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Explanation of Old Imari, Kutani, Kyoto Ceramics |
| Old Imari porcelain |
Old Imari porcelain means a porcelain made with a Hizen (the whole area of current Saga Prefecture) in the Edo period, and it is divided into Early Imari, Old Kutani style, Kakiemon style, Nabeshima style and Old Imari style roughly. Early Imari began in Arita while imitating Jingdezen Ware of the final Ming Dynasty by a ceramist of the Yi Dynasty which Hideyoshi Toyotomi of a general took from Korea. Before long, Old Imari porcelain of Old Kutani style drawn the powerful touch that fully used five colors of green, purple, yellow, red and indigo appears. It is tied to samurai culture of those days, and it is useful as a tea service set. In Japan of national seclusion, the Dutch merchant was admitted an export of Imari porcelain in 1657 by the Edo Shogunate. They exported Old Imari porcelain of Kakiemon style drawn a delicate pattern on a bright color to a thin body to Europe. Thereafter Old Imari porcelain exported to Europe until the latter half for the 18th century gave Oriental hobby to European feudal lords by the beauty that they did not see so far. Moreover, Old Imari porcelain of Nabeshima style that Nabeshima feudal lord order it at the kiln of clan as a present for a general and specified feudal lord under the severe management system existed in Nabeshima clan to the late Tokugawa period from the latter half17th century. Export of Old Imari porcelain began to decline from the Edo mid-term, and the demand changed to the country, and it was made with a pattern of Japanese liking. Old Imari porcelain called gold-painted porcelain was made with special order of many masters of the tea ceremony and lovers. On the other hand, Old Imari porcelain of a rice bowl and Soba soup cup was made and spread with maturity of mass culture of the Edo period to the domestic whole land. |
| Kutani porcelain |
Toshitsune Maeda of Kaga clan The 3rd feudal lord let the Daishoji clan where Toshiharu Maeda of a son acted as a feudal lord make porcelain at Kutani village in Enuma country of Kaga clan for the first time at the mid-term for the 17th century. We call it Kutani porcelain by the name of a village. It is said that the Kutani porcelain continued until the early days for the 18th century. A kiln of Kutani porcelain is opened again in the early days for the 19th century, and we call these Revived Kutani. The Kaga clan invited the Mokubei Aoki which was an excellent ceramist of a Kyoto ware, and opened Kasugayama kiln (circa 1807-20). And Kasugayama kiln recovered a manufacturing of Kutani porcelain to use in a clan. Moreover the clan invited a ceramist from Kasugayama kiln, Hirado and Kyoto, and opened Wakasugi kiln (circa 1805-75). And Wakasugi kiln succeeded in a mass production of a Kutani porcelain. Yoshidaya kiln (circa 1824-31) was opened by a rich merchant of Daishoji. Yoshidaya kiln manufactured Kutani porcelain which followed technique of Aode Kutani. Uemon Miyamotoya which was a manager of Yoshidaya kiln bribed Yoshidaya kiln, and opened Miyamotoya kiln (circa 1832-59). Miyamotoya kiln was famous for Chinese pattern in a red miniature. Ono kiln (circa 1819-72) was opened by Rokuemon Yabu which studied Wakasugi kiln. Ono kiln let a famous seramist of Genemon Aoya and Kutani Shoza act, and developed achievements of Kutani porcelain. The Daishoji clan opened Matsuyama kiln (circa 1848-72) in order to make a present. The Matsuyama kiln followed technique of Yoshidaya kiln. Moreover, Daishoji clan bribed Miyamotoya kiln, and opened a Kutani big kiln (circa 1865-1870). And the clan invited Wazen Eiraku of an excellent ceramist of Kyoto ware, and let make Korea, Iga, copying of Karatsu, gold-painted porcelain and Nunome of the original technique. The conservation and support of a clan cut off the Meiji Restoration, and the kilns of the Kutani porcelain which developed from the Edo period decayed temporally. But Kutani porcelain was exhibited at a foreign international exposition and was exported with a policy of Meiji government, and it was known the name of "Japan Kutani" in the world. On the other hand, there were Kutani porcelain of Old Kutani type was made by The 1st Yasokichi Tokuda and many red Kutani porcelain used the common people. When the trend of new art culture came from Europe at the last of the Taisho period, the ceramist who made porcelain as a work of art appeared. The Showa period began, a creation and an individual artist appeared in sequence, and tradition of Kutani porcelain was reformed, and new Kutani porcelain was developed. Moreover, Kutani porcelain of a complicated color that motifs of Samurai and an old story was made much from the Taisho period to the Showa period first term. |
| Kyoto ceramics |
Kyoto ceramics is the general term of "a picture pottery except raku ware made from Momoyama period to the first term of the Edo period", "Old Kiyomizu of a picture pottery made from the mid-term of the Edo period to the late Tokugawa period after the times when Ninsei Nonomura and Kenzan Ogata burnt a pottery" and "the picture porcelain which began at the mid-term of the Edo period that people called Kiyomizu ceramics". The 17th century ago, a master of the tea ceremony of Kyoto ordered a tea service set of liking at a kiln of far. But they invited a ceramist of Seto because they did not easily understand their intention, and the ceramist made a pottery with Awataguchi. Kyoto ceramics absorbed technique of other potteries in order to meet a demand of a master of the tea ceremony. The high standard and the creative style of Kyoto ceramics were resulted in an order of a master of the tea ceremony. Old Kiyomizu is a picture pottery burnt at Kiyomizu and Awata of Higashiyama. A characteristic of Old Kiyomizu is a pattern of green and blue which swelled like a gold lacquer, moreover Old Kiyomizu has delicacy and dignity. A lacquered boxes, an inkstone case and a insect cage made with lacquer so far were made by Old Kiyomizu other than a tea service set. Old Kiyomizu built up the elegant world by an aesthetic sense of a Kyoto ware. Moreover, a lot of famous ceramists of a Kyoto ceramics appeared between 300 years of the Edo period. The representatives are "Koetsu Hon-ami of the genius who made a masterpiece of a tea bowl", "Eisen Okuda that burnt a reproduction of gosu porcelain with red drawings of the Ming Dynasty since he succeeded in a burning of porcelain for the first time in Kyoto", "Mokubei Aoki that learned technique of Chinese glaze and represented China hobby in a pottery" "Dohachi Ninnami that is good to represent Ninsei, Kenzan and raku ware" "Houzen Eiraku of the father and Wazen Eiraku of a son who built up a Eiraku style of a refined tea set ". When Meiji period began, the ceramists who produced the Kyoto ware which minded overseas and the ceramist who studies new glaze and color by scientific technique appeared. The representative is "The 3rd Rokubei Kiyomizu that he made blue-and-white and red glazing of a daring style", "The 3rd Yohei Seifu which made a noble work of white porcelain, and became a pioneer of an art pottery", "The 7th Sobei Kinkozan and The 1st Tozan Ito which made a picture pottery of a gorgeousness and a delicateness" and "The 1st Chikusen Miura which applied skill of the Ming and Qing dynasty in coloring technique, and developed a pattern of transparent glaze". Moreover, Awataguchi pottery was evaluated in the name of "Kyo-Satsuma" by a foreign country in the Meiji period and had the golden age of export, but declined by dullness of trade in the early days of the Showa period. Kyoto ceramics of a new glaze and color by scientific technique was created in the Taisho and the Showa period. The representative is "Rokuwa Kiyomizu which had establishment of ceramic art as fine arts", "Kenkichi Tomimoto which made a gorgeous pottery with gold and silver", "Kanjiro Kawai which developed a style to be strong and sturdy as a promoter of an folk art movement" and "The 6th Rokubei Kiyomizu which was completed Rinpa design of today with a reddish-brown pattern".
We introduce Ninsei Nonomura and Kenzan Ogata that appeared on a opening sentence for a special position of a Kyoto ceramics here.
Ninsei Nonomura is a ceramist of the Edo period early days representing Kyoto ceramics which took "Ninsei" from "Nin" of Ninna-ji Temple and "sei" of Seiemon Nonomura of the real name. Ninsei built a kiln at a before gate of Ninna-ji Temple in middle part for The 17th century and has begun to make a Omuro ware. Ninsei produced the tea set which was simple and elegant of Sowa Kanamori liking to lead a circle of tea. Because Sowa used a new Omuro ware of Ninsei personally in a tea ceremony, Ninsei got fame. Ninsei did not represent Chinese, Korea article and a pottery of domestic various countries simply, and finished it an original style by a prominent sense. Ninsei was completed decoration pottery later, and gave big influence to other kiln of Kyoto ceramics.
Kenzan Ogata took "Sinsei" after death of father who conducted with a large dry-goods store, and was absorbed in learning. Sinsei met Ninsei of last years in those days, and he was initiated into "tea caddy technique." Sinsei took Kenzan before long and has begun to make a pottery. Kenzan felt that a tea caddy of Kyoto ceramics is no longer the fashion. And Kenzan produced a tool of a meal served before ceremonial tea mainly while including various ideas. Kenzan made the square flat dish which drew a reddish-brown pattern by Korin Ogata of a big brother and Kenzan wrote the handwriting. The tool of a meal served before ceremonial tea of Kenzan was liked a merchant of Kyoto. The style became the original form of "Rinpa pattern" called a model of the Japanese beauty afterwards. |
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