The Timeless Charm of Kutani Ware

When Did Kutani Ware Begin?

Kutani ware traces its origins back to 1655, during the early Edo period. It was founded by Lord Maeda Toshiharu, the first feudal lord of Daishoji Domain and the grandson of Maeda Toshiie. The discovery of a unique porcelain material called Kutani porcelain stone in the Kutani gold mine within his territory marked the beginning of Kutani ware production.

The kiln was established in Kutani Village, where the porcelain stone was found, and it operated for approximately 50 years. The pieces created during this period are now referred to as "Ko-Kutani" or "Old Kutani" ware, celebrated for their distinct and vibrant designs.

What Was the Artistic Style of Ko-Kutani (Early Kutani Ware)?

Ko-Kutani, the earliest style of Kutani ware, is distinctively bold and dynamic, offering a striking departure from the symmetrical perfection often associated with traditional beauty. Its designs exude a raw, powerful energy that resonates deeply with the viewer.

There are two prominent styles in Ko-Kutani:

Gosai-de (Five-Color Style): This style employs five vivid colors—cobalt blue, red, purple, green, and yellow. It often utilizes negative space, much like traditional Japanese paintings, creating a harmonious balance between detailed patterns and open areas.
Ao-de (Green-Style): This technique fills the surface with intricate patterns in three colors—green, yellow, and purple—resulting in a mesmerizing, richly decorated appearance.

The Gosai-de (Five-Color Style) employs a technique similar to traditional Japanese paintings, skillfully utilizing negative space to enhance the overall composition.

Ko-Kutani Colored Porcelain Bowl with Floral and Bird Motifs

The Ao-de (Green-Style) resembles oil painting, as it completely fills the surface of the piece with richly applied colors, creating a vibrant and immersive design.

Ko-Kutani Ao-de Bowl with Japanese Banana Leaf Motifs

While both styles draw inspiration from the Chinese Ming Dynasty’s techniques of Gosai (Five-Color) and Sansai (Three-Color), what makes Ko-Kutani exceptional is its originality. Rather than imitating Chinese designs, Ko-Kutani developed a completely unique expression. Even when compared to other artistic and craftworks from around the world in the 17th century, the period of its creation, Ko-Kutani's originality stands unrivaled.

Ko-Kutani: A Groundbreaking Achievement in Polychrome Porcelain

During the early Edo period, when Ko-Kutani was produced, polychrome porcelain was an exceedingly rare and precious commodity in Japan. Imported polychrome porcelain from China was considered as valuable as gold, reflecting its high status and desirability.

At that time, domestic production of polychrome porcelain was limited to Arita, where advanced techniques were required for its creation. Japan was under the policy of sakoku (national isolation), making access to information and techniques from China extremely limited.

Despite these challenges, the remote mountainous region of Kaga—far from the porcelain hub of Arita and the international gateway of Dejima in Kyushu—produced the remarkable Ko-Kutani ware. Its vibrant polychrome designs were nothing short of revolutionary.

To put it into perspective, the emergence of Ko-Kutani was like skipping past the monochrome television era and directly inventing color TV in a time when only radios existed. Such was the impact and ingenuity of Kutani ware on the Japanese art and craft landscape.

Why Was Kutani Ware Born in the Remote Mountains of Kaga?

The remarkable emergence of Kutani ware in Kaga's secluded mountains can be attributed to the unwavering support of the Maeda family. At the time, the Maeda clan adopted the philosophy of "conquering the realm through culture," striving to demonstrate their influence and sophistication to the Tokugawa shogunate and other feudal lords.

The Maeda family actively sought to cultivate cultural excellence, recruiting master artists from the Kano and Rimpa schools, acquiring precious imported goods with values rivaling gold, and showcasing their refined aesthetic sense.

When the raw material for polychrome porcelain, porcelain stone, was discovered in their domain, the Maeda clan seized the opportunity to venture into the production of Kutani ware. Determined to make a bold statement—"This is the power of the Maeda family!"—they poured significant resources into creating an unprecedented form of polychrome porcelain.

Thanks to the Maeda clan's wealth and influence, they were able to introduce advanced techniques from Arita, hire the finest painters and craftsmen, and leverage their cultivated artistic sensibilities. These efforts culminated in the creation of Ko-Kutani, an art form celebrated for its unparalleled originality and striking beauty.

If you'd like, I can expand further or add historical comparisons to enrich the narrative!

Why Did the Production of Ko-Kutani Stop After Only 50 Years?

Despite its enduring acclaim, the production of Ko-Kutani ceased after about 50 years. The reasons behind this remain a mystery, with no definitive explanation, which only adds to its allure as a historical enigma.

Several theories attempt to explain the cessation:

The deaths of the key patrons, Maeda Toshiharu, the first feudal lord of the Daishoji Domain, and his successor, Maeda Toshiaki.
Financial difficulties caused by famines.
Internal political struggles within the domain.
Potential interference from the Tokugawa shogunate.

Rather than a single definitive cause, it is likely that a combination of these factors contributed to the closure of the kilns. This complexity and mystery surrounding Ko-Kutani only enhance its cultural and historical significance.

What Happened to Kutani Ware After the Ko-Kutani Era?

About 100 years after the closure of the kilns in Kutani Village, during the late Edo period, the production of polychrome porcelain was revived in the Kaga Domain and the Daishoji Domain. This revival is known as "Saiko Kutani" or "Revival Kutani."

The first step in this resurgence began at the Kasugayama Kiln, located in Kanazawa within the Kaga Domain. The kiln was established under the patronage of the Maeda clan. To ensure the success of this endeavor, they invited the renowned Kyoto artisan Aoki Mokubei, a master of porcelain and Kyoto-style ceramics. Under his guidance, pieces featuring Kyoyaki-style designs, such as Gosu-Akae (cobalt red designs), were produced, marking the rebirth of Kutani ware.

This revival set the stage for the continued development of Kutani ware, blending traditional techniques with new influences. Let me know if you'd like to explore more about the Saiko Kutani era or its subsequent evolution!

Kasugayama Kiln Large Plate with Akae Floral and Bird Motifs

Aoki Mokubei, already renowned as a master of Kyoyaki (Kyoto ceramics), made the remarkable decision to leave Kyoto and travel to Kaga. His motivation? The opportunity to work in the land where Kutani ware had once flourished, using the same high-quality porcelain stone. This speaks volumes about the enduring allure of Ko-Kutani, even 100 years after its production ceased.

Its reputation had not faded but instead captivated the imagination of Mokubei, a leading figure in Japanese ceramic arts at the time.

After his contributions to the revival of Kutani ware, Mokubei eventually returned to Kyoto. However, one of his disciples, Honda Sadakichi, remained in Kaga. It was Honda who made a critical discovery: the Hanasaka porcelain stone near Komatsu City. This discovery enabled him to establish the Wakasugi Kiln, marking another pivotal step in the revitalization of Kutani ware.

This period of revival not only honored the legacy of Ko-Kutani but also laid the foundation for future generations to continue the tradition of exquisite Kutani ceramics.

Who Was Honda Sadakichi, the Founder of the Wakasugi Kiln?

Without Honda Sadakichi, the Kutani ware we know today might not exist. He was a pivotal figure in its history, achieving two remarkable feats: the discovery of the Hanasaka porcelain stone and the cultivation of skilled artisans.

The Discovery of Hanasaka Porcelain Stone

The original Ko-Kutani ware used porcelain stone from Kutani Village, but the area’s remote location made it impractical for large-scale production. Determined to find a more accessible source, Honda Sadakichi began an exhaustive search. Starting in Kanazawa and expanding to Komatsu, he scoured the land methodically until he finally discovered the Hanasaka porcelain stone near Komatsu.

This discovery was no small achievement. In an era without modern scientific tools, identifying usable porcelain stone relied heavily on persistence, intuition, and deep knowledge. His unwavering determination led to the discovery of a resource that remains vital to Kutani ware production to this day. Thanks to Honda Sadakichi, Kutani ware continues to thrive, using Hanasaka porcelain stone as its foundation.

Training the Next Generation of Artisans

Honda Sadakichi didn’t stop at securing raw materials. At the Wakasugi Kiln he established, he nurtured numerous talented craftsmen who would shape the future of Kutani ware. Among his protégés were:

Aoya Gen’emon, who later worked at the prominent Yoshidaya Kiln during the Revival Kutani era.
Saita Dōkai, a key figure in the development of Japan Kutani for international markets.
Kutani Shōzō, known for his contributions to advanced Kutani techniques.

Through his dedication, Honda Sadakichi ensured that the legacy of Ko-Kutani would not only be revived but also evolve and flourish in new directions. His contributions to both material discovery and human development make him one of the most influential figures in the history of Kutani ware.

Wakasugi Kiln Flat Bowl with Sometsuke Sacred Beast Motifs

Wakasugi Kiln Pedestal Bowl with Ao-de Peony Motifs

Although the Wakasugi Kiln produced some polychrome porcelain, its focus shifted primarily to Sometsuke (blue-and-white underglaze) ware. This was largely due to practical considerations, as Sometsuke required fewer firings, making production more efficient.

As the emphasis at the Wakasugi Kiln moved towards Sometsuke, skilled artisans like Aoya Gen'emon, known for his expertise in polychrome decoration, sought other opportunities to pursue their craft. Gen'emon eventually joined the Yoshidaya Kiln, which aimed to revive the vibrant styles of Ko-Kutani. His contributions helped establish Yoshidaya as a cornerstone of the Revival Kutani movement.

Interestingly, the polychrome porcelain produced at the Wakasugi Kiln was not called Kutani ware. Instead, it was referred to as Wakasugi ware. At the time, the designation of "Kutani ware" was strictly reserved for ceramics produced in Kutani Village. Since the Wakasugi Kiln operated outside of this geographic area, its works did not qualify under the traditional definition of Kutani ware, reflecting the cultural and historical importance of location in the naming of Japanese ceramics.

Who Revived Kutani Ware, and How?

The key figure behind the revival of Kutani ware was Yoshidaya Den'emon, a wealthy merchant from the Daishoji Domain and an ardent patron of the arts. A true cultural visionary, Den'emon held a deep love for Kutani ware and was determined to bring it back to life.

Despite the logistical challenges, Den'emon was resolute in his belief that Kutani ware should be revived in its birthplace, Kutani Village, the spiritual home of its legacy. He went to great lengths to achieve this, even going as far as to exhaust his personal wealth and incur significant debt to open a kiln in this remote area.

This kiln, known as the Yoshidaya Kiln, marked the true revival of Kutani ware. By producing polychrome porcelain in Kutani Village itself, Yoshidaya Den'emon not only honored the heritage of the craft but also redefined its cultural and historical identity. Through his dedication, Kutani ware was reborn, reclaiming its rightful place in the world of Japanese ceramics.

Yoshidaya Kiln Large Platter with Hydrangea and Gourd Motifs

The Legacy of Yoshidaya Kiln: Reviving and Redefining Kutani Ware

The Yoshidaya Kiln produced numerous masterpieces that evoked the Ao-de (Green-Style) of Ko-Kutani, earning widespread acclaim, even in Kyoto. Surviving correspondence from the time reveals that Yoshidaya Kutani ware was praised for preserving the essence of Ko-Kutani while showcasing a sophisticated, original aesthetic.

The hallmark of Yoshidaya Kiln's creations lies in their translucent, richly layered enamels, masterful artistry, and refined design sense. While drawing inspiration from Ko-Kutani's style, Yoshidaya’s designs were entirely original.

This commitment to innovation reflects the ideals of Yoshidaya Den'emon, the kiln's founder, and the artisans he gathered, such as the young prodigy Aoya Gen'emon, recruited from the Wakasugi Kiln. Much like Ko-Kutani, which refrained from mimicking Chinese porcelain, Yoshidaya Kiln sought to honor tradition without resorting to imitation.

The Transition from Kutani Village to Yamashiro

Despite their artistic achievements, the Yoshidaya Kiln in Kutani Village operated for only about two years. The remote location proved impractical, leading to the kiln's relocation to Yamashiro. While this move allowed for easier production, the Yoshidaya Kiln itself ceased operations after just seven years due to financial struggles and the deaths of Den'emon and his son.

The Transformation into Miyamotoya Kiln

Following Den'emon's passing, the Yoshidaya Kiln was taken over by one of its stewards and renamed the Miyamotoya Kiln. Despite these changes, the Yoshidaya Kiln's contributions left an indelible mark on Kutani ware. Its commitment to originality and craftsmanship laid the foundation for the art form’s enduring legacy.

What Kind of Kutani Ware Was Produced at the Miyamotoya Kiln?

The Miyamotoya Kiln became the birthplace of one of Kutani ware's most celebrated techniques: Aka-e Saibyo (Fine Red Overglaze Painting). This style was perfected under the guidance of its chief artisan, Iidaya Hachiroemon, who played a pivotal role in establishing this intricate art form.

While the Yoshidaya Kiln focused on the Ao-de (Green-Style) associated with Ko-Kutani, the Miyamoto Kiln shifted entirely to Aka-e (red-painted) designs. Although red overglaze decoration was not unique to this kiln, the Miyamoto Kiln distinguished itself with its extraordinary level of detail. Its Aka-e pieces were so finely painted that they surpassed anything being produced in other regions, showcasing a level of craftsmanship that was unparalleled.

This dedication to intricate detail and originality reflected the enduring philosophy of Kutani ware: "not imitation, but the pursuit of originality." Through their efforts, the artisans of the Miyamoto Kiln created a new and distinctive style—Aka-e Saibyo Kutani—which remains highly regarded and continues to inspire modern Kutani artisans.

Miyamotoya Kiln Large Deep Bowl with Aka-e Fukujū Characters

After the Miyamoto Kiln, the legacy of Kutani ware continued under the Kutani Main Kiln, which sought to further refine its techniques and expand its artistic repertoire. To achieve this, the kiln invited Eiraku Wazen, a renowned Kyoto ceramicist, to serve as a technical advisor.

Eiraku Wazen, celebrated for his expertise in handling gold, introduced the Kinrande (gold brocade style) technique to Kutani ware. This style involved painting intricate gold patterns onto red-glazed surfaces, creating an opulent and elegant aesthetic. Kinrande became a defining feature of Kutani ware, reflecting the blend of Kyoto’s refined sensibilities with the bold, innovative spirit of Kutani ceramics.

The incorporation of this technique not only elevated the artistic value of Kutani ware but also demonstrated the kiln’s commitment to innovation and cultural exchange, ensuring its relevance and appeal in both domestic and international markets.

Eiraku Wazen Kinrande Bowl with Phoenix Motif

The fusion of the Kinrande (gold brocade style) introduced by Eiraku Wazen with the Aka-e Saibyo (fine red overglaze painting) from the Miyamoto Kiln led to the development of a new and intricate style known as Aka-e Kinrande. This technique combined the luxurious appeal of gold with the delicate precision of red-painted designs, creating a distinctive aesthetic that became synonymous with Kutani ware's elegance and originality.

During the late Edo period through the early Meiji era, Kutani Shōzō, one of the most renowned artisans of Kutani ware, further advanced this tradition. Shōzō introduced Saishiki Kinrande, a technique that combined all the decorative styles of Kutani ware—drawing from Ko-Kutani, Yoshidaya, and Kinrande—while incorporating Western pastel pigments into the color palette.

Kutani Shōzō Plate with Dragon, Floral, and Farming Motifs

This plate is considered one of Kutani Shōzō's crowning achievements, exhibited at the 1st National Industrial Exposition in 1877 (Meiji 10). It represents the pinnacle of his artistry, incorporating every decorative technique used in Kutani ware, culminating in a piece of unparalleled opulence and grandeur.

The plate features the Saishiki Kinrande (Colored Gold Brocade) and Aka-e Kinrande styles, combining intricate polychrome designs with lavish gold embellishments. The motifs—a powerful dragon, delicate floral patterns, and a vibrant farming scene—exemplify Shōzō's ability to weave together traditional symbols and narrative art into a cohesive and breathtaking composition.

This work, a testament to Shōzō's genius, not only captivated audiences at the exposition but also helped establish "Japan Kutani" as a globally recognized brand during the Meiji era. The combination of Saishiki Kinrande and Aka-e Kinrande became highly regarded both in Japan and abroad, elevating Kutani ware to new heights in the international market.