explanation of the work

It is a rare design. It is a design only for people who dance in a circle. The people is drawn according to the round shape　plate. It is a rare item that cannot be seen even in the latter half of the Meiji period, but it is unknown what idea it was created from, and it is an interesting design. It seems that the motif is not on painting models, and that the creator of this work picked up what he saw in his daily life.

size ; diameter about 18.8 cm  height about 2.6 cm

Each dancer is in the form of a kimono, wearing a hat or headgear, but probably looks like an entertainer in terms of how to wear the kimono. The pattern of the kimono is fine and this design has something like a genre painting that was a mirror of the times, so this design has novelty.

The appearance of the dancers is so many people, so many minds, but it seems that the dancing people is connected in a circle. It is believed that the creator had his intention to give the design a sense of dynamism.

The back name is written as “kutani / made by Akiyama”. There are also “Akiyama-do” and “Akiyama Komajiro Store”.

creator of the work

About the creator of the work, search for “Akiyama Komajiro, his works and his history”.

 

reference No.	2011111A
date of exhibition	November 22, 2020
price	J-yen7800
remarks

explanation of the work

The composition of panels and also the technique of mori-kin (embarked gold) and shiro-mori (embarked white paint), these were technique peculiar to Meiji kutani.

A figure of people is drawn in two panels, and flowers are drawn in detail in another panel. It is an plate elaborate decorated with gold and brocade, and with the technique of mori-kin and shiro-mori.

size ; diameter about 17.9 cm  height about 2.3 cm

In the panel, some scenes taken from a story are drawn in detail, in short, two samurai face each other with a samurai holding something, and other samurai watch over them. In the other, the women board a boat to see Mt. Fuji and return, so the scene of the pier idyllic. This is in contrast to the scene of the samurai.

As a whole painting, the samurai kimono (hakama), the finely drawn stone wall with a hexagonal pattern, the thatched roof shining with gold, and the branches of pine and willow, they are drawn with delicate brush strokes.

The technique of shiro-mori, which was popular since the middle of the Meiji period, is used. It is used for the whiteness of the sail, its bulge, and the white back side of the fern (meaning congratulations for longevity and prosperity of the family) to create a subtle contrast with the color of the body.

The back name is written as “kutani / made by Akiyama”. There are also “Akiyama-do” and “Akiyama Komajiro Store”.

creator of the work

About the creator of the work, search for “Akiyama Komajiro, his works and his history“.

 

reference No.	19083108
date of exhibition	May 15. 2020
price	sold out
remarks

Akiyama Komajiro, his works　

colored and gold plate with figures and flowers in panels

The composition of panels and also the technique of mori-kin (embarked gold) and shiro-mori (embarked white paint), these were technique peculiar to Meiji kutani. (continued)

 

 

colored and gold plate with dancing people

It is a rare design. It is a design only for people who dance in a circle. The people is drawn according to the round shape　plate.  (continued)

 

 

Akiyama Komajiro, his history

born in 1863, unknown year of death

Akiyama Komajiro was born as the second son of Iimori Masamichi, a samurai of the Kaga domain. In 1875, he was educated in the department of porcelain production at the Ishikawa Prefectural Laboratory, studied with the first Suda Seika, and completed it in 1880. In addition, he studied painting and got a job at Fujioka Iwahana-do kiln.

In 1883, he moved to Matsumoto Sahei’s painting factory “Shoun-do”, and in 1888 he became the son-in-law of Sahei’s brother-in-law, Akiyama Heisaku. After that he was the chief of the factory until it closed in 1908.

When “Shoun-do” was taken over by the first Matsumoto Sakichi, who was adopted by Sahei, Akiyama Komajiro became the factory manager and it is said that he himself produced excellent works.

Explanation of the work

The flowers in the end of summer are delicately drawn in the center of flat plate, and the surroundings are luxuriously decorated with thick brocade. This work was painted as picturesque scene. It is a unique design of Kanazawa kutani in the early Meiji period.

Size: Width about 21 cm  height about 1.8 cm

The flowers are peony, chrysanthemum, sanguisorba and gentian. Above all, the elegant sanguisorba with long and high flowers are drawn as if they were fluttering in the wind. This design of sanguisorba is rare in Meiji kutani, and it seems that it was adopted at the request of Western ordering person.

When you touch the brocade around the edge, you can feel the thinly embanked gold which is burned in the same way as the kutani’s unique painting. In fact, it is thought that the brocade did not wear off even after being used carefully for many years. It is said that the reason why Westerners called this “brocade” is that the brocade pattern was woven like embroidery with gold and silver threads.

The back name is written as “kutani / made by Setsuzan”.

creator of the work

About the creator of the work, search for “Akamaru Setsuzan’s works and his history“.

 

reference No.	2106161A
date of exhibition	28-Jun-21
price	J\20000
remarks	wooden bok

 

explanation of the work

Even after a considerable number of years, the brilliance of kinrande has not diminished and is still shining. On the other hand, in some panels, figures of people, flowers and birds, snow-capped mountains (similar to Mt. Fuji) and nearby trees are drawn, which are like Japanese paintings. It is a colorful painting that is woven with brocade and color paints.

size ; diameter about 21.5 cm  height about 4.5 cm

The panels are large, and the largest fan-shaped panel has a tasteful design such as “a young samurai blows a whistle following a servant under moonlit night.” In other panel, flowers and birds are drawn with snow-capped mountains in the back.

 

 

 

 

The snow-capped mountains and trees are put together in one panel. Snow scenes also are drawn on works by Akamaru Setsuzan, so it seems that he had a fondness for his back name “Setuszan” (雪山 snow-capped mountain)

 

 

 

 

In a completely different way, the back has an elaborate picture of a large fruitful pomegranate.

This work is a flower-shaped bowl, and the height of the foot is about 2 cm, which is slightly higher than the others, and it is deeply cut inward. It is a rare molding for this time.

 

 

The back name is “Kutani / Setsuzan-do”. Others include “made by Setsuzan” or “made by Akamaru Setsuzan-do” or “painted by Setsuzan-do”.

 

 

 

 

creator of the work

About the creator of the work, search for “Akamaru Setsuzan’s work and his history”.

 

reference No.	18112413
date of exhibition	October 10, 2019
price	sold out
remarks

His works of Akamaru Setsuzan

brocade flower-shaped plate with figures and birds and flowers

Even after a considerable number of years, the brilliance of kinrande has not diminished and is still shining. On the other hand, in some panels, figures of people, flowers and birds, snow-capped mountains (similar to Mt. Fuji) and nearby trees are drawn, (continued)

brocade plate with flowers in autumn

The flowers in the end of summer are delicately drawn in the center of flat plate, and the surroundings are luxuriously decorated with thick brocade.　 (continued)

 

his history of Akamaru Setsuzan

Born in 1827, dead in 1897

Akamaru Setsuzan was one of the master craftsmen of kutani, Kanazawa, from the early to mid-Meiji period. He was active as a professor of ceramic painting at the Ishikawa Prefectural Laboratory and at Ijun-sha (painting factory) managed by Utsumi Kichizo.

In addition, since he was listed as a potter in the works of Inoue Shoten, a pottery merchant in Daishoji, Enuma-gun, it can be said that his fame was high.

Mizuta Seizan, one of the master craftsmen of Meiji Kutani. was one of disciples of Akamaru.

 

 

The body of this work was made by Fujioka Iwahana-do kiln in Kanazawa、 using the kiln inherited from the Ishikawa Prefectural Laboratory and the technique of making the body. This kiln sold pure white and smoothly finished body and also overpainted on the body.

size : diameter about13.2cm  height about 2.4cm

Colorful round patterns in five paints are drawn on the smooth surface, so the white body and the colored paintings are standing out. This kiln also produced aka-kutani (red kutani), so this kiln was unique in Kanazawa kutani.

This work has some points that show that Iwahana-do kiln received a good reputation in the making of the body. The edge of plate is turned over by 3 mm, and long dents are regularly carved diagonally, so these plates are elaborately molded. It is believed that this molding was possible because Matsuda Yohachiro introduced the plaster mold usage to the Ishikawa Prefectural Laboratory, and after passed on the usage to this kiln.

The back name also has its own features. “fuke in double square” (二重角福) is written as the back name, and “kinjo Iwahana-zo” (金城岩花造) is written on the back of the lid of the wooden box, along with the stamp of “kinjo Iwahana”. The back name and also five colored paintings seems to mean that the kiln wished to express its longing for ko kutani (古九谷) made in the early Edo period. It was another feature of Meiji kutani. Other back names include “Made by Kutani Iwaka-do” or “Made by kinjo Iwahana-do” in aka-kutani.

creator of the work

Fujioka Iwahana- do kiln

1880-1897

In 1880 Fujioka Iwahana-do kiln was opened by Fujioka Sotojiro who inherited the body kiln and pottery technology from the Ishikawa Prefectural Laboratory. After that, the kiln became a kiln for producing white porcelain, colored porcelain and red painting with gold.

In this kiln, Matsuda Yohachiro, a potter, was　engaged in making body until 1883, and also Wazawa Ganzan until 1893, so this kiln manufactured a high quality body. And Kotera Chinzan was engaged as a director of painting factory, and Sasada Yuzan, Shimizu Seikan, Tomoda Yasukiyo, Akiyama Komajiro and other master craftsmen were engaged, so this kiln made gorgeous excellent works.

 

reference No.	1807171
date of exhibition	2019.9.24
price	J-yen5300
remarks	tomo-bako

作品の解説

広い白素地を水面と空に見立て、水面には人を乗せた小船が、そして空には咲く木花が張り出した情景を九谷五彩で描い人物山水図です。こうした広い白素地を取り入れた構図は古九谷に倣ったと思われ、五彩といい、構図といい、八十吉が古九谷を欽慕していたことがうかがわれる作品です。

サイズ；径 約18.6cm　高さ 約2cm

八十吉は、初めて見て目に焼き付いた古九谷の五彩の復元に生涯をかけたといっても言い過ぎではないほど、五彩の研究に打ち込みました。その結果、見事に再現されました。珍しく赤を多用していますが、この赤いさざ波によって全体が引き立てられています。

裏面には、高台の中に「九谷／八十吉」の銘が緑彩され、その縁に宝尽くし文が描かれています。ここも古九谷の大鉢に倣った構図です。

高台内の銘「九谷／八十吉」が緑彩され、共箱の裏に落款「鬼仏」が押されています。それぞれには経緯があって、銘については初代が角福を書き入れた自作の皿が本物として取り上げられたのを見て慌て、それをきっかけにこの銘に変えたといわれ、また落款については二代、三代 八十吉と見分けるために初代の号を落款として押したといわれます。

作品の制作者

初代 徳田八十吉　号は鬼仏。

明治6年（1873）-昭和31年（1956）

明治20年（1887）、14歳のとき、松本佐平が納富介次郎と共に設立した九谷陶画分業工場で工場主任を務めた佐平の弟子であり、兄の二木喜助を助けました。そして、陶画の指導にきた荒木探令の指導も受けました。

明治23年（1890）、17歳のとき、陶画の研鑚を積むために松本佐平に入門し、そのときに目にした「古九谷」や「吉田屋」の青手作品に強く惹ひかれました。

明治26年（1893）、陶画工の徒弟進級試験の卒業試験に合格し、陶画工としての資格を得たのを機会に独立し、古九谷、吉田屋の作風の再現という自らの目標を定め、素地や釉薬について学び、色釉の調合技法を研究し続け、ついに到達点にたどり着きました。

門人には浅蔵五十吉、二代、三代 八十吉などがいました。晩年、三代 八十吉に信頼を寄せ、色釉の調合を頼み、その調合割合を“黒い手帳”に記号で遺したたことはあまりにも有名な話です。

 

管理№	2106271
展示開始年月日	2021.7.20
希望価格	17800円
備考	共箱付き

作品の解説

形にも文様にも吉祥を表す扇面を取り入れ、絵付には制作者が趣向を凝らすための技巧が見られる皿です。お祝いの品として作られた組み物の一枚であったと思われます。

サイズ；横幅（最大）約20.6㎝　縦幅（最大）約12.6㎝　高さ約2.8㎝

人のように見立てた雀たちが竹藪の中で散策しているようです。おんぶされた小雀がちょこんと顔をのぞかせるなど、小さな生き物が持つ繊細でいてやわらかな質感が上手く表現されています。

立体感のある小菊をグルっと見込みの周りを廻らせ、上下に黒とコントラスさせた金襴の扇面を描いて、華やいだお祝いの席に相応しい文様が描かれています。

裏面には高台の中に「九谷／上出製」と書き入れられ、その外側に竹の葉を配しています。

作品の制作者

作品の制作者については「上出喜山の制作品と陶歴」を検索してください。

 

管理№	2106061
展示開始年月日	2021.6.28
希望価格	6200円
備考

上出喜山の作品

色絵金彩和歌四季図鉢

黒く塗りつぶされた外側の面には和歌が金で書かれていますが、その和歌を視覚的に飾るために内側の面に四季の景物（四季折々の趣のある事物、自然の風物）が描かれています。・・・（続く）・・・

 

色絵金彩竹に雀図扇型皿

形にも文様にも吉祥を表す扇面を取り入れ、絵付には制作者が趣向を凝らすための技巧が見られる皿です。お祝いの品として作られた組み物の一枚であったと思われます。・・・（続く）・・・

 

制作者の陶歴　　上出喜山

天保13年（1842）生、明治30年（1897）歿

上出 喜三郎は、晩年、初代 上出喜山と呼ばれましたが、江沼郡 栄谷の農家に生まれ、幼少のとき病弱であったことから、当時盛んであった陶芸の道に入ったといわれます。

絵画を堀 文錦、小島 春晃に学び（同門には竹内 吟秋、浅井 一毫らがいました）、明治3年（1870）から陶画業を始めました。このときが「上出」家の始まりといわれます。

初代 喜三郎の銘は「九谷／上出」であることが多く、「上出喜山」の銘が知られるようになったのは三代目からで、金彩、金襴手による小紋柄などの絵付で名声をあげました。