Hagi Ware: The Bowl That Grows with You

There is a phrase that comes up whenever serious tea people talk about Japanese chawan. 一楽二萩三唐津 (ichi-Raku, ni-Hagi, san-Karatsu). First Raku, second Hagi, third Karatsu. It is a ranking of the bowls most prized for drinking matcha in the wabi-cha tradition, and it has been repeated so often that it sounds like ancient law. We do not carry Hagi ware at Tealife, and I want to be honest about that upfront: this article is not here to sell you something. It is here because understanding why Hagi sits in that second position tells you something important about what the Japanese tea world has always valued in a bowl.

When I started looking more closely at Hagi ware, what struck me most was the time dimension. Most beautiful objects are beautiful now. A Hagi bowl is beautiful now, but it is also designed to be more beautiful in ten years, and more beautiful still in thirty. The Japanese have a word for this transformation: 七化け (nanabake, "the seven changings"). The idea that a tea bowl is not finished when it leaves the kiln, but continues to be made by the person who drinks from it, is one of the strangest and most compelling ideas I have encountered in ceramics. It inverts everything we normally assume about ownership. The bowl is not yours. You are its.

Hagi ware, 萩焼 (hagiyaki), is a style of Japanese pottery made in and around Hagi city in Yamaguchi Prefecture, on the western tip of Honshu.¹ Its history stretches back to 1604, when Korean potters brought to Japan in the aftermath of Toyotomi Hideyoshi's invasions established a kiln under the patronage of the Mori domain lord.¹ Archaeological evidence from early kiln sites shows that Hagi production initially included a wide range of utilitarian wares alongside tea ceramics; over time, the tea bowl became the tradition's most celebrated product, and its defining appeal has been the way that bowl transforms through use.³

The material is everything here. Hagi clay is coarse, soft, and highly porous, fired at relatively low temperatures in a noborigama, a multi-chamber climbing kiln, stoked with pine wood.² Because the clay does not vitrify fully, it remains slightly absorbent even after firing.² The glaze on the surface develops fine networks of hairline cracks called 貫入 (kannyū, "glaze crackle"). Over years and decades of use, tea seeps through those cracks and into the clay body itself, shifting the bowl's color from pale loquat-yellow or grey-white toward deeper, warmer tones.² This is the nanabake, and tea people have been seeking it out since the seventeenth century.

The phrase 一楽二萩三唐津 (First Raku, second Hagi, third Karatsu) is a cultural expression placing Hagi second in a ranking of the chawan styles most valued in the wabi-cha tradition. That ranking has a more complicated history than most people realize, and its precise formulation is not ancient; but its persistence reflects something genuine: a Hagi bowl is among the most compatible vessels ever devised for drinking matcha. It is soft to hold and warm to the touch, and many tea practitioners find it more comfortable in the hands during a long tea session than harder-fired, denser ceramics. It rewards daily use in a way that smoother wares do not.

If you want to understand why the phrase exists, where it actually came from, what the clay is made of, who the potters were and are, and what 七化け looks like in practice over a lifetime of use, read on.

Hagi ware takes its name from the city where it was born. 萩 (hagi) means bush clover, the autumn wildflower that covers the hills around the castle town and gives the area one of its gentler associations. Hagi city sits on a peninsula where the Abu River meets the Sea of Japan, on the far western tip of Honshu. It is a long way from Kyoto, from the centers of power and trade, and that remoteness shaped the ware in ways that are still visible today.

The pottery produced in the Nagato city district is called 深川萩 (Fukawa-Hagi, "Fukawa Hagi"), after the Fukawa area where a second kiln was established in 1657.¹ These two production centers, Hagi-Matsumoto and Fukawa, share techniques and clay but developed distinct characters over time. The distinction matters to collectors and practitioners, though both traditions share the name and the essential material philosophy.

Hagi ware is not shaped from a single clay but from a considered blend of three distinct earths, each contributing something specific to the final object.²

The primary clay is 大道土 (Daidō-tsuchi, "Daidō clay"), a white-grey, sand-heavy clay quarried in the area between Hōfu city and Yamaguchi city in Yamaguchi Prefecture.² Daidō clay has high plasticity and fires at relatively low vitrification temperatures, meaning it does not fully harden and remains porous. This is the source of Hagi ware's defining softness and its water-absorbency. It is also the reason a Hagi bowl feels warmer and lighter in the hand than most other ceramics of similar size: the clay is not dense.

The second clay is 見島土 (Mishima-tsuchi, "Mishima clay"), dug from Mishima, a small island in the Sea of Japan about 45 kilometers off the coast of Hagi.⁵ Mishima clay is red-black, rich in iron, and much denser than Daidō clay. Mixed into the body clay, it deepens the color range and increases what potters call 土味 (tsuchi-aji, "earth flavor"), the quality of visible earthiness in the fired surface.² Mishima clay can also be applied as a surface slip, shifting the color of the fired piece toward richer reds and browns.

The third clay is 金峯土 (Minomine-tsuchi, also called Mitake-tsuchi), a white, fine-grained kaolin clay from the Fukei district east of Hagi.⁵ Its role is structural: mixed into the body, it raises the clay's refractory temperature and reduces excessive plasticity, making the material more workable and the fired piece slightly more robust.²

The balance of these three clays is what each potter decides. There is no fixed formula. Different ratios produce different colors, textures, and degrees of porosity. This variability is not a defect in the tradition: it is the tradition. Two Hagi bowls from the same kiln, fired in the same year, can look quite different because the maker has blended the clay differently. This is part of why Hagi ware carries almost no decorative painting: the surface itself, unadorned, is the expression of choices made in clay composition and firing.²

Hagi ware is fired in a 登り窯 (noborigama, "climbing kiln"), a multi-chamber kiln built into a hillside, where a series of linked firing rooms ascends the slope one behind the other.² The noborigama's chambered structure allows heat from the firing of each lower chamber to pre-warm the chambers above, making the whole kiln more fuel-efficient and producing more pieces per firing than a single-chamber kiln could manage.

The kiln is stoked with アカマツ (akamatsu, Japanese red pine), which burns hot.² Heat and ash flow from the lowest chamber upward through each successive chamber. The position of a piece within the kiln determines what kind of fire it meets: pieces closer to the flame source receive more direct, hotter exposure; pieces higher in the kiln meet a softer atmosphere.

A firing cycle for a five-chamber noborigama runs between thirty and forty hours of continuous burning, after which the kiln is sealed and allowed to cool slowly over three to seven days.² Temperature inside the firing chambers typically reaches somewhere between 1,100°C and 1,250°C depending on the clay mix, kiln position, and firing conditions.² At that temperature, the Daidō clay softens but does not vitrify completely. When it cools, the clay body and the glaze contract at slightly different rates. The glaze, having contracted more, develops the kannyū: the fine network of surface cracks visible as a faint, lace-like pattern in the fired surface.²

Because noborigama are natural-draft kilns that draw air through a chimney rather than using forced airflow, conditions outside the kiln influence how the fire behaves inside. Changes in atmospheric pressure, humidity, and wind direction affect chimney draw strength, and thus the character of the flame.² This means that no two firings are identical, even when clay, glaze, and stacking are held constant. Pieces placed near the path of the fire may develop spots where ash has landed and melted into the glaze, producing flashes of color that no planned glaze application could replicate. This inherent variability is central to what wabi-cha aesthetics value: the mark of a specific moment, a specific fire, that cannot be reproduced.

Hagi ware was born from a political catastrophe.

Toyotomi Hideyoshi launched two military campaigns into the Korean peninsula: the first, 文禄の役 (Bunroku no Eki), in 1592 to 1593, and the second, 慶長の役 (Keichō no Eki), in 1597 to 1598. Together these are known as 文禄・慶長の役 (Bunroku-Keichō no Eki), sometimes rendered in English as the Imjin War.¹⁰ Among historians of Japanese ceramics, they are sometimes called "the pottery wars," because among the things the returning daimyo brought back from Korea were Korean potters, brought by force or by persuasion, who went on to found or transform nearly every significant kiln in western Japan. Arita ware, Satsuma ware, Karatsu ware, and Hagi ware all trace their origins, directly or indirectly, to this displacement.¹

Mori Terumoto (毛利輝元), the lord who would become Hagi's founding patron, was a daimyo of considerable cultural sophistication who practiced the tea ceremony and had been a personal acquaintance of Sen no Rikyū himself.¹ During the Korean campaigns, Hideyoshi issued orders to his generals to recruit skilled potters from the Korean peninsula.¹ Among those brought to Japan were Yi Cheuk-gwang (李勺光) and Yi Gyeong (李敬), Korean potters whose exact relationship to each other is described differently across historical documents, most commonly as brothers but in some accounts as other kin. In Japanese records they would become known as Ri Shakkō and Ri Kei.¹

Then came the Battle of Sekigahara in 1600. Mori Terumoto had been appointed as the nominal commander of the western coalition. The victorious Tokugawa Ieyasu stripped the Mori domain from its holdings of approximately 1.12 million koku (a koku being a unit of rice production used to measure domain wealth, roughly the amount of rice needed to feed one person for a year) across much of the Chūgoku region down to two provinces: Suō and Nagato, roughly corresponding to modern Yamaguchi Prefecture.¹¹ Terumoto moved his seat of power from Hiroshima to a new castle town on the Hagi peninsula. Yi Cheuk-gwang and his disciples came with him.¹

In 1604, under Mori Terumoto's direct order, the domain kiln was established in the Matsumoto district east of Hagi castle, with Yi Cheuk-gwang leading its operations together with other Korean potters he had brought.¹ The kiln was not a commercial enterprise: it produced ceramics for the Mori family's use, primarily tea wares for the lord's practice of the tea ceremony, and its products were not available on the open market. Yi Gyeong was recruited separately and came to Hagi at some point afterward, also being assigned to produce Korean-style ceramics for the domain.¹ The bowls made in those first generations were closely modeled on Korean Goryeo ware, particularly the high-fired 高麗茶碗 (Kōrai chawan, Korean tea bowls) that had been the prestige tea vessels of the preceding era.

The two lineages developed separately. Yi Cheuk-gwang's line became the Yamamura family (山村家). Yi Gyeong's line became the Saka family (坂家); Yi Gyeong himself was granted the honorific name 坂高麗左衛門 (Saka Kōraizaemon) by the domain's second lord.¹ In the first half of the seventeenth century, Yi Cheuk-gwang's son Yamamura Sakuemon (山村作之允, later known as Shōan after taking religious vows) led the domain kiln's production alongside his uncle Saka Kōraizaemon (Yi Gyeong), who by this point was established as the head of the second potter lineage.¹

In 1663, two additional potters were incorporated into the domain kiln: the first Saeki Hanroku (佐伯半六, 実清) and the first Miwa Kyūsetsu (三輪休雪, 利定).¹ The Miwa family in particular would go on to become the most artistically significant lineage in Hagi ware's later history, and the Miwa name is still central to the tradition today.

In 1657, a second domain kiln was established in the Fukawa district of what is now Nagato city, when Yamamura Mitsutoshi (山村光俊), the son of Yamamura Sakuemon, relocated there with his disciples and, with the cooperation of a local resident named Sakaura Kurōemon, established the second kiln.¹ This became the origin of 深川萩 (Fukawa-Hagi), the second branch of the tradition, which continues today with five kiln families and approximately eight potters.⁹

The Meiji Restoration of 1868 abolished the domain system. Overnight, the Hagi kiln lost its institutional patron. The Mori domain's exclusive support vanished, and the potters who had operated under protected status found themselves in the open market at exactly the wrong moment. Japanese society was modernizing rapidly, Western-style crockery was arriving from European factories, and the feudal aesthetic of wabi-cha had no obvious place in the new national narrative.³

The kilns struggled. Many potters left. Production shrank to a fraction of what it had been. Hagi ware became a cultural artifact in danger of disappearing from living practice.³

The survival strategy was twofold. The first avenue was the industrial exhibition circuit. Beginning with the First National Industrial Exhibition (内国勧業博覧会) in 1877, Hagi kilns entered their work in national competitions. The ninth-generation Saka Kōraizaemon won the Hōmon Prize at the 1877 exhibition, attracting the attention of the Mitsui merchant family. At the Second National Industrial Exhibition in 1881, the Saka kiln won the Yūkō Prize and the Miwa kiln won first place; both were purchased by the Imperial Household Agency, lending the works the endorsement of the imperial court.⁶ The Paris World Exposition in 1900 provided another international platform.³

The second and more consequential avenue was the tea ceremony connection. In 1875, a Hagi merchant named Kumagai Goichi hosted the eleventh-generation Omotesenke grand master, Sen Sōsa (千宗左, known by his title Rokurokusei, 碌々斎), in Yamaguchi for more than three months. Many of Kumagai's associates enrolled in the Omotesenke school as a result. According to research by Miyachi Hideatsu (宮地英敏), Associate Professor at Kyushu University, the phrase 一楽二萩三唐津 (First Raku, second Hagi, third Karatsu) was popularized as a kind of promotional slogan in direct connection with this event, as a gesture of recognition from the Omotesenke school toward Hagi.⁷

This is a remarkable footnote. According to Miyachi's research, the phrase does not appear in Meiji-era sources. Its documented emergence and spread belong to the prewar Shōwa period or later, not to the nineteenth century, and its popularization appears tied to promotional activity by kilns and tea schools in the twentieth century. The underlying quality the phrase describes is genuine; the precise ranking and its formulation are considerably more recent than most people assume.

One of the figures who most shaped modern Hagi ware was the tenth-generation Miwa Kyūsetsu (三輪休雪), who worked under the given name Miwa Kyūwa (三輪休和, 1895 to 1983). Working through the first half of the twentieth century and into its second half, Miwa Kyūwa developed what became known as 休雪白 (Kyūsetsu-shiro, "Kyūsetsu white"): a soft, milky white glaze of extraordinary depth, evocative of snow and quiet light. It became the defining visual signature of the tradition in the modern era, pulling Hagi ware away from its Korean-derived, earth-toned origins into something more distinctly Japanese in its aesthetic ambitions.³ He was designated a Living National Treasure (重要無形文化財保持者) in 1970.¹

His younger brother, the eleventh-generation Miwa Kyūsetsu (三輪休雪, later known as Miwa Jūsetsu 三輪壽雪, 1910 to 2012), was designated a Living National Treasure in 1983.¹ Brothers receiving the same national designation in ceramics was without precedent in Japanese art history.

The twelfth-generation Sakaura Shinhei (坂倉新兵衛) is credited with extending the reach of Hagi ware beyond its regional base, actively exhibiting across Japan and bringing the ware to national awareness during the postwar period.⁶ He was designated keeper of the Selected Intangible Cultural Asset 萩焼 under the Cultural Properties Protection Law in 1957, the first formal government recognition of the tradition.¹

In 2002, Hagi ware received its current designation as a METI-designated Traditional Craft (経済産業省指定伝統的工芸品).¹

The concept of 七化け (nanabake, "the seven changings") deserves its own careful explanation, because it is routinely overstated and occasionally misunderstood.

The name suggests seven distinct transformations, but "seven" here is idiomatic Japanese for "many." The nanabake refers to the ongoing, cumulative change in the surface and color of a Hagi bowl as it is used over time.² It is not an event that happens once. It is a process that continues for as long as the bowl is used.

The mechanism is physical. When Hagi clay fires at the kiln's working temperatures, the clay body does not fully vitrify. Daidō clay is coarse and sandy, with a composition and grain structure that results in weak sintering even at this temperature, leaving the fired body slightly porous.² The glaze on the surface contracts more than the clay body as both cool, producing the kannyū: the network of fine surface cracks.² These cracks are not damage. They are the structure through which liquid can slowly penetrate.

When tea is prepared in a Hagi bowl and the bowl is used regularly, tea seeps through the kannyū into the clay body. The tannins and other compounds in the tea gradually stain the clay from the inside. Over months and years, the pale loquat-yellow or off-white surface of a new Hagi bowl deepens toward amber, brown, and grey, with subtle variations across the surface depending on where the kannyū is densest and how the bowl has been held and angled during use.² No two bowls age identically. The transformation is particular to that bowl and that person's practice.

The practical implication for the new owner of a Hagi bowl is important. Before first use, the bowl should be soaked thoroughly in water for several hours. This pre-saturates the clay body, preventing tea from seeping too rapidly and unevenly on first contact. After each use, the bowl should be rinsed thoroughly with clean water and dried completely before storage. If moisture is trapped in the clay body without being allowed to escape, mold can grow in the kannyū.² This is the main care risk with Hagi ware: not fragility in the sense of breakage, but biological sensitivity to trapped moisture.

The bowl should not be put in a dishwasher, should not be soaked in detergent, and should be stored with enough ventilation to dry fully between uses.² Potters' associations recommend keeping the bowl out of its wooden storage box during regular use, only returning it to the box for long-term storage, and ensuring it is completely dry when boxed.

The full phrase 一楽二萩三唐津 (First Raku, second Hagi, third Karatsu) places Hagi in the company of two other traditions that share a specific historical profile. All three are earthenware or low-fired pottery, not porcelain. All three prize irregularity, softness, and the marks of the maker's hand over precision and decorative elaboration.⁸

楽焼 (Raku-yaki) leads the ranking because of its singular and direct origin in the wabi-cha world. Raku ware was created in the late sixteenth century when the Kyoto craftsman Chōjirō (長次郎) worked under the direct guidance of Sen no Rikyū to produce a new kind of tea bowl: simple in form, warm in feel, built by hand rather than thrown on a wheel. Raku's first-place position reflects this unique founding in Rikyū's own studio practice.⁸

Hagi and Karatsu both developed in the early seventeenth century, after Rikyū's death in 1591. Neither was shaped by Rikyū directly, but both were received and embraced by the tea world his successors built. Hagi's bowls were made by Korean potters working within a tradition that already shared aesthetic values with wabi-cha: earthenware fired at low temperatures, subdued color, and a surface that rewarded contemplation rather than display. The wabi-cha world recognized something congenial in what the Hagi potters already knew how to do.

Hagi's second-place position reflects the degree to which its bowls embody wabi-cha values through material rather than form. The bowl does not need to be beautiful in an obvious way. Its beauty is in the clay, the fire, and the time the user puts into it. The nanabake concept is itself a philosophical argument about what ceramics are for: not display objects, but companions in practice.

Karatsu ware (唐津焼), produced in what is now Saga Prefecture in Kyushu, completes the trio. Like Hagi, it began with Korean potters brought during the same late-sixteenth century campaigns. Like Hagi, its aesthetic is one of earthy simplicity and variation in surface. Like Hagi, it has been continuously used by tea practitioners since the early Edo period.⁸

It should be noted that the phrase has an older variant: 一井戸二楽三唐津 (ichi-Ido, ni-Raku, san-Karatsu), in which the 井戸茶碗 (Ido chawan), the ancient Korean Goryeo bowls treasured as supreme prestige objects of wabi-cha, hold first position, with Raku second and Karatsu third. In this version, Hagi is not ranked at all. According to the Nakagawa Masashichi editorial platform, the older phrase 一井戸二楽三唐津 was in use before the current 一楽二萩三唐津 (First Raku, second Hagi, third Karatsu) became established, with Karatsu retaining its position across both while Hagi displaced the Ido chawan from the ranking entirely.⁸ The Ido chawan variant may reflect an era when Korean originals held undisputed first place; the later phrase, in which Raku leads and Hagi appears, reflects the primacy of the Rikyū lineage within the Sen schools and the consolidation of Hagi's reputation in the modern era.

Hagi ware is overwhelmingly associated with matcha, and the chawan remains the tradition's prestige object. But the same material qualities that make a Hagi chawan valued for matcha also make Hagi yunomi (湯呑, tea cups) particularly pleasant for gyokuro and sencha. The clay's heat retention means the tea stays warmer longer than in a thinner-walled vessel. The porosity means the surface develops some of the same relationship with sencha over time, though the effect is subtler than in the matcha chawan context.⁶

For matcha specifically, the softness of the clay against the hand and the lip matters. The coarse, porous body of Hagi ware has a different feel in the hands than dense porcelain, and many practitioners describe it as more comfortable to hold during a tea session.⁶ The wide, open bowl shape used for matcha allows the chasen (茶筅, whisk) to move freely. The glaze, typically muted and non-reflective, does not compete visually with the tea.

The 切り高台 (kiri-kodai, "notched foot ring") is a visible feature of many Hagi bowls that often puzzles first-time observers. The foot ring at the base of the bowl has a small notch or cut taken from one side. Various explanations have been offered for this feature, including the widely repeated story that the domain kiln deliberately damaged its bowls to allow commoners to use them without violating sumptuary laws restricting the domain's exclusive ware. The Hagi Yaki Kaikan, the main institutional information center for the tradition, notes that this story is not well-supported historically: the notched foot ring appears in Hagi ware from before the period when such laws would have applied, and it also appears in ware made for the aristocracy.⁵ The more accurate framing is that potters used the foot ring as a site for sculptural expression, and the notched foot ring became associated with Hagi through the frequency and quality of that expression. The folk story accumulated later.

The tradition is maintained by multiple kiln families and independent potters in and around Hagi city, the Fukawa district of Nagato city, and Yamaguchi city. The Agency for Cultural Affairs cultural heritage records list the primary active kilns as the Saka kiln (坂窯), the Miwa kiln (三輪窯), and the Yoshika kiln (吉賀窯) in Matsumoto, and the Sakaura kiln (坂倉窯), the Sakata kiln (坂田窯), and the Tahara kiln (田原窯) in Fukawa.⁴

The Fukawa-Hagi branch in Nagato city, maintained by five kiln families and approximately eight potters, established its own identity in 1657 as the domain's second kiln and has continued as a distinct branch ever since.⁹

The Saka family name 坂高麗左衛門 (Saka Kōraizaemon), granted by the domain's second lord to acknowledge Yi Gyeong's Korean lineage, has been held continuously since the seventeenth century.¹ The twelfth generation died unexpectedly in 2004. The name was vacant for approximately seven years, until the thirteenth generation assumed it in 2011, the first woman to hold the title. She died in 2014, leaving the name vacant again. The fourteenth generation, Saka Yūta (坂悠太), assumed it in 2021, with a formal ceremony in 2022.¹²

The cultural designation framework around Hagi ware reflects its significance. Yamaguchi Prefecture designated Hagi ware a prefectural Intangible Cultural Asset in 1956. The national Living National Treasure designations followed in 1970 and 1983. The national Traditional Craft designation came in 2002.¹ Yoshika Taibi (吉賀大眉, 1915 to 1991) was honored as a Person of Cultural Merit in 1990.¹ These designations sit alongside the continuing commercial vitality of the kiln town, where newer workshops and independent artists also work, some maintaining the full traditional process of climbing kiln firing, others adapting materials and techniques for a broader market.

The honest answer is that you do not need any particular bowl to drink matcha well. Matcha tastes what it tastes regardless of the vessel. The argument for a Hagi chawan is not a functional one in a narrow sense: it is an argument about the kind of relationship you want with the objects in your tea practice.

If you drink matcha irregularly or casually, the investment in a Hagi bowl is unlikely to reveal itself. The nanabake requires daily or near-daily use over years to become visible in any meaningful way.² An expensive Hagi bowl used twice a month will not transform in any way you will notice.

If you drink matcha regularly, a Hagi bowl offers something that no other ceramic tradition offers in quite the same combination: material softness, heat retention, and the specific quality of aging through use. A bowl you use every morning for ten years carries a visible record of that practice. The tea you have made in it is, in a literal physical sense, part of the bowl.

We do not carry Hagi bowls at Tealife, and I have no product recommendation to make. What I can say is that the tradition is alive, the range of available work extends from accessible everyday pieces to significant collector-level objects, and if you are drawn to the wabi-cha aesthetic, spending time looking at Hagi ware honestly rewards the attention.

¹ 萩陶芸家協会. 「萩焼とは」. 萩陶芸家協会公式サイト. https://hagi-tougei.com/hagiyaki_about/

² 萩陶芸家協会. 「萩焼ができるまで」. 萩陶芸家協会公式サイト. https://hagi-tougei.com/hagiyaki_about/until/

³ 萩陶芸家協会. 「萩陶芸の現在」. 萩陶芸家協会公式サイト. https://hagi-tougei.com/hagiyaki_about/gendai/

⁴ 文化遺産オンライン (文化庁). 「萩焼」. https://bunka.nii.ac.jp/heritages/detail/438756

⁵ 萩焼会館. 「萩焼について」. https://www.hagiyaki-kaikan.com/hagiyaki/

⁶ 日本西旅客鉄道株式会社 (JR西日本). 「萩焼」. B Signal vol.158. https://www.westjr.co.jp/company/info/issue/bsignal/15_vol_158/manufacture/

⁷ 宮地英敏. 「近代日本における陶磁器産地の多様性について：萩焼の展開を中心にして」. 『地球社会統合科学』第21巻第1/2号, 九州大学大学院地球社会統合科学府, 2014年12月, 29-48頁.

⁸ 中川政七商店の読みもの. 「一楽・二萩・三唐津 茶の湯で愛された唐津焼」. https://story.nakagawa-masashichi.jp/7078

⁹ 深川萩窯振興協議会. 「萩焼と温泉街の歴史」. https://fukawahagi.jp/

¹⁰ SamuraiWiki. 「Hideyoshi's invasions of Korea」. http://wiki.samurai-archives.com/index.php?title=Hideyoshi%27s_invasions_of_Korea

¹¹ コトバンク. 「毛利輝元」. ブリタニカ国際大百科事典. https://kotobank.jp/word/%E6%AF%9B%E5%88%A9%E8%BC%9D%E5%85%83-16898

¹² NIHONMONO. 「次世代に目を向け、萩焼のスタイルを進化させる萩焼の若き宗家。「十四世坂高麗左衛門」坂悠太さん」. https://nihonmono.jp/article/38039/