Full-scale porcelain production began in the late Edo period, and the wares produced in Kyoto began to be referred to as "Kiyomizu ware." As a result, ceramics made in Kyoto prior to the mid-Edo period came to be known as "Ko-Kiyomizu" (Old Kiyomizu). In a narrow sense, this term refers specifically to polychrome-decorated earthenware, but in a broader sense, it also includes sometsuke (blue-and-white porcelain), sabie (iron-painted ware), and yakishime (unglazed high-fired stoneware). Even in the late Edo period, the term was used to collectively describe Kyo ware with colorful overglaze decoration that differed from porcelain.
Ko-Kiyomizu is characterized by a subdued and elegant color palette, typically featuring green and blue as the base tones, accented with gold decoration. These are painted over an egg-colored clay body or a glaze with light brown crazing. The designs often combine classical court patterns such as shippo (seven treasures), seigaiha (blue ocean waves), and raimon (thunder patterns) with seasonal flowers and grasses. A notable feature is the skillful use of openwork carving, and the practice of replicating the forms of lacquerware and metalware in ceramic.
Early Edo period pieces often bear impressed marks referencing temples or place names associated with specific kilns, such as "Awataguchi," "Iwakura," "Mizorogaike," "Otowa," "Sei," "Seikanji," and "Kiyomizu." In the 18th century, as kiln operations became concentrated in Awataguchi, the use of such impressed marks declined. However, in the late Edo period, marks from Awataguchi kilns such as "Kinkozan," "Hozan," "Iwakurayama," and "Obiyama," as well as potters’ marks from the Gojozaka area, began to appear again.