Three-Eared Jar with Chrysanthemum Design (Tamba Ware): A Masterpiece of Medieval Japanese Ceramics

Nestled within the distinguished collection of the Aichi Prefectural Ceramic Museum in Seto City, the Three-Eared Jar with Chrysanthemum Design (菊花文三耳壺〈丹波〉, Kikka-mon Sanji-ko, Tamba) stands as one of the finest surviving examples of early medieval Japanese stoneware. Designated as an Important Cultural Property of Japan in 2005, this exquisite vessel was crafted in the early 13th century at the renowned Tamba kilns in what is now the Sasayama area of Hyogo Prefecture. The jar exemplifies the remarkable artistry that emerged from one of Japan's Six Ancient Kilns, offering visitors a rare glimpse into the creative spirit of Kamakura-period ceramic craftsmen.

What Is the Three-Eared Jar with Chrysanthemum Design?

This jar, known in Japanese as Kikka-mon Sanji-ko, is a stoneware storage vessel produced at the Tamba kilns during the early Kamakura period, around the beginning of the 13th century. Standing approximately 30 centimeters tall with a body diameter of 20.7 centimeters, the jar features a distinctive elongated body with gently rounded shoulders. Three small handles, or "ears," are attached to the shoulder at equal intervals, each formed by pressing together two coils of clay—a technique characteristic of Tamba ware that persisted through the Muromachi period.

The most striking feature of this vessel is its elaborate chrysanthemum design. Incised into the surface with a sharp spatula, the decoration covers the area from the shoulder to the upper body between the three ears. Each section displays a layered, half-truncated chrysanthemum flower composed of three overlapping petals, flanked by leaf motifs and delicate floral sprays. Encircling the shoulder where it meets the neck, a continuous band of chrysanthemum-petal designs creates an elegant crown-like ornament around the entire circumference of the jar.

The clay body is a dense, grayish-white ceramic paste containing fine particles of feldspar and quartz. The exterior surface exhibits a warm, light brown tone, while a rich, dark green natural ash glaze—created during firing as wood ash settled and melted on the surface—drapes beautifully over the neck and shoulders. The mouth flares outward with a flat, beveled rim, a distinctive finishing technique unique to Tamba ware.

Why Was It Designated as an Important Cultural Property?

The Three-Eared Jar with Chrysanthemum Design received its designation as an Important Cultural Property in June 2005 for several compelling reasons that underscore its exceptional historical and artistic significance.

First, the jar is one of the earliest known surviving works from the Tamba kilns. Examples from the late Heian to early Kamakura period are extremely rare, making this vessel an invaluable record of the kiln's formative years. Research on the Sanbontoge-kita kiln site and analysis of the jar's stylistic features—including its slightly evolved handle form and distinctive rim treatment—point to a production date around the early 13th century.

Second, the chrysanthemum decoration is executed with outstanding precision and artistic refinement. The bold, clearly incised floral patterns represent some of the finest pictorial ornamentation found on any medieval Japanese ceramic vessel. The jar continues the distinguished lineage of decorated medieval ceramics that includes the National Treasure Autumn Grass Design Jar from the Atsumi kilns (held by Keio University) and the Important Cultural Property Atsumi Ash-Glazed Jar with Heron and Reed Design (also in the Aichi Prefectural Ceramic Museum collection).

Third, the jar has survived in remarkably complete condition. Unlike many medieval ceramics that have been damaged or reconstructed over the centuries, this vessel retains its original form with virtually no loss, displaying a perfectly balanced and well-proportioned silhouette that showcases the high technical skill of its maker.

The Legacy of Tamba Ware and the Six Ancient Kilns

Tamba ware holds a distinguished position in the history of Japanese ceramics as one of the Six Ancient Kilns of Japan (Nihon Rokkoyō), alongside Seto, Tokoname, Echizen, Shigaraki, and Bizen. These six kiln traditions, which were collectively designated as a Japan Heritage site in 2017, have operated continuously since the medieval period, each developing its own unique character and techniques.

The Tamba kilns began production near the end of the Heian period (late 12th century) in the Konda area of present-day Sasayama City, Hyogo Prefecture. Early Tamba ware was influenced by ceramic techniques from the Tokai region but quickly developed its own distinctive identity. The potters used a coil-building method followed by wheel-finishing, and their kilns produced primarily functional vessels such as storage jars, urns, and mortars for agricultural communities in the fertile region west of Kyoto.

One of the most distinctive features of Tamba ware is its natural ash glaze, which creates the warm green coloring seen on this chrysanthemum jar. Unlike applied glazes, this effect occurs naturally during the firing process as wood ash accumulates on the surface and vitrifies at high temperatures. This quality, combined with the characteristic warm earth tones of the clay body, gives Tamba ware its unmistakable visual warmth.

Today, about 60 potters continue working in the Tamba-Tachikui area, maintaining an 800-year-old tradition while creating contemporary works. The craft was recognized as an Intangible Cultural Property of Japan and continues to inspire ceramic artists worldwide, notably influencing the Mingei (folk craft) movement led by Yanagi Muneyoshi in the early 20th century.

Highlights and What to Look For

When viewing the Three-Eared Jar with Chrysanthemum Design, several features deserve particular attention.

The chrysanthemum incisions are remarkably crisp and confident, each stroke carved with a single, decisive movement of the spatula. Notice how the three floral compositions between the ears mirror each other with slight variations, suggesting the hand of a skilled artisan who worked with both discipline and creative freedom. The layered petal forms show a sophisticated understanding of decorative composition rarely seen in ceramics of this early date.

Observe the natural ash glaze flowing from the neck down over the shoulders. The deep, translucent green against the warm brown of the exposed clay body creates a striking contrast that appears almost painterly. This glaze was not deliberately applied—it formed naturally during the extended firing process, making each Tamba vessel unique.

The three small ears on the shoulder are worth close examination. Unlike the larger, more open handles found on vessels from the Tokai region, Tamba ears are compact and made from two pressed clay coils—a characteristic detail that helps ceramics scholars identify Tamba ware and date pieces within the kiln's long history.

Finally, pay attention to the flat, beveled rim of the mouth. This distinctive finishing technique, in which the potter flattened the top edge to create a clean horizontal surface, is a hallmark of early Tamba ware that distinguishes it from contemporary products of other kiln regions.

The Aichi Prefectural Ceramic Museum: A World-Class Destination for Ceramic Art

The Aichi Prefectural Ceramic Museum, located in Seto City—one of Japan's most historically important ceramic production centers—is among the largest specialized ceramic museums in Japan. Established in 1978 and extensively renovated in 2025, the museum houses approximately 8,800 ceramic works spanning from the Jōmon period to contemporary art, including three Important Cultural Properties.

The museum complex is set within a beautifully forested hillside and includes the Main Gallery with permanent and special exhibition spaces, the Design Aichi gallery (formerly the South Building), a ceramics studio where visitors can try their hand at pottery-making, and the Kiln Memories exhibit showcasing ancient kiln sites excavated on the museum grounds. The Tōsui-an tearoom offers the delightful experience of enjoying matcha served in handmade local pottery.

Adjacent to the museum is the Expo 2005 Aichi Commemorative Park (Moricoro Park), home to the popular Ghibli Park, making it possible to combine a cultural heritage visit with family-friendly attractions.

Nearby Attractions and Surrounding Area

The Aichi Prefectural Ceramic Museum is situated in a culturally rich area that offers numerous opportunities for further exploration. Seto City itself is a living museum of ceramic culture, where the very word "setomono"—the common Japanese term for ceramics—originated. Visitors can stroll along the historic Seto-gura district, visit the Seto City Art Museum, and explore local pottery shops and studios.

The nearby Toyota Automobile Museum showcases over 140 vehicles from around the world, while the Expo 2005 Aichi Commemorative Park offers green spaces, a Ferris wheel, and Ghibli Park with its enchanting recreations of Studio Ghibli film settings. For those interested in Japanese temple culture, Jōkō-ji Temple in Seto provides a serene retreat among the forested hills.

The broader Nagoya metropolitan area is easily accessible and offers world-class attractions including Nagoya Castle, Atsuta Shrine, and the Tokugawa Art Museum, which houses its own outstanding collection of ceramics and cultural treasures associated with the Owari branch of the Tokugawa family.

How to Get There

The Aichi Prefectural Ceramic Museum is conveniently accessible from central Nagoya. From Nagoya Station, take the Higashiyama Subway Line to Fujigaoka Station (approximately 30 minutes), then transfer to the Linimo (Tobu Kyuryo Line) and ride to Tōji Shiryōkan Minami Station (approximately 15 minutes). From the station, the museum is about a 10 to 15-minute walk. For visitors arriving from Tokyo, the Tokaido Shinkansen reaches Nagoya Station in approximately 1 hour and 40 minutes; from Osaka, the journey takes about 50 minutes.

By car, the museum is approximately 10 minutes from the Nagakute Interchange on the Nagoya-Seto Expressway, or about 15 minutes from the Seto-Akatsu Interchange on the Tokai-Kanjo Expressway. Free parking is available on site.