Ishikawa Prefectural Solicitation Laboratory, colored and gold vase with binaural ears

explanation of the work

At the beginning of the Meiji period, kutani was asked to improve the quality to meet the demand from Europe and the United States. The target of improvement was aimed at a technique for making body and paint.

First of all, the body was improved to be whiter and smoother at this Laboratory which was a base for research and development of technology of kutani at that time. From this work, it is clear that such improvement was completed.

size: diameter about 10 cm, width about 16.8 cm, height about 26.4 cm

Next, the paint was also improved. Kutani Shoza used Western paints to export “Japan Kutani” products made by “colored brocade”, but what was required to exhibit at the Expo was to develop colors similar to Japanese paintings. For this target, this Laboratory improved Western paints and could pull out the neutral colors seen in Japanese paintings without being bound by the traditional kutani five colors that continued since the Edo period, and finally developed the paints that was compatible with the body of kutani. This work is drawn in the paints different from the traditional kutani five colors.

After that, based on the Western paints improved at this Laboratory, the paints continued to be studied by master craftsmen themselves, and their own neutral colors were created and Meiji kutani was produced using these paints.

At the Expo held in the early Meiji period, large vases and incense burners with binaural ears (decorations such as vases attached to the sides of the body like ears) were exhibited, and they were exported as ornaments. It became one of popular export products. In this work, phoenix-shaped binaural ears are attached to the body, and it can be seen in this work that baking of the body with simple binaural ears was also carried out at this Laboratory. After that, it became possible to export large vases and incense burners with elaborate ring-shaped binaural ears or crafted lion-shaped or dragon-shaped binaural ears.

The back name is rewritten in blue and white as “made by Ishikawa Prefectural Laboratory”.

explanation of creator

Ishikawa Prefectural Laboratory


Although the period of this Laboratory activities was short, it played a major role as an experimental and educational institution for improving the quality of kutani. As a result of the continuous improvement by this Laboratory, the works made by this Laboratory reached a high level where domestic exhibitions could be exhibited. The best example of the high level is that at the 1st National Industrial Exhibition held in Tokyo in 1887, an award was given to a work made by this Laboratory along with the works of master craftsmen or big pottery merchants such as Watano Genemon (father of Watano Kichiji 綿野吉二), Abe Oumi (阿部碧海), Ennaka Magohei (円中孫平), Sasada Yuzan (笹田友山) and Asai Ichimo (浅井一毫).

The reason why this Laboratory were able to achieve a high quality is that, in addition to the financial support of Ishikawa Prefecture, potters such as Fujioka Tojiro (Iwahana-do 岩花堂), Matsuda Yohachiro, and Wazawa Ganzan, painters such as Kodera Chinzan (小寺椿山) and Akamaru Setsuzan (赤丸雪山) were involved in the operation of this Laboratory. The result is that the first Suda Seika (須田菁華) and Akiyama Komajiro (秋山駒次郎), who later became known as master craftsmen, were trained as painter. However, this Laboratory was closed in 1890 because it achieved its original target.


reference No. 1806061
date of exhibition October 6, 2019
price J¥7400

Abe Oumi and Matsumoto Sahei, colored, gold saucer with six pairs of phoenix

explanation of this work

A painting factory Abe Oumi Kiln (阿部碧海窯) run by Abe Oumi (1841-1910 阿部碧海) requested to be painted by Matsumoto Sahei (松本佐平or佐瓶). Probably, this work was a saucer for demitasse cup, but even saucer is excellent in design with 6 pairs of phoenix in bright five colors and gold, drawing a pattern on the back in five colors and gold. It was a novel work in 10s of the Meiji period.

Size: width about 11 cm  height about 1.6 cm

On the yellow base, a pair of phoenix facing each other are drawn in green, blue, and purple, and three pairs in gold. And the pattern of red and gold is sandwiched between the phoenix and it is colored with the traditional kutani five colors as a whole, but the color tone is like Meiji kutani with the addition of gold. Perhaps when picking up cup, butterflies with spread wings could be seen. That would be an interesting taste.

A strip-shaped pattern is drawn with a width of about 1 cm, using green, purple, yellow, and blue along the rim of the back side, and two red lines are circulated around the foot. The connected uneven patterns are also drawn in gold. It is very elaborately decorated.

The back name is written as “made by Abe of kutani / painted by Shoun-do”. Matsumoto Sahei received “go” (store name号) of “Shoun” from a Japanese painter and his teacher Tokuda Kansho of Kanazawa in 1878 and after that used it as the store name. Since the Abe Oumi kiln was closed in 1880, probably this work was produced between 1878 and 1880 by Abe’s asking Matsumoto Sahei to create it.

explanation about the producer

Abe Oumi Kiln 阿部碧海窯


Abe Oumi Kiln was opened in 1869 by Abe Oumi who started up to give jobs to old samurais at the end of the Edo period. He built five painting kilns and painting factory in his own mansion in Kanazawa, but they were closed in 1880.

The painters who had studied Japanese painting belonged to this kiln, including Utsumi Kichizo (内海吉造), Toda Tokuji (任田徳次), Iwanami Gyokuzan (岩波玉山), Kodera Chinzan (小寺椿山), Haruna Shigeharu (春名繫春), Sasada Yuzan (笹田友山),Tsuda Nanfu (津田南阜), Shimizu Seikan (清水清閑), Iiyama Katei (飯山華亭). The total of more than 80 people were engaged.

This painting factory opened branches of sales in Nagasaki and Kobe, and expanded its sales channels with the cooperation of pottery merchant Ennaka Magobei (円中孫平). The main products were exports such as cups and saucers, food plates and confectionery plates. It is said that the products exhibited at the Vienna World’s Fair in 1873 gained fame and therefore many business partners. However, this kiln was involved in trading troubles and had to be closed in 1880. The painting kiln and factory were inherited by a chief of this factory Utsumi Kichizo.

explanation about the painter

Matsumoto Sahei    Shoun-do 松本佐平 松雲堂

Matsumoto Sahei used “Shoun-do” as the shore name.

His early style of painting was to draw people in detail, and he painted them with red, brown, black and dark red, and added gold. This is said to be the beginning of aka-kutani by Sahei, and this style of painting received high praise overseas, and Sahei’s aka-kutani became an important export product.

In 1885, he completed the technique of two times baking. He overpainted with red and black glaze and baked it once, and after decorated it with gold, he baked again. He cut off the base into several panels and drew flowers, birds and mountain water in them. It is said that its precision was described as “as if the embroidery of brocade thread on the fabric”. In this way, Matsumoto received high praise as a master craftsman in both aka-kutani and ao-kutani, but around 1893, he established “Shoun-do style” that fused the two styles. It became the most praised style.


reference No. 2006071
date of exhibition July 20 2020
price J¥8700


内海吉造 松齢堂陶山 色絵罌粟図唐草文鑼鉢


赤絵金彩や金襴手が目立つ明治九谷においてよく描かれた花鳥図や人物図でもないこの作品の図案には興味が引かれます。金沢の民山窯の陶画工であった鍋屋吉兵衛を父に持つ内海吉造が選んだモチーフは、古九谷に見られる罌粟(ケシ)図(下段左の画像;石川県立美術館蔵「古九谷青手罌粟図平鉢」)であり、その図案を民山窯の作品(下段右の画像;鶏声磯ヶ谷美術館蔵「武田民山 色絵割取人物山水図蓋物」の内側部分)に見られる構図に当てはめたように思われるからです。


サイズ;径 約21㎝ 高さ 約5.2㎝








管理№ 202104301
展示開始年月日  2021.5.24
希望価格 20000円
備考 共箱付き



陶山製 金襴手牡丹に雀図皿




松齢堂陶山 色絵罌粟図唐草文鑼鉢




内海吉造は、祖父が再興九谷の吉田屋窯で活躍した鍋屋 丈助、父が民山窯の赤絵の陶画工として活躍した鍋屋 吉兵衛でした。幼少より父から色絵、赤絵金彩を学び、さらに、絵画を狩野派絵師 佐々木 泉龍から学びました。そのとき、「松齢」の号を賜りました。

江戸の末期から作陶活動を始め、後期の小野窯で絵付を行ったこともあり(当時の名 鍋屋栄吉)、また、慶応3年(1867)、加賀藩の殖産興業のために卯辰山山麓に開かれた藩窯「陶器所並陶器竃」に任田 徳次とともに従事しました。




為絢社は、明治13年(1880)、阿部碧海窯の絵付工場長であった内海 吉造がその錦窯を引き継いで設立された絵付工場です。内海吉造は、阿部碧海窯の卸先であった円中孫平、松勘商店、鏑木商舗、谷口金陽堂などの金沢の陶器商人から注文を請けて、多くの優品を内外に送り出しました。


制作者不詳 倣古九谷観梅人物図変形鉢



サイズ 横幅 約37.7cm 縦幅 約27.5cm 高さ 約5.7cm





作品の制作者 不祥

吉田屋窯が江戸時代末期に古九谷の青手を再現しましたが、五彩手は明治に入ってから再現されました。明治期に倣古九谷の作品を制作した陶画工には、九谷五彩の絵の具を探求した初代 德田八十吉、古九谷写しを模索した二代 八十吉、初代 三ツ井為吉、初代 松本佐吉らの名工が中心となり、明治九谷の一つのジャンル“青九谷”を築きましたが、この作品の制作者のように、名前不祥のまま“青九谷”を製作する陶画工が多くいたと考えられます。


管理№ 18081809
展示開始年月日  2019.9.27
希望価格 13800円
備考 保存木箱付き 作品に小さな欠けがあります

制作者不詳 金襴手網の手瓔珞文金魚図鉢


鉢の内側に描かれた網の目は縁から見込みにかけ、だんだんと細かくなっていき、グラデーションしているように見えます。この技巧は“網の手”と呼ばれ、佐野九谷の祖 斉田伊三郎(道開)によって創められ、明治九谷に見られるいくつかの高度な技巧の一つといわれます。その後、この技法は斉田伊三郎の門人あるいはその二代目くらいまでは引き継がれましたが、あまりに難しかったので、後継者が途絶えてしまいました。


サイズ 径 約18.7cm 高さ 約7.3cm




作品の制作者 不祥

この鉢の制作者は定かではないのですが、“網の手”と“赤玉瓔珞文”を描けるだけの技巧を持ち合わせた陶画工(名工)は斉田伊三郎か、その門人の一部であると思われます。この作品の銘の入れ方と考え合わせると、一番に想定されるのが斉田伊三郎ですが、ほかには斉田伊三郎の門人の一人で“網の手”で優れた作品を制作した初代 富田松鶴が想定され、富田松鶴が師の創めた“網の手”と“赤玉瓔珞文”を描いたこの作品に、自分の銘を入れることを憚ったと類推されます。


管理№ 1810111
展示開始年月日 2020.6.13
希望価格 検討中
備考 保存木箱付き

富田松鶴 金襴手網の手金魚図鉢


鉢の内側と外側には張り巡らせた網の目が下に行くほどだんだんと細かくなっていくように描かれています。この繊細で技巧のいる描き方は佐野赤絵の祖 斉田道開(伊三郎)によって考案され、“網の手”と呼ばれました。それは斉田道開の門下によって受け継がれ、門人によって”網の手”にも変化がありますが、この”網の手”が得意とされた 初代 富田松鶴が制作したものです。明治九谷の赤絵細描において一つの画風を築きました。

サイズ 口径 約11.8㎝ 高さ 約7.2㎝



銘は「九谷/松鶴堂/七十五翁筆」と書き入れられています。斉田道開の他の門人の中にも、七十歳を超えたことを寿ぐようにこうした書き入れをした門人がいます。門人の一人であった初代 橋田与三郎も「加賀/九谷/七十六翁/与三郎」と書き入れています。斉田道開が明治元年七十四歳で亡くなっていることと関係があるようです。

作品の制作者 初代 富田松鶴(三郎平)


初代 富田松鶴は、斉田道開の門人となり、その後、慶応3(1867)年に独立して陶画業を始め、松鶴と号しました。特に、斉田道開の”網の手”を受け継ぎ、それを取り入れた赤絵が優れているといわれ、他にも赤絵小紋の平鉢、蓋物、湯呑、青粒を取り入れた壺、金襴手などに傑作を残しました。この初代の画風は二代 松鶴(栄作)に受け継がれました。


管理№ 2104081
展示開始年月日 2021.5.8
希望価格 17800円

米田五三郎 色絵金彩恵比寿図皿



サイズ 径 約14.9~15cm 高さ 約3~3.1cm





作品の制作者 米田五三郎



ある記録によれば、明治21年、荒木探令(狩野派画家)、山本光一(江戸琳派の絵師)が招かれて、九谷焼の画法の改良を促し、技術水準の向上を図るための指導が行われたとき、亀田山月、初代 須田菁華らとともに参加したことがわかります。このことから、米田五三郎が九谷焼の制作に係っていたことがうかがわれ、明治40年(1907)に米田陶香堂を創設し、広く九谷焼の製造販売を手がけるようになりました。




管理№ 19031503
展示開始年月日 2020.5.24
希望価格 6700円
備考 保存木箱付き

矢口永寿 赤絵染付小魚図盃一対




呉須赤絵の盃 口径 約6.5cm 高さ 約2.6cm

染付の盃   口径 約6.2cm 高さ 約2.7cm




作品の制作者 矢口永寿


初代 矢口永寿(号は清々軒)は生来の器用人で、書画骨董にも通じていた人といわれます。若いころ大阪へ出て各地を廻り、帰郷後、黒谷焼という楽焼を始めました。そして、明治37年(1904)、永楽和全の高弟 初代 滝口加全を迎えて永寿窯を開き、京風の陶磁器を作ることを始めました。



管理№ 19032503
展示開始年月日 2020.2.20
希望価格 6500円
備考 共箱付き

八木甚作 金襴手牡丹草花図皿



サイズ 幅 約20.8cm 高さ 約2cm




作品の制作者 八木甚作





管理№ 19103111A
展示開始年月日 2020.5.21
販売価格 売却済み
備考 購入者のご厚意で画像を掲載しています