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

"Inherited perfect gems of Kutani Matsuyama" 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 Ko Kutani (Old Kutani) and Yoshidaya kiln being conscious of deep-blue Kutaniyaki Porcelain which had not been gradually made. It was approximately 190 years later since the mysterious extinction of Ko Kutani 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 Kutaniyaki Porcelain, Daishoji clan revived Aote Kutani within the territory again. Daishoji clan was just a clan which had created Aote Ko Kutani.

A picture of Kutaniyaki Porcelain is “ life ”
As for Kutaniyaki Porcelain, a picture is said to be “life”. According to Mr. S. Nakaya (vice-director of KUTANIYAKI ART MUSEUM), “various pictures were drawn in Kutani 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 Ko Kutani 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 Kutaniyaki Porcelain can be grasped in Kutani Matsuyama from such an aspect.

Tradition common to three kilns
Because the perfect gem of Ko Kutani and the Yoshidaya are exhibited mainly onthe Kutani Matsuyama in Aote room of Museum, the tradition since Ko Kutani 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 Ko Kutani was drawn as a grand pattern, and it was connected into the Yoshidaya. And the same pattern such as Ko Kutani was drawn on a work of the Kutani Matsuyama.
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 Kutani Matsuyama inherited the tradition from Ko Kutani and the Yoshidaya.

An original characteristic of blue paint

Matsuyama kiln

As one original characteristic of the paint, dark blue used in Kutani Matsuyama kiln is not dark blue of such as Ko Kutani 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 Kutani Matsuyama kiln.

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