The discovery of pottery stone in the Kutani mines and the arrival of craftsmen from the Kaga domain who learned porcelain-making techniques in what is now Arita town in Saga Prefecture led to the establishment of Old KUTANI Yaki (Porcelain) in the mid-17th century. Old Kutani ware created a unique and powerful style that combined the generosity and splendor of the Kaga domain's culture, but production suddenly ceased around the end of the 17th century. Later, in the 19th century, Kutani KUTANI Yaki (Porcelain) production resumed.
This is the revival of Kutani ware. Numerous kilns emerged, including the Mokubei style of Kasugayama kiln, the Yoshidaya kiln which aimed to revive the old Kutani ware, the Miyamoto kiln with its red enamel detailing, and the Eiraku kiln with its gold brocade style. Each kiln created its own unique style, establishing KUTANI Yaki (Porcelain) as an industry.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The molding shall be done by wheel-throwing, press molding, hand-turning, or by bag-casting or "double-casting" which involves scraping and wiping the entire surface of the base material to achieve properties equivalent to those obtained by these molding methods.

  2. To paint by hand.

  3. For overglaze decoration, use all or part of the "Kutani Five Colors."

  4. When overglaze decoration is not performed, the pigment used for underglaze decoration shall be cobalt blue.

   

  raw materials

  The pottery stone used shall be "Hanasaka Pottery Stone" or "Dainichi Pottery Stone," or a stone of equivalent quality.

• Work scene

  Work scene

  KUTANI Yaki (Porcelain) is a type of porcelain, characterized by its richly colored overglaze decoration. To briefly introduce the production process, first, the raw material, pottery stone, is collected and crushed into clay that is easy to mold. Next, the clay is shaped using a potter's wheel and dried in the sun or in a drying machine. To increase its strength, the dried pieces are bisque-fired at around 800 degrees Celsius. Underglaze decoration is applied to the bisque-fired pieces using cobalt blue pigment, and then glaze is applied. There are various methods of applying the glaze, such as dipping the pieces in the glaze, applying the glaze with a brush, and scooping the glaze with a ladle.
  In the main kiln, the temperature is gradually increased, and the firing process takes approximately 15 hours until it reaches 1300 degrees Celsius. This is a crucial step in the pottery-making process.
  Overglaze decoration is the process of painting designs onto the fired pottery. The various painting techniques that are characteristic of KUTANI Yaki (Porcelain) are all done at this stage. The beautifully painted pottery is then fired again in an overglaze kiln at temperatures of 800 to 1000 degrees Celsius to complete the process.
  Now, let's take a look at some of the main steps.

  Step 1: Crushing of ceramic stone

  The quarried pottery stone is crushed in a stern and then ground into a fine powder in a thoron mill. The crushed pottery stone is soaked in water to remove iron and impurities from the stone, making it easier to mold. Further excess water is removed to achieve the appropriate consistency. Uneven water density or air bubbles in the clay can cause cracks and distortions after firing, so the clay is kneaded thoroughly to ensure uniformity.

  

  工程2： 成形

  There are various methods of shaping depending on the shape. Circular shapes are made using a potter's wheel. Square and complex shapes are made using the slip casting method, where a mold is made from plaster and slip is poured into it. There are also various other shaping methods, such as hand-building.

  

  Step 3: Glazing and firing in the kiln

  After shaping, the pieces are dried and bisque-fired before being glazed. After firing, the glaze becomes a transparent, glassy substance that covers the surface of the ceramics. After approximately 15 hours of firing, the temperature inside the kiln reaches 1300 degrees Celsius.

  

  Process 4: Overglaze

  KUTANI Yaki (Porcelain) is a type of porcelain characterized by its painted designs, and this process is a crucial element. Even within the broad category of Kutani ware, various styles and painting techniques have emerged over time.
  Ko-Kutani ware is created by sketching the outlines (lines) with cobalt blue (black) and then applying thick, uncolored five-color (green, yellow, red, purple, and dark blue) overglaze paints. Mokubei ware is a Chinese style with red used for the background. Yoshidaya ware is painted entirely with four colors without using red. Akae Saibyo ware features detailed depictions of patterns and figures in red. Eiraku ware is painted entirely with red undercoat and then colored with gold. Shoza ware incorporates all the techniques of Ko-Kutani, Yoshidaya, Akae, and Kinrande ware.
  The decorated pieces, painted using the various techniques described above, are fired at temperatures of 800 to 1000 degrees Celsius.

  

   

   

• Close-up

  Close-up

  A world of red beauty born from the accumulation of skill.

  "KUTANI" is a representative Japanese porcelain brand widely known overseas. Over its history of more than 300 years, it has produced a variety of techniques and skills. From Ko-Kutani, Yoshidaya, Mokubei, Eiraku, Shoza, and Akae, let's enjoy the beauty of Kutani's proud paintings.

   

  350 years of history, techniques from each era.

  Old Kutani ware is said to have originated 350 years ago. There are various theories about its origin and end, but it is generally believed to have been created in Kutani Village, Ishikawa Prefecture. Its characteristics include the rich "five colors" of green, yellow, red, purple, and dark blue, and its powerful and dynamic designs. However, Old Kutani ware came to an end after about 80 years. And for about 100 years, the kilns in this area ceased to burn.
  Later, Aoki Mokubei, a literati painter from Kyoto, revived Kutani ware. His style was characterized by painting the entire surface red, hence the name Mokubei. Furthermore, techniques such as Yoshidaya, which imitated Old Kutani, Akae Saibyo, which involved extremely detailed painting in red, Eiraku, a style by Kyoto potter Eiraku Wazen featuring gold coloring on a red background, and Shozo, which incorporated elements of Old Kutani, Yoshidaya, Akae, and Kinrande, were developed.
  The person we interviewed this time, Buzan Fukushima, is a craftsman of Akae Saibyo, a technique that involves meticulously drawing figures and patterns on a white background.

  

  The level of detail left me speechless.

  Self-taught traditional crafts

  "They're so cute! These little things made with red enamel. Look!" she said, showing me works that were so intricately detailed with red enamel that I was left speechless. It was hard to believe that each stroke was done by hand. The figures were also very expressive, and I couldn't help but pick them up to examine them.
  What's even more surprising is that Ms. Fukushima has no mentor. "I'm self-taught. Nobody taught me. I learned through trial and error, listening to people and reading books. At first, I didn't even know how to mix paints." It must take extraordinary determination to master a traditional craft through self-study. "I've loved detailed work since I was a child. That's why every day is fresh and enjoyable. Even now, sitting in this spot is the most comfortable place for me." Nothing can stand in the way of your determination to accomplish what you love.
  "Conversely, I think it's precisely because I came from the outside world that I wasn't particular about how I viewed things, and was able to absorb a wide variety of things." This seems to be the secret to the new perspective he has brought to the traditional world of Akae porcelain and the high praise he has received.

  

  I don't know where the brushstrokes were added to the exact pattern.

  After 20 years of doing it, drawing faces becomes effortless.

  It's all very detailed work. When it comes to things like portraits, "At first, all you can do is copy (the model). You can see that you're trying your best, but there's no heart in the painting. After about 20 years, you finally get the hang of it, and a nice flavor emerges."
  The intricate patterns etched into the inside of the vessel are so perfectly uniform in thickness that it's impossible to tell where the brushstrokes ended. "You just have to keep drawing and drawing until it becomes second nature. Especially with faces, even half a line can change the expression." Watching the process unfold before my eyes was breathtaking.

  Enjoy the red enamel in a sake cup

  This kind of intricate red enamel painting requires such concentration, skill, and effort that it's inevitable that it will be expensive. "That's why I really want people to buy and use a sake cup. Sake cups are relatively inexpensive and easy to use. When you pour sake into them, the painting inside becomes visible and looks beautiful. Try shaking the sake a little. We put thought into every detail when we make them. Plus, the red color becomes more subdued and beautiful as you use it." The sake will surely taste even better.

  

  "At first, I didn't even know how to mix the paints."

  We continue to create products without cutting corners or compromising on quality.

  "We have to keep making good things. These are things that will last forever, so I want to leave behind only things that I myself believe are good, without cutting corners or neglecting my passion." "Once you let your work (quality) drop, you can't go back. Even if you think you can make something good again when you have free time, it's no use," says Fukushima passionately.
  "Whenever I hold a solo exhibition at a department store or art museum, I always give a live painting demonstration." He wants people to know not only the finished product, but also the process of making it. "My dream is for Akae (red porcelain) to spread throughout the country. I want to continue creating it together with young people." This job is incredibly enjoyable for Mr. Fukushima. The "world of red beauty" he paints with each tiny brushstroke on the white base continues to expand without limit.

  

  This is extremely detailed work. Will it even be visible on the screen...?

  Craftsman Profile

  Fukushima Takeyama

  "I want to continue making things without cutting corners or putting my heart into them," says Fukushima.

  Traditional craftsman.
  He won the Grand Prix at the 23rd National Traditional Crafts Exhibition, and has since developed his skills in Akae-e fine painting through self-study.

  

  Anecdotes

  Unraveling the mysteries of the romantic art of Old Kutani ware!?

  For pottery enthusiasts, the mystery of the birthplace of Old Kutani ware is a topic that often piques their interest. Where did the powerful Kutani Five Colors originate? In Kutani Village, deep within the mountains beyond Yamanaka Onsen in Ishikawa Prefecture, there are remains of a climbing kiln, and recent investigations have even suggested that Old Kutani ware may be the same as Arita ware. This mysterious kiln, which was established about 350 years ago and then ceased to exist for about 80 years, continues to fascinate fans.
  "When the Kitamae ships returned to Kaga, they loaded Arita clay to stabilize the ships, and I think some of them had the overglaze painting done in Kaga. I've also painted using clay from other regions. After all, painting is the lifeblood of Kutani ware," says Takeshi Fukushima, a craftsman of Kutani red porcelain.
  This debate is still unresolved. Setting aside the researchers' investigations, if you're a ceramics enthusiast, carefully examining KUTANI Yaki (Porcelain) and Arita ware and forming your own hypotheses might be one of the joys of pottery.

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    A stone monument in front of JR Daishoji Station bears the inscription "Birthplace of Old Kutani ware."