The Kutani Ceramic Website

Kutani Studies Series – Vol. III : Kutani Akae

2026-07-14T09:16:56Z

KUTANI AKAE
From Edo to Modern Japan

This 210 pages, A4 size, richly illustrated hardcover volume presents a comprehensive study of Kutani akae decoration from its origins in the Edo period to contemporary production.

Rather than focusing solely on chronology, the book examines the technical development of akae painting, the organization of workshops, the evolution of decorative styles, and the artistic methods employed by Kutani painters over more than two centuries.

Particular attention is given to:

the historical development of Kutani akae;
painting techniques and brushwork;
stylistic evolution from Edo to the present;
workshop organization and artistic specialization;
leading painters and decorative schools;
gold decoration and kinrande techniques;
attribution methodology and comparative stylistic analysis.

The study combines historical research with the systematic examination of hundreds of documented examples drawn from museum collections, private collections, historical publications, and the author's own research archives. Numerous comparative illustrations demonstrate the evolution of decorative techniques and provide practical tools for the attribution and evaluation of Kutani akae.

The book will be available in Autumn 2026 in hardcover from:

Lulu: [link]

Amazon: [link]

The Kutani Studies Series will continue with additional volumes devoted to Meiji Kutani, Ormolu-Mounted Kutani, and other specialized aspects of Kutani ceramics.

I would like to express my sincere thanks to the collectors, researchers, museum curators, artists, and friends who generously shared documents, photographs, discussions, and encouragement throughout this long research project.

Georges Bouvier
Kutani Ceramic Website
www.kutani.org

KUTANI Studies Series

2026-07-14T08:09:21Z

Dear Kutani and Japanese ceramics enthusiasts,

After almost 30 years of research, documentation, and comparative study, I am pleased to announce the launch of the Studies in Kutani Ceramics series, devoted to the history, technology, decoration, and artistic development of Kutani ware.

	The first published volume is: DAISHOJI-IMARI A Regional Reinterpretation of Imari Ware in the Kaga Domain This 173-page hardcover volume presents a comprehensive study of Daishoji-Imari production within the broader context of Kutani and Japanese export ceramics. The book combines historical research, stylistic analysis, workshop documentation, and an extensive photographic corpus assembled from museum collections, private archives, and documented examples collected over several decades.
	The second volume will be published very soon: KUTANI CALLIGRAPHY Signatures, Seals, Inscriptions and Miniature Calligraphy from Edo to the Present This 194 pages, richly illustrated hardcover volume presents the first comprehensive study devoted entirely to Kutani calligraphy, tracing its development from the Edo period to contemporary production.
	The third announced volume is planned for this autumn: KUTANI AKAE From Edo to Modern Japan This 210 pages, richly illustrated hardcover volume presents a comprehensive study of Kutani akae decoration from its origins in the Edo period to contemporary production.

I would like to express my sincere thanks to all the collectors, researchers, museum curators and staff, and friends who generously shared documents, photographs, discussions, and encouragement throughout this long project.

Georges Bouvier
Kutani Ceramic Website
www.kutani.org

Kutani Studies Series – Vol. II: Kutani Calligraphy

2026-07-13T13:10:12Z

KUTANI CALLIGRAPHY
Signatures, Seals, Inscriptions and Miniature Calligraphy from Edo to the Present

This 194 pages, A4 size, richly illustrated hardcover volume presents the first comprehensive study devoted entirely to Kutani calligraphy, tracing its development from the Edo period to contemporary production.

Drawing upon more than thirty years of research, the book examines not only signatures and seals, but also literary inscriptions, miniature calligraphy (saiji), workshop organization, and the cultural transmission of Chinese and Japanese literary traditions through Kutani ceramics.

Particular attention is given to:

the evolution of Kutani calligraphy from Edo to the present;
Chinese and Japanese literary sources;
Chinese pattern books and their influence on Kutani decoration;
calligraphic scripts and their identification;
miniature calligraphy (saiji) and its leading masters;
signatures, seals, workshop marks, and tomobako;
attribution methodology and documentary evidence.

The volume is extensively illustrated with documented examples from museum collections, private collections, historical publications, and the author's own research archives.

The book will be available very soon in hardcover from:

Lulu: [link]

Amazon: [link]

The Kutani Studies Series will continue with additional volumes devoted to Kutani akae, Meiji Kutani, Ormolu-Mounted Kutani, and other specialized aspects of Kutani ceramics.

Georges Bouvier
Kutani Ceramic Website
www.kutani.org

Kutani Studies Series – Vol. I: Daishoji-Imari

BOUVIER Alain — 2026-05-28T16:50:31Z

Dear Kutani and Japanese ceramics enthusiasts,

The first published volume is:

DAISHOJI-IMARI
A Regional Reinterpretation of Imari Ware in the Kaga Domain

This 173-page hardcover volume presents a comprehensive study of Daishoji-Imari production within the broader context of Kutani and Japanese export ceramics. The book combines historical research, stylistic analysis, workshop documentation, and an extensive photographic corpus assembled from museum collections, private archives, and documented examples collected over several decades.

Particular attention is given to:

the historical emergence of Daishoji-Imari;
merchant-organized production systems;
akae and kinrande decoration;
Chinese pattern books and workshop transmission;
the kurofune (Black Ship) motif;
attribution methodology;
and the relationship between Daishoji-Imari and the wider Kutani tradition.

The study also incorporates material from regional archives, museum documentation, and private collections, including sources that have rarely been published outside Japan.

The book is now available in hardcover from:

Lulu: [https://www.lulu.com/shop/georges-bouvier-and-kutaniyaki-art-museum/daishoji-imari/hardcover/product-45j77vq.html?page=1&pageSize=4]
Amazon: [https://www.amazon.com/s?k=daishoji-imari&crid=27XKICCGUS9Y1&sprefix=daishoji-imari%2Caps%2C211&ref=nb_sb_noss_1]

Additional volumes in the Studies in Kutani Ceramics series will be released shortly, covering Kutani akae, signatures, seals, inscriptions, and miniature calligraphy.

Georges Bouvier
Kutani Ceramic Website
www.kutani.org

How to log in

2023-12-14T17:16:04Z

Since the beginning of December we have implemented a new access interface. We have removed the menu column that was located on the left of the screen and changed to horizontal drop-down menus.
Most important, the log in button is now on the top right part of the banner with new icons.
Other Technical links are now on the footer.

- ★ How to log in ★

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

Kamamoto -窯元
Literally “kiln origin.” Refers to the master potter or workshop responsible for production and firing.

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

Kodai - 高台　
The foot ring of a vessel. Its height, finish, and glazing provide key diagnostic evidence of regional origin and kiln practice.

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

Kurofune - 黒船
“Black Ship.” Motif depicting Western sailing ships, symbolizing Japan's 19th-century opening to foreign trade; revived in Daishōji-Imari decoration during the 1950s–1970s.

Machi / Cho- 町
City

Mura - 村
Village

Mizusosogi - 水注ギ
Water ewer

Nanban - 南蛮
“Southern Barbarian.” A term used historically for Western or foreign motifs introduced to Japanese art during the Nanban trade period (16th–17th c.)

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

Videos

2023-11-16T08:41:49Z

Kutani Videos

You have here few videos I have produced. Some of them can be viewed directly here (but they are heavy!). Otherwise they are available on youtube.

Gbouvier.com version

Youtube.com version

I have also selected on youtube, some other videos I found interesting.

Other interesting videos from Youtube

The Japanese Imperial calendar year system

2023-10-24T17:23:10Z

The Japanese Imperial calendar year system

In 1872, the Meiji government declared that February 11, 660 BC was the exact date on which the reign of Jimmu began. Emperor Jimmu (神武天皇, Jinmu-tennō) was the 1st emperor of Japan, according to the traditional order of succession. Jimmu is known as the founder of the Imperial dynasty.
This date was therefore identified as the start of the Japanese nation.

A national holiday was establishd to commemorate the anniversary of Jimmu's ascension to the throne 2,532 years earlier.

This mythical date was designated as the holiday Kigensetsu ("Era Day"). This national holiday was celebrated from 1872 to 1948.

The Kigensetsu events in 1940 were special. They celebrated what was believed to be 2,600 years since the start of Emperor.

There are no certain dates for this emperor's life or reign. The names and sequence of the early emperors were not confirmed as "traditional" until the reign of Emperor Kammu, who was the 50th monarch of the Yamato dynasty.

Historians debate whether or not Emperor Jimmu actually existed because there is limited evidence of him. Some stories about him may reflect actual events that happened.

The Japanese Imperial calendar year system

The Kigen (紀元) or KoKi (皇紀) is based on the date of the legendary founding of Japan by Emperor Jimmu in 660 BC. It was first used in the official calendar in 1873. However, it never replaced Era names, and since World War II has been completely abandoned. It is seldom found on ceramics and I have seen only one, thanks to Sandra Andacht.

Here is a fine example (ID#2275) of dating using this Imperial year system.

Source Wikipedia