Pair of Japanese Kutani-yaki Plates with Japanese Symbols

The term kutani (九谷)means "Nine Valleys". The first mention was in 1655 during the Meireki era. According to tradition, clays suitable for porcelain making were found in the Kutani mines of the Daishōji clan. Gotō Saijirō, a member of the Maeda clan, was sent by orders of Maeda Toshiharu, daimyō of Kaga Domain to Arita in Hizen Province to learn how to make porcelain.[6] He set up a kiln in the village of Kutani.[3] The daimyō of Kaga Domain became great patrons of Kutani. Porcelains from this early period are specifically called old Kutani (古九谷, ko-Kutani). Production suddenly closed down in 1730.[12] The reasons for this closure are still debated.[7][5] Theories put forward include that supplies of the pigments necessary for the glazing were difficult to find, or that there were financial difficulties.[4]

In 1804, or possibly 1807, production was re-established with the help of several kamamoto, or production potters.[6][14] New overglaze painting techniques from various kamamoto were infused in the development of what became known as revived Kutani (再興九谷, Saikō-Kutani).

Ko-Kutani - Aote (青手), includes deep green, yellow, dark blue and purple colours.

Ko-Kutani - Iroe (色絵), includes red, green, purple, dark blue, and yellow colours.

Saiko-Kutani - Aka-e (赤絵), (19th century) pieces are predominantly red with intricate designs

Saiko-Kutani - Kinran-de (金襴手), pieces including this gilding technique were shown in 1873 at the Vienna World Exposition and contributed to the growing interest in the Western world of Japanese porcelain.

A unique feature of Kutani ware is the application of fine calligraphy called saiji (細字), which is miniature in size.

The marks at the bottom of each Kutani piece are often hand-painted. However, you will also find pieces where an artist decides to engrave or emboss a mark at the bottom. Impressed and incised marks are not as common as hand-painted ones.

Many Kutani pieces do not have any mark or are simply marked Kutani. Marks that are printed in low grade commonly signify a post war or inter war production. This is also a way of understanding its originality. Some generic marks are listed below:

• Kutani: 九谷
• Kutani Ware or Kutani yaki: 九谷焼
• Kutani Marked or Kutani sei: 九谷製
• Kutani Created or Kutani zo: 九谷造
• Kutani Yokohama or Kutani made in the Yokohama era: 九谷 横浜

 

Satsuma ware is perhaps one of the most well known of the Japanese pottery styles often richly decorated with fine detail and liberal use of gold. The name comes from the region controlled by the Shimazu clan (Satsuma-han - officially Kagoshima and surrounding areas). The history goes back much further to around 1600 when Satsuma pottery was generally plain and in dark clay, very different from the 19th century pieces made for export to the West.

Satsuma comes in many forms and the term is a catch-all covering highly decorated fine work.  One of the features of Satsuma ware is the crazing, sometimes darkened, which covers the plain areas of the pottery, this can be very fine and almost invisible to the eye through to obvious and heavy. One sign of late 20th century reproductions is often the fake looking attempt to reproduce crazing.

Satsuma Marks are most often hand painted over glaze and may include the artist as well as the Satsuma mark along with other details. Impressed and incised marks are far less common. Unmarked pieces, or those simply marked Satsuma are also very common.

Just as with Western items Satsuma pottery often had words such as 'made' or 'artist' incorporated into the mark and can also be in combination. Some examples are given below.

Satsuma: 薩摩 - occasionally in hiragana characters: さつま, or katakana : サツマ

Satsuma (abbreviated): 薩广

Satsuma-yaki: 薩摩焼 - Satsuma ware

Shimazu clan mark: ⊕ - sometimes found on the body separately from the base mark. The Shimazu clan were the daimyo over the Satsuma domain (Kagoshima) and surrounding area.

In Japan, the gourd symbolizes happiness or success. Their humorous shapes have also always been thought of with affection. There are thus several sayings featuring the word “hyotan”. A set of three gourds are a good luck symbol because of the sound “san-byoshi sorou” in Japanese. 

The crane is widely recognized as a symbol of longevity in Japanese culture.  The depiction of both the bird and matching pieces of origami the pieces bring the ancient belief that if one folds a thousand origami cranes, they will be granted a wish, often related to health and long life. This practice, known as “senbazuru,” is rooted in the belief that the crane’s lifespan can extend to over a thousand years.

In Shinto mythology, cranes are often associated with deities. They are seen as messengers of the gods and are believed to carry prayers and wishes to the heavens. The crane is also linked to the sun goddess Amaterasu, as their elegant dance and graceful flight symbolize the harmony of nature. In many Japanese households, images or decorations of cranes are displayed to attract good fortune and blessings.

The ginkgo leaf embodies hope and the duality of life. The two lobes of the leaf represent life’s opposing forces: joy and sorrow, life and death, yin and yang. It’s a reminder of the balance that exists in the world. 

Origami, which literally means “folding paper” in Japanese, has its roots in ancient China. It is believed that paper was first invented in China around the 2nd century BCE, and with it came the practice of folding paper into various shapes and forms. However, it was in Japan that origami truly flourished and became an integral part of the country’s cultural heritage. During the Edo period (1603-1868), origami became more accessible to the general public. Paper was becoming more affordable and readily available, allowing people from all walks of life to engage in the art of folding. It was during this time that origami began to take on a more symbolic meaning in Japanese culture.  Origami was often used to convey messages and wishes.