Utsumi Kichizo, his works and history

Utsumi Kichizo his works

Utsumi Kichizo, brocade plate with peony and sparrow

The so-called “peony and sparrow” design, in which sparrows fly around the peony, is drawn in red on the entire front surface, and・・・(continued)

 

 

Utsumi Kichizo, colored bowl with poppy flowers and arabesque pattern

Also, the motif chosen by Utsumi Kichizo is a poppy rarely found in ko-kutani, and seems be influenced by his father Nabeya Kichibei,・・・・(continued)

 

Utsumi Kichizao his history

Utsumi Kichizo    内海 吉造

born in 1831 and dead in 1885

Utsumi Kichizo was the grandchild of Nabeya Jousuke, who was active in the Yoshida-ya kiln, and the son of Nabeya Kichibei, who was active in the Minzan kiln. From an early age, he learned color painting and red painting from his father, and also learned Japanese-style painting from Kano school painter, Sasaki Senryu. At that time, he received the store name of “Shorei (松齢)” from his teacher.

He started creating kutani from the end of the Edo period and was active in painting in the Ono kiln. Also, in 1867, the Kaga clan-managed kiln was opened at the foot of Mt. Udatsu, and he was engaged with Toda Tokuji in the kiln”.

In the Meiji period, in 1869, he became the director of the painting factory of the Abe Oumi kiln, and produced masterpieces along with the later master craftsmen Iwanami Tamayama, Haruna Shigeharu, and Yagi Jinsaku, etc. When this factory was closed in 1883, he took over the factory and established a new painting factory, which was open until it was closed in 1883 (Meiji 16). The factory received orders from pottery merchants in Kanazawa, such as Ennaka Magohei, Matsukan Shoten, Kaburagi Shoten, and Taniguci Kinyo-do, which were wholesalers of the Abe Hekai kiln, and sold many excellent products both inside and outside the country. The later master craftsman Tomoda Yasukiyo was trained at this painting factory.

In Kanazawa, when Western paints began to be used from around 1879, the figures, flowers and birds, mountain and waters, etc. were painted in various colors. At this factory, the products were made in a variety of paints with the motif of “Hyakuro-te”, which was said to be created by Saita Dokai, and it became popular, so became a representative painting style in the early Meiji period. In the design, countless tall Tang dynasty figures were drawn side by side, and the patterns of the clothes were colorfully drawn in Western paints, and gold lines were added.