From the early Edo period to the present day, the porcelain industry, which developed around Arita Town in Saga Prefecture, including the production of blue and white porcelain, celadon porcelain and red-painted porcelain, has been an extremely important part of the history of Japanese ceramics. Judging from the organization of kilns and red-painting workshops, it is certain that it was one of the largest pottery-producing areas in the world, if not as large as Jingdezhen in China.
It was from the end of the Edo period and the Bunsei era onwards that Arita began to boast huge production volumes, centered on everyday tableware, in response to demand from the general populace, but of course even before that time, it was clear from the scale of the old kiln sites and the quantity of existing works that Arita produced far more than other production areas. Furthermore, as an example of how Arita had a large production capacity from an early stage, in the early Edo period, when Arita’s porcelain industry was making rapid progress, in the 17th century, it is known from historical records that the Dutch East India Company, which had expanded into the Orient at the time and had established trading posts in Hirado and Nagasaki in Japan to monopolize trade with Japan was enormous, and it can be said that Arita was able to make a dramatic leap forward as an export industry.
The products of the Arita porcelain industry over the past several hundred years have generally been referred to as Imari ware throughout the Edo period, but in modern times, the founder of Arita’s representative pottery family, Kakiemon Sakaida, products of the Arita porcelain industry over the past few hundred years were generally referred to as Imari ware throughout the Edo period, but in modern times it has become clear that Kakiemon Sakaida, the founder of Arita’s representative pottery, was the originator of Akae (red painting) ware, and in order to honor the first generation In order to honor Kakiemon, a group of works with a similar style were considered to be Kakiemon’s work or from his kiln, and other works were treated as Imari ware, even though the true nature of the works was not clear from an academic perspective. such classification began to be used among experts after the publication of “Kakiemon and Iro-Nabeshima” by Dr. Okochi Masatoshi in 1916. However, such classification was not used in records throughout the Edo period, and in the “Kakugoki”, an excellent cultural document from the early Edo period, all Arita porcelain is referred to by names such as “Imari” and “Imazato”. needless to say, Kakiemon and other Arita-Sarayama products were shipped from the port of Imari, and were distributed as “Imari” because they were shipped from Imari. Also, although there are very few works that have survived to the present day and are housed in boxes from before the mid-Edo period, even among these, there is no mention of “Kakiemon”. , and some of them were marked “Nanking” or “Nankin-te”, which was the name for porcelain imported from China. Even the Kakiemon family marked “Nankin-te” in their order books, so it can be said that this was just a general term for Chinese-style porcelain at the time.
As mentioned above as we have seen, Kakiemon was for a long time treated as just one of the styles of Imari ware, but the name Kakiemon does not appear in general reference materials at all, and in the essay “Suiyo Shoroku” by Nishimura Masakuni, published in 1807, there is a picture of a doll of a prostitute wearing a Goshogatami topknot , wearing a kimono with a chrysanthemum pattern, is illustrated in the essay, and the accompanying explanation reads, “Tokuko is a statue of Yoshino, made by Imari Kakiemon, the same as the mud statue that came from the mountains. prostitute doll is undoubtedly a work from the Kanbun to Genroku periods, but the fact that it is described as “made by Imari Kakiemon” in an essay published in 1804 shows that Kakiemon’s dolls were well known in the town from an early date. , it is written as “Imari Kakiemon”, which suggests that Kakiemon was known as one of the Imari pottery makers, but this was a realistic perception.
However However, since Dr. Okochi classified Kakiemon ware as a type of Ko-Imari in the Taisho era, the perception that Kakiemon ware was a type of Ko-Imari gradually disappeared, and the general concept became that Kakiemon was a type of Arita ware, but was separate from Imari ware. Dr. Okochi Dr. Okochi’s decision to separate Kakiemon from Imari may have had its own significance, but it is a pity that he caused such a major misunderstanding in his attempt to praise the first Kakiemon.
The Sakai The Sakai Kakiemon family and its kilns were a prominent and prestigious family in Arita, and it is thought that it is certain that the first generation of the family founded the Kakiemon style of painting in the Shoho era, based on the old documents that have been passed down in the family. However, it seems that not all of the works that have been generally referred to as Kakiemon since the Taisho era were produced only at the Kakiemon-style kilns in Minamigawara, Arita. In particular especially during the period from the early stages of Akae to the 7778 completion period, that is, from the Shoho to the Genroku periods, the production situation is still unclear even today, when excavations of old kiln sites have progressed considerably.
The porcelain industry in Arita ‘s porcelain industry caught the attention of the Dutch trading post around the time of the Shouou era (1652-1655), after it had emerged from its formative period in the Genwa and Kan’ei eras (1615-1644), and it is thought that the rapid progress it made was due to the large-scale purchases made by the Dutch. , it is only natural that products similar to Kakiemon ware were ordered from other kilns and Akae-ya, and it was impossible for Kakiemon ware alone to monopolize Akae and maintain its own style. there is a document called “Shingai-guchi” that was written by the third Kakiemon in the Kanbun era and is thought to have been passed down in the Sakaida family, which conveys part of the situation at the time. In the document, it says, “The late Kakiemon did not make the goods ordered by the lords of Minamikawara, but he made the goods ordered by the lords of various places. , as for the red-painted ware, the kama-yaki and other such things, although they are popular in the world, there are no colored paintings that I have made myself “ and the meaning of the second half of the sentence is “These are Akae-mono, but the Kamayaki-ya and other people (Akae-ya?) are doing a lot of work, but those are not the colored paintings that we made. , it can be taken to mean that the Shishimono were made using our works as a model. It is not clear what the “Shishimono” in the text refers to, but it is thought that they may have been Shishi (lion dogs) dedicated to shrines, etc.
From this suggests that the Akae style pioneered by Kakiemon was also mass-produced by other Arita pottery makers and Akae-ya, and recent excavations and research at old kiln sites have also confirmed this. In the past, European researchers treated works made with the traditional pure milky white (nigite) clay as Kakiemon ware, and those made with other clays or the somenishiki-te style as Arita Kakiemon, or Imari Kakiemon style. was a more advanced view than the way things are done in Japan, where all works in the Kakiemon style are simply called Kakiemon ware. is because the Europeans had more resources than we did, and the Arita porcelain that survived from the second half of the 17th century was overwhelmingly superior to that which was introduced to Europe, and there was also a greater quantity. a large number of these works were re-imported to Japan from the 1960s, and the addition of styles that had previously been almost impossible to see in Japan has made it possible to get a general overview of the whole picture.
However , there are still excellent works in collections in England, the Netherlands and East Germany, and in particular the export porcelain that is concentrated in Dresden, East Germany, is an extremely important source of information from an academic perspective. , at least 30% of the Kakiemon-style works illustrated here were re-imported from Europe in recent years, and many of these are excellent works, which also shows how much the trade of the Dutch trading post in the 17th century influenced the porcelain industry in Arita.
However until the 1950s, Japanese research was conducted almost entirely on works exported to Europe. However, in the 1960s, many works that had been exported to Europe in the past began to be imported back to Japan, and in addition, the publication of “Japanese Ceramics” by the British Japan ceramics researcher Som Jenyns, and the Dutch Professor Folkert’s extraction and chronological organization of records related to ceramics from the records of former Dutch trading company employees, led to the publication of “Porcelain and the Dutch East India Company 1602-1682” in 19 54, “Porcelain and the Dutch East India Company, 1602-1682”, and in 1959, “The Dutch East India Company’s Trade in Japanese Porcelain, 1683-1684”. It has become clear that research into so-called Kakiemon and Imari ware cannot be carried out in Japan without reference to works and materials in Europe. some research based on such materials began to be published, and since then, excavations of old kiln sites in Arita have been carried out on a large scale, and by comparing the excavated materials with the surviving pieces, the outlines of Arita’s porcelain industry in the past are gradually becoming clear, and future research and consideration are now moving away from the conventional, conceptual classifications such as Ko-Imari, Kakiemon, and Ko-Kutani, and it is hoped that the true nature of Arita’s porcelain industry and its influence on the Ko-Kutani of Kaga will be clarified through a comprehensive chronological classification. Therefore, the works included here are labeled “Kakiemon” in accordance with previous conventions, but please understand that this is a stylistic classification.
I I have briefly explained that the so-called Kakiemon ware is the name of a style of Arita porcelain, but it is clear that the Sakaida family has been a prestigious family with a long tradition, since the first generation of the founder of Akae, and it has continued to play an important role in the porcelain industry of Arita. However , the actual situation of the production of the Kakiemon style of polychrome overglaze enamels by the Sakaida family is unclear, so here we will leave that issue aside and speculate on the circumstances surrounding the first Kakiemon’s creation of the Akae style, based on the old documents handed down in the family.
It is now common knowledge that the first It is now generally accepted that the first Kakiemon was the originator of Akae. This is based on a document passed down in the Kakiemon family, which is thought to have been written by the first Kakiemon when he was known as Kiszaemon. This document is an important source that can be said to have been responsible for the glory of the Kakiemon family. It states
Memorandum
1 , the first person to make Akae Imari ware was Tokuzoemon Higashijima, who learned the technique from a Chinese person in Nagasaki.
I have been given 10 silver coins to pay for the materials. I am currently staying in Kiyama, and I would like to ask you to make Akae ware for me. I gradually came up with the idea, and I and Kosuge Gembei both worked on it. Then, in the sixth month of the year, I brought the red-painted objects to Nagasaki and sold them to a Chinese person staying in the Kajicho area of Nagasaki, who was a buyer for the lords of Kaga and Chikuzen.
After that I will continue to sell red-painted Chinese goods.
I will also continue to sell gold and silver-painted goods. I hear that many people are interested in them.
When the Lord of When you entered the department, you were introduced to Nafu Kurobei, who presented you with a bowl of Mt. Fuji and a pair of chopsticks. You were then given an audience. After that, you took the tools to Nakaharacho Choemon and Kichidaifu Nagasaki.
Kisanz Uemon,
and the process leading up to the start of Akae, and that he was the first to sell Akae to Hanawa Ichirobei, the shopper for the Maeda clan of Kaga, when he went to Nagasaki in the year the “Kari-an” ship arrived, and that he was also the first to sell to Chinese and Dutch people after that, and that he was the first to burn gold and silver onto the ceramics, and that he presented a bowl and a sake cup with gold and silver patterns to the new lord of the domain, Nabeshima Mitsushige (the third lord of the domain), through Notomi Kurobei when the lord first came to the domain, and that he was the first to present a bowl and a sake cup with gold and silver patterns to the new lord of the domain, Nabeshima Mitsushige (the third lord of the domain), through Notomi Kurobei when the lord first came to the domain, and that he was the first to present a ) was the first to present a bowl and a sake cup decorated with the design of Mt. Fuji and a boar to Nabeshima Mitsushige, the third lord of the domain, when he came to the domain for the first time, and that he was presented to the lord at that time. mentions the entry of Nabeshima Mitsushige, the feudal lord, into the domain, which was in 1658, and is a truly valuable document for conveying the situation at the time. Furthermore, there is also a document called “Shingaikoujou” that is thought to have been written around 1671 during the third generation Kakiemon period, and which echoes the “Kakou” greatly. If you read the contents, there is no doubt that it is from a time period that is quite close to the “Kakou”, and it is also an important document.
Shingaikoujou
Sakaita Kakiemon
- I, Tokuzoemon, who was taught the art of Akae by a Chinese person living in Nagasaki, have returned to Kiyama to make a pot this year.
However Tokuzaemon learned how to make red-glazed porcelain from a Chinese person in Nagasaki, and he was able to make red-glazed porcelain himself. However, he was unable to make a living from it, and he ended up losing a lot of money.
One After that, I was unable to decide what to do, and I finally decided to sell them. In the year 1646, when I was in Nagasaki on a trading ship, I stayed in the same inn as a Chinese person called Kawan, who sold them to a man called Ichirobei, who worked for the Kaga and Chikuzen lords.
After that, I gradually sold them to other Chinese people. The gold and silver designs on the redware were also the work of Kakiemon, who was the first to introduce them to the world. When the Lord of Tanba first came to stay, he was presented with a bowl and a sake cup decorated with the design of Mt Fuji and a boar, which were ordered by Noutomi Kurobei. I have the honor to inform you that I have no intention of doing so, and that I will sell them to Nakanohara Chōemon and Kichidayu Akae Nishikite.
First, As for the goods that the parent Kakiemon is in charge of for Minamigawara, we will not be able to provide them, but we will be able to provide the goods that the various lords have ordered.
However , although there are many other types of red-painted ceramics and other types of pottery that are popular in the world, the colored paintings that I make are based on my own original designs. - When I was given the family business by my father Kakiemon, I was taught the basics of pottery making by him. I was taught the basics of pottery making by him. I am unable to make pottery at the moment, and at this time of year I am unable to visit Edo or the Kamigata region. I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can make some new pieces, and I am thinking that I can I pray that the portrait of the lord will be granted as requested, and I pray that the red-painted porcelain will be granted as requested.
The most important clause is the fourth article . The most important point here is Article 4, which states that Kakiemon (the first generation) was in Minamigawara, coordinating the production of goods for the shogunate as well as custom-made items for various feudal lords, that Akae ware was not only produced by Kakiemon, but also widely produced in Arita , and that the lion-shaped objects made there were modeled on his own work. This speech was submitted at a time when Arita’s Akae-machi was producing large quantities of Akae ware.
This ‘Shingai-guchi’ was probably a formal statement to the Sarayama magistrate, and the fact that the contents of the first generation’s ‘Kaku’ are recorded there is proof of its authenticity, and it is undeniable that the first generation Kakiemon, together with Toshizawa Tokuzaemon and Gose Gonbei, must be recognized as the originators of Akae. Furthermore , what is important in the “Shingō-guchi” is that the year of the arrival of the “Kari-an-sen” is given as Shōhō 3, but as Mr. Saitō Kikutarō has researched in “Early Kakiemon and Nankin-akae” (Kobijutsu, No. 14), it seems that Shōhō 4 is correct.
With the above , there is no doubt that the first Kakiemon was the founder of Akae in Arita, and it is also known that Akae-machi was established in Arita during the Kanbun era, and that a great deal of Akae was produced there, as well as copies of Kakiemon ware.
Arita It is thought that Arita’s overglaze porcelain moved beyond its initial stages and began to develop a sense of style around the time of the Kanbun era (1661-73), when overglaze production increased dramatically , and it is clear from works that were exported to Europe that the peak period was from the Genroku era onwards.
The so-called Kakiemon-style overglaze enamelled porcelain , the so-called Kakiemon-style polychrome porcelain included here, along with the Iro-Nabeshima, can be said to represent the most refined style of Arita polychrome porcelain. , the purity of the white porcelain body was increased in the 1670s, and the technique of overglaze enameling also became more advanced. It is thought that the so-called “milky white” porcelain body was then perfected, and a graceful style of beauty was established that was fully conscious of the empty space in the design.
The development of Arita’s overglaze enameling, centered on the Kakiemon style, is illustrated in this volume in two parts. After the development of Arita’s polychrome porcelain, which was centered on the Kakiemon style, the illustrations in this volume are divided into two parts. In Part One, representative examples are used to show the characteristics of the Kakiemon-style polychrome porcelain, and in Part Two, the development of polychrome porcelain since the 1660s is shown, with a focus on the Kakiemon style.
Part One The works from Figure 1 to Figure 8 in Part 1 are thought to have been made in the 1670s, and in the lid of Figure 1, which shows a stage of considerable technical improvement in Arita’s polychrome enamels, we can see the beginnings of the Kakiemon style that would later flourish. , the overglaze enamels in Figures 1 and 2 have a darker overall color tone, and the patterns are not as stylized as in some places, whereas in Figure 3, the overglaze enamels show a unique harmony, and the composition of the design with the flower pattern centered around the Taihu stone is established.
Furthermore Furthermore, in Figures 4 and 5, birds perch on the Taihu stones, and the fact that there are two birds is a characteristic feature that completes the pattern unique to the Kakiemon style, and the large deep bowls in Figures 6 and 7 are typical examples of this. , although until then the flower pattern that extended branches to the left and right around the Taihu stone was probably either peony or chrysanthemum, in these works, peony and chrysanthemum are depicted in the same composition, front and back, and have been stylized as a spring and autumn flower-and-bird design.
Furthermore as can be seen in Figures 10 and 11, the milky white background of the white porcelain becomes a magnificent pure white, and the technique of painting iron rust around the rim of the vessel is perfected, and the floral pattern that extends branches around the Taihu stone also becomes refined, seeking a picturesque elegance. after that, the brush of the painter draws various patterns on the milky white hand-made clay, such as the pattern in Figure 12, which looks like a picture of the Tosa school of painting, such as a quail on millet.
Also among the works of the final period of the milky-white hand, there are works such as Figure 16, which can be said to be custom-made pieces influenced by the Chinese taste of the time in Europe, and they were thought to be special custom-made pieces among the export porcelain.
The milky-white The hand-painted designs were only on the overglaze enamels, so-called Nishikide, but from the 1670s, underglaze enamels, or Sometsuke Nishikide, were gradually produced, and this style was perfected in the 1680s. , it is thought that the Iro-Nabeshima ware produced at the Okochiyama kilns, which were the official kilns of the domain, was the first to achieve this, and it is likely that influence, the techniques of Arita in general must have improved greatly, and the works from Figure 18 to Figure 25 are representative examples of the Sometsukete style from the Genroku period (1680s to 1690s). However , the so-called Kakiemon style is not seen, and it is truly interesting to consider the circumstances behind the production of these Genroku-era works, which were once called Shibue-mon-te, but this is not explained.
Figures 2 The sculptural works from Figure 6 to Figure 33 were all produced for export, and were recently returned from Europe, but it seems that works like Figure 27 were called the works of Kakiemon of Imari in the Edo period, and it can be seen that the sculptural works of the Kakiemon kiln in the 17th century were particularly noteworthy. However there was a great deal of variation in the quality of these dolls, and the so-called Kakiemon dolls were of the highest quality.
As I have already mentioned, it is unclear whether these works were produced mainly at the Kakiemon kiln. However
