An appreciation of “Kutani Matsuyama kiln - Inherited Aote Kutani - ”

"Inherited perfect gems of Kutani Matsuyama kiln" is on exhibit in Ishikawa KUTANIYAKI ART MUSEUM from November 14 2009 to February 14 2010. The below is a reference to the appreciation of many exhibits.

Revival of Aote Kutani

In about 1848 Daishoji clan opened Kutani Matsuyama kiln managed by itself, and the kiln revived Aote Kutani of each kiln said to be Kokutani and Yoshidaya kiln being conscious of deep-blue Kutani Porcelain which had not been gradually baked. It was approximately 190 years later since the mysterious extinction of Kokutani which had created Aote style, and only ten several years later since the closure of Yoshidaya kiln which had revived formerly Aote Kutani.
     
Akae Miyamotoya kil           Aote Matsuyama kiln

In the Tenpo era (1830-1843) of the late Edo period, Iidaya Hachiroemon completed Akae Kutani of the red glazing by the fine-point pen at Miyamotoya kiln. When red and gold painting became the main stream speaking of Kutani Porcelain, Daishoji clan revived Aote Kutani within the territory again. Daishoji clan was just a clan which had created Aote Kokutani.

A picture of Kutani Porcelain is “ life ”
As for Kutani Porcelain, a picture is said to be “life”. According to Mr. S. Nakaya (vice-director of KUTANIYAKI ART MUSEUM), “various pictures were drawn in Matsuyama kiln. Likening a round plate to one piece of canvas, painter drew various pictures of Aote style using four colors.
             
        Kokutani       Yoshidaya kiln      Matsuyama kiln

But Matsuyama kiln never imitated Kokutani or Yoshidaya kiln reflecting that Matsuyama kiln had a process of the formation for the kiln. Though landscape paintings seem to be similar, each painting is different slightly because the painters who studied the then picture took in the current tide or preference and expressed it to each picture.The work is made design, and the design side is very superior, too.
One completion form of Kutani Porcelain can be grasped in Matsuyama kiln from such an aspect.

Tradition common to three kilns
Because the perfect gem of Kokutani and Yoshidaya kiln are exhibited mainly on Matsuyama kiln in Aote room of the Museum, the tradition since Kokutani can be appreciated while comparing each.
             
             Kokutani      Yoshidaya kiln    Matsuyama kiln

A pattern is common to three kilns. That is a wood pattern of the diamond on the rim of the plate. The pattern of Aote Kokutani was drawn as a grand pattern, and it was connected into Yoshidaya kiln Yoshidaya-like. And the same pattern such as Kokutani was drawn on a work of Matsuyama kiln.
The point that three kilns pictured the motif that was each main theme in the center of the plate (called “window”) is the same at all stylistically.
Watching the works of three kilns side by side, it is recognizable that Matsuyama kiln inherited the tradition from Kokutani and Yoshidaya kiln.

An original characteristic of blue paint

Matsuyama kiln

As one original characteristic of the paint, dark blue used in Matsuyama kiln is not dark blue of such as Kokutani and Yoshidaya kiln. It is “smalt” like sky blue.
The blue paint “smalt” was invented in Great Britain in the beginning of the 18th century and used a lot for ceramics. The blue paint exited like the Berlin blue in Japan from ancient times. Instead of the valuable paint, “smalt” was imported to Japan by way of Chinese Qing and spread out. It is known that Katsushika Hokusai used it for painting in the late Edo period, and then it was used in Matsuyama kiln.

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