed four-eared jars began along the hill south of the Yada River connecting the Dongshan Kiln and the Daichodong Kiln without much time difference. All of the Dongshan kilns are also mountain tea bowl kilns, but the types of products vary from kiln to kiln, with some, such as the Dongshan Kiln No. 101, firing tiles, vases, and Buddhist ritual vessels such as fire censer incense burners. These precursor products also appeared in the Minoike Takaneyama Kiln and the Nakamizuno Shonen Naka Kiln in the Seto City area beyond the Yada River to the north, suggesting that the mother of Koseto was first formed in the western and southwestern areas of Seto City.
The second stage is the period conventionally regarded as the early stage, from the end of the 12th century to the end of the 13th century. About 80 kilns are known to have been produced during this period, and their distribution area is quite extensive, including Shinano and Akazu areas, but more than 50 kilns are concentrated in the hills surrounding Seto City, and the center of production is located in the hills in the eastern part of Seto City. By this time, Kosedo had a rich variety of vessels, including not only four-mimi jars, but also new sets of vessels such as jars with four ears, water jars, mortar bowls, grated dishes, small Buddhist vases, washed water jars, mizubin goshi iroko, and Buddhist offerings. Of these, four-eared jars and bottles were especially mass-produced. The only glaze used is an ash glaze, but it is unstable with a thin glaze layer and many flowing stripes. The design on the shoulders of four-lobed jars and vases began to be decorated with several stripes of comb-painting, and a little later, sealed flower designs centering on small chrysanthemum patterns also appeared.
The third stage is the peak of the Kosedo period, from the late Kamakura period to the Nanbokucho period.
About 60 glazed pottery kilns are known from this period. The distribution area of these kilns covers almost the entire Seto City area, but the center of distribution has shifted to the Akazu area in the southeast, with 36 kilns, the majority of which are located at the northwest foot of Sanageyama. At this stage, in addition to the four-mimi jars, jars for bottles, water jars, water jars, and grated plates from the previous period, new items such as water droplets, Buddhist vases, incense burners, and candlesticks with guardian dogs appeared, and a few tenmoku tea bowls, flat tea bowls, and tea caddies were also produced. The increase in the number of types among these vessels is due to the introduction of new Chinese ceramics, such as incense burners and Buddhist vases. In particular, many of the vessels that appeared during this period have ties to the Longquan and Jingdezhen kilns of the Southern Song dynasty. With the exception of the smallest pieces, jars and bottles were mainly made by wheel-thrown pottery, but in the latter half of this period, there was a shift to wheel-thrown pottery using water grinding. The four types of patterns mentioned above are all present, and various other patterns are combined to decorate the surface of the vessels. In addition to ash glaze, iron glaze was newly used. Ash glazes became more stable with a beautiful light green color due to the increased feldspar content. Iron glazes are still transparent, so-called “candy glazes,” and many of them have a distinctive shade of color. Since its first appearance, the firing kiln has had a structure similar to that of a sanchawan kiln, with a dividing pillar at the boundary between the firing chamber and the combustion chamber.
The fourth stage is the first half of what is conventionally called the late stage, from the early to mid Muromachi period. The distribution is centered in the Akazu area, and as the number of kilns in other areas decreased, the kilns became more concentrated in the Akazu area. The kilns were built deep in the foot of Mt. Sanage at an altitude of about 200 m, and this is the period when the kilns were most widely distributed. Although the products of this period are inherited from the previous period, the number of Buddhist artifacts such as four-mimi jars and vases has decreased, and the number of practical flat bowls, small plates, folded-rimmed deep plates, and one-portion ground bowls has increased, indicating a shift to a kiln industry closely related to daily life. In addition, the production of tea utensils such as tenmoku tea bowls and tea containers, which appeared in the previous period, increased along with the growing custom of tea drinking in the cities, and excellent Japanese tea utensils were produced. With the improvement of potter’s wheel technology, the molding of tea bowls and tea containers shifted almost entirely to the water-grinding method. The only patterns that remain from this period are the simple painted floral motifs carved in the round on some of the vases and Buddhist vases, and the comb-shaped wavy motifs on the shoulders of the four-mimi jars and vases. In terms of glazes, ash glazes became more stable with the increase of feldspar content, and many of them had a beautiful light green color. In the latter half of the period, the iron glaze turned yellowish green due to oxidizing firing. The Koseto glaze with a blackish-brown luster was completed, and many excellent glazes were produced for tenmoku tea bowls, tea containers, etc.
The fifth stage corresponds to the late Muromachi period, from the end of the 15th century to the middle of the 16th century, when the number of kilns in Seto had already spread to the surrounding areas such as Mikawa and Mino, and was decreasing. New style kilns called “large kilns” were built near Seto, Akazu, Shinano, Mizuno, and other villages. These large kilns had a semi-aboveground kiln structure with high firing efficiency, and although their products inherited some of the traditional daily tableware, the main types were tenmoku bowls, round bowls, round dishes, and ground bowls, which changed significantly from the previous generation.
This is because in the late 15th century, China’s policy of prohibiting the use of the sea was loosened and large quantities of superior celadon, white porcelain, and dyed ceramics were imported, forcing Seto to make technical innovations to compete with them and to secure its traditional trade area. Currently, there are 18 known large kilns in Seto, but these are limited to the first half of the large kiln period, and no kilns can be seen in the Seto area in the latter half of the period. This is the so-called Seto-yama dispersion.
Mino, which, along with Seto, was a production center of glazed ceramics in the late medieval period, is famous for producing excellent tea ceremony ceramics such as Shino, Kosedo, and Oribe during the Momoyama period (1573-1600). It is said that the production of glazed ceramics in Mino began in the late Muromachi period (1336-1573), when craftsmen moved into Mino along the mountains after the Seto Mountains were dispersed. However, recent rapid progress in research on Mino kilns has forced a considerable change in the conventional theory. Here, we will summarize the main points. The western part of Tono, including the three cities and two towns of Tajimi, Toki-Mizunami, and Kasahara-Kani, began with the production of Sue ware in the Nara period (710-794), and after a gap in the mid-Heian period, it revived as a production center of ash-glazed pottery in the late Heian period, forming a large ceramic production area with more than 40 ash-glazed pottery kilns and over 250 mountain tea bowl kilns until the early Muromachi period. On the other hand, a total of eight glazed pottery kilns of the Seto type have been confirmed today, starting from a kiln in Tsumaki Town, Toki City at the southern end, and moving north along the Nishiyama River, crossing the Toki River to the Hyuga Kiln in Izumi Town. Some of these kilns, such as the Oariba and Hyuga kilns in Tajimi City, are thought to date back to the mid-Muromachi period, and their surprisingly early start is noteworthy. Considering that the area where these eight kilns were distributed is the main domain of the Toki and Tsumaki clans, it is thought that they were established as part of the economy of the lords of Seto Mountain, not as a result of their dispersion. The so-called “cave kiln” period ended with these eight kilns, and the Seto period changed to the large kiln period around the same time. The kiln structure and product types are exactly the same as those of Seto. The large kiln period lasted about 100 years from the end of the 15th century to the beginning of the 17th century and corresponded to the Warring States period, but there was a significant change in the product types between the first and second half of the period. In the first half of the period, when Seto was the center of production, there were only a few kilns in Mino, such as the Onada Kiln No. 1 and the Myoudo Kiln, but in the latter half of the period, the number of kilns increased rapidly with the addition of people from Seto and developed into a large ceramic production area with more than 50 kilns. In addition to imitating imported Chinese ceramics and mass-producing them, the wabicha (tea ceremony) that was becoming popular at that time led to the creation of new Japanese tea ceremony utensils and tableware, such as Kizeto, Setoguro, and Shino, in addition to the traditional ash-glazed and iron-glazed wabicha products. This was the Momoyama period, and the shift to early modern ceramics can be seen there.
