The Rich Colors of Kutani-yaki - Enjoying Yakimono -

Japan is home to many different kinds of yakimono (pottery and porcelain) that have taken root in their local regions.

Pottery that is picked up and used almost every day has long been an indispensable part of daily life.

Yakimono has taken on many different forms, shaped by the raw materials available in each region and by the individual makers who craft it.

In this "Enjoying Yakimono" series, we will introduce a variety of pottery over three installments.

◇The Beginnings of Kutani-yaki

Kutani-yaki is a vibrant style of pottery born in Ishikawa Prefecture.

Today, it is one of Japan's representative pottery styles, so well known that the name "Kutani" is recognized around the world.

The origins of Kutani-yaki date back to the Edo period, when high-quality clay was discovered in Kutani village,

within the Kaga domain ruled by the Maeda family.

This discovery led to the introduction of pottery-making techniques in the area, marking what is said to be the beginning of Kutani-yaki.

Thanks to the immense wealth of the Kaga domain, known as the "million-koku" domain, combined with the policies of the time,

many cultural figures from all over the country came to visit Ishikawa Prefecture.

As a result, Kutani-yaki is said to have been influenced by the painting styles of the Kano school of Kyoto, as well as by artistic styles from overseas.

Shaped by these diverse cultural influences, the pottery that people typically picture when they hear "Kutani-yaki"

took form: pieces adorned with bold brushwork and gorgeous coloring.

However, around 1700, the Kutani-yaki (now known as Ko-Kutani, or "old Kutani") introduced above

suddenly ceased production. The reason for this remains unclear.

Later, around 1800, the Kaga domain's policies brought literati painters from Kyoto,

and new kilns were opened, leading to the establishment of numerous kilns throughout the Kanazawa area.

This marked the revival of Kutani-yaki, connecting it to the tradition we know today.

◇Understanding Kutani-yaki

Kutani-yaki has absorbed a wide range of influences, crossing not only prefectural boundaries but national borders as well.

Though it once faced the crisis of losing its kilns entirely,

the fact that its name is still known some 400 years after the kilns first opened

can surely be attributed to the appeal of the pottery itself.

The defining characteristic of Kutani-yaki is, first and foremost, its coloring.

Known as iroe (overglaze enamel) porcelain, Kutani-yaki

is created by applying painted designs over the glaze of fired porcelain, then firing it again.

The vivid, deep colors and bold brushwork used in these designs

are the defining features that symbolize the gorgeous, traditional style of Kutani-yaki.

Miyamoto Taizando is

a Kutani-yaki kiln that opened in Komatsu City, Ishikawa Prefecture, in the 42nd year of the Meiji era (1909).

While Kutani-yaki is typically painted using a palette of five colors (green, red, yellow, purple, and dark blue),

Miyamoto Taizando expresses its elegant coloring using six colors, adding the white of the porcelain body itself.

Pictured above is an oval plate decorated with flying swallows.

This swallow plate is based on a blue color scheme, but look closely and you'll notice touches of green and yellow as well.

Beyond the varying shades of blue, these accent colors

make the piece easier to bring to the table.

It seems to embody the very question Miyamoto Taizando strives to answer: "What makes tableware enjoyable to use?"

Another defining feature of Miyamoto Taizando's pieces, beyond their coloring, is the painted motifs that look almost like works of art.

Kutani-yaki has long favored lively depictions of plants and animals as decorative motifs.

Miyamoto Taizando, too, upholds this fine old tradition,

painting delicate motifs with a fine brush.

The set of 5 Sansui-e Kawari Kaku Kozara (small square plates with landscape designs) features five different landscape scenes.

A boat resting on the water's surface, birds soaring through the sky—their delicate depiction

gives the feeling of looking at a Japanese painting.

The set of 5 Hakkaku Kamon Kozara (small octagonal plates with floral crests) also features five different flower designs.

Poppies, dokudami (heartleaf), black lilies, pinks, and bellflowers.

It's lovely to switch between plates depending on the season's flowers.

This next kiln is Kamide Choemongama, founded in the 12th year of the Meiji era (1879).

Like Miyamoto Taizando, Kamide Choemongama has continued making Kutani-yaki across the generations,

and just as with Miyamoto Taizando, its work features colorful designs of deep blue, red, green, and yellow set against white porcelain,

with beautiful, playful motifs that catch the eye.

Born from the free-spirited ideas of its craftsmen,

the products of Kamide Choemongama

are characterized by a modern feel and a touch of humor.

Even though it's traditional pottery, there's nothing intimidating about picking it up.

That's the kind of appeal you can sense in the tableware from Kamide Choemongama.

The Ume Futamono Kohaku (plum-shaped lidded container in red and white) is a small, pleasingly thick and rounded vessel.

Covered entirely in red and white and finished with gold powder, it has a truly lustrous appearance.

Despite its small size, this lidded container conveys all the splendor of Kutani-yaki.

The Yunomi Fuebuki (teacup with flute-player design), hand-painted by craftsmen,

features a motif that has been painted at Kamide Choemongama for 60 years.

The flute player, painted in blue against the white porcelain, showcases the craftsman's delicate brushwork.

This kind of simple, folk-style painting has a history dating back to the Muromachi period, when it was used in Zen paintings and haiga created for ordinary people,

and it is said to have become a familiar part of everyday life.

You can sense the character that comes only from handmade craftsmanship—something machine production simply cannot replicate.

◇Using Kutani-yaki

While the word "traditional Kutani" might conjure an image of something formal and imposing,

both Miyamoto Taizando and Kamide Choemongama have put great care into their designs

so that their pieces can be used comfortably in modern life, featuring approachable motifs and color schemes with a modern feel.

It's said that traditional sake vessels were once gourd-shaped,

and Kamide Choemongama's Totte-tsuki Tokkuri Sen-mon (handled sake bottle with line pattern) is a further variation on this, with a handle attached.

Just by adding a handle, it takes on a refined form, almost like a flower vase,

and the vivid colors on the surface add a touch of splendor.

It would be fun to share sake together with the handled sake cup, which also features a handle.

Miyamoto Taizando's boat-shaped mukozuke dish with a grape and squirrel design

is unified in muted tones that evoke the colors of autumn, making it perfect for the coming season.

"Mukozuke" refers to the plate placed beyond the rice bowl and soup bowl,

which are set closer to oneself at the table.

In kaiseki cuisine, it seems to be often used for serving sashimi,

but since it has just the right depth and size, it's also perfect for holding side dishes, so you'll find yourself using it often at the table.

Also, Kutani-yaki, known for its splendor as one of its defining features, is also highly recommended as a gift.

If you choose Kutani-yaki that's easy to use in daily life, like those from Miyamoto Taizando or Joshuemon-gama,

it makes a wonderful gift choice for a wide range of occasions, from wedding celebrations to birthdays.

It's pottery that brings a delighted "wow" the moment it's opened.

This, too, may well be part of the secret behind why Kutani-yaki has been loved for so long.

◇Points to Keep in Mind When Handling Kutani-yaki

■Kutani-yaki is characterized by its delicate hand-painted designs,

so to avoid damaging the painting, please refrain from washing it with a scrub brush or using it in the microwave.

Also, please be careful, as pressing sharp objects such as chopsticks firmly against the surface

may result in damage to the painted design.

■After washing, please be sure to dry the piece thoroughly,

as insufficient drying can lead to the formation of mold.

■To preserve the colored designs for a long time, when stacking pieces for storage,

we recommend placing a cloth or a thin sheet of paper beneath each plate

to protect the painted designs while storing them.