The origins of pottery can be traced back to Japan, where the earliest known ceramics, simple rounded vessels over 16,000 years old, were unearthed in the Kanto plains. As time progressed, the pottery from this region became more intricate, often featuring designs made by pressing fingernails and ropes into the moist clay. This ancient cultural phase is referred to as the J?mon period, named after the term for ‘straw-rope-pattern.’ In 1877, American archaeologist Edward S. Morse discovered these unique ceramics at the Omori shell mound site near Tokyo and coined the term "J?mon" to describe both the pottery and its creators.

While Western art history often emphasizes the elegance of Greek ceramics, the remarkable creations of the J?mon culture rival their Greek counterparts, albeit in different styles. This culture thrived in Northeast Japan over 15,000 years ago, lasting for approximately 10,000 years, making them contemporaries of the prehistoric peoples in Britain who constructed Stonehenge.

A recent exhibition at the Stonehenge visitor center explored the parallels and distinctions between these two ancient societies, which independently developed ceremonial structures aligned with solar movements for seasonal and ritualistic observances.

In Japan, the J?mon people erected two large stone circles using thousands of river stones and small standing stones to commemorate events such as the summer solstice. Similarly, at Stonehenge, the summer solstice sunrise illuminates the monoliths. Both cultures shared a similar island climate and an abundance of resources, which fostered tribal societies rich in communal rituals and respect for the deceased.

As hunter-gatherers, the J?mon people sought to coexist harmoniously with their environment, foraging and hunting while ensuring sustainability for future generations. Archaeological sites like San’nai-Maruyama, which gained World Heritage status in 2021, reveal minimal evidence of conflict, suggesting a peaceful and spiritual society that lived in balance with nature, without domesticating animals or altering the landscape for agriculture.

Over time, the J?mon culture became semi-sedentary, intensifying fishing practices and beginning to cultivate rice. Their pottery was essential for both storage and cooking, often found near hearths, blackened by fire and containing food remnants.

The ability to store food was crucial for survival during the winter months, and effective cooking methods aided the elderly and young members of the community. The remains of a person with severe disabilities indicate that all individuals were valued and cared for within this society.

While the ceramics served practical purposes, their intricate designs also reveal a spiritual and aesthetic dimension, leading to the creation of larger and more ornate vessels for ceremonial use. During the middle J?mon period (5500–4500 years ago), distinctive ‘flame-ridged’ pots emerged in the Hokuriku region, along the Japan Sea.

It is believed that women primarily crafted these ceramics. The production process involved stacking coils of clay, potentially supported by slabs, and imprinting ropes to create unique patterns. Decorative elements could include additional clay coils and markings made with fingernails or sticks. Crafting a single pot likely required 20 to 30 hours, indicating a culture that valued both strength and beauty.

The harmonious, stable shapes of these vessels often featured ‘teeth’ or ‘swirls’ extending from the rim, evoking the very essence of the fire that formed them. The clay was dried and hardened over an open flame, reaching temperatures of 700–900 °F (around 500 °C). The elegant curves and coils reflect the vital energy and elemental forces of nature.

Today, many of these striking fire pots are regarded as treasures of the ancient world. Notably, one exemplary piece is housed in the Victoria and Albert Museum, while another in the British Museum shows evidence of being lacquered for use in tea ceremonies centuries later.

Beyond their pottery, the J?mon also created intricate ceramic ornaments, including earrings and unique dog? figurines from the period between 4000 and 1000 BCE. These bulbous, stylized figures, often adorned with exaggerated features, number around 15,000 and have sparked various theories regarding their purpose.

Most scholars agree that these figurines held significant symbolic and ritual importance, potentially used in hunting or domestic settings, and possibly involved in healing ceremonies, where they would absorb illness before being destroyed to eliminate the affliction.

The later J?mon period (2000–1000 BCE) introduced a simpler, more rounded ceramic style, employing a burnishing technique that lends a dark sheen to the pottery. These exquisite ceramics have become a strong cultural emblem in Japan, representing a rich artistic tradition that modern potters strive to emulate.

Contemporary artists like Tar? Okamoto, creator of the famous Tower of the Sun for the 1970 World Expo in Osaka, draw inspiration from J?mon forms. In the 1970s, the Kasori Shell Mounds Museum in Chiba Prefecture initiated a project to research and replicate J?mon techniques, involving artists like Ifurai, who, along with others in the J?mon Revival movement, felt that these ancient ceramics encapsulated the life force of Japan and the elemental forces of the universe. This resurgence has led to their presence in modern pop culture, including the Pokémon franchise.

In fact, two Pokémon are directly inspired by J?mon iconography and the dog? figurines. In their lore, both Baltoy and Claydol are described as ancient clay figures created over 20,000 years ago, embodying a connection to the past.

This creative lineage continues to thrive in modern culture. Artists like Genya Murakami, son of Ifurai, have dedicated themselves to replicating J?mon techniques, spending years perfecting the distinctive dog? and pottery forms before crafting their original large vessels that reflect the swirling, flame-like designs characteristic of J?mon art. Their family home also served as a studio, where they lived off the land and utilized traditional methods without modern conveniences.

Junpei Omori approaches ceramics with a focus on the spiritual aspects of the patterns and forms. His process involves reconstructing his pots after they have been fired, shattered, and adorned with vibrant colors, mirroring archaeological restoration techniques. This act symbolizes healing and renewal, drawing from the traditional art of kintsugi, while reflecting on his personal recovery journey. He speaks to the hope inspired by the natural world’s ability to heal and transform, much like a phoenix rising from ashes.

The artists highlighted here represent just a fraction of a revivalist movement inspired by the ancient J?mon culture, encompassing abstract painters, tattoo artists, sculptors, and environmental advocates. In 2019, a group of Japanese ceramicists, including Ifurai and Genya Murakami, toured the USA, conducting workshops to educate audiences about this ancient culture and its techniques. Undoubtedly, the beauty of J?mon pottery will continue to inspire new generations of artists.

In Memoriam Genya Murakami, 1987–2020.

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