The sun. [volume] (New York [N.Y.]) 1833-1916, 1898-03-06
KUTANI WARE LDOR NEW
ORIGIN AND Una RACTERIsTICs OF
a JAPANESE fOROELIIS,

|
Tho ware Described By TOGO TaknyannEi-irrst
randa In the nevrntecnth CeBturS Varieties
New Met With-somc Factory.N1nds speci-
mona-incrrn-ed Interest In Ceramics.
A correspondent whose interest in the Japa-
nose ware known as Kutani was stimulated By
the sale OF the Dana collection OF Eastern porce-
lains, which included several pieces of the ware.
asks THE Sun I r some Information about this
porcelain. He mentions especially four exam
piles, Nos. 81, A. 1914, and 396 Of the catalogue.
respectively a yellow ~globular vase with n dec
grafton of figures and domestic implements; o
globular vase with a wide neck. faring mouth.
and upright rim. decorated in FIVE colors; q
miniature bowl. 24 inches in diameter. dec.
GRATED in gold on red, and an egEshell cup.
These were variously described in the catalogue
as Kutani, old or early Kutani; or Yeiraku,
Kutani. The correspondent asks. among other
things, for the significance Of these distinctions.
II may be said In passing that one of these ku-
TAM pieces went out Of town, two were pur-
chased by individual citizens, and one was
picked up by a local dealer.
The Kutani ware takes its name from Kutani-
mura, or the village of Kutani, which is in the
province Of Kaga. Japan. Mr.. ToZo Takayana-
81, who Is an expert authority on Japanese GER
amics, said in answer to the reporters ques-
tions, which were based on the correspondents
tiiut III buo III huluhl VI olh
pieces the decorations were chiefly in green or
blue enamels, while tho modern ware was deco
rated principally in red enamels or red and gold.
The colors and the decorations generally. he
said, were similar to those OF the Imari ware; so
much SO that in many instances only the con-
noisseur could distinguish between them. The
Imari ware lie made ut the village of Imari in
another province.
Turning to a translation of a Government re-
port, Mr.. Takayanagi said that the Kutani
ware was recorded as having had its origin In
the seventeeth century, when the factory at
the village of Kutani. tKutani.mural was
founded by u subject of the Prince Daishoji.
named Tamura Gonzayemon. who had probably
studied the HiZen process Of porcelain-making.
From a description of his work in Sometsuke
(which is blue and white and gilded ON the edRe).
the report said. it would appear thnt Tamura
GonZayemon studied the art introduced from
China by Gorodayiu Go-Shonsui Of Hizen. The
clay of Kutani is described as of n dark red
color, wherefore. 1t is said. the ware is of a uni
form tint. The clay used for the dark gray
porcelain of Kutani is brought to the village
from other places.
is brought here. the report says, " from many
parts, especially from Anita dmarl), for dccora-
people lat homeI. but amateurs prefer the origi:
nal kutani, Of dark red and grayish white color,
. n YsigSk por M5I Tisk msNep g at g Rnia is the Wb nSm 1iSs Of
late in the seventeenth century. His descend
ants, Of the same name, still manufacture and
DECORATE the ware ut the same place.
The early potters. of Kutani often made up
their porcelain without any particular mark,
yanagi said. could toll the old ware unmistak-
ably; The character of the clay, or paste. is one
Of The chief points Of distinction. Different
anently, the pastes differ. One OF the old marks
often used lNsan was 0 a square inelosing characters ers
frequently copied in the older times and are
now copied in imitation Kutani as we'll. Col
lectors do not characterize as old kutani any
thing made within the last hundred years, al
though there has been no interruption in the
ginning OF the industry at Kutani a couple of
centuries ago.
THE suns correspondent desired to know
whether there were limitations of the Kutani
ware. MIR. Takayanagi said that there was n
great deal of the imitation ware. although per-
haps not SO much OF 1t was being sold here now
.o ID h s1 We of c 2 number ! Eo Of imHiS;s q. est pieces ssn being ipg
people e. are sns ee til9Ss more ta and more mo- scar Careful p1 abo ont
what they buy. and they aim to be sure that
their purchases are genuine.
turns out limitations of the real Kutani ware.
When the demand grew large for the ware this
chiefly fol, export and at prices lower than those
OF the real kutani. 1t is difficult to distinguish
Only a connoisseur can do it. MARKS OF old
makers are not forged, but the appearance of
ola ana modern hutani IS initiated. l mud, and
l have been glad to notice II. that people here
are not, only becoming more careful as
to purchasing imitation wares. but that
they are paying more and more attention
to the better classes Of japanese goods. There
was II time when people bought goods simply be-
cause they were japanese. Now they inquire
Individual piece. md they want to know how TO
detect the genuine. And they look for the
higher class. goods, for use as well as for orna-
ment. or old Kutani pieces there are not many
on the market. The modern Kutani is in de-
mand In the ordinary course OF trade. largely
for actual household use."