Satsuma Ware
Begun by abducted Korean potters, and split into white ware for the lord and black for everyone else - class made into pottery.
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Begun by abducted Korean potters, and split into white ware for the lord and black for everyone else - class made into pottery.
The village where the abducted potters were settled; families that never changed their Korean names still fire kilns here.
Thick coloured glass cut so the edges gradate; the craft died with the domain and was reconstructed in 1985.
Thread dyed with a local shrub and then trodden into iron-rich mud to blacken; the kasuri threads are themselves woven first on a separate loom.
Plant dye and mud alternated more than twenty times to reach a black no chemical dye can match.
Only stumps left by Edo-period logging may be used; no living tree is cut, and the timber is three centuries old before it starts.
Satsuma banned Buddhism outright for a time; altars were made in secret, and when the ban lifted that skill became an industry.
Gunsmithing turned to scissors; steel is forge-welded to soft iron to shape the blades and handles.
A technique lost for 120 years, reverse-engineered from surviving pieces - the reconstruction itself the achievement.
Fibre stripped from banana stems, split fine and spun by hand; a single bolt takes two hundred plants.
The kasuri threads are first woven into a temporary cloth, dyed, then unpicked for the real weaving - two weavings for one fabric.
Domain metalwork that found an export market in the Meiji era, prized abroad for the fineness of its inlay.
Thin ivory-white ware painted in gold and colour for the lord's use; world's fairs made it an export line called simply SATSUMA.
The black ware ordinary people used - undecorated, its shape decided entirely by what it had to do.