Ceramic Art
Ceramics manufacturing in the Ryukyus began when people attempted to reproduce pots imported from the Southeast Asia region during the Ryukyu Kingdom. Korean potters were invited from Satsuma in the beginning of the 17th century and glazed Joyachi ware started to be produced. It is said that Nakandakari Chigen acquired his techniques in Satsuma and introduced them into Ryukyu in the 18th century. In 1682 three large potteries, Kogachi, Chibana, and Wakuta were consolidated in an area around Makishi in Naha City. The area and pottery produced there became known as Tsuboya.
Lacquerware
Production of lacquerware began in the early days of the 15th century. Under the patronage of successive generations of kings, techniques such as Raden (mother of pearl inlay), Makie (sprinkled pulverized shell), and Chingin (gilt line engraving) were developed. In 1715 the distinctive technique Tsuikin (raised applique decoration) was devised. Lacquerware was used by the upper class aristocrats and as tribute goods for Satsuma. The high humidity of the Okinawan climate is suited for the production of high quality lacquer.
Dyeing and Weaving
Bashofu (banana cloth) is a special product of Okinawa, woven since ancient times. Advanced weaving techniques were being used in Okinawa by the second half of the 16th century. In the latter part of the 16th century on the Sakishima Islands (the Miyako-jima and Yaeyama Island groups) a superior type of ramie (cloth made from Boehmeria nivea) called Jofu was being produced. Starting in 1610 the inhabitants were obligated to weave this cloth as a tribute item for Satsuma. On Kume-jima Island sericulture was started early on and in the 17th century Tsumugi pongee began to be woven.
Bingata stencil dyed fabric, now the most typical of Okinawa's fabric, was almost completely developed by the 18th century. The techniques of weaving and dyeing in Okinawa were heavily influenced by China and South Asia.
