Kutaniyaki Techniques and Styles

There are many different styles and techniques of Kutaniyaki, ranging from the five-color technique that began with Ko-Kutani, to the popular red-painted fine painting, to the techniques created by modern masters. The breadth and depth of Kutaniyaki is astonishing. In this article, we will introduce some of the most representative techniques and styles used in Kutaniyaki.

Gosai-de

When you hear the word “Kutaniyaki,” you may imagine this Gosai-te style. It is a style that depicts flowers, birds, wind, and moon in Kutani five-color (green, yellow, purple, dark blue, and red) while utilizing the blank spaces, just like a Japanese-style painting. This style has been seen since the Ko-Kutani period and is still representative of Kutani-yaki today. Many people think of Gosai-te when they think of Kutaniyaki, and it is a style that has such a strong impact and is well-loved. It is a style that has been around for a long time, but that is what makes it so appealing, and in fact, it feels fresh. Gosai-te tableware in modern life. It is cool.

Ko-Kutani Colored Porcelain Bowl with Floral and Bird Motifs

Akae Saiboku (Red Paintings with Fine Lines)

As the name suggests, this is a technique to draw red painting with fine lines. The pattern is regularly arranged in layers of ultra-fine lines, and is truly a superb technique. By drawing lines and dots densely, it is also possible to express shading and depth. Japankutani” boomed overseas during the Meiji period (1868-1912). One of the works that triggered this boom was Akae Kinrande, a fusion of the Akae Hosogaki and Kinrande techniques. Akae hosoge fascinated not only Japan but also the world. This beautiful technique has been handed down to the present. Many young artists, including the modern master craftsman Buzan Fukushima, have created beautiful works using this technique.

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

Sometsuke

Sometsuke is white porcelain with only indigo painting. It is different from color-painted porcelain, and has a more profound beauty and flavor. In the first place, Sometsuke is a stage in the production process of colored porcelain before the painting of the colors. In the process of somezuke, a pattern or picture is painted on the unglazed base using a pigment called gosu, glazed, and fired, and the subsequent process of color painting is omitted to complete the process. The surface of unglazed pottery is rough, and it requires skillful techniques to draw beautiful lines with gosu. Therefore, when we see patterns or flowers, birds, winds, and the moon painted only with gosu, we are impressed by the high level of skill. Above all, I am also attracted by the purity of the work, which does not rely on color.

Saiyuu

The luster of the surface of colored porcelain is due to the glaze applied to the base. When fired, the glaze turns glassy, which gives it luster. The technique called “colored glazing” involves mixing colored glazes and applying different shades of glazes to the base, creating not only luster but also beautiful color gradations on the surface of the vessel. The work is built not by painting, but by the strangeness of the glaze. The expression of the glaze changes depending on the reflection of light, and the luster of the jewel-like surface of the vessel creates a microcosm within the vessel, fascinating the viewer. Tokuda Yasokichi III was certified as an Important Intangible Cultural Property holder for “colored glazed porcelain ware.

Aochibu

This technique, which is said to have become popular during the Taisho period (1912-1926), consists of a series of small green dots painted on top of the base color in a raised pattern. It is neither paint nor line. The aggregation of dots creates a beautiful view of the world like ripples. It is a difficult task to draw small dots of the same size without losing the beauty of the aggregate. The smaller the grains are, the more one falls in love with the craftsman's skill. In addition to blue grains, there are also white grains and gold grains in different colors.

Yurikinsai

This is a technique in which gold leaf in the shape of a design is applied to a vessel, and then a transparent glaze is applied over the gold leaf and fired. The glossy texture of the glaze and the shimmer of the gold leaf are truly beautiful. To begin with, gold leaf is a thin and difficult material to handle. The skillful technique of making and expressing shapes as desired with such gold leaf, alone, shines through. This yurikinsai leaf technique was invented by Aritsune Takeda of Kanazawa. Yoshita Minori, who further researched and developed the technique, is certified as an Important Intangible Cultural Property holder.

Yuriginsai

A technique in which a pattern made of silver leaf is applied to a vessel and then a transparent or colored glaze is applied over the pattern and fired. Unlike gold, which has a powerful brilliance and a strong presence, silver has a subdued brilliance that exudes a profound beauty. Because it is not strongly assertive, it blends beautifully with colored glazes, creating a refined beauty. Normally, silver oxidizes and turns black, but underglaze silver glaze has the advantage of preventing oxidation by covering it with glaze, allowing the beautiful silver foil to be enjoyed for a long time. Uraginsai is a technique established by Kazuo Nakata.

Mouhitusaiji

This is a technique for writing classical literature, such as the Kokin Waka Shu (Anthology of Ancient and Modern Japanese Poetry), on vessels using an ultra-fine brush in a flowing style. The technique was developed by Koyama Seizan I in the late Meiji period (1868-1912) and has been handed down from one generation to the next by Tamura Seito, the fourth generation. The beauty of the design using “characters” is distinct from the “painting” of so-called Kutaniyaki. It is overwhelmingly unique. The orderly and unruffled characters are even comforting. When you look at it enlarged, you will be amazed at the beauty of the brush calligraphy.

Toujichokoku

This is a technique of forming people, Buddha, animals, and lucky charms with ceramics. It has been used in Kutani Yaki since the Meiji period (1868-1912). The modern master craftsman in Kutani Yaki ceramic carving is Naoki Miyamoto. The production process is as follows: sculpt a prototype in clay → create a plaster mold for each part → fill the plaster mold with clay to form the parts → fill the plaster mold with fabric to form the parts → combine the parts to complete the base → unglazed → hon glazed → over glazed → completed. The facial expressions and their gestures are largely determined by the sculpting skills of the artist and his/her sense of style. Visitors can enjoy both the masterful attention to detail in the modeling and the rich colors that only Kutani Yaki can produce.

Hanazume

Kutaniyaki is a type of pottery in which each artist has his or her own style and personality. As you look at various artists and their works, you may encounter a technique that you have never seen before, or you may find your favorite style, or you may find a style that you like! You are sure to encounter a technique you have never seen before, a style you like, or a style that you just can't get enough of.

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