Two marks on a pot need not have been produced in the same way. Okayama Tourism Federation’s account distinguishes ash-related goma from straw-related hidasuki. That offers a useful starting point for reading a description without treating every surface mark as painted decoration.
Technique and structure
The federation links goma to ash from pine firewood adhering to the work, and notes that makers may also apply ash deliberately before firing. It identifies rice straw as the origin of hidasuki’s band-like lines: straw once used to separate pieces in the kiln became a means of making a pattern. Kiln position and firing conditions also affect the result. These terms point to different material interactions during firing, rather than two colours of the same applied design.
A named effect is not an identification test
Ask a maker which effect and firing approach apply to the piece being offered. The reference does not make a photograph sufficient to establish authorship, age or authenticity. It also supplies no product-specific appliance instructions.
For international readers
Use the vessel’s own care information. No claim about flavour, antibacterial action or compatibility with direct heat follows from either pattern name.
Global shipping and buying
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日本語
備前焼の模様：灰による胡麻と藁による緋襷
岡山県観光連盟は、備前焼の胡麻を薪の灰が付着してできる模様、緋襷を稲藁に由来する線状の模様と説明します。焼成条件や窯内の位置も仕上がりに関係します。模様の名前は、個々の器の使用適合や製作者を保証する表示ではありません。