Kutani Hanazume

Kinsai

​​Yuri-kinsai (underglaze gold) is a decorative technique where gold leaf is carefully placed on the surface, followed by a coating of clear glaze. The glossy sheen of the glaze, paired with the shimmering gold, creates a striking, luxurious effect. Shaping and applying gold leaf, an exceptionally thin and delicate material, requires immense precision. The seamless application highlights the artisan’s remarkable expertise.

Ginsai

Yuri-ginsai (underglaze silver) is a technique where silver leaf is applied to the surface, followed by a layer of clear glaze. Unlike the bold presence of gold, gleaming silver exudes a more subtle beauty. Silver pairs harmoniously with other colored glazes, creating an elegant and refined appearance. Silver naturally darkens due to oxidation, but the clear glaze preserves its refined beauty for years.

Akae

Akae, or red painting, is an overglaze decoration that primarily uses red, complemented by colors such as green, purple and blue. In China, this style originated during the Song Dynasty (960 CE–1279 CE), while in Japan, it was introduced by Sakaida Kakiemon during the Shoho era (1644 CE–1648 CE) and later found its place in Kutani ware.

In Kutani porcelain, akae-saibyo is particularly famous. Akae-saibyo literally means "fine painting in red." Using an extremely fine brush, each line is drawn on the surface of the vessel with exquisite detail, creating breathtakingly intricate patterns.

Aochibu/Shirochibu

Aochibu (blue dots) features clusters of small, solid blue dots densely applied over the base color. Popularized during the Taisho period (1912 CE–1926 CE), this technique involves the meticulous task of dotting the surface of glazed porcelain. The clusters form marvelous spiral patterns, showcasing the extraordinary skill required to create uniform, tiny dots while preserving the overall design's beauty. Variations of aochibu include shirochibu (white dots) and kinchibu (gold dots).

Yoshidaya

The Yoshidaya style, one of the most celebrated traditional styles of Kutani ware, was pioneered by Yoshidaya Denemon in 1824. This style, inheriting the ko-Kutani tradition, distinguishes itself by using an exclusive palette of four colors—yellow, green, navy blue and purple—deliberately avoiding red. The designs are intricate, featuring a main motif set against a background pattern and expressed through layers of overglaze to create a sense of depth and complexity.

Ko-Kutani

Ko-Kutani is one of the oldest styles of Kutani ware, originating in the early Edo period (1603 CE–1868 CE). This style is known for its dynamic yet subtle charm, featuring bold designs in five colors—green, yellow, red, purple and dark blue—known as gosai. Ko-Kutani often depicts nature-inspired motifs like flowers, birds and landscapes. Despite its brief production period, ending in the early 1700s, ko-Kutani remains highly esteemed internationally as one of Japan's major overglaze enamel styles.

Sometsuke

Within Kutani ware, which typically features overglaze painting, sometsuke holds a special place. It features an indigo blue underglaze on white porcelain, showcasing simple beauty and elegance. Gosu, a cobalt oxide pigment, is used to decorate the unglazed surface with detailed patterns and motifs. Drawing clean lines on the coarse, absorbent porcelain requires precision. Thus, capturing the essence of nature and auspicious motifs with gosu demands exceptional artistry.

Seikou Kiln

Seikou Kiln strives to make high-quality Kutani ware accessible to a broader audience at a reasonable price by blending advanced silk screen printing methods and traditional handwriting techniques. They have won many awards such as at “Charming Japanese Souvenir Contest” by Japan Tourism Agency and at the “Gourmet & Dining Style Show.”

Bizan Kiln

Bizan Kiln, established in the late Meiji period (1868 CE–1912 CE), is a Kutani ware kiln known for their meticulous painted designs. They have maintained their popularity by blending traditional styles with a contemporary sensibility. Their works, painted in the Kutani gosai (five colors of Kutani) that embody a 360-year-old tradition, seamlessly blend heritage with modern life, making each piece both timeless and enjoyable to use.

Harekutani

Taishi Kiln, founded in 2011 in Nonoichi City, Ishikawa Prefecture, by Kutani ware artist Yamachika Yasushi, represents the culmination of his unique worldview. As the fourth generation in a family of Seizan Kiln potters, Yamachika opened his own kiln to explore new artistic expressions.

Rooted in techniques passed down through generations, Taishi Kiln focuses on "modern designs utilizing tradition" and "ease of use in daily life."

The history of Kutani ware dates back to 1655, in what is now part of Kaga, Ishikawa. In the late 16th century, this region became the domain of the Maeda family, who are still celebrated for their dedication to cultural pursuits.

Maeda Toshiharu (1618 CE–1660 CE), the first lord of the Daishoji domain, initiated porcelain production after discovering the stone used for making porcelain. He commissioned Goto Saijiro to learn the craft, leading to the establishment of a kiln in the village of Kutani, where production began. This marked the birth of what would later become known as Kutani ware.

Over time, the kilns established in this region became landmarks. However, for unknown reasons, the production of Kutani ware suddenly ceased in 1730, disappearing for nearly a century. Kutani ware created during the original period from 1655 to around 1730 is known as ko-Kutani (literally, "old Kutani"). Some theories suggest that production stopped due to difficulties in sourcing certain pigments or materials essential for the process.

Additionally, it is believed that financial difficulties may have contributed to the halt in Kutani ware production. Due to this cessation, Kutani pieces created using traditional techniques from this period are exceptionally rare. In 1804, or possibly 1807, the production of Kutani ware was revived, marking the beginning of a new wave of Kutani craftsmanship that continues to this day.

Quarrying

Kutani ware is crafted from porcelain stone mined in the Hanasaka area of Komatsu City, Ishikawa Prefecture. This Hanasaka ceramic stone was first discovered in the latter half of the Edo period and continues to play a vital role in Kutani ware production to this day.

Clay Preparation

Clay is created by first pulverizing the ceramic stone and then processing it through several stages. A distinctive characteristic of Hanasaka ceramic stone is its high iron content, which results in a gray or often deeper shade of white. It is also particularly sticky, making it easier to shape on a pottery wheel. Through the dedicated efforts of modern clay manufacturers, more refined clay, ideally suited for casting, is now being produced.

Molding

The photo illustrates the process of molding clay on a pottery wheel. This involves shaping lumps of clay as they rotate on the wheel. Various items can be crafted this way, including sake cups, tableware, pots, and many other tableware pieces.

Firing unglazed pottery

The picture shows the large kiln used to fire the shaped pieces of pottery. The molded vessels and ornaments are fired in a kiln. In the past, wood-fired climbing kilns were used, but today, gas and electric kilns are the standard.

The pieces are fired at around 800°C (about 1470°F) for six to seven hours. After firing, the bisque pieces emerge from the kiln with a warm reddish-brown hue.

Glazing

Glazing is the process of applying an enamel coat to a bisque-fired piece. The glaze is a liquid that transforms into a glassy coating when fired at high temperatures, forming a protective layer over the pottery.

Firing the glazed pottery

Today, gas and electric kilns have become the norm for the firing of glazed pieces as well. The image below shows a kiln at Miyayoshi Seitou, where the enamel has been applied with great precision.

Glazed pottery requires a higher firing temperature than unglazed pottery, so the kiln will be heated to 1300°C (about 2370°F) this time. The firing process will take approximately twelve hours.

Final painting and decoration

First, outlines and patterns are drawn on the fired white porcelain using gosu, a cobalt blue pigment. Traditionally, Kutani ware was decorated with black gosu in the gosai color style, which includes green, yellow, purple, dark blue, and red. After the gosu and red lines are applied, the piece is adorned with the remaining four gosai colors using a traditional Japanese brush. It's important not to paint over the red lines, as doing so would cause them to disappear after firing.

Firing painted pottery. Final steps to completion

The firing process enhances the light-colored paint, making the colors more vibrant. The four colors of paint will transform into a transparent glass-like coating, while the gosu lines beneath will remain as subtle patterns on the pottery. This transparent enamel effect is one of the defining characteristics of Kutani ware.