Kutani Ware

Ishikawa Prefecture is proud of its Kutani-yaki history and production area

In 1975, Kutaniyaki was recognized as a traditional craft by the Ministry of International Trade and Industry (now the Ministry of Economy, Trade and Industry), and in 1951, it was designated as an intangible cultural asset by Ishikawa Prefecture. In addition, there are two other Kutaniyaki artists, Tokuda Yashokichi III and Yoshida Minori, who have been recognized as living national treasures by the Japanese government. We will introduce the history of Kutaniyaki as well as the characteristics of Kutaniyaki and its beautiful Kutaniyaki-specific color painting designs.

◇Origin and Ko-Kutani

Kutani ware originated in Kutani-mura, Yamanaka-cho, Kaga City, Ishikawa Prefecture, a remote village in Enuma County, Kaga Province, which is closed to snow in winter and has no transportation access. As the name suggests, “Kutaniyaki” was taken from the name of the place, “Kutani Village,” and from around the end of the Edo period, the name “Kutaniyaki” was used to refer to Kutani-yaki.

 

There are various theories about the founding of Kutani ware, but it is generally believed that the kiln was established around the first year of the Meireki era (1665). It is said that the Daishoji clan was developing a mine at the time, and ceramic stone, the raw material for porcelain, was discovered in Kutani Village in the clan’s territory, which led to the start of porcelain production.

 

Pottery made during this period is called “Ko-Kutani. However, production of this “Old Kutani” ceased around 1701 during the Genroku era (1688-1703), only about 50 years after the kiln opened. The reason for the closure of the kiln is not well understood, as there are various theories.

◇The Beginning of Kutani-Yaki

Kutani-yaki remained in a state of limbo for about 100 years until it was restored at the Kasuga-yama Kiln in Kanazawa in 1806 (the 3rd year of Bunka era). Aoki Kigome of Kyoto guided this kiln. The Wakasugi, Yoshidaya, Iidaya, Eiraku, Ono, and Shozo kilns were opened one after another, and all of these kilns were oriented toward industry and the production of daily wares. Each kiln during this period established its own distinctive style, which is the origin of today’s Kutaniyaki.

 

As time went by, the kiln sites moved to other locations, and today, Terai-cho, Nomi City, Ishikawa Prefecture, is the thriving center of Kutani-yaki. The town has a population of about 15,000 and is located in the southern part of the prefecture between the Sea of Japan and the mountains. Terai is nationally known as the home of Kutani ware, which accounts for about 80% of total Kutani ware production. In particular, the Kutani Pottery Village area is lined with pottery wholesalers, and many beautifully colored porcelain pieces are on display in their stores.

Characteristics of Kutani-yaki

Vividly colored tableware makes your dining table more colorful!
Kutaniyaki Collection Mame-plate
1 each 1,210 JPY (incl. tax)

Kutani-yaki is one of Japan’s most famous colored porcelains, and its greatest appeal is simply its patterns. The most fascinating aspect of Kutaniyaki is, simply put, the patterns. Kutani Yaki is said to be “Kutani without talking about overglaze painting.

◇Speaking of Kutani, Kutani Gosai

First of all, I would like you to know about Kutani Gosai. The characteristic of Kutani Gosai is expressed in the beautiful color effects and graceful patterns of Gosai (red, yellow, green, purple, and navy blue), which is commonly called Kutani Gosai. The technique of color painting using these five colors has been handed down to the present day. There is also Aote-Ko-Kutani, which uses green, yellow, purple, and navy blue. The harmony of colors is very attractive. In this way, Kutani-yaki works convey the spirit of the artisans who painstakingly write and draw detailed pictures with great care and devotion.

◇Kiln (Kama) and style of work

When you hear the word “Kutaniyaki,” what kind of work comes to mind? The style of Kutaniyaki varies greatly depending on the “kiln”. It may be easier to understand if you think of a kiln as creating a school. It is interesting to see which kiln produced the work of a living national treasure, or if it is an old kiln, it may be filled with the rich colors of Koya, which is called Koya. Yes, not only are there as many styles as there are makers, but the kiln also greatly influences the style, and the variety of pottery designs is the beauty of Kutani-yaki.

Typical Kutaniyaki Iroe Designs

Kutaniyaki did not develop only in the colorful Kutani-Gosai style. The painting style called “Kamiegaki” is also highly valued. Here, we will introduce six representative styles of successive generations of Kutaniyaki. Each of these painting styles is called “Re-enlightened Kutani” and established representative designs and techniques. You may often see them in pamphlets, but I think you will be able to get a rough idea of what they are here.
As mentioned in the previous section on the history of Kutaniyaki, there is a history of Kutaniyaki where all the kilns were once closed. This history of Kutaniyaki has given birth to the styles of each of the kilns that were later re-established or newly established, each with its own unique characteristics, and this is how Kutaniyaki came to be what it is today.
Understanding the characteristics of each style will inevitably make appreciating Kutaniyaki works and selecting Kutaniyaki more enjoyable.

Kokutani

Meireki – Horeki period (circa 1650 – 1700) Saijiro Goto
Kogutani, which is said to have been under the tutelage of Kusumi Morikage, a master of the Kano school, is very dynamic and has a haunting power. The five colors of blue (green), yellow, red, purple, and navy blue are used to create a bold composition with a complete pictorial expression, and the free and spontaneous line drawings are dynamic and powerful. The free and spontaneous line drawings have a dynamic and powerful appeal. As you can see, the design is mainly flowers and plants. This is the royal road of Kutaniyaki.

 

It will be recommended for those who like antique items, those who like five-color and white colors, which are both dynamic and not modern and delicate. This design is probably the first thing that comes to mind when you think of Kutaniyaki.

Mokubei

Bunka period (1805-1817) Aoki Kimi
About 80 years after the Ko-Kutani kiln was closed, the Kasuga-yama Kiln was established in Kanazawa. Under the direction of Aoki Kibei, a literati painter who was considered a master craftsman in Kyoto, the front surface of the base is painted red, and Chinese-style figures are painted mainly in five colors. Kibei was one of the three most famous potters in Japan, along with Insei and Kenzan, and this overglaze painting has a harmonious atmosphere.

If you look closely at the finely drawn patterns, you will get a cute impression. As for me, I would like the viewer to see the various faces of the figures. The richness of the expression is what makes up the work of Kutaniyaki.

Yoshidaya

Bunsei Era (1818-1829) Toyoda Den’emon
This kiln was opened by the Toyoda family, a wealthy merchant of the Daishoji clan (shop name: Yoshidaya). It is a revival of the Aote Kutani style, in which the four colors of blue (green), yellow, purple, and dark blue are used instead of red. In addition to patterns, small patterns are used in a jimon style, and the entire surface of the vessel is filled with paints, creating a unique atmosphere with a profound style.

 

As the name of the lacquered fill indicates, there are almost no white areas and no red, making it a good choice for those seeking a sense of weight and the presence of the vessel.

Shoza

Early Meiji period (1860-1880) Shozo Kutani
The style is a blend of Japanese and Western styles, with the introduction of Western culture. Koya, Yoshidaya, Akae, and Kinrande techniques were all incorporated into the interlacing method, and the “Iroki Kinrande” style, in which Western paints are added to Japanese paints and meticulously painted, is characterized by delicate and gorgeous landscapes of flowers, birds, and figures. This style became the mainstream of industrial Kutani pottery after the Meiji period.

Although it is a blend of Japanese and Western styles, the atmosphere of the Meiji period also evokes a sense of nostalgia. Gold is also used in this style and various paints are used, so it is recommended for those who enjoy luxury, vivid colors, and detailed patterns.

Eiraku

Keio period (1865-1868) Enraku Wazen
The entire surface is painted in red, and patterns are painted only in gold. It is also called “Kinran” style, as it is characterized by the single-stroke calligraphy of flowers, birds, animals, and insects.
The red and gold only style has a strong impact. Since it inherits the style of Kyo-yaki, it does not have the typical Kutaniyaki image, but it is also a typical Kutaniyaki piece. This style is recommended for celebratory gifts, for those who are interested in pottery, and for those who are looking for rare pieces.

Iidaya

Tempo era (1830-1845) Iida Hachiroemon
This style was fired at the Miyamoto Kiln, which took over the Yoshidaya Kiln. The figures are meticulously painted in red and surrounded by small patterns, and gold is added in some places. At first glance, the fine red painting is indescribable, and the gold painting is applied everywhere, creating a sense of elegance.

 

The style of his work is centered on very delicate patterns and red, and in Kutaniyaki, the word “akae” often refers to Iidaya-fu. The delicate lines and red patterns drawn freehand are perfect for decorative items. This style is recommended for those who are looking for beautiful designs.

How to Choose Beautiful Kutaniyaki Pottery and Porcelain

Kutaniyaki is a general term for both ceramic and porcelain. Since ceramic and porcelain are used and handled differently, knowing their properties and how to distinguish between them will enhance your kutaniyaki selection experience. Here we will delve into the differences between ceramic and porcelain and compare them.

Pottery

Kutaniyaki Tsubaki Matcha Tea Bowl made by Yoshiaki Yamada
41,800 JPY (incl. tax)

 

This is a matcha bowl by Yoshiaki Yamada, a Kutaniyaki artist, and is made of ceramic. Pottery is made from clay that has become sticky due to the action of bacteria. Since most ceramics are brownish in color when unglazed, they are often not painted to preserve the warm texture of the clay. This is the case with Japanese ceramics such as Bizen ware and Mashiko ware. They are warm and have a thick, chunky feel. When you flip it with your finger, it makes a dull sound, and the color of the clay appears on the base, which is the easiest way to distinguish porcelain from ceramic. It is also generally called “earthenware.

Porcelain

Kutaniyaki Set of 5.3 small plum and bird boat-shaped bowls (set of 5)
30,800 JPY (incl. tax)

 

And here is a porcelain vessel to be used as tableware. The little bird on a plum tree is the symbolic design of Kutaniyaki. Porcelain is made by firing “porcelain clay,” a clay-like material made from finely crushed stones, and is called “Ishimono. At first glance, it looks similar to pottery, but the base is glazed as well, and the base is white. Furthermore, its smooth surface allows for vivid and detailed painting. A simple way to distinguish porcelain is that it is durable when it makes a high, metallic “ting! and it is durable. The porcelain is generally called “Setomono” and is used in the bowls we usually eat at the dinner table.

Kutaniyaki Production Process

Kutaniyaki is produced through four major processes: clay making, molding, underglaze painting, and overglaze painting. We would like to introduce the process of making Kutaniyaki, a traditional craft of Ishikawa Prefecture, which is proud of its world-class quality both historically and artistically.

Preparation of soil (quarrying, crushing, and clay bowls)

Clay production begins with quarrying. Quarried stone from Mt. Hanasaka in Komatsu City, Ishikawa Prefecture, has both the refractoriness that keeps its shape even under high heat and the sticky plasticity that is essential for molding. The raw material, ceramic stone, is crushed until it becomes a powder, mixed with ceramic clay in a water tank, and thoroughly stirred. After several types of pottery stones and clay are mixed well in the water, only the fine clay-like particles that have settled in the tank are collected and used to make the clay bowls. In the case of Kutaniyaki, the focus tends to be on the quality of the color painting.

Forming (processing, drying, baking)

The clay is kneaded to expel air and then formed into the shape of a vessel. It is said to take three years to knead the clay and six years to throw it on the potter’s wheel. This is an important stage in the process for Kutaniyaki, where each piece is often handmade on the potter’s wheel. The process of turning a lump of clay on the wheel into any shape by dexterously manipulating the palms and fingertips is the essence of pottery making. It is a magnificent sight to see how the clay seems to have taken on a life of its own. After the clay is semi-dried, any distortions are corrected, and the piece is finished and shaved, or carved, if any. After the shaped base is dried in the sun, it is “unglazed” at 800 to 900 degrees Celsius for about 8 hours. After being removed from the kiln, the unglazed clay is grayish brown with a slight reddish brown color.

Underglaze color

Underglaze painting is the process of painting before applying the glaze. Underglaze painting is done on the unglazed base using dyeable gosu, a blue pigment mainly composed of cobalt oxide. This process is generally referred to as “Sometsuke.

Glaze (ceramics)

Glazing is the process of applying glaze to an unglazed vessel. Glaze is a liquid that becomes glassy when fired at high temperatures and forms a film that covers the vessel. This glaze is then applied to the unglazed vessel. There are various types of glazes and methods of applying glaze, and it is truly a craftsman’s skill to work quickly to ensure that the glaze is applied evenly as it is dipped.

Firing in the main kiln

Honyaki is the process of firing at high temperatures for extended periods of time. Like unglazed pottery, honyaki pottery was formerly cooked in a climbing kiln, but recently gas or electric kilns have become the norm. The firing temperature is higher than that of unglazed pottery at about 1,300 degrees Celsius. The firing time is about 12 to 15 hours. After the firing, the base becomes white and the glaze melts during the firing process, forming a transparent glassy film that gives the piece a glossy appearance.

Finish painting

After the main firing process is completed, color painting is applied, and many Kutaniyaki pieces go through this stage, which is the most attractive part of the process. The process begins with bone painting using gosu, followed by coloring with overglaze pigments, mainly Kutaniyaki Gosai. In particular, artists use their own painting techniques and create their own unique decorations in this stage.

Uwaekama

The overglaze painting is then fired at approximately 800 degrees Celsius in a overglaze kiln. Depending on the product, it is fired for 4 to 10 hours at the maximum to finish. The light-colored Japanese paints become glassy when fired. The transparency and vivid colors of the paints create a delicate pattern. This transparency is one of the characteristics of Kutaniyaki.

Completion

At Kutaniyaki, each process is carefully accomplished with expert skill: clay makers in the manufacture of clay, craftsmen in the molding, processing, drying, unglazing, and main firing, and painters in the painting. In addition, firing in the kiln is also done with precise temperature control based on experience, and tools such as glazes, paints, and brushes are also indispensable. In this way, Kutaniyaki is completed when all processes are carried out without delay. In this way, Kutaniyaki pottery is made by the hands of many artisans.

How to grow Kutaniyaki

Now that you have learned about the “beauty” of Kutaniyaki, I would like you to learn how to enjoy the “use” of Kutaniyaki. Our dining table includes Japanese, Western, and Chinese dishes. That is why we need a container that is all-around versatile, and Kutaniyaki has created a variety of painting styles and listened to the voices of people. Kutaniyaki still wishes to “get closer to you,” while challenging new techniques and designs to better meet the wishes of the user. We hope that Kutaniyaki will continue to be “closer to you…” We hope that you will boldly serve seasonal ingredients on Kutaniyaki vessels. That is what Kutaniyaki wants to be.

Finally, there is something you should know about Kutaniyaki in order to keep it in your hands for a long time. If you understand the individuality and characteristics of ceramics, the more you care for them, the more beautiful and tasteful they will become and answer you.

If you purchase Kutaniyaki

When you buy a vessel, first look carefully at the elevation (bottom) of the vessel. In the past, the potter would polish it with a whetstone, but these days it is treated by the manufacturer. However, if there is any roughness left on the bottom, it may damage the table or the lacquer. If there is any roughness left on the bottom, polish it smooth with a whetstone or sandpaper, and then remove the stains by placing the pot in hot water.

Before using Kutaniyaki vessels

Earthenware vessels with cracks on the surface are called kan-nyu. Kan-in is highly absorbent, so before using it, soak it in water and allow it to absorb enough water. If used as is, it will soak up food coloring, such as soy sauce or colored fruit juices, and become difficult to remove. This can also cause mold to grow. It is also said to be effective to boil the vessels in rice water or salted water before use.

How to use Kutaniyaki vessels

Microwave ovens cannot be used on porcelain ceramics or both porcelain and ceramics with gold and silver patterns on them. Just as metal dishes cannot be used in a microwave oven, gold and silver in patterns react to electrons. It is wise to avoid using ceramics (earthenware) if at all possible. In addition, ceramics with penetrations (cracks) may break if used for long periods of time. Items labeled “heat resistant” or “microwave safe” are safe to use.

How to care for Kutaniyaki

When you are finished using the bowl, soak it in water and wash it with a soft surface of a sponge using a mild detergent as soon as possible. It is a good idea to wash the bowl after removing any stains from the bowl, such as rice. Scrubbing with a scrubbing brush, polishing powder, or a hard sponge will result in fine scratches and loss of luster, even on ceramics. Also, since there are various shapes of dishes, wash them carefully one by one so as not to hit them against each other.

After washing, the ceramic ware should be dried carefully, especially since it is soaked with water. Storing damp dishes in a cupboard during the rainy season can cause mold. Finally, running them through boiling water will help dry them faster and prevent mold. For kyusu (teapots) and yunomi (teapots with tea stains) that have become soiled or stained, you can use kitchen bleach. However, be careful not to use bleach on items with colored, gilded, or silvered decoration, as it may cause the colors to fade.

Choosing a Place for Pottery

Tableware frequently used for daily meals should be stacked in cupboards or other storage areas with five or six pieces of the same size and shape for each type, such as bowls, plates, and bowls. However, since the clay of ceramic ware is soft and easily cracked, it is advisable to place a soft paper between each bowl and dish. Avoid stacking dishes with overglaze enameled, gold, or silver glaze, or with lacquer ware.

On the other hand, platters and bowls that are not used frequently should be wrapped in soft Japanese paper or cotton cloth for storage. Ware for entertaining guests or for special events should be wrapped in Japanese paper and placed in a box, and stored in a dry place out of direct sunlight. It is very convenient to put a picture or photograph of the stored vessels on the box for easy access.

Recommended Kutaniyaki

How was it? The image you had of Kutaniyaki as “too expensive” or “out of reach” at first, has now changed to “cute! Kutaniyaki started from Kutaniyaki, but later became a part of many different Kutaniyaki styles. Kutaniyaki started from Ko-Kutani, but later various types of Kutaniyaki appeared, and now it is enriching our daily life.

Kutaniyaki’s ceramics include bowls, teacups, plates, and vases, as well as Kutaniyaki’s USB flash drives, such as the electronic ceramic box. The styles range from traditional ceramic designs to new approaches such as electronic devices. Kutaniyaki continues to boldly evolve with the times. If you have the opportunity, we hope you will take Kutaniyaki in your hands and experience the beauty of Japan that lives on in Kaga Hyakumangoku.

※For detailed product descriptions, please refer to each product page.

 

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