Pottery had been produced in the Echizen region since ancient times, including Sue ware, but this earlier production declined around the beginning of the tenth century.

Large-scale pottery production began again in the late twelfth century. Techniques from pottery centers in the Tokai region were introduced, and kilns were established around present-day Ozowara in Echizen Town.

During the thirteenth century, production expanded into the surrounding hills. Everyday vessels such as large jars, storage jars, and grinding bowls formed the core of production, alongside water vessels and containers associated with religious use.

During the Muromachi period, kilns grew steadily larger and production increased. By the late Muromachi and Sengoku periods, Echizen had developed into one of the largest pottery-producing areas on the Sea of Japan coast. Its products were transported by sea and distributed widely along the Japanese coastline.

Unlike some other major kiln centers that increasingly produced ceramics for tea culture and elite patronage, Echizen continued to focus primarily on robust vessels for everyday use.

During the Edo period, production techniques changed. In addition to traditional high-fired unglazed wares, iron-rich red slip and ash-based glazes were introduced. Multi-chamber climbing kilns were also adopted in the later Edo period.

From the Meiji period onward, demand for large storage jars declined as water systems, porcelain, metal containers, and other modern household products became more widespread. Echizen pottery production consequently entered a period of decline.

After World War II, archaeological surveys and research into historic kiln sites renewed interest in the region. Research by ceramic historian Koyama Fujio and local scholar Mizuno Kuemon helped establish Echizen alongside Seto, Tokoname, Shigaraki, Tamba, and Bizen as one of Japan’s Six Ancient Kilns.

Development of the Echizen Pottery Village began in 1970, helping attract new potters and revitalize the production area.

On March 12, 1986, Echizen Ware was designated as a Traditional Craft by the Japanese government.

In 2017, the Six Ancient Kilns were collectively recognized as a Japan Heritage story by Japan’s Agency for Cultural Affairs.

Today, Echizen potters continue to preserve traditional high-fired pottery and nejitate forming techniques while also exploring new forms, glazes, and approaches to contemporary ceramics.

1. 1. Base production In order to produce Echizen Ware, it is necessary to excavate clay first. Clays that are unique to this region are collected and blended, like akabeto, aoneba and takodo. Elutriation* is conducted in order to remove impurities and ensure that the grain of the clay is even. Then, the clay is laid down for a while and thickened to enable casting, after which chrysanthemum kneading is done. Because the kneading or spiral wedging involves both large rough massaging and smaller careful massaging, the form of the clay ends up resembling a chrysanthemum while it is being kneaded which is why it is called "chrysanthemum kneading".
   Once the clay has been produced, it is at last time to do casting. The casting method varies depending on the form of the vessel. For items that are rectangular or complex in form, a mixture of clay and water is poured into a plaster mold while circular pieces are formed with a lathe. The base clay is produced on top of a wooden stand that has been firmly fixed in place.
   
   *Elutriation is a process that removes silica grains from ground porcelain stone placed inside a mixing tank, eliminates iron, and dehydrates by applying pressure.
2. 2. Casting String-shaped yorido clay about five to ten centimeters thick and forty centimeters long is held in the right hand of the arisan and wrapped around the base clay while being twisted. The left hand supports the force with which the right hand wraps the yorido clay while constantly evening out the height of the clay. This step is repeated for the second level as for the first level. The method of piling up many levels while twisting string-shaped clay is known as wazumi casting.
3. 3. Smoothing After piling the clay in a cylindrical shape, the surface is smoothed with a soldering iron. Even the outer seams that revolve the circumference of the item are rubbed from top to bottom with the iron. Then, the interior is stretched into a fan shape.
4. 4. Drying and repeating Once the base of the piece has been formed, it is dried. Then, it is adjusted so that it can withstand the weight of the top parts. Finally, production steps two and three are repeated until the entire item is finished.
5. 5. Mouth production The mouth of the piece is produced. The vessel is covered with a cotton cloth soaked in water, and smoothed out while pressed down with both hands. Various mouth shapes can be produced depending on how the fingers are used.
   Lastly, the item is placed inside a kiln and baked at high temperature. The temperature for baking is 1200 to 1300℃ (about 2192 to 2372℉).