The reason the ceramic industry flourished in the northern part of the Kyushu region was TOYOTOMI Hideyoshi’s expedition to Korea.
The feudal lords from Kyushu who were mobilised for the war brought back Korean potters in order to promote industrial development in their territories, and by the end of the 17th century, the production areas of ceramics as we see them today had been formed.
Each production area had its own characteristics: Imari and Arita (Saga Prefecture) for glamorously painted ceramics mainly for national and international ruling classes; and Hasami (Nagasaki Prefecture) and Koishiwara (Fukuoka Prefecture) for plain tableware for the common people.

Although Karatsu (Saga Prefecture), a production centre for daily-use ceramics, gradually lost market share to the then latest porcelain mass-produced in Hasami, works from Karatsu had strengths that ceramics from other areas did not.
Are you familiar with the saying “Ichi-raku, ni-Hagi, san-Karatsu” (can be translated as first raku, second Hagi, third Karatsu)?
This refers to the tastes of tea masters and shows that Karatsu ware has historically been prized as tea ware.
The earthiness of Karatsu vessels was favoured by tea masters, who were devoted to the wabi-sabi aesthetics, and distributed throughout the country. Karatsu ware also established its own position as a special type of pottery that was presented to the shogunate.

Karatsu ware has several decorative styles, such as e-garatsu (can be translated as painted Karatsu) and madara-garatsu (can be translated as spotted Karatsu), but the small bowl  in the image is  decorated in the style known as chōsen-garatsu (can be translated as Korean Karatsu).
The contrast between the white and blackish-brown colours of the chōsen-garatsu is beautiful, and comes from the straw ash glaze and iron glaze which are applied separately. But as no pottery of the same type has been found on the Korean Peninsula, it is thought that this style was not introduced directly from Korea, despite the name.
It is safe to say that the style was invented by Korean potters living in Karatsu at the request of tea masters, in other words Japanese customers, or that it was created by Japanese potters under the technical guidance of Korean potters.
The new designs created in this way must have given an exotic impression to the people of the time, coming to be known as chōsen-garatsu (Korean Karatsu).

What is interesting when looking at modern dining tables, I think, is that the pre-modern divisions such as “vessels of the ruling class” versus “vessels of the common people” have become less and less clear, and people from all walks of life can now enjoy a variety of different vessels.
If this is the case, then it may be possible to lift the restriction of “vessels for tea ceremony” from Karatsu ware too.
Many people may not feel very confident to use vessels for tea ceremonies regularly when they know very little about the art of tea ceremony, but we can learn from the aesthetic sense of suki-mono (cultured people) and tea masters in the past, which was very modern for its time. I think it would be a shame to let your preconceptions keep you away from their aesthetic sense.
It is a natural process that the role of vessels changes with the times, and we should enjoy chōsen-garatsu vessels in a more casual manner by using and energising them at the table on a daily basis.