Toguri Museum of Art: Enchanted by the Beauty of Nabeshima and Kinrande

Dishes, decorated with flower basket design in underglaze blue, overglaze red and gold. Imari ware. Edo period. The first half of the 18th century. D: 21.4㎝. Toguri Museum of Art.

Located in the serene and upscale residential area of Shoto, just a fifteen-minute walk from Shibuya Station, stands a striking building clad in earthy-colored tiles. This is the Toguri Museum of Art, which opened its doors in 1987. Known for its collection of Hizen porcelain, including Imari and Nabeshima ware , as well as East Asian ceramics from China and Korea, this museum is one of the few in Japan dedicated exclusively to ceramics. Hizen was a former province of Japan, located in the area of the present-day Saga and Nagasaki Prefectures.

These collections were amassed over many years by the founder, Toguri Tohru, with the aim of preserving and showcasing cultural treasures for future generations.

Resently, Team Musubi had the special opportunity to speak with Kurosawa, a curator at the Toguri Museum of Art and a researcher of Nabeshima ware, about the special exhibition Nabeshima and Kinrande: Recurring Designs Across Space and Time.

The Toguri Museum of Art is known for its diverse range of exhibitions. From unique past exhibitions like "Imaginary Beings Designs" to upcoming ones like "Edo Food Culture," the museum consistently delights visitors with creative displays.

According to Kurosawa, special exhibitions are planned by the director and two curators, including herself. Sometimes, while working on one exhibition, they come up with ideas for future exhibitions, thinking, "We should explore this aspect further," which then become themes for exhibitions a few years later.

The museum's collection comprises thousands of pieces, and about eighty of them are featured in the current exhibition, "Nabeshima and Kinrande: Recurring Designs Across Space and Time." All the exhibits are selected from the museum's own collection. In addition to special exhibitions, the museum frequently features a room dedicated to showcasing the evolution of Imari ware over a century, which serves as a semi-permanent exhibition. "There are few museums in Tokyo that specialize in ceramics, so we want visitors to experience the history of Imari ware whenever they visit," Kurosawa explained.

Cup, decorated with formalized flower design in underglaze blue and overglaze enamels. Nabeshima ware. Edo period. The second half of the 17th century. H: 6.7㎝. Toguri Museum of Art.

This exhibition focuses on the recurring designs seen in Nabeshima ware and the kinrande style of Imari ware. While Nabeshima ware was created as official gifts for the government and other feudal lords, and kinrande was produced to meet domestic and international demand, both styles were established in the late 17th century and share the theme of "repetition" in their designs. According to Kurosawa, exhibitions that simultaneously feature Nabeshima ware and kinrande-style Imari ware are rare at Toguri Museum of Art.

We hope you enjoy exploring the beautiful designs through the exhibition photos.

The first exhibition room, reached via a beautiful staircase at the back of the hall, showcases the museum's finest pieces. Particularly striking were the Nabeshima ware and kinrande-style Imari ware displayed at the center. Though the shapes and colors of the plates differ, their designs share many similarities. Both feature the Chinese character "壽," symbolizing longevity, surrounded by depictions of treasures. Photos of the reverse sides reveal intricate arabesque designs, highlighting their status as renowned masterpieces.

Octagonal dish, decorated with character (ju, longevity) and collection of treasures design in underglaze blue and overglaze enamels. Nabeshima ware. Edo period. Late 17th-early 18th century. D: 20.8×19.4㎝. Toguri Museum of Art.

Bowl, decorated with character (ju, longevity) and auspicious objects design in underglaze blue, overglaze enamels and gold. Imari ware. Edo period. Late 17th-early 18th century. D: 22.1㎝. Toguri Museum of Art.

Despite being produced in the same region and era, Nabeshima ware was strictly controlled as official gifts, while Imari ware was widely distributed as private porcelain. Curious about why such similar designs appeared in these different contexts, we asked Kurosawa.

"In 1693, Nabeshima Mitsushige, the second lord of the Saga Domain, issued a directive to the Arita Sarayama officials overseeing Okawachiyama, where the domain's official kiln was established. He instructed them not to rely solely on the same designs but to incorporate excellent patterns from wakiyama (Arita private kilns) and to report any unusual designs. The goal was to create innovative and superior porcelain."

Cylindrical vessel with squirrel knobbed cover, decorated with plum and peony design in underglaze blue, overglaze enamels and gold. Imari ware. Edo period. Late 17th-the first half of the 18th century. H: 21.7㎝. Toguri Museum of Art.

This indicates that Nabeshima ware was open to adopting good designs from Imari ware. This exhibition clearly shows how each style, while incorporating similar designs, leveraged their unique techniques to create distinctly attractive pieces.

The next room introduces the design concepts of Nabeshima ware, focusing on four themes: "Designs with Continuous Patterns," "Classic Designs," "Same Design, Different Colors," and "Designs, Reimagined."

"Designs with Continuous Pattern" features the calico pattern and formalized flower pattern. Calico originally referred to imported cotton fabric with printed floral designs. The composition of connected rings of the formalized flower pattern is also seen in Imari ware from the same period.

This plate with the calico pattern, featured in the exhibition pamphlet, showcases fine details like yellow dots in the center of chrysanthemum flowers and blue cloisonne patterns. "This is a work from the early Nabeshima ware period, so I think it was a time of trial," says Kurosawa. "It is very detailed. You can't tell unless you look closely, but you can feel the craftsmanship."

Dish, decorated with calico design in underglaze blue and overglaze enamels. Nabeshima ware. Edo period. The second half of the 17th century. D: 15.9㎝. Toguri Museum of Art.

"Classic Designs" displays dishes with motifs commonly seen in Nabeshima ware, such as treasures and camellias. These designs are similar to those in the Ehon Keikocho(1718), a drawing manual illustrating landscapes and plants, showing that Nabeshima designs followed contemporary craft trends.

Dish, decorated with camellia and brushwood fence design in underglaze blue and overglaze enamels. Nabeshima ware. Edo period. Late 17th-early 18th century. D: 20.2㎝. Toguri Museum of Art.

"Designs, Reimagined" showcases examples of recurring patterns in Nabeshima ware across different eras. Some original sketches for these designs still exist, aiding in the preservation and continuation of these patterns. Observing the similar dishes, we appreciated the high level of refinement in Nabeshima designs, and its deep history and artistry that current Imari Nabeshima ware inherits.

Dish, decorated with camellia tree design in underglaze blue and overglaze enamels. Nabeshima ware. Edo period. Late 17th-early 18th century. D: 20.3㎝. Toguri Museum of Art.

Further inside, the exhibition features kinrande-style Imari ware, also divided into sections: "Designs with Continuous Patterns" "Classic Designs" "Same Design, Different Colors" and "Designs, Reimagined."

In kinrande, "Designs with Continuous Pattern" is common, utilizing grid and window designs, essential for the style's pattern composition. These composition reflect influences from late Ming to early Qing dynasty Chinese porcelain (16th–17th centuries).

Square dish, decorated with dragon and formalized flower design in underglaze blue, overglaze enamels and gold. Imari ware. Edo period. Late 17th-early 18th century. D: 19.9×19.5㎝. Toguri Museum of Art.

"Same Design, Different Colors" displays kinrande-style Imari ware with identical patterns but different colors. This variation is due to the kinrande technique of painting underglaze designs with cobalt blue and then overglazing with various colors. The contrast between identical designs with different colors highlights the versatility and vibrancy of kinrande-style Imari ware.

Upon exiting the exhibition room, visitors can see a timeline and displays of Nabeshima ware and kinrande-style Imari ware plates, highlighting the similarities between the two styles. Both pieces featured arabesque patterns and flared rims, emphasizing their design commonalities.

(Left) Dish, decorated with formalized flower design in underglaze blue. Nabeshima ware. Edo period. The second half of the 17th century. D: 19.9㎝. Toguri Museum of Art.
(Right) Dish, decorated with dragon and formalized flower design in underglaze blue, overglaze enamels and gold. Imari ware. Edo period. Late 17th-early 18th century. D: 22.8㎝. Toguri Museum of Art.

Downstairs, an exhibition on the production process of Nabeshima and Imari ware provided clear, informative displays. It was a highly recommended complement to the special exhibition.

This exhibition at the Toguri Museum of Art provided a remarkable opportunity to delve into the rich history and culture of Imari ware. The exhibits meticulously curated, tracing the heritage of Imari Nabeshima ware, are featured on our website, along with Arita ware, which inherits the designs of Imari ware.

What's more, the Toguri Museum of Art presents a unique initiative titled "Art & Eat." This collaborative project with the neighboring French restaurant, Chez Matsuo Shoto restaurant, offers a special course meal using ingredients from Saga prefecture.

Additionally, the museum shop showcases works by contemporary Arita ware artists.

"Imari ware is primarily tableware, so its connection to food is significant. This collaboration aims to highlight its modern use, beyond its value as an antique. We also showcase works by contemporary artists who are working hard to promote this use," said Kurosawa.

The Toguri Museum of Art, while preserving traditional culture, actively embraces new expressions. For those fascinated by Japanese tableware, this is a place you won't want to miss.