Boasting the largest production among medieval kilns and greatly influencing the other unglazed ceramic production sites throughout Japan, Tokoname played the leading role among medieval unglazed ceramic ware. Rough and rich in iron, its clay can be nicely fired even at low temperatures making it suitable for the production of pots and jars. Like the other kilns that produced unglazed pottery, its main products consisted of pots, jars, and large bowls. From Aomori in the north to Kyushu in the south, its pots and jars were especially in demand across Japan as storage vessels for fertilizers, grains, and water. The image of its robust shape with its shoulders swelling out overlaps with the bold appearance of the warrior, making Tokoname a leader in medieval ceramics. With developments in agricultural technology, perhaps such pots and jars provided support in a time when agricultural productivity, the economic base, rapidly rose.

The Atsumi kiln was created on the Atsumi Peninsula, situated on the opposite shore of Chita Peninsula, where the Tokoname kilns are located. Here, too, the three types of vessels—pots, jars, and large bowls—were fired as primary products. Like other kilns, it is seen as a ceramic production site that supported agriculture.
   This area also produced ceramic ware used for religious purposes such as the roof tiles for the Kamakura-period reconstruction of Tōdai-ji Temple in Nara and cylindrical jars that were often used as outer containers for sutra cases, which were buried in sutra mounds. Unlike Tokoname ware, pots with incised line drawings can be seen on Atsumi ware. A glimpse of the Atsumi potters’ aesthetic sensibility and rich creativity can be found in these pictorial decorations, such as the famous autumn grass motif (on the pot to the upper right), crossed bands, lotus petals, and heron and reeds.

Echizen was greatly influenced by the Tokoname kilns and flourished in the village of Miyazaki, Nyuu County, Fukui Prefecture, around the latter half of the 12th century. Its main products consist of pots, jars, and large bowls, and because Echizen developed from the introduction of techniques from Tokoname, its forms closely resemble Tokoname ware. The similarity of the three-ribbed pot from the two kilns is especially notable, making it often difficult to distinguish the two types. Since Echizen clay is white, of better quality than Tokoname, and has a high refractoriness, it can be fired at higher temperatures. Its distinguishing features include tightly fired luster on its surface and a thick heavy finish.

Like Echizen, the Suzu kilns were situated on the Japan Sea side, in a town that was built on the tip of the Noto Peninsula in Ishikawa Prefecture, in the 12th century. Although Suzu ware is also unglazed, in contrast to Echizen’s reddish hue, created in oxidation firing, the surface of Suzu ware turns gray or black due to reduction firing. Suzu kilns inherited the tradition of Sue ware that was brought to Japan from the Korean Peninsula during the Kofun period (250−538), and its main products—also pots, jars, and large bowls—were created using the paddling (J., tataki) technique. A unique aesthetic sensibility—such as the decorative elements of zigzag patterns created by paddling, trees, and crossed bands, as well as lugs—can be seen in Suzu ware. Religious works, such as this five-tiered stupa (on the right), also can be found.