【Japanese Pottery】Noborigama Kiln: Japan’s Iconic Multi‑Chamber Climbing Kiln and Its Firing Mastery

Table of Contents

• 1. Noborigama (登窯), Late 16th Century to Present: Lateral-Flame Kiln (横炎式, yokoen-shiki)
• 2. Wari-Take-Shiki Noborigama (割竹式登窯, “Split-Bamboo” Climbing Kiln)
• 3. Single-Chamber Noborigama

1. Noborigama (登窯), Late 16th Century to Present: Lateral-Flame Kiln (横炎式, yokoen-shiki)

Noborigama (登窯, climbing kiln) was introduced to Japan in the late 16th century via China and the Korean Peninsula, first appearing in Karatsu (唐津, karatsu). By the early Edo period, it had spread from Karatsu throughout Japan, including Mino (美濃, now Toki City in Gifu Prefecture) and other regions.

Even today, there are potters and kiln sites (kamamoto, 窯元) around Japan who continue to use noborigama in pursuit of the distinct qualities offered by wood-fired kilns (薪窯, makigama).

Whereas older anagama (穴窯) and ōgama (大窯) were single-chamber kilns, the noborigama features multiple firing chambers. Because these chambers are shaped like rooms (bō, 房), this design is also called a renbō-shiki (連房式, multi-chamber) kiln. Like an anagama or ōgama, a noborigama utilizes a slope, but the multi-chamber structure allows for more efficient use of heat from one chamber to the next.

Overview of the Noborigama

The firebox—large enough to accommodate thick logs—is sometimes referred to as dōgima (胴木間). In the diagram, the firebox and the first firing chamber share one space, but in many kilns they are built as separate rooms. The flame from each firing chamber in a noborigama “inverts” (倒炎, tōen) as it moves upward into the next chamber.

A narrow passage called a hazama (狭間) connects each pair of firing chambers. The flame passes through this hazama to enter the next room. Hazama are categorized by orientation—vertical, horizontal, or diagonal. In modern kilns, diagonal hazama are the most common (the diagram shows a horizontal one).

Viewed from above, the chambers appear as a series of adjoining rooms. For instance, one might speak of a “10-chamber noborigama, with the firebox in front of Chamber 1 and a discard chamber (sutema, 捨て間) attached to Chamber 10. Each chamber has an opening for adding firewood and a small peep hole (iromi-ana, 色見穴) nearby.”

• The flame heat from Chamber 1 flows into Chamber 2 through a hazama opening.
• In Chamber 2, potters reuse the residual heat from Chamber 1 and supplement only the amount of wood needed.

Each firing chamber has a peep hole for monitoring flame conditions and checking the work inside. Sometimes pyrometers or other instruments are employed to measure surface temperatures of the pieces.

Highly skilled kiln operators can gauge temperature, oxygen levels, and fuel usage just by observing the flame and listening to the kiln. However, for precise data, instruments are often used to document the firing process.

In this manner, the noborigama can harness the heat from the previous chamber while burning additional wood only where necessary—making it more efficient and easier to manage than single-chamber kilns like an anagama.

Furthermore, potters can adjust the oxygen environment (oxidation or reduction) in each chamber. This flexibility has led to noborigama being called “yūzū-gama” (融通窯, flexible kiln).

2. Wari-Take-Shiki Noborigama (割竹式登窯, “Split-Bamboo” Climbing Kiln)

In contrast to the typical multi-chamber (連房式, renbō-shiki) climbing kiln introduced earlier, there are also more unusual designs. One such variant is the climbing kiln that, when viewed from above, extends in a straight line like a bamboo stalk—rather than forming a series of connected “rooms.” Compared to the multi-chamber style, this is called a wari-take-shiki noborigama (割竹式登窯).

In a wari-take-shiki kiln, each “node” of the bamboo corresponds to a partition, dividing the kiln into distinct firing chambers. For instance, if the kiln has three firing chambers and forms a rectangular shape when viewed from above, one might describe it as “a three-chamber wari-take-shiki noborigama.” This layout is characteristic of some early climbing kilns.

A well-known example is the climbing kiln in Tamba Tachikui (丹波 立杭, Tanba Tachikui), built in 1895 and still in use with periodic restorations. It measures around 47 meters in length, and from above appears roughly rectangular with nine firing chambers.

3. Single-Chamber Noborigama

We have introduced the typical renbō-shiki noborigama and then the wari-take-shiki version. Another exception is the single-chamber climbing kiln. For example, the remains of the Dobyara-gama (堂平窯) in Satsuma ware (薩摩焼, satsuma-yaki) is considered a single-chamber noborigama. Upon hearing “single chamber,” one might imagine a ōgama (大窯) or anagama (穴窯), but the local reconstruction diagram shows a 30.5-meter-long, 1.2-meter-wide, 17-degree-angled cylindrical kiln.

Unlike the teardrop-shaped anagama or ōgama, this single-chamber kiln extends straight like a split-bamboo shape, often referred to as a hebi-gama (蛇窯, “snake kiln”). With a length of over 30 meters in a single chamber, the flame travels straight upward, so even if there are sub-chimney partitions, it seems like only the central area of the kiln could effectively fire the wares.

Sometimes this single-chamber climbing kiln is called a hebi-gama (蛇窯), or “snake kiln.”

Because it is long and narrow, it also resembles a gun barrel, hence the name teppō-gama (鉄砲窯, “gun kiln”).
In Taiwan or China, people liken its form to a dragon, calling it a long yao (龍窯, “dragon kiln”).
These kilns can range from over 50 meters in length to just a few meters.

In summary, there are three main types of noborigama kilns:

Renbō-shiki noborigama (連房式登窯) – by far the most common multi-chamber design
Wari-take-shiki noborigama (割竹式登窯) – where chambers are separated lengthwise like segments of bamboo
Single-chamber noborigama (単室式登窯) – less common, sometimes called hebi-gama (snake kiln)

〇Contemporary Position of Noborigama

How is the noborigama regarded in modern pottery? Among wood-fired kilns (薪窯, makigama), it allows more efficient firing than an anagama, with relatively stable heat and easier temperature control. However, compared to electric or gas kilns, it still involves many constraints—such as land requirements and environmental considerations—and the firing process itself is more complex.

Like the anagama, the number of active noborigama kilns is declining, partly due to smoke emission issues. Nevertheless, the characteristic firing results unique to a wood-fired kiln remain highly valued. For potters pursuing traditional techniques and kiln flavor (焼き味, yakiaji), firing a noborigama at least once is often considered an essential goal。