Shigaraki ware first started its production due to the technical influence of Tokoname ware. At the beginning of production, the structure of its kilns was similar the "ukama" kilns used for Tokoname ware, and the ceramics that were made were also so similar that they could not be distinguished from Tokoname ware. However, in the 14th century, a unique style of Shigaraki ware established itself. In this period, because of the development of agriculture, three kinds of ceramics produced due to demand. Jars, vessels, and bowls.

Although Shigaraki was strongly influenced by Tokoname ware, in this period it gradually began to have its own unique aesthetic and texture. Shigaraki pottery was unglazed and fired at a high temperature. Its unique characteristic was the rough surface created by the mixture of feldspar and quartz sand grain, and its vitrified natural glaze mixed with its scortched reddish brown surface. In additional, the top shoulder of the pots had a strong lines called,” Higakimon” and “Nawamemon” applied. Furthermore, small pots were named “Uzukumaru” (the Japanese verb for “crouching”), as they looked like a crouching person.

The simplicity of Shigaraki pottery’s was believed to have complemented the spirit of the tea ceremony. Gradually, the various item used for tea ceremonies were introduced into households.

Murata Jukou, a well-respected and noted tea practitioner in Nara recommended beginners interested in tea to either have Bizen or Shigaraki pottery when practicing tea. This spread to the village people of Nara, Sakai, and Kyoto, and Shigaraki pottery became well-known for its use in tea ceremonies. It is said that Shigaraki pottery was used in tea ceremonies as early as when Bizen ware was. There is also an anecdote left in history which refers to Shigaraki Onioke water pitcher, which Oda Nobutada, Oda Nobunaga’e eldest son has. but the pitcher was last when his father died at Honnoji temple.

In the Edo period, mass production became possible with the ascending kilns that were introduced to Shigaraki. In addition, glazing was introduced nationwide and Shigaraki began to create glazed ceramics. In addition to producing Koshijiro teapots for storing Uji tea to be presented to the Edo generals, production of smaller-sized glazed pottery began to meet the needs of a ceramic brand called “Kyo-yaki”. Until then “Kyo-yaki” was known to be expensive and unattainable, but Shigaraki ware was an accessible type of pottery created for the everyday household.

As the Meiji Restoration period began with the modernization of the nation, new products such as "itotorinabe"(a tool used for boiling cocoons) and acid-resistant ceramics for the chemical industry were produced one after another as industrial goods. Traveling by train became widespread, with “ekiben” (lunch boxes) and “kisha dobin” (teapots used on trains) being made and supplied all over Japan. Braziers were produced in the latter half of the Edo period(Edo period:1603-1867), and gradually increased in production in Shigaraki. It gained popularity for its ability to heat and cool quickly compared to those of other production areas. In 1897 (Meiji 30), Tanii Naokata developed a new process of making glazes based on the Chinese pottery seaweed glaze (namako yu). In 1920 (Taisho 9), Satoshi Ishino’s completion of a new type of potter's wheel made by plaster mold impacted ceramic production on a large scale.

One of the most characteristic products of Shigaraki, the “tanuki” (Japanese raccoons), started in the early Showa era (Showa era: 1926-1989). In 1951(Showa 26), under the emperor’s reign, the hibachi were arranged in an arch with braziers, and the Shigaraki raccoons were set holding the Japanese flag. The emperor was so pleased by this sight that he composed a tanka about it and this news spread all over Japan. Also, Raccoon culture researcher, Ishida Gocho who created “Shigaraki Tanuki Hassou Play” based on historical tradition recommened pottery shops to sell "Tanuki" with bookmarks in Shigaraki. Soon, raccoon figurines began to be favored as lucky objects.

In the Showa 20’s (1945-1955), Shigaraki was blessed by its “Hibachi Economy” (hibachi is a Japanese heating device designed to hold burning charcoal). By the Showa 30’s (1955-1965) growing plants became on trend and the production shifted to creating flower pots. In the mid-1950s, the production of tiles and building ceramics began. These were used for the roof of the National Assembly building. Bathtubs and gardens, to name a few, were various examples of how ceramics were being created to meet the needs of the times. Besides industrial products, artworks were also produced utilizing Shigaraki’s knowledge and craftsmanship in ceramics. Taro Okamoto created a relief piece called ”Black sun" for the 1970's Japan World Exposition (Osaka World Expo) "Tower of the Sun” in Shigaraki.