明治九谷の作品解説 橋田与三郎 赤絵金彩富士飛鶴松図蓋付茶碗

この蓋付の茶碗に見られるいくつかの図案の中で、「富士飛鶴松図」が側面や蓋に描かれているのを見ると、この図が主題であろうと思われる。他の図案(蜻蛉と草花、雁の群れ)と考え合わせて、制作者が自分の慶事(長寿)を祝って、晩年に製作したと考えられます。師であり義父である齊田伊三郎(道開)が長寿であったこと、また、大正時代に入り、道開の愛弟子であり同輩であった西本源平、亀田山月、道本七郎右衛門、富田松鶴らが長生きした後に亡くなったこともあり、思いを込めてこの作品を製作したと思われます。

サイズ;口径 約7㎝ 高さ 約8.6㎝(蓋を含む)

この「富士飛鶴松図」は、鶴・松・富士という縁起の良い文様を一組にしたもので、慶事に合わせて誂えられた着物や工芸品の図案に用いられたととおり、この作品でも、自分の長寿を祝ってこの図を選んだと思われます。道開が74歳で、与三郎自身が75才でそれぞれ亡くなりましたが、自分の長寿を誰ともなく感謝して、富士山と羽ばたく二羽の鶴、松の木の美しい風景を道開の創案した赤絵金彩で綿密に描いています。

茶碗の側面には別に二つの図案が描かれています。一つは伸びやかに成長した初秋の草花と羽を広げた蜻蛉(トンボ)です。この図からは、蜻蛉がもつ季節感(初秋)とともに名もない草花が成長している姿を今の自分に重ねていて、制作者の心情が映し出されているようです。

もう一つは、晩秋の情景としてよく用いられた「鴈の群れ図」です。雁は晩秋から初冬にかけ群れを成して飛来し、早春にまた北に帰るといわれ、そのとき鳴き渡る声が哀調を帯びるため、晩年を迎えた者の心情を表わすものとして絵画に描かれたように、この作品でも同じような心情が表わされたように見られます。

裏名は「九谷/与三郎」と書き込まれています。共箱にある箱書きには、蓋の表に作品名を表わす「九谷焼/赤絵/御湯呑」と、制作者を表わす「道開二代/与三郎」とが書き込まれ、さらに、蓋の裏に二代 橋田与三郎の朱印「橋田遊松」によって、“この作品が初代 与三郎の作であること”が確かであると示されています。

なお、ある資料では二代 道開は“二代 斉田伊三郎”であると表示され、また別の資料では初代 橋田与三郎が開いた工房が“道開堂”と呼ばれたこと、与三郎が道開の娘婿であったことに注目して二代目である表記されていますので、いずれが妥当であるかを判断するために更なる調査が必要です。

明治九谷の作品解説 高橋北山 赤絵逆さ獅子に鳳凰桐文皿

明治初期の金沢九谷ではその図案が日本画のような花鳥図で占められた感じでしたが、制作者(高橋北山)の活躍した明治後半になると、独創的な図案や構図が見られます。この作品の見込みには梅の花をつないだ円の中に一風変わった「逆さ獅子」(次項で解説)が、当時でも珍しかった逆立ちした狛犬の石像からヒントを得て図案化したと思われ、その外周に置かれた八つの円の中にも珍しい図案が描かれていて、構図的にも独創的です。

また、赤絵といっても、見込みは朱赤で塗り、縁から見込みにかけては周囲の文様と地の紗綾文全体から赤の濃淡が感じられ、グラデーションがかかっているように見え、赤絵の絵付にも視覚的な工夫が加えられたようです。

見込みに描かれた逆立ちをする狛犬の図案は、名工といわれた福島伊之助が金沢の石浦神社の境内に明治24年に据えられた「逆さ狛犬」から着想したと見られます(この狛犬はその後大正時代にかけ石川県全域の110以上の神社に広がったといわれます)。図案では、いかつい顔付きをし顔中に毛の渦があり、毛並みが一本一本細かに描かれ、後ろ足で雲をけっている狛犬の姿で、鳳凰と桐の実の図案と合わせて吉祥の意匠に仕上げたと考えられます。

外周にある八つの円の中に4種類の図案が二組ずつ対面で描かれています。画像の上二つには鳳と桐の実が描かれ、これは鳳が桐に宿り、その実を食するとの言い伝えから、古くから組み合わせて描かれたようです。見たこともない鳳であり桐の実も高いところにあって、なかなか様子がつかめないため、目に見えない存在への畏敬の念を表わそうとしたと見られます。

下の左の図案は、瑞雲から頭を出した鳳を表わしたとしか言いようのなく、唐時代につくられた三彩鳳首瓶と同じように、これもどこか畏敬の念を表したかったと思われます。右の図案は、実際に「逆さ狛犬」と対をなして据えられた狛犬が座して据えられているといわれますが、制作者は座した狛犬の後姿を描いたところがとてもユニークです。

裏名は二重角に「九谷 北山」と一行で書き込まれています。高台内は比較的広く、その外側には八つに分けられた枠の中に魚子文と波文が交互に綿密に描かれています。全体の半分ほどが擦れて薄くなっていますが、完成時の様相は金沢九谷らしく繊細にて華やかであったと思われます。

 

明治九谷の作品解説 清水清閑 赤絵金彩花鳥図湯呑

制作者(清水清閑)は多くの名工を生んだ阿部碧海窯(内海吉造が工場長、任田徳次、岩波玉山が主工でした)の陶画工となり、後に、明治初期の名工の一人までになりました。日本画のような図案や精緻な文様を巧みに描き、この小ぶりな湯飲み茶碗に華麗な赤絵金彩で絵付しています。金沢九谷が明治九谷の優品の代名詞といわれたことがわかる作品です。

この大輪の牡丹の花の横には金で漢文が書かれていて、その漢文を「□□楊妃につぐ名高き仙子の花」と解釈すれば、制作者は“富貴の花”といわれる牡丹の花がとても美しいと、古代中国の美人とされた楊貴妃を引き合いに出して、賞讃したかったと見られます。仙子が百人の花の精を統括する花神とされるので、牡丹の花を百花の中で最も富貴溢れる花として描いたと思われます。赤の濃淡、金線の細さ、石目打ちの技法による点描など、金沢九谷の繊細な描写が見られます。

江戸末期に赤絵細描で誇った八郎手にすでに見られた“雷文”、明治10年頃まで流行った“石目打ち”の文様、そして赤地に金で点描した文様など、繊細さが随所に出ています。こうした技巧は明治九谷が“ジャパンクタニ”として世界から高い評価を受けたきっかけとなりました。

裏名に「九谷/清閑」と書き込まれています。高台内と茶碗の内側にニュウが見られ、制作者が独立してからしばらくの間、こうした窯キズのある素地でも使わざるを得なかったという明治初期の素地の事情のわかる作品です。

明治九谷を支えた陶工と素地窯

明治初めの素地造りの状況

明治時代、九谷焼が重要な輸出製品になったため、その素地へ大量の需要が生じました。それに加え、これまでに製作したことのなかったテーブルウエアや中・大型の製品の素地が直ぐにも必要となりました。それに対応したのが、江戸末期に再興九谷の諸窯で育まれた製陶の技法で、その需要に応えられました。

ただ、当初は大変に困難な素地造りであったことは当然でした。『九谷陶磁史考草』(昭和3年発刊 松本佐太郎著)には、明治初めの輸出向け“珈琲具”について記されています。「明治二年 士族 阿部碧海が自宅に絵付窯を築き 輸出に適した珈琲具・茶器・食器・菓皿・酒錘・喫煙具類を製作し始めたが 元々 製作に不熟練であったので 完全なるものが十に二 三を得るに過ぎなかった」。この記述からは、コーヒーカップの“かたち”が均一でなかったこと、取っ手が曲がってついていたことなどが想像されます。阿部碧海窯でコーヒーカップの完成品ができたのはそれから1年後という状況でした。

そして、左の像の5枚の皿は、「加賀国/綿野製」と銘打った、名工の製品ですが、重ねてみると、歪みがあることがわかり、また5枚それぞれの重さが299g~361gとバラツキがあります。

この皿の高台には“目跡”(めあと)もあります。これは裏側から皿を“支えた”粘土玉が溶着しそれを剥がした跡です。皿の裏側に粘土玉を挟み込んで、焼成中に素地(かなり厚みのある)が溶けその重みで垂れ下がり、あるいは割れ目が入らないように防ぐためでした。明治初期の一時期にこうした製品が輸出されていたことに驚かされます。

また、中・大型品の素地の製作も困難に直面しました。明治初期に欧米や国内で開かれた博覧会に出品された、中・大型の鉢、花瓶、香炉、壺などの素地を製作するのも初めての経験でした。ロクロ成形している最中に素地の重みで下の方から歪みが入り、乾燥や焼成時の温度管理が不十分であったため、裂け目や割れなどが入ってしまうことが度々ありました。

1.テーブルウエアの素地を造った新助窯

明治3年(1871)、金沢の阿部碧海は“珈琲具”の素地を松原新助(弘化3年1846-明治32年1899 素地と絵付の分業を提唱した陶工))の新助窯に依頼しました。八幡の素地窯では従来からいろいろな“かたもの”が成形されていたことからでした。松原新助は腕のいいロクロ師であったうえ、八幡や若杉で盛んであった型押しの手法に精通していました。取っ手のあるカップやポットの素地を製作するにあたり、部分ごとの型に陶土を押し付けて成形した後、取っ手を胴体に接いだといわれます。この型押しの技法が各種のテーブルウエアの素地製作に使われると、歪みが少なく、ほぼ均一な素地が量産できるようになりました。

このとき、陶土と釉薬の改良もありました。八幡の陶土には鉄分がほとんど含まれない花坂陶石が厳選されたので、真っ白な素地ができ、鍋谷石を原料にした釉薬をかけて焼くと、釉薬がガラス質となって表面全体を覆い滑らかになり、合わせて、取っ手をつないだ所にあった凹みや隙間を埋めました。こうした原材料の厳選によって新助窯の素地が阿部碧海窯から高い評価を受けました。

右の画像は阿部碧海窯が製作したソーサーです。真っ白で薄い素地はエッグシェルタイプのようで、ろくろで成形してから、型押しの技法で薄く均整のとれたソーサーに仕上がりました。また、目跡もなく綺麗です。

 

右の画像は「友山」の銘の書かれたデミタスカップです。笹田友山が阿部碧海窯に在籍した時の経験から新助窯の素地を使ったと見られます。均整のとれたカップに取っ手が真っ直ぐについているのがわかります。

 

 

 

こうして、テーブルウエアの多くの素地は新助窯で製作されたと見られ、明治10年(1878)になると、阿部碧海窯ではこの窯の素地を使って名工らが各種の製品を製作するようになりました。明治20年(1888)には、松原新助らが有田風大円窯をフランス式の円型窯に改築した「改良所」を開き、その後、そこを松原新助の所有に移ってからの素地は、上等の素地の代名詞のようにいわれました。陶器商人 綿野吉二、名工 松本佐平らが大いに使用したので、明治九谷への評価も益々高まりました。

ただ、明治15年(1882)、松原新助は、他の産地(瀬戸地方)に比べて普及が遅れていた石膏型鋳込成形法を使って、有田風の大円窯において肉皿を試験的に焼成し、一応の成果を得たといわれます。しかし、この成形法はそれからさらに2年後でした。その理由は、石膏自体がいまだ高価で石川県では入手困難であったこと、従来の素地窯を石膏型鋳型法のために改造する意欲も資金が小松の素地窯になかったことなどが考えられます。

2.各地の陶画工に供給された江沼地方の素地

明治時代になって急がれたのが中・大型の製品の素地であり、それは江沼地方の再興九谷の諸窯で製陶技術を修得した陶工によって製作されたと考えられます。その中心的な陶工が大蔵清七(寿楽)と北出宇与門でした。大倉清七が金沢の阿部碧海窯(明治2年1869-明治13年1880)の外注先にその名を連ねていることから、春名繫春が阿部碧海窯に在籍していたとき、万博出品の大型の花瓶の製作に大倉清七が関わっていたことが考えられます。一方、北出宇与門の素地が井上商店から金沢の赤丸雪山に依頼して制作された中型の製品に使われたことがわかっています。この地方の素地の製法が中・大型の製品の素地に適し、その価格が瀬戸産素地より低廉であったので、金沢の陶画工に魅力的であったと考えられます。

大蔵清七(天保7年1836-大正7年1918)は、九谷本窯(万延元年1860-明治3年1870)の製品改良のために京から招かれた永楽和全がその素地を精良なものに改良しているところを目の当たりにしました。さらに、永楽は荒谷(現在の白山市荒谷)で発見された荒谷陶石から造った、粘りのある陶土を使って素地を造りました。その素地は少し青味を帯びていたものの、硬質で、表面の仕上がりが極めて綺麗でした。

大倉清七は永楽和全から「寿楽」の号を受けたほど、素地造りに秀でていました。永楽が京に戻ったあとの明治4年(1871)、塚谷竹軒と共に、元の九谷本窯を譲り受け、その素地窯を改修して素地を造りました。翌年、その素地を使用した花瓶がアメリカで開催された博覧会に出品され受賞しました。このために、金沢の阿部碧海窯の外注先として大蔵寿楽の名前が挙げられたとおり、彼の素地の評判が金沢の陶画工の間に広がっていき、主に中・大型の製品の素地に使われたと思われます。その後、明治12年(1879)に九谷陶器会社が設立されると、その陶工部長に就き、 翌年、県の命により有田への視察に行き、有田の素地窯に倣って新しい素地窯を築くなど、江沼九谷の発展に尽くしました。その後、大倉は「大蔵窯」を開き、自営による素地造りに専念しました。

北出宇与門(嘉永6年1853-昭和3年1928)は、再興九谷の松山窯で粟生屋源右衛門、松屋菊三郎、山本彦左衛門から製陶技術を学んだ後、明治元年(1868)に「北出窯」を開きました。ロクロに秀れた技を発揮し、型押し成形の手法でも素地を製作し、合わせて、素地に染付することも得意であったので、この窯の素地は江沼地方の陶画工(竹内吟秋や浅井一毫とその門弟ら)に供給され、大聖寺の陶器商人 井上商店、小松の宮本商店(詳細不明)などに卸し販売されました。時には、陶画工の依頼を受けて展覧会用あるいは美術工芸品となるような中・大型の製品のために素地を製作しました。井上商店は、金沢から名工を大聖寺に招いてこの窯の低廉な素地に絵付を依頼し、優品を製作し、あるいは大聖寺伊万里の素地にも使いました。こうして、この窯の素地は江沼九谷の名声を大いに高めることに貢献しました。三代 北出塔次郎のとき、素地・絵付の一貫作業を行う窯元として歩み始め、その後、「青泉窯」と名を改め、現在に至っています。

左の画像の高台鉢(幅23.6㎝ 別名コンポートあるいは脚付き深皿)は、明治初め、赤丸雪山が井上商店の初代 井上勝作の招きで大聖寺にきて、北出窯の素地に絵付した製品です。まっすぐに伸びた脚、横に拡がった鉢状の皿の成形が優れていると評されています。

 

 

3.産業九谷を支えた佐野・小松の素地窯

江戸末期、能美地方の佐野村(現、能美市佐野町)では斉田伊三郎が、同じく寺井村(現、能美市寺井町)では九谷庄三が、それぞれ絵付窯(工房)を開きました。こうして、素地作りと分業する磁器生産が定着していくと、大勢の陶画工らが使う、低廉で大量の素地が求められました。次々に素地窯が自然発生的に築かれ、既存の若杉窯や小野窯も加わって、この地方は明治以降の産業九谷を支える素地窯の集まる地域となり、その中心の素地窯が佐野窯と山元窯でした。こうして、素地作りと絵付とが分業化されていくと、佐野村の素地窯や山元窯の発展に刺激され、この地域にも素地窯が次々に起こり、佐野村の佐野赤絵と九谷庄三工房が先頭になって推し進められた分業体制の下で素地窯が発展しました。

佐野赤絵などを支えた佐野村茶碗山の素地窯群

斎田伊三郎は、若杉窯や小野窯で素地窯の改良に携わりながら、絵付も指導していましたが、文政8年(1825)に佐野村に戻り絵付窯を開きました。金彩の二度焼きの技法を生み出すなど「佐野赤絵」が評判を呼び、合わせて、多くの陶画工を育て、村人たちにも絵付を教えたので、この村では赤絵の絵付が盛んとなり、明治にかけて素地への需要が急激に高まりました。

このため、斉田伊三郎は、佐野村で素地窯を築くことを考え、佐野村の丘陵地で陶石(佐野陶石と呼ばれる)を発見したので、数人の村人に素地窯を築くように勧め、安政5年(1858)から5年の歳月をかけ数基の素地窯を完成させました。その後、明治元年(1867)に斎田伊三郎が没した後も、多くの門弟が佐野赤絵を製作し続け、また農民画工、陶器商人がこの佐野村の素地を使った製品を製作したので、新しい素地窯を増設しながら、40年近くにわたり、7軒の窯元が盛んに素地を製作し、産業九谷の発展に尽くしました。

最初に素地窯を築いたとき、村人を指導したのが小松の埴田出身の陶工 山元太吉で、完成後、彼は埴田に戻って素地窯を築いたので、その周辺地域では素地窯が次々にでき、この地域は産業九谷を支える基盤造りが広がることになりました。

寺井・小松の絵付窯・陶画工に供給された“埴田の太吉”の素地

山元太吉(生年不明-1899年没)は、再興九谷の諸窯で製陶技術を修得していたところ、安政5年(1858)、30歳のとき、斉田伊三郎から佐野村茶碗山での素地窯の建設を依頼されました。文久3年(1863)、36歳のとき、その時の経験を活かして故郷の埴田(現石川県小松市 埴田町)で素地窯を築きました。これがきっかけにこの地域の素地窯群が組成されたことから、彼は“埴田の太吉”と呼ばれ、その地域でパイオニア的な陶工となりました。

この窯の素地がいろいろ使われたことからその素地の評価も高かったとみられます。斉田伊三郎の高弟 道本七郎右衛門が明治3年(1870)に独立した以降、佐野村の素地と合わせて、この窯の素地も使いました。また、明治10年(1877)、九谷庄三の門弟 篠田茂三郎が故郷の越中福岡で独立したとき、山元窯の素地を使用して、庄三風の福岡焼(「景岸園」と呼ばれた)を始めました。それは、篠田茂三郎が九谷庄三工房で修業していたとき、この素地を使ったことがあったといわれ、そのため、独立後もこの素地を選んだと考えられます。このことから、九谷庄三工房でもこの窯の素地が使われていた可能性が考えられます。

4.金沢における素地窯 藤岡岩花堂

当然ながら、近隣に陶土の産出のなかった金沢でも、素地窯が築かれ、金沢九谷の一部を支えたのが窯元 藤岡岩花堂の素地窯でした。その窯の前身は、明治10年(1877)に石川県勧業試験場が設立され、製陶技術の向上を図るために築かれた窯でした。試験場には製陶科が開設され、伝習生を募って教育指導し、教授には京都より円窯築造に詳しい小川文斎と数名の陶工、染付に優れた西村太四郎らが招かれました。また、納富介次郎から石膏型成形を学んだ松田与八郎も製陶の技術を伝習生たちに教えました。

この素地窯は「岩花堂」と呼ばれ、明治九谷の製陶技術の向上に貢献しました。試験場での目的が終わると、素地窯「岩花堂」は、明治15年(1882)、それに関わってた藤岡外次郎によって継承され、窯元「藤岡岩花堂」と改められ再開されました。金沢最初の素地窯となりました。それ以来、明治30年(1897)まで操業が続けられ、その間、小寺椿山、初代 和沢含山などの陶画工が在籍したので、彼らの名品が製作されたこともあり、あるいは金沢の陶画工に白素地や染付を供給したほかに、窯自体で色絵、赤絵なども製作しました。

右の画像は藤岡岩花堂の色絵皿で、真っ白な素地で、歪みがなく均一です。

 

 

 

 

(注記)明治期の素地についてもう少し知りたい場合には、「九谷焼をもっと知る!」の九谷焼の素地(の特色 素地窯と陶工 素地の成形)を参照してください

various forms of the back name in Meiji kutani

the origin of the back names in ceramics

It is thought that the back name written on ceramics was born with its advent, and its prototype was born in the Song dynasty or the Yuan dynasty in China, and then  the form of the back name such as “大明万暦Dai Ming Wanli” was completed in the Ming dynasty. Strictly speaking, unlike “inscription” or “signature”, the name written by the creator or some craftsmen inside a foot of porcelain meant such as identification, because the creator himself were not allowed to write the kiln name in China.

In Japan, the back name was first marked on the pottery with the “stamp of Ninsei (仁清)“, while in porcelain, Imari copied the back names on Chinese porcelain from the starting in the early Edo period. These were “大明成化年製made in Dai Min Chenghua” or “福fuku (fortune)”.

 

 

On the other hand, even in ko-kutani in the early Edo period, “福fuku” was often written copying the back name of Ming porcelain. In the late Edo period, the revival kutani adopted the back name from the name of the production kiln, production area, etc. for the first time. Furthermore, in the Meiji period, country name such as “大日本Dainippon” or “加賀Kaga”, and production area name such as “九谷kutani” (it means just kutani ware or Kutani village where kutani were produced at first) were written down on the export kutani, and the name of the creator or store was added.

The beginning of the back names in kutani ware

In this way, the difference between Imari and the revival kutani in the back name was due to the production form. Except for the Kakiemon kiln and Imaemon kiln, Hizen porcelain in the Edo period did not have the back names indicating pottery, painter, kiln, etc. The reason for this is that in Imari, in order to prevent the Nabeshima clan from leaking technology and smuggling products, several body kilns and 16 painting factories were trapped in the protected area of Arita Town and its surroundings. Intentionally the body kilns and the painting factories were divided, so the integrated production of the products under a kiln was not allowed, not to mention, the back name of the kiln or the painting factory were not allowed to write their names. So until the first Meiji period, probably, Imari would raise its rating in porcelain market by copying the back name of Chinese porcelain.

On the other hand, in the various kilns that were established in the Kaga domain and Daishoji domain at the end of the Edo period, products unique to the kiln were made from the purpose and background of each kiln. Therefore, in the kilns aiming at the revival of ko-kutani (ao-kutani), the back name such as “福fuku” were written, and there were various names such as the name of the place where the kiln was built or the name of the kiln owner. Eventually, when a painter like Kutani Shoza (九谷庄三), who had a livelihood in the painting business, appeared, the names of the painter or factory began to be written as a back name to indicate that their work was a brand product or he was a master craftsman. The form of this name was inherited in the Meiji period and developed adding some forms.

back name “kutani” in Meiji Kutani

The name “九谷焼kutani ware” was born in 1818-1830, and “kutani ware” was written on the box containing the products from the Yoshida-ya kiln. The name and the writing spread. After that, a painter who became independent from the kiln wrote his name and his store name on the product.

In the Meiji period, when the number of painters who became independent from the kiln increased, the back name “九谷kutani” was combined with the name of the painter or his store name, and the export kutani was combined with the national name. However, when Meiji kutani was mass-produced and the products with individual back names of painters and pottery merchants decreased, their value became rare, but the crude products with only the back name “kutani” become widespread.

back name incorporating “山”

“山” means mountain. Mountains were special to the Japanese. This is because in Japan, where there are many mountains, people considered mountains to be the world where gods lived, and since ancient times mountains were the object of worship and very important for their lives. Haku-san (白山) was loved by the people of Kaga, and it was a mountain of worship for fishermen and boatmen, and Haku-san was like a sign indicating the destination. It is naturally seen as a sublime mountain, and many painters in the Meiji period adopted “mountain” as their back name.

back name incorporating “堂”

“堂” was usually the house or studio for calligraphers, writers, tea masters, painters, poets, entertainers, etc. The name meant a place where people gathered, and was given to their house and studio, so some painter added “堂do” as his factory name.

 

 

back name incorporating “大日本”

The custom of adding “大large” to “日本Japan” existed since ancient times, and “大日本dai-nippon” was used as one of the “national names” of Japan in diplomatic documents in the late Edo period. In the Meiji period, it was used externally. So kutani attached to works exhibited at the World Expo, and was often seen in export kutani.

 

back name incorporating “加賀”

In the Edo period, the Kaga domain had most of the three countries of Kaga, Noto, and Echu, and in the Meiji period, Ishikawa citizens were proud of the fact that Kaga had the second largest territory after the Tokugawa shogunate. So the old country name “加賀Kaga” was named as the national name.

 

 

back name incorporating “金城

In connection with “加賀Kaga”, the back name “金城Kinjo” was incorporated in Kanazawa kutani, which was the old name of “Kanazawa” in the center of the Kaga domain.

 

 

“signature” in kutani fine print

The calligrapher of kutani fine print wrote his signature as the store name at the end of Chinese poetry. He would not have a painting kiln, and if he wrote his signature with the name of the painting kiln or the painter, it would be confusing who wrote kutani fine print.

 

back name in products by pottery merchant

Watano Kichiji (綿野吉二) was a big pottery merchant of Meiji kutani. His name was also written as “綿埜”. This back name was used for most of the export kutani and was written in abbreviated form such as “九谷utani / 綿埜Watano”. This sample is a rare one because he added “大日本Dai-Nippon” or a famous porcelain painter.

 

 

Unique back name

“相鮮亭” was a back name received to Asai Ichimo (浅井一毫) from his load of Daishoji clan in response to his achievements for the Daishoji clan in the late Edo period and for the development of Enuma kutani.

 

 

 

“彩雲楼saiun-ro” would be the factory name of Toda Tokuji (任田徳次). “彩雲” is a miraculous and beautiful scene of nature, called “iridescent clouds”, in which the clouds are colored red, green, and pink (these colors are colors used by the Minzan kiln that he was engaged in when he was young). It is thought that Toda would wish to represent his own figure he aimed for as a porcelain painter, like a multi-story building (roof) built against such a scene “彩雲”.

「鬼仏」(Kibutsu)  This is another name of the first Tokuda Yajukichi (徳田八十吉). The back name “Yasokichi” was used by the first, the second, and the third at the same time, so the first Yasokichi stamped “鬼仏” in red on the back of the wooden box to distinguish from the second or the third.

 

back name copied from ko-imari

In ko-imari (古伊万里) in the middle of the Edo period, it had a painting style that drew a design in blue and white, arranges red balls and yoraku-mon around the design, and drew arabesque in gold on the outside. In this foot was written in two lines as “奇玉宝鼎之珍”. It is probable that “Daishoji Imari” (大聖寺伊万里) were produced by a pottery merchant of Enuma county, referring to this ko-imari’s painting style, also coping this back name.

Takada Ryozan, colored and gold plate with a bird’s-eye view of Itsukushima Shrine

Itsukushima Shrine in Hiroshima Prefecture is drawn on a large plate using a bird’s-eye view. As for the pictures of Itsukushima Shrine, “Itsukushima Folding Screens” and “Itsukushima Pictures” were drawn since the Edo period, also the tourist information maps by a bird’s-eye view were issued even after the Meiji period. The Itsukushima picture by the creator looks like one of “famous place pictures”, and when looking at both of the front and back of this plate, it seems to be looking at a tourist information map of Itsukushima Shrine. This work is rare in the Meiji kutani.

size ; diameter about 45.5 cm height about 7.7 cm

In the center, famous places and specialties of Itsukushima Shrine are clearly drawn, such as the main shrine, the large torii gate on the sea, the Mikasa Beach, Toyokuni Shrine, the five-storied pagoda, the shrine’s office, Nishi-no-Matsubara (west pine forest), the stone lantern, the flock of deer, etc. It is exactly a tourist information map.

Inspired by Kasama Chikusetsu (笠間竹雪also famous as a painter) and Ishida Ichigo (石田一郷), who had exchanges with Takada, it is probable that Takada realistically expressed the landscape rather than the utopia seen in the Chinese mountain and waters.

From the left side to the upper side of the center, Toyokuni Shrine and the five-storied pagoda are clearly drawn, and “Miyajima in Spring” with cherry blossoms blooming around it is drawn using the technique of fine dots. And on the back, the blooming chrysanthemum flowers and red-dyed maple leaves are drawn, and his painting seems to be also guiding “Itsukushima and Miyajima in Autumn”.

The back name is written as “九谷in kutani / 製by 土井Doi / 画painted by 高田Takada”.

creator of the work

Takada Ryozan  高田嶺山  born in 1873, died in 1934.

Takada Ryozan started porcelain painting while watching his father’s work at the age of 10 because his father run a painting kiln in Terai Village since 1863. After that, he studied under a painter (details unknown), and received a character from his master’ name, so, he was called as “Ryozan”.

It is said that Takada had outstanding skill in drawing contours in ink, which was one of the basic techniques of painting for kutani, and at the same time, he studied the Western paints that were actively used at that time, and then was able to master both Japanese and Western paints. It is said that his porcelain painting was similar to a landscape painting. In addition, some of his works are well based on daily life, such as drawings of stories and rice field work, and some have strongly a painting-taste.

Shimizu Seikan, colored and gold teapot with various auspicious patterns

The surface of this small teapot is gorgeous with colored paintings, gold and brocade, and many designs such as “sho-chiku-bai” (pine, bamboo and plum), “folded paper crane” and “auspicious clouds” are drawn. In particular, since the design of “sho-chiku-bai” is placed in the center, this work seems to be an item to show the prominence.

size: width (longest) about 11.9cm, height about 7cm

The three panels are filled with “sho-chiku-bai” and folded paper cranes and auspicious clouds are drawn around panels. The “sho-chiku-bai” itself is painted in colorful paints and gold, and surrounded by folded paper cranes and auspicious clouds, so the whole is brilliantly expressed.

When holding the teapot, the gorgeousness of the brocade pattern that decorates the lid would be felt, and a character “ju” (寿long life) in gold like a pattern is written on the handle.

小さな蓋の摘みとその周りが金襴手で加飾され、ここにも瑞雲が飛びかい、細かなところまで飾られています。

The back name is written as “九谷kutani 清閑Sheikan” in the back corner of the lid. Because of a teapot, when the lid is removed, the name seems to be written in a way that makes it look casual.

creator of the work

Shimizu Seikan  清水 清閑  born in 1835, died in 1921

Shimizu Seikan was one of the master craftsmen who was active since the early Meiji period. It is said that he was involved in the production of works at Fujioka Iwahana-do kiln (藤岡岩花堂opened in 1880) while he early opened a kutani store in Kanazawa in 1876.

Shimizu Seikan sometimes made vases for export with a height of several tens of centimeters, which drew in detail Chinese-style figures and mountain waters. Also he made small works for the domestic market. All were works with fine pictures.

In his later years, he closed the store and continued to make small works because he had no one to take over the store.

Sasada Yuzan, a set of colored and gold bowls with pattern of “sho-chiku-bai”

In Meiji kutani, a set of three bowls are often seen. At the banquet, three different kinds of foods were served in each bowl, and each bowl was turned in turn. People who were there ate three kinds of foods taken from the bowl to the small plate. Therefore, celebration design and pattern of “松sho-竹chiku-梅bai” (pine-bamboo-plum) are drawn in three bowls while changing the size little by little, and delicate patterns of “sho-chiku-bai” are painted in various colors to express congratulations. It is a very elaborate work, decorated with the techniques of the time.

size small bowl diameter about 17.8cm height about 6.4cm
middle bowl diameter about 20.8cm height about 7.2cm
large bowl Diameter about 23.8cm height about 8.4cm

 

Originally, in China, “sho-chiku-bai” were favored by intellectuals because pine and bamboo do not fade in the cold and plums blossom in the cold. It was considered in Japan that from the Edo period, “sho-chiku-bai” showed “prominence”. So, the “sho-chiku-bai” was often painted on ceramics, lacquerware, dyeing etc. for celebration. This set of bowls is decorated with a variety of colors and gold to finish in conspicuous bowls.

In addition, the combined design of “sho-chiku-bai” was converted into a pattern of “sho-chiku-bai”. In the Edo period, “sho-chiku-bai” became widely used for not only costumes but also festive furoshiki (wrapping cloth), wedding futons (beddings), furniture etc.as a representative of the auspicious patterns.

Yuzan was easy to apply the technique of oa-chibu (青粒small dots of blue paint) and shiro-chibu (白粒small dots of white paint) for expressing pine leaves and plum blossoms, and adopted the technique of gold-moriage (overcoated gold) for the decoration of patterns, and the technique of fine dots and gold blurring was used in the background.

The back name is written simply as “九谷kutani / 製made by 友山Yuzan”.

creator of the work

Sasada Yuzan 笹田友山 born in 1840, died in 1914

Sasada Yuzan studied pottery from a child and opened his painting factory in 1872 and did the painting business, but the factory was closed in 1878, and after re -training at Ijun-sha (painting factory managed by 内海吉造), he restarted the painting business alone. He called “友山Yuzan”.

Although many of the works of Sasada are painted in brocade, it is said that the work of ko-kutani’s imitation goods was almost un authentic. His disciples were an excellent porcelain painters such as Takeuchi Seizan (竹内誠山) and Hatta Itsuzan (八田逸山).

Kutani Shoza Factory, colored and gold bowl with beasts and landscapes

On this big bowl, by the painting style like “colored and brocade” created by Kutani Shoza (九谷庄三) in the end of the Edo period (a style of drawing in brocade on the designs that are painted in various neutral colors instead of red), various designs such as beasts, birds-and-flowers and landscapes etc. are drawn on the entire surface. This painting style was also called “Shoza’s painting style” which became a typical style. In the first half of the Meiji period this painting style works were created by Shoza himself and was mass-produced at Shoza’s painting factory.

size diameter about 31 cm height about 9.2 cm

In the center of the bowl, the design of beast, which was a representative design of Shoza, is painted in colored and gold. It is said that Shoza liked the rural landscape and the scene that was usually seen in Japanese rural areas at that time. In the center of the bowl, a strong and powerful rooster is incorporated dignifiedly.

On the other hand, the Chinese-style landscape and person figure that were seen at the beginning of the Meiji period are also drawn as usual. It is an interesting design that the landscape seen through the window of the room where the literati seated seems to be the same as the landscape drawn in the left panel.

Four large flowers are drawn in green on the back side, and the back side is filled with flower patterns drawn in black zaffer, which was often used by Shoza or in some works at the end of the Edo period.

The back name is written as “九谷kutani / 庄三Shoza” in a two-line writing. However, this back name is also considered to be one of several styles of the back names used by Kutani Shoza.

As Shoza’s fame grew, Shoza’s back name had the meaning of a so-called brand. Of course, Kutani Shoza used also back name in one-line writing that indicates that the work was created by himself, but it is very rare. Almost is a two-line writing “Kutani / Shoza” that indicates that “kutani” means kutani ware and it was a product of the factory. Nevertheless, it is said that the product with even two-line back name was regarded as “made (authenticated) by Kutani Shoza (his factory)”.

creator of the work

Kutani Shoza  九谷庄三   born in 1816, dien in 1883

Kutani Shoza was as a child of an agricultural teahouse (a restaurant in a rural area) in Terai Village, Nomi county. His childhood name was “Shoshichi” (庄七), and he changed it to “Shoza” (庄三) around 1848-1854, and it is thought that he began to give his surname “九谷Kutani” in the Meiji period because ordinary people were allowed to give their surname.

Kutani Shoza built several painting kilns at the age of 26 in 1841 and started a painting factory after training at several kilns in Nomi county at an early age. In this factory, Shoza gave rough production instructions to a large number of disciples and painters, and the works of his painting style were produced, and almost were produced with the back name “Kutani / Shoza”. Shoza’s favorite design was a farming village that drew in detail the rural landscape, or a rooster that pecked at the garden of a farmhouse.

At the factory, a lot of body purchased according to the painting style were painted with Western paints, such as the body of the Ono kiln or the body from Yahata, Hanida etc. in Komatsu, and Western paints imported from the end of the Edo period to the beginning of the Meiji period were quickly adopted to their painting, and they developed the neutral colors that could not be expressed until now, so a gorgeous yet delicate and profound painting style was built. The products of “Shoza-painting styla” were very well received.

Kutani Shoza factory 1841-1883

In 1841, Kutani Shoza factory was opened by Kutani Shoza in Terai Village, Nomi county. The factory did not have a main kiln for the body, and painted on the body purchased from the Ono kiln and others. The factory had 200 or 300 painters and mass-produced “Shoza-painting style” products.

It is said that the first Takekoshi Zenbei (武腰善平) who started the training under Shoza in 1855, and Nakagawa Jisaku (中山二作) who started the training in 1864, and Nakano Chuji (中野忠次) and Kasama Shuseki (笠間秀石) etc. also assisted Shoza in this factory. Later they became master craftsmen of Meiji kutani. Therefore, the products of the factory were supervised under Shoza and their strict supervision, so it is said that the finished products of “Shoza-painting style” at the factory were mass-produced under high quality. So, it was well received both in Japan and overseas.

The products of the factory occupied a large proportion in kutani products in the early Meiji period and became the centerpiece of “Japan Kutani”. They became the core of kutani, and were exported by pottery merchants, so were very popular overseas as trade products in Japan. And they were also sold well in Japan. Kutani Shoza greatly contributed to the development of the breeding industry in the early Meiji period.

However, when Shoza died in 1883, his high-ranking disciples became independent, so the factory had no anyone to organize the factory, and disappeared naturally. However, some painters or craftsmen continued to make products with the back name “kutani / Shoza”, so the products like Shoza-painting style overflowed in the market.

Kamide Kizan, colored and gold fan-shaped plate with sparrow and bamboo

It is a plate with fan shape that expresses auspiciousness in both itself the shape and the pattern, and probably the painting shows the technique for the creator’ taste. So, it was one of a set which was made as a celebration item.

size: width (maximum) about 20.6 cm, vertical width (maximum) about 12.6 cm height about 2.8 cm

Sparrows that look like humans are taking a walk in the bamboo bush. The delicate and soft texture of small creatures is well expressed, such as the piggybacked small sparrow looking into the face.

Three-dimensional small chrysanthemums are circulated around the center of the plate, and on the top and bottom of fan surface is painted in brocade contrasted with black, and a pattern suitable for a gorgeous celebration is drawn.

On the back side, “九谷kutani / 製made by 上出Kamide” is written inside the foot, and bamboo leaves are arranged on the outside.

creator of the work

Kamide Kizan 上出喜山  born in 1842, dead in 1897

Kamide was called the first Kamide Kizan in his later years. He was born in a farmhouse in Sakaedani, Enuma-county, and tended to get sick when he was a child. So, he studied Japanese-style painting from two masters together with Takeuchi Ginshu (竹内吟秋) and Asai Ichimo (浅井一毫), and started the porcelain painting business in 1870. This is said to be the beginning of the “Kamide” family.

The back name of the first Kamide Kizan is often “九谷kutani / 上出Kamide”, and the back name “Kamide Kizan” (上出喜山) became to be well known since the third Kamide Kisaburo.