The Kutani Ceramic Website

Glossary

2023-11-27T16:58:28Z

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Akae kutani- 赤絵九谷
At the end of the Edo period (1603-1867), Kutani ware with a distinctive "red" color (called Akakutani, as opposed to Iroe or Aote) was produced, and it quickly spread throughout Kaga. The beauty of the style was highly valued, and by the middle of the Meiji period (1868-1912), some Akakutani ware was classified as a style called "Kutani akae" (red painting).

Akasaibyokinsai - 赤細描金彩
This refers to a particular painting style where gold dust, suspended in pine oil resin, is applied on red detailed design.

Bafuku
Name given to the governement of the Tokugawa regime.

Bajohai - 馬上盃
Sake cup (with stem)

Bashi - 鉢
Bowl

Bengala - Red pigment - 弁柄
Bengala is natural iron oxide. It has its origin in the Bengal region in India-Bangladesh where the process was first established. It is a very ancient technique. Bengala used in kutani akae is coming from Okayama prefecture where bengala is produced since many generations.

Bijin 美人
Bijin, represents a beautiful women. It goes back to the early 19 century when ukyoe artists were publishing prints of beautiful Geisha - Utamaro is one of the most famous artist.

Chawan - 茶碗
Tea cup

Chu zara - 中皿
Medium dish

Daimyo
Title given to a Lord who govern a fief.

Daruma - 達磨
Daruma is the Japanese name of Dharma. He is considered as the father of the Zen buddhism. Daruma dolls are generally hollow figurines with red color. These dolls are considered as toys and bring good luck. It is a popular gift in Japan.

E zara - 絵皿
Painted dish

Fudai
Name given to the Daimyos who were hereditary vassals of Ieyasu or his successors and who were supporting Tokugawa government.

Fude - 筆
Name of a Japanese brush used for painting generally Kanji character or for underglaze painting..

Gosai - Five colors - 五彩
Red, blue, yellow, purple and green are the 5 Kutani colors. Generaly clear overglaze is put on top. This is called also in Japan Nishikide

Gosu - 呉須
Originally Gosu is coming from China, it is a natural product which content a lot of cobalt, manganese and iron. The natural color is almost black. This product is used as a paint materail for some tsuke.
Recently an artificial Gosu has been used.

Gosuakae - 呉須赤絵
It is a similar product than Gosu except that it is a red glaze. This product was first used in China in Canton district at the end of Ming begining of Shin dinasties.

Gosuaoe -呉須青絵
It is the same as Gosuakae but only using a green glaze instead of red.

Gosude - 呉須手
Originally it is a some tsuke Chinese style used in the south of China, west of Yang tse kyang and in Canton province at the end of Ming, begining of Shin dinasties.
The color of the cobalt is almost black and the color is not a very nice blue. This type of design which imitates the Chinese style　when made in Japan is called Gosude.

Guinomi - ぐい呑み
Sake cup (high)

Gun - 郡
A Gun can be assimilated in Europe to a district.

Hachirode style
Style developped by Idaya Hachiroemon from Ono gama which consists on red detailled painting.

Haisen - 盃洗
Washing bowl

HanBashi - 半鉢
Half Bowl

Hanjiki
Half porcelain, it is made of kaolin clay which once glazed at high temperature become hard, the color is a not pure white but as a yellow, grey or even green tendency depending from the clay used. The surface is not so glassy and smooth as in a porcelain.

Hoshibokufu - 方氏墨譜
Red painting style created by Hachirode in Ono kiln and which was very popular at that time.

Jiki - 磁器
Porcelain, it is made of hard kaolin clay which once glazed at high temperature become very hard, white and very glassy and smooth. In general no Kutani ceramic can be classified as a Jiki but rather Hanjiki.

Jubako - 重箱
Picnic box

Kabin - 花瓶
Flower vase

Karajishi Lion - 唐獅子
Japanese Lions are called Karajishi. They found their origin in China during Tang Dynasty. At that time people had not generally seen lions and they could only imagine a terrible animal. Karajishi is believed to be born from a dragon.
Karajishi is placed at the entrance of a home to protect against devils and bring good luck. A lion with its paw resting on a ball is a male, whereas the female protects a cub with its foreleg.

Ken - 県
It is the equivalent of a Prefecture.

Kinrande - 金欄手
Gold decoration on red back ground

Kinsai akae - 金彩赤絵　
Red brocade

Koma Inu - 狛犬　
Japanese Koma Inu (狛犬) often called lion-dogs in English, are statue pairs of lion-like creatures either guarding the entrance of many Japanese Shinto shrines. They can be found also at Buddhist temples, nobility residences or even private homes.

Koshi - 交趾
Chinese pottery

Ko zara - 小皿
Small dish

Koro - 香炉
Incens Burner

Machi / Cho- 町
City

Mura - 村
Village

Mizusosogi - 水注ギ
Water ewer

Nanga= Nanshuga=Bunjinga　南画　南宗画　文人画
Nanga is one of the 2 big groups of Chinese Sansuiga painting style (small mountain and water). The Bunjinga style was developped during Ming dinasty from Ohi.
In Japan Nanga style was introduced from the middle of Edo period.

Ningenkokuho - Living National Cultural Treasure -人間国宝
Highest recognition attributed to an artist known as LNT (Living National Treasure).

Nishiki kiln　- 錦窯
Kiln for overglaze painting, generally electric

Oh zara - 大皿
Big dish

Okimono - 置物
Okimono is a Japanese term meaning "ornament for display; objet d'art; decorative object" often used to describe ceramic figurines.

Saimitsuga - 細密画
A painting style which consits of very detailled motifs, generally red.

Sakazuki - 盃 or 杯
Sake cup (flat)

Shonzui - 祥瑞
It is one of famous chinese sometsuke style. It first was produced at end of Ming dinasty, 1628 - 1644. This style is used for sakazuki, bowl, and Tokkuri. The color is violet blue.

Shoten - 商店
Shop which had a kiln (generally nishiki kiln) and was selling is own production

Shuhai - 酒杯
Sake cup

Sometsuke - 染付
In general sometsuke means underglaze blue painting.

Tessenbyo - 鉄線描
This is a painting style. Tessen means steel wire, therefore it refers to the way the lines used for underglaze paint are drawn. The lines, made with a paint brush, must be stable, very thin with a very regular shape and have the same color.
This technic is used for the drawing of persons and for boudhism painting.

Toki - 陶器
Faience or half porcelain, it is made also of kaolin clay which once glazed at lower temperature become hard. The color is not so white compared to porcelain but is also glassy and smooth.

Tokkuri - 徳利
Sake bottle

Tokkuri　ittsui - 徳利一対
Pair of Sake bottle

Tozama
Name given to the Daimyos who were Lords of domains inherited from their ancestors and not granted by Tokugawa family. The Tozama were not under direct control of the Shogun. But they had to accept the dominance of the Tokugawa family.

Uwaetsuke - 上絵付
This is simply overglaze painting made with Uwaenogu (paint for overglaze) on white pottery and firing at high temperature.

Yunomi - 湯呑み
Tea cup

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Old or obsolete Kanji

2023-11-23T16:46:43Z

The Japanese language is basically based on kanji, originally Chinese characters. The Nelson Japanese dictionary has listed in its last version, more than 7,000 different entries.
In 1923, as a matter of simplification the Ministry of Education specified 1,962 kanji and 154 simplified characters. This 1st guide is called the Joyo Kanji (常用漢字). A similar process of kanji simplification occurred in China as well as in Korea however on different basis.

The Joyo kanji guide has been revised and updated regularly, the last edition in 2010 has a list of 2,136 characters. The 2,136 kanji in the jōyō kanji consist of:

– 1,026 kanji taught in primary school
– 1,110 additional kanji taught in secondary school

It means that the Japanese language has had an important evolution and that today most of the young generations have difficulties to read document issued during Meiji period or early 20th century.
It is worst with calligraphy due to the wide use of word processors!

The table below gives a simple list of the old forms of kanji which we may find on Kutani ceramic signatures.

Current	Older forms				Romaji	English
一	弌	壱	壹		ichi	1
二	弐	弍	貮	貳	ni	2
三	参	參			san	3
四	肆				shi	4
五	伍				go	5
六	陸				roku	6
七	漆				nana	7
八	捌				hachi	8
九	玖				ku	9
十	拾				ju	10
二十	廿				niju	20
三十	卅	丗			sanju	30
四十	卌	肆十	四〇		yonju	40
千	仟	阡			sen	1000

世	卋				sei
野	埜	𡌛	堅		no
寉	鶴				Kaku
栄	榮				ei
国	國				kuni	Country
県	縣				Ken	Prefecture
社	舎				Sha	Company
双	雙				so
会	會				kai
賀	架				ga
欧	甌				no
恵	惠				kei/e
才	歳				sai	Year/age
横浜	横濱					Yokohama
円	園				maru
烟	煙					smoke
寿	壽				ju	long life
真	眞				Shin
来	耒				rai
専	專				Sen
号	號				go	Pen name
金沢	金澤					Kanazawa

Japanese calligraphy

2023-11-23T16:20:49Z

JAPANESE CALLIGRAPHY - 毛筆細字

It is around 1882 that the painters Nomura Zenkichi (野村善吉), (宮荘一藤) and Takahashi Hokuzan (高橋北山) started doing calligraphy in ceramics and wrote very small kanji around and also inside small kutani ceramic objects such as guinomi, sakazuki.
The fashion slowly developed and from 1887 has appeared in Kanazawa a lot of small kutani porcelains, rice bowls, dishes, koro, tea cups produced by famous painters such as Shimizu Bizan (清水清閑), Sasada Yuzan (笹田友山), Takeuchi (竹内誠山), Hachida (八田逸山). In fact they were requesting local calligraphists to write kanji inside and or outside to decorate their production
At the begining calligraphists were using Kanshi (漢詩), which is a Japanese term for Chinese poetry and also using Chinese characters.
Later during Taisho period the fashion moved to Japanese poetry and for example Yakuninisshu (100 poems, 100 poets) or Sanjurokka sen (36 immortals) has been widely used.
In 1895 Oda Seizan (小田清山) and in Terai, Ohara Eizan (大原江山) started calligraphy under the guidance of Nomura Zenkichi. Oda Seizan has improved this technique established few years and became specialized in this field. In 1912 Oda Seizan was mastering the calligraphy and will eventually become the most famous calligraphist and 1953 a Living National Treasure. Only few painters have since succeeded to reach a similar level.


昭山 Shozan - 錦山窯 Kinzan kiln - Hyakunin isshu - Comtemporary

住田岳陽 Sumida Gakuyo 2nd - Sanjurokka sen - 2000

In the data base, Kutani ceramics with calligraphy are classified according to 3 criteria which can be combined:

name of calligraphist who generally did only inside calligraphy
name of the painter or potter who did the pot and the painting
name of the kiln which has produced the ceramic

When the calligraphist is not identified, it is marked unknown.

Regarding the motifs used by the artists, there are either Chinese poems or Japanese traditionnal litterature and mainly Japanese poems called Waka (和歌). Waka is a japanese short poem written with 31 syllabes in five lines of 5, 7, 5, 7, 7 syllabes.

I would say that probably 50% of all Japanese calligraphy refer to 2 most famous poems

小倉百人一首 - Ogura Hyakunin isshu - 100 persons one poem

This is a compilation of the 100 most famous poems written by 100 different poets in a Waka style. This compilation is very famous and every Japanese know about and for the most advanced student know the whole content.

This particular compilation running from the seven to the thirtenth century is said to have been made by a poet called Fujiwara no Sadaie or Teika (1162- 1241) from Ogura district in Kyoto.

This is so famous that there is a game card generally played at new year's with the 100 poems and players should tell the end of the poem at the view of the first sentences.
For a full text of the poem - Courtesy of Virginia University
Example of titles of the Hyakunin Isshu poem:

三十六歌仙 - Sanju rokkasen - The 36 immortal poets

It is a list of the most famous poets compiled in the Xth century by Fujiwara no Kinto as representative of the period. All these poets were specialist of Waka.These poets are also called the immortals.
Example of titles of the Sanjurokka sen motif:

明治天皇御製 - Meiji Tenno Gyosei is also a famous poem of the Japanese litterature.

It is a set of 90 000 poems (waka - 和歌) written by the Japanese Emperor Mutsuhito (睦仁) (1852-1912).
Example of title for Meiji Tenno Gyosei motif.

If you wish to have a complete view of the motifs found on Kutani ceramics, please check in the data base calligraphy by motifs. Today there are 27 differents calligraphy motifs recorded. Additional motifs may be added when discovered.

Note: All photos are coming from Kutani pieces recorded in the database

Kutani figurines

2021-09-22T10:27:41Z

Japanese figurines

Fudo Myo-O		Fudo Myo-O is a Japanese deity (also know as Acala), the God of Fire, a manifestation of the central sun (Vairocana), a fierce God of Indian origin although neither a Buddha or Bodhisattva. A male, he is usually portrayed as livid blue in color with a terrible facial expression sitting on a rock surrounded by flames, gripping a sword in the right hand, a rope in the left, teeth bared and with angry eyes. The deity symbolizes the mind that does not move, or the body that is not unsettled even when surrounded by danger. The deity was popular with the Japanese warriors (bushi or samurai) who saw themselves as guardians of order in a nation besieged with disorder.
Duck		A pair of Mandarin ducks is often given as mariage present. They will bring fidelity and happy long life.
Junishi 十二支		The twelve zodiacal signs. Ne = Rat, Ushi = Ox, Tora = Tiger, U = Hare ,Tatsu = Dragon, Mi = Snake, Uma = Horse, Hitsuji = Sheep, Saru = Monkey, Tori = Cock, Inu = Dog, I = Boar.
Kannon		Kannon, the Goddess of Mercy is also quite often found in the figurine. The Bodhisattva Kannon is one of the most popular Buddhist goddess in Japan and China. In Buddhism a Bodhisattva is someone who has achieved six of ten perfections through previous lives, and is approaching actual Buddahood. Bodhisattvas chose to remain in the world in order to help and protect humanity. Kannon has appeared long throughout the history of Japanese Art.
Daruma 達磨		Daruma is the Japanese name of Dharma. He is considered as the father of the Zen buddhism. Daruma dolls are generally hollow figurines with red color. These dolls are considered as toys and bring good luck. It is a popular gift in Japan.
Karajishi Lion 唐獅子		Japanese Lions are called Karajishi. They found their origin in China during Tang Dynasty. At that time people had not generally seen lions and they could only imagine a terrible animal. Karajishi is believed to be born from a dragon. Karajishi is placed at the entrance of a home to protect against devils and bring good luck. A lion with its paw resting on a ball is a male, whereas the female protects a cub with its foreleg.
Koma Inu		Japanese Koma Inu (狛犬) often called lion-dogs in English, are statue pairs of lion-like creatures either guarding the entrance of many Japanese Shinto shrines. They can be found also at Buddhist temples, nobility residences or even private homes.
Neko		Porcelain Maneki Neko is very popular in Japan. If Neko has the right paw up, he brings luck, in the case of the left paw he brings money to the house.
The old Couple from Takasago		This is one of the oldest legend of Japan and was played in a Noh play The man's name is Jo and wife is Uba and as a couple they are called Jotomba.. They symbolize long life and happiness with Jo raking in the good and Uba sweeping out the bad.. This pair is quite beloved in Japan and often given as wedding gifts, celebrations and new year.
Otafuku or Okame		This is a representation of Otafuku or Okame, the goddess of the theater.
Okina 翁 The old man		Okina In the legend of Shinto, god appears often as an old man. It is often represented this way especially in Noh theater. Okina is the title of a Noh play
Bijin 美人		Bijin, represents a beautiful women. It goes back to the early 19 century when ukyoe artists were publishing prints of beautiful Geisha - Utamaro is one of the most famous artist.
Shojo 猩々 or 猩猩		Shojo, in Japanese mythology, refers to a sea spirit with red face and hair and a fondness for alcohol.
Zen Monks		Kanzan and Jittoku, (Chinese : Hanshan and Shide) are popular figures in Zen painting. Kanzan, is believed to be an eccentric Zen poet from the Tang Dynasty (618–907) who lived on the Tiantang Mountain in Zhejiang Province. Jittoku, was a kitchen worker at the nearby Guoqing Temple. He is said to have been abandoned by his family, and then found and raised by Fenggan, another Zen eccentric. As legend goes, the two formed a close friendship, with Jittoku stealing scraps from the kitchen to bring to Kanzan, and the pair spending time in nature, away from societal structure and institutions. Kanzan and Jittoku are almost always depicted wearing scrappy and ratty clothing, appearing disheveled, wandering in nature, laughing, or with mischievous looks on their faces. Kanzan is identified by the scroll he holds in his hand, alluding to his work as a poet. Jittoku is identified by the broom he holds, which references his work as a kitchen cleaner at the monastery.

Photos are courtesy of the owners of the figurines. Their names can be found in the database under the different categories.

Cobalt Blue Ceramic of Japan - CBC - Late 20th century Asian

2021-08-11T07:21:11Z

A Guide for Collectors and Sellers

by Carrie Lambert

What CBC Is

In Japan, just prior to the turn of the 20th century, there were three types of clay in use: low-temperature earthenware, high-temperature stoneware (a topic for another article), and high-temperature porcelain. Each type of clay was found within a specific geographic, and geological, location of Japan often separated by hundreds of miles, mountains, and even ocean. Each type of clay evolved in a distinct style [1].

Figure 1. Late 20th Century Mass Produced Kutani

High-temperature porcelain evolved in several locations one of which was in the vicinity of the village of Kutani. Hence the name and from whose roots spring the Cobalt Blue Ceramics, henceforth known as CBC.

Figure 2. Late 20th Century Mass-Produced Satsuma

Low-temperature earthenware evolved as Satsuma which got its name from the Satsuma Domain on Kyushu Island.

At the end of the 19th century and beginning of the 20th century, Japan saw war and industrial and technological revolutions that shrank miles and mixed clay and styles. By the 1980s we were seeing a lower temperature blue-gray white clay I'll call (for the lack of a better word) semi-porcelain. A higher temperature and therefore more durable, cream white semi-earthenware (again for lack of a better word) was also developed.

Figure 3. Kutani Style Ginger Jar With Satsuma Back Stamp

We were finding Cobalt Blue Ceramics in the Kutani style clearly marked Satsuma:

Figure 4. Satsuma Style Vase With Generic Kutani Mark

and Satsuma style pieces bearing generic Kutani back stamps. This mark, 九, reads “Ku” or the number 9. This mark, 谷, reads “tani” or valley. Together, 九谷, they read “Kutani” or The Nine Valleys.

Figure 5. Late 20th Century Bijutsu Toki

It seems that Bijutsu Toki couldn't decide which type of ceramics to manufacture, so it produced both.

Figure 6. Two Tea Sets By Fuji Quality China

Another company, Fuji Quality China, also produced both styles:

Figure 7. Céramique Noire Vases

Fuji Quality China not only produced both styles but also manufactured a "hybrid" as seen in these pieces of "Céramique Noire," Black Ceramics, from this same time period. Note the difference in the back stamps.

On his Kutani website, Georges Bouvier explains, “This style is quite different from the old underglaze blue (sometsuke) developed originally in China and then in Imari and Kutani ceramics from early 19 century. It has a really more deep blue color. This so called cobalt blue color is coming from the addition of cobalt carbonate or cobalt oxide to the glaze. It has been produced by almost all ceramic manufacturers in Japan. There is no way to differentiate them except by the commercial mark used.”

"The peak/fashion period seems to be in the early 1980's." according to Bouvier. He goes on to say, “We can find almost any kind of pieces with nice colorful decoration, often with gold.”

During the latter part of the 20th century, the metallic accents on CBC were exclusively in gold and silver as the price of platinum was prohibitive. In 1971, the Nixon administration eliminated the gold standard in favor of a dollar flat rate no longer backed by gold. In 1971, gold was at $41.25 per ounce. By 1975 gold was at $164.49 [2] and hitting an all-time high, at least for the present, of $1,917.90 on August 23, 2011 [3]. Platinum was at $121 per ounce in 1971 [4]. Although the price of platinum has continued to climb, it has been at nowhere the escalation rate of gold. On January 2, 2018, gold closed $1,312.05 and platinum closed at $936.00 [5]. Any pieces with platinum embellishments are modern examples as gold and platinum have recently become comparably priced in ceramic manufacture. Because silver tarnishes, older silver areas will appear gray.

Figure 8. Examples of the Themes

These CBC pieces come in at least seven distinct themes with numerous patterns in each of the themes; “Carriage”, “Pheasant”, “Peafowl”, “Flower Cart”, “Cranes”, “Flowers”, and “Poultry”.

What CBC Is Not

Figure 9. Meet the Color Cousins of Cobalt Blue Ceramics

Although the title specifies Cobalt Blue Ceramics, these wares are not only in cobalt blue. They were also produced in dark brown, black and the occasional red, dark green, or turquoise. To confuse things further, cream or beige-white colored wares were also being produced with a "crazed" clear glaze in Satsuma style.

Some sellers/owners uninformed or otherwise may represent these pieces as "Antique." They are not. The Tariff Act of 1930 defined an antique as "works of art (except rugs and carpets made after the year 1700), collections in illustration of the progress of the arts, works in bronze, marble, terra cotta, parian, (a type of bisque porcelain or fine-textured white marble) pottery or porcelain, artistic antiquities and objects of ornamental character or educational value which shall have been produced prior to the year 1830." In other words, at least 100 years old. These pieces are, at best, thirty-five to sixty-five years old. The first fireable screen printed decal was produced in 1936 [6]. It proved so easy to use that it gained popularity almost overnight. But not in the manufacture of ceramics. It was the glassware industry that first used this type of decoration. According to Jon Simmons, it was in the early 1960s that this type of decoration was first used in ceramic wares [7]. So, not antique; not yet.

Recently, I've come across two separate, unrelated instances of eBay listings with claims of purchase in the early 1950s, one in Washington (state) and the other in Michigan. Both instances were of US Servicemen, Air Force and Navy, stationed in Japan during the Korean War, 1951-1953, and purchasing wares at the base commissary. Unfortunately, there are no documents to support these claims so it must be considered family oral tradition until it can be proven. However, it must now be considered a possibility that these pieces were being manufactured as early as 1951.

Some people think that the artwork is "Hand Painted." It is not. It is a printed, water-slide, ceramic, fired-on decal. Here is the web address for a video which shows how the decals are printed and applied:

http://www.youtube.com/watch?v=dNIBvEFmQQg

Some decals were printed by the thousands and sold to the ceramic manufacturers all over the Middle and the Far East and Asia. These editions were limited only by the screens' usable life. In a phone conversation between myself and Jon Simmons, instructor/lecturer at Blessing Simmons Co., Inc., who sold decals during the 1970s, other decals were special orders placed by the ceramic manufacturers and not available to the general public. In that situation, the print edition was limited by the number of decals, or the number of sheets of decals, that were ordered [8]. So rather than “Hand Painted”, the correct phrase is "Hand Decorated."

Figure 10. An Example of a Sheet of Decals (A Carriage Pattern)

The decals from this period were printed before the advent of computers. The printing was mechanized no doubt about it, but there were people making the screens, loading and unloading presses and kilns and applying the decals. These decals are mini general edition serigraph prints. As we see in the video, for every color seen in the final product, a separate screen has to be made. So, the more colors in a design, the more screens are required, the more labor-intensive, and the higher the cost to produce. Here are examples of the raw ceramic decals. They are printed in sheet form. The yellow film burns off in the kiln firing. The light green turns to white and the black lines turn to metallic gold. This type of metallic outlining is called "cloisonné style"; that is, “in the style of cloisonné”. This is not true cloisonné.

Most of these wares were bought as glaze-fired, but undecorated blanks, just like the mugs in the YouTube video. Usually, the decals were hand applied by female pieceworkers; housewives, mothers with small children who could work from home and apply decals, band-aids, discipline, and treats as required. Applying the decals sounds, and looks, easy on the video. And it is, as long as you are working with straight or flat surfaces. Try gluing a flat piece of paper to the side of a softball! A point not mentioned in the video is that the glazed blanks have to be scrupulously clean and free of grease. When working with gold embellished decals, any gold applied to an area on the ceramics that has an oily fingerprint will come out black from the final firing. This means the area where the decal will be placed has to be swabbed with isopropyl alcohol before applying the decal. It isn't very pleasant to breathe in the fumes! It also means that you have to wear rubber gloves. Try separating the decal from the release paper wearing rubber gloves.

While a ceramic student working on an independent study project for an advanced ceramic studio course, I had the experience of working with gold decals so I have first-hand experience with the problems involved. Later on, as a production potter, I used liquid gold and liquid platinum to decorate one of my Christmas tree ornament lines. Therefore I am familiar with the idiosyncrasies of these materials.

Mass-produced ceramics together with other cottage crafts and emerging industries helped Japan recover from WWII. Income from this type of piecework helped to raise the standard of living for the decorators' families. Although exploited as cheap labor, which has happened worldwide and continues to happen in Third World countries, it was a positive influence on how the role of women in Japanese society was perceived. They are the unsung crafts-persons of the Middle and the Far East. I have great respect for the people who did, and still do to some extent, this tedious, boring piece work.

If the back/bottom is unmarked, do not assume that the Country of Origin is Japan just because you have seen other pieces with the exact design with Made in Japan as a paste-on-label or a fired-on stamp. CBC was not only produced in Japan. I own pieces of CBC with labels/stamps Made in China, France, Germany, Greece, Italy, Mexico, Taiwan, and Turkey, as well as Japan. Likewise, do not assume that it is “Kutani” just because you've seen the same design elsewhere marked “Kutani.” It is not good to assume anything when it comes to modern ceramics! If you can not support claims of origin or manufacturer, it is best to describe the piece as "Asian style" or “Japanese style”, and "Kutani style" instead of Kutani.

To offer proof for this admonition, I will be presenting eight cases comparing similar pieces of Japanese CBC to each example of pieces from the countries of China, France, Germany, Greece, Italy, Mexico, Taiwan, and Turkey.

China:

Figure 11. Comparing a Japanese Dish and a Chinese Vase

Presenting a Japanese Kutani fan dish and Chinese bud vase. Please note the bamboo on the Chinese piece. It has been my experience to only find bamboo on the patterns in the “Pheasant Theme” that are unmarked or carry labels Made In China or Made In Taiwan. I have yet to see one with bamboo and a Japanese mark or label.

France:

Figure 12. Comparing a Japanese Trinket Jar and a French Plate

Here is the comparison of a Japanese Kutani covered trinket jar and a French plate.

At first glance, this French plate looks like Japanese Kutani, even though it doesn't say so anywhere on the piece. The back stamp looks like Asian characters. It still could be Japanese; until you find a Chinese reader who tells you that this is Chinese and not Japanese. So Japanese Kutani is ruled out as a manufacturer. Also eliminated is the possibility of Japan being the country of origin. Then you get the reading and you are told that the plate was made in France. The back stamp on this French plate reads Bayeux [France] 巴約 , Glass Factory 玻璃廠 , Pure 純 , Enamel Painting 彩繪 [9].

Because this back stamp is written in Hanzi, Chinese characters, it is possible that this plate was meant to go to a Chinese market. Notice the thick application of gold on the French plate. Bayeux was noted for its liberal use of liquid gold on its products.

Germany:

Figure 13. Comparing a Japanese Vase and a German Vase

Meito, 明陶 is the manufacturer of this Japanese vase [10]. Note the color, hue, of the large leaves. The corresponding German vase, although a different pattern from the Japanese vase, still falls under the category of the “flowers only” theme. The bottom mark was stamped on the German piece resulting in a blurred marking. Photographs were unable to capture a readable image. However, it is discernable to the naked eye. It reads, Echt Cobalt Bareuther Waldsassen Handarbeit Bavaria Germany. Note here also, the color of the large chrysanthemum leaves. Because the greens are so close to each other, I would date both of these vases as the mid-1980s to the mid-1990s. This hue of green, called “sage” in the decorating world, has a blue-gray look to it and was popular during that time period.

Greece:

Figure 14. Comparing a Japanese Ginger Jar and a Greek Vase

The Japanese Ginger/Temple Jar is by Yamahiro Toen, 山弘陶苑, which means “Yamahiro Pottery Studio” [11]. The Yamahiro Manufacturing Co is still doing business today in Seto City, Aichi, Japan.

This pattern is a fairly common one in the “Peafowl Theme”. Please note the gray area on the Japanese jar. This “gray” is actually tarnished silver. The Greek version has substituted gold.

Italy:

Figure 15. Comparing a Japanese Dish and an Italian Vase

This is a Japanese fan dish in a pattern in the Pheasant theme and its counterpart vase made in Italy. At first glance, the designs are exactly the same. On closer inspection, one can see subtle differences. Please notice the red arrows. They point to differences in coloration of the leaves and the male's crest. This shows that these two decals were not printed on the same set of silkscreens.

Figure 16. Pheasant Decal

I know for a fact that the transfer on the Japanese fan dish was printed in Japan. I own a sheet of this pattern and it has printed on it, “Made In Japan”. As explained previously in this article in the section concerning the themes/decals, the over-glaze pigments are different colors after they are fired.

Mexico:

Figure 17. Comparing a Japanese Vase and a Mexican Vase

Moving on alphabetically, we come to Mexico. The bottom mark on the Japanese vase reads “Bijutsu Toki” 美術陶器 which is the name of the producer and means Art Pottery.

Please note the tail feathers of the front crane on both vases. Although the vases are different heights; that is the Japanese vase is 16 cm, and the Mexican vase is 23.4 cm, the decal images are the same size. These two decals were not printed with the same silk-screens. Obviously, the two green hues are different which could be due to different batch runs but also notice that the Japanese crane has a second and third color in the tail feathers; yellow and brown. While the Mexican design uses two intensities of the same green while incorporating the ground color glaze, cobalt blue, into the design. That means one screen, and therefore one step was eliminated from the printing process. If you study the enlargements of the two decals, you will see other difference, as well. These two decals were not printed from the same set of screens.

Taiwan:

Figure 18. Comparing a Japanese Dish and a Taiwanese Coaster

Continuing, I present a Japanese pin/butter pat dish 9 cm in diameter. I compare it with a Taiwanese coaster, one of a set of four, with a diameter of 8.9 cm. The back marking of the Japanese example reads “Kaku fuku” 描福 or “Luck in a square”. This is a common mark on generic Japanese Kutani pieces. The label on the Taiwanese example reads “Interpur”, the name of a multinational exporter and says, “Made in Taiwan”.

This Peafowl pattern is a common one found on CBC wares. At first glance, the decals seem to match exactly. But on closer examination, they are very different, indeed! Although the general outline is a fairly accurate match, the colors are completely different. A good example is the green of the peony leaves. In the Japanese piece, the leaves are shaded with a yellow-gold color. Notice the flat coloration of the green leaves of the Taiwanese example. Where the Japanese piece is silver, although tarnished and appearing gray, on the tree limbs, tree trunk, and flight feathers, the Taiwanese piece shows the color to be white. There are differences in the colors of the peonies as well. How many other differences can you spot?

Turkey:

Figure 19. Comparing a Japanese Vase and a Turkish Covered Jar

Now it is Turkey's turn. I am comparing a Japanese bud vase produced by Maruni 丸二 with a Turkish covered jar manufactured by “Groovy's Porcelain”. Again, a variation on a fairly common Peafowl pattern on both pieces.

In the Japanese vase the flight feathers, tree trunk. and branches are tarnished silver, while, as in the case of the Taiwanese CBC piece, the same areas are white on the Turkish covered jar; that is, at “a” and “b” of the purple arrows. There are fewer colors in the plumage of the Turkish Peacock; that is, “c” and “d“. The yellow peony stamens and pistil are missing in the Turkish version as seen at “e“. The Japanese vase has two-toned peony leaves, while the green of the peony leaves on the Turkish jar is a flat muted green. This can be seen at “f“. Every time you leave out a color, you eliminate a screen from the printing process. Fewer screens mean less ink, less labor, and more profit.

I am on a continual search for examples of CBC pieces manufactured in other countries, so this section may never be finished.

In summary, when buying or listing for sale CBC items, I hope you will remember these guidelines:

1. They are not always dark cobalt blue. They may be dark brown or black. In direct sunlight, look at the bottom of the piece, or the back in the case of plates. The color will declare itself.
2. They are not antique; not yet.
3. They are not “hand painted“. They are “hand decorated”.
4. If the bottom or back is unmarked & unlabeled, describe the piece as “Asian style”.
5. If the bottom or back of the piece has the Country of Origin written, stamped, or labeled on it, you can describe it as such.
6. If the markings are in characters other than Romanesque, do not guess. Get a reading from someone who knows the language.
7. If it is Japanese, do not assume that it is Kutani unless it is marked in English or the Japanese characters, 九谷

If you would like more information, please see: https://www.kutani.org/.
Monsieur Bouvier has a dedicated section on cobalt blue ceramics with many photos. Most of those pieces are from my own collection. For additional information see: http://modernjapanesepotterymarks.blogspot.com/

Acknowledgements:

Special thanks go out to the following people who without their expertise, help, encouragement, and time, this article would not have been possible: Georges Bouvier, Jan-Erik Nilsson, Dawn Reuter, Sue Lynn Takagi, John Wocher, and all of the Japanese readers that I have met on this journey.

Photo credits: All of the photographs were taken by the author and are of pieces from the author's private collection.

Disclaimer: This article was created to dispel misinformation surrounding mass-produced ceramics of the late 20th century in general and Japanese cobalt blue ceramics specifically. It is not meant to be a means of determining authenticity or value. I am still learning. Occasionally, I will make a mistake. When that happens, I correct the error immediately upon discovery. Additionally, I will update as new information becomes available.

Carrie Lambert

Footnotes:

[1] http://gotheborg.com/marks/20thcenturyjapan.shtml

[2] https://minerals.usgs.gov/minerals/pubs/metal_prices/metal_prices1998.pdf - pg 53, pg 106

[3] http://money.cnn.com/2011/08/22/markets/gold_prices/index.htm

[4] https://minerals.usgs.gov/minerals/pubs/metal_prices/metal_prices1998.pdf - pg 53, pg 106

[5] http://www.kitco.com/gold.londonfix.html

[6] http://ceramicdecals.org/History_of_Decals.html

[7] http://ceramicdecals.org/History_of_Decals.html

[8] http://ceramicdecals.org/Home_Page.html

[9] The Chinese (Hanzi) reading compliments of Simon Ng, Dragon/Moderator, Gotheborg Discussion Board http://www.gotheborg.com/ and Brigit Steinbach, also of the Gotheborg Discussion Board

[10] The Japanese reading is by John Wocher, Dragon/Moderator, http://www.gotheborg.com/

[11] 156. Mark: Yamahiro Toen, “Yama hiro” - mountain-wide, and “toen” = pottery garden / studio. Mark of Yamahiro Manufacturing Co. Seto City, Aichi, Japan. Last quarter 20th century. http://www.gotheborg.com/

Enuma Painters Genealogy

2017-10-22T16:06:57Z

The 7 lucky Gods

2017-10-19T11:20:40Z

The 7 lucky Gods - 七福神 - Sichi Fuku Jin

This is the most important figurines that you will find in Japan. They are found often traveling on a boat (Takarafune) bringing treasures and wealth to the people.

Takarafune		This is Takarabune (fune) or treasure ship, carrying the seven lucky gods. It is a very popular figurine in Japan.
Daikoku 大黒天		One of the seven lucky gods. He is representing the wealth of the land and is therefore the god of the farmers. He wears hood, holding a Kozuchi; (a carrying bag) on his right hand and sitting on rice bales the symbol of Daikoku. When shaken by the god, this bag is supposed to grant all wishes.
Ebisu 恵比須		One of the Seven lucky Gods, usually portrayed with a sea bream. He is the god of fishermen, merchants and prosperity. He is the only god originated from Japan. There is a story that he is rather deaf, it is why people who pray for him making lot of noise before ....
Fukurokuju 福禄寿		One of the seven lucky gods. God of happyness, wealth and longevity. He is originated from china. He has a big forehaed and hold the sacred book which contains he lif span of every person. He is represented often with crane and a turtle symbol of longevity.
Hotei 布袋		One of the seven lucky gods. Hotei is the most popular and favorite Japanese household god. He is the god of prosperity. He is represented in many different positions generally with a big belly and smiling. He often carries a treasure bag with gifts for the children. He is the Japanese Santa Claus. He brings luck to whom touch his belly!
Benzaiten 弁財天		One of the seven lucky gods. Goddess of music, artist and geisha, she is the only woman among the seven happy gods. She has for origine the indian godess Saravasti. She is also called Benton, Benten, or Benzaiten
Jurojin 寿老人		One of the seven lucky gods. The god of longevity. He is represented as an old man walking with a fan and a scroll under his arm. He is quite often identified as Fukurokuju and one consider that they have the same body.
Bishamon 毘沙門天		One of the 7 lucky Gods. Bishamon is the Japanese name for Vaisravana, a Buddhist deity. He is protecting the wealth. He is represented wearing military protection, with a glave and a small temple in the left hand.

Ormolu mounted ceramics

2017-03-29T21:51:14Z

The word Ormolu is coming from the French language "or moulu" meaning "ground gold" as Ormolu was originally made with a coating of ground gold. Ormolu mounting are generally made with cast bronze or brass, which is plated with a gold and mercury coating then soaked in dilute sulphuric acid, giving a gold-like appearance. The use of this word has been extended to copper alloy made with copper, tin and zinc. French call Ormolu, “bronze doré” when the English say “gilt bronze”!
It was used mainly to imitate gold and was very fashionable from 17th century to decorate furniture, clock, candlestick, lamp, and also ceramic, It has been particularly developed in France but also in England and more generally Europe.
This taste was highly promoted by the French dealers called “Marchands-merciers” whose intention was to combine the colors and the motifs of the oriental ceramics with decorative pieces in popular rococo style. With the revival of the French 18th century art, the ormolu mounted works enjoyed from 1860 an important success and became very expensive. This coincides with the Meiji period and the expansion of the Kutani export. The "Marchands-merciers" imported the wares from Japan and also from Holland and had them mounted with Ormolu fittings in Europe.
Ormolu mounts were purchased either directly from the “fondeur” or from the “marchands-merciers”. In order to manufacture the ormolu mounts, two craftsmen were required: a “fondeur-ciseleur” (who cast and chased the mounts) and a “ciseleur-doreur “(who gilded the mounts). Beyond these craftsmen there were always the marchand-merciers, who had the monopoly of dealing furniture. In fact it seems that only in Paris did such system develop whereby a marchand-mercier would put out very costly ornaments on oriental ceramics.
Beside Chinese ceramics mounted with Ormolu in 18th & 19th century, we find therefore mainly Kutani dishes fitted with Ormolu mounting. The main reason is that in the period 1860-1900 I believe that 80 % of the wares exported to Europe/US from Japan were coming from Kutani. It was also the period of ''Japonisme'' in France.
This combination of red Kutani and ormolu is then mainly a French subject as I believe mostly French market was involved.
Most of the objects were pair of decorative vases, or dishes with elaborate fittings. Despite the highest esteem in which the ormolu work has been held, almost all the most famous “fondeurs” identities have been lost. On the other hand most of the fittings design seems to be quite generic.
The oriental porcelain was highly valuated; however as original ormolu craft was of the highest technique, the real expense was in the cost of the ormolu mounts. Then forgeries started to appear in copper alloy with tin and zinc.
From around 1830 the use of mercury was forbidden in France although it continued to be commonly employed until early 20th century.

Regarding identities of the cast companies, when looking carefully on each piece, I noticed that some ormolu fittings had a mark stamped or embossed on the feet which might identify the maker.

I have been looking around in different archive of the French digital library but cannot succeed to locate where these were mounted and by whom or which dealers were involved in these fittings and which manufacturers supplied the Ormolu, it is still a mystery.

Mark, looks like a B	Mark EH

What is the process of making ormolu?
Firstly we need a model, usually a drawing. A sculptor will then make a clay or wood model. Then the piece is given to the chaser (fondeur-ciseleur) who melts then chisels. The most delicate parts are directly assigned to the carver–gilder (ciseleur-doreur). These two communities, chaser and carver–gilder, frequently argue about their respective rights, some chasers are also sometimes taking care of the gilding.
There are two operating modes for gilding: ormolu and gold leaf. We are interested here mainly on Ormolu.
Gold is reduced or "ground" on a grinding stone to make gold lime which is then amalgamated with mercury or quicksilver. This mixture is heated in the crucible and applied to the bronze with a brush. The bronze is then deposited on a grid and the evaporation of mercury allows the attachment of gold to the bronze. These mercury vapors are very toxic.

Then come hammering, burnishing and setting color of gold, operations which give all its nuances to the gilding. The transitions between matte and shiny parts are merged seamlessly.

Reference : Bequeathed by Agnes and Norman Lupton 1953.

Kutani stamps

2017-02-04T19:09:20Z

Japan has issued in 1959 2 stamps to commemorate Kutani ceramic:

First day cover

Japanese pamphlet issued at this occasion

Daishoji Kutani

2017-02-04T19:04:50Z

Daishoji Imari – 大聖寺　伊万里

What is really the story behind Daishoji Imari ? There are many myths and varied opinions. On the Gotheborg Forum, this has been the subject of some disagreement/debate/controversy. Perhaps it is the creation of just a very good marketing strategy originated by one or a few clever dealers.

As background, Georges Bouvier and John Wocher spent in November 2016 three full days in the heartland of Kutani, meeting with dealers, shops attendants and shop owners, decorators and potters. For those who would like to just buy a copy of Imari, buying a Daishoji Imari piece or even a Kaga Imari piece might be much more rewarding for the buyer who believes he is purchasing a particularly rare item and also the seller benefits and can nicely increase the price. There are many arguments but the facts might be very simple.

Imari production was the first popular since the early days ,and it was exported widely but also sold massively in Japan. Kutani has always been a local and an exclusive production, and beside the peak export production in the Meiji period, it has always been far behind Imari in terms of quantity.

Kutani kilns have always produced copies of Imari, as there was a demand for these types of wares. They did exactly the same for copies of Korean or Chinese wares. This is not surprising, as it was a good business.

But the difference came after the war when a few local dealers and kilns from Daishoji, in trying to maintain their activities, found out that there was a market for pieces of good quality with Imari motifs.

They had many good painters in the Daishoji area which has always been the center of Kutani production. We define Daishoji more widely than the township known by that name today, understanding it encompasses the area containing Terai, Sano, Nomi, Kaga, Komatsu and the like. Daishoji refers to the clan that controlled this area and it has a much more romantic and historic image that fits well with the marketing effort for these pieces.

In producing these wares, one problem was to get a good blank especially whiteness. There are not so many blank producers around Daishoji, except for the Bansko kiln, Higashino kiln, Juraku kiln, Bitoen and so forth but they had all the same problem. The clay available in the wider Daishoji area was not of a superior quality. One solution to evolve is to mix the local clay with higher quality material. We have been told by several of the above kiln owners, some being over 80 years old that special clay was not only imported from Kyushu (Arita), but also Korea and even China. You do not need so much and it looks like it is not a secret! We saw rocks, powder and clay from all three areas in the major blank producer in Komatsu. We saw it mixed and thrown on a potter's wheel and turned into a vase to be glazed. In fact, this producer of these blanks supplies them to Fukushima Buzan and Yoshida Minori (who is a Living National Treasure) as this is written. We were given two large blanks rejected by Yoshida Minori because of minor kiln firing flaws. Originally we were very skeptical of the transport of Arita clay material to Kutani. We are now convinced beyond a doubt.

The important point was to have superior quality pieces so the price of little clay may have not been so important. If imported in powder form, not so heavy or bulky, but we think imported in both forms. The difficulties come because the pieces have to be reasonably decorated, fashionable, and therefore had to bear the typical Chinese reign mark which make these pieces very difficult to recognize when compared to the original Imari production.

On the other hand almost all the pieces made in the Kutani area have a very similar design based on the petalled chrysanthemum motif.

The question of the kodai or foot of the bowl is also rather simple, as you have a few handful of potters who supply all areas and each one is doing as he feels, but generally we understand that there is always an angle, it makes it easier to handle the piece for glazing. On our trip we saw inside out, outside in, fully glazed, unglazed and rounded kodai. Most common, however, was an angled foot rim.

By chance among the local production with a Chinese reign mark we can find indifferently some pieces with kutani marks with kaku fuku or running fuku. We have strong evidence as we spend a lot of time with Madame Teramae, the owner of Bitoen, an 82 year old lady who remembered very well the Daishoji Imari production days. They produced thousands in the 1950's and we saw many. We even enjoyed dinner using her Daishoji Imari marriage diner set she received from her father in law in 1957.

Georges purchased from Bitoen in 1998 an Imari style dish produced by Bitoen in the 50's which has a kutani Eisho mark. Eisho being the pen name of Teramae san's husband. During peak production in the 1950s, Bitoen had 25 full time employees and a large number of decorators. They did everything from blank formation using mixed clays, to underglaze Chinese markings, glazing, overglaze decoration and gilding, firing everything in-house. We believe Inoue Shoten was a similar operation.

Now what happened and why did this production stopped? Rather understandable, end of 50's, the market turned down, the demand for high quality pieces disappeared when at the same time the production of Imari and other Koransha with a highly mechanical production at low cost and poor quality increased. High quality material was replaced by ceramics for everyday use.

In fact such production period of Daishoji Imari did not last too long. Bitoen has not produced for a long time, and Inoue Shoten no longer exists. But we also found out that few companies have continued or are still producing today these types of Imari, so be careful!

A good example, we went to a very famous kutani antique shop in Kanazawa, and a beautiful Daishoji Imari set was there for sale among the other antiques. When we asked to see them in our hand and get some explanations we were told that it was a Meiji production and the price was accordingly in line! As we were very much dubious on the date we kept asking question and finally the lady told us she had a wooden box. We were delighted to see the accompanying tomobako but looking at the box it looked brand new. We opened and found plastic protecting bubble sheets …..and the producer history with a 1960 date!!! Nothing to do with Meiji period. One must always question this!

So unless you get Daishoji from a reliable source, be very careful as it is very difficult to differentiate and date these pieces. A last note: Both Georges and John disagree with the term Daishoji Imari, as misleading. As a style, perhaps, since it has crept into our lexicon over the years. These pieces are simply Kutani copies of Imari patterns, one in particular very widespread, no more, no less.

Mr Shimomichi Ryohei, the 82 year old owner of the Bansho kiln, producing blanks for virtually everyone and for Kutani copies of Imari patterns as well.

The pieces awaiting glazing and firing, or waiting for underglaze sometsuke before firing, in Komatsu.

Adjusting the kodai on a molded petal cup, later shaved to produce the angled foot rim

A Kutani copy of an Imari pattern with a kakufuku and kutani marks