On the shores of Lake Biwa, in a 250-year-old thatched-roof farmhouse studio known as Hinode Kiln, potter Masao Iwasaki creates “Ryūsō Kairagi.”
Characterized by its graceful white surface and bold crinkled patterns reminiscent of a dragon’s claw marks, this pottery has captured wide acclaim.

“Ryūsō Kairagi” is called a “miracle of ceramics” because it was born by accident and, after years of trial and error, became possible to produce in larger quantities. While training in Kiyomizu ware in Kyoto, Iwasaki developed a glaze mixture that unexpectedly shrank and wrinkled. Turning this accident into inspiration, he sought to reproduce the crinkled patterns deliberately. Yet, because it was born of chance, creating stable results proved extremely difficult. After three years of repeated experiments, he finally succeeded in producing the ideal wrinkling at scale. Still, even today, the outcome cannot be perfectly controlled—the daily struggle with clay, glaze, and fire continues.

The distinctive crinkled surface was named after the many dragon-god legends around Lake Biwa: the powerful wrinkles evoking claw marks became “Ryūsō” (dragon’s claw), and because the texture resembled “Kairagi,” the stingray skin traditionally wrapped around sword handles, it was named “Ryūsō Kairagi.” Few kilns produce red kairagi, making it rare. As a new style of Japanese pottery, it has won high praise from luxury hotels and fine restaurants.

“Ryūsō Kairagi” is not something that can be made by adding just one special step to the process. Instead, every stage demands adjustments on the scale of millimeters, and only through the steady accumulation of a craftsman’s handwork can each unique wrinkle be created.

For example, it begins with the blending of clays. To achieve the ideal texture, Iwasaki kneads together clays from Shiga and Kyoto in a precise balance. Any error in this blend or kneading throws off every subsequent step—shaping, glazing, and firing. Afterward, the piece is coated generously with his original glaze, developed through years of experimentation, and fired with minute temperature adjustments. In the end, the final outcome is entrusted to the god of fire, producing works where no two wrinkles are ever alike.

The “Ryūsō Kairagi” brand is nurtured by Masao Iwasaki and his wife, Michiko, working hand in hand. As times changed and products became harder to sell, Michiko—drawing on her experience in corporate branding projects—took on the role of promoting the works in place of her craftsman-minded husband.

They opened their thatched-roof farmhouse, a nationally registered tangible cultural property, as a gallery. There they hold exhibitions, host dining events, and offer pottery experiences, creating a lively space where the craft and its story come alive.

“We hope these vessels will not just serve to hold food, flowers, or decoration in daily life, but remain refined companions that accompany people with the beauty of utility.”(Masao Iwasaki)