ceramicsJune 18, 2026

Kutani-yaki

Kutani-yaki (九谷焼) is a ceramics tradition produced in Nomi, Ishikawa Prefecture — and more broadly across the southern Ishikawa cities of Kanazawa, Komatsu, Kaga, and Nomi — since approximately 1655, designated as a Traditional Craft by the Minister of Economy, Trade and Industry in 1975. The ware is produced on a white porcelain body and is characterised by vivid overglaze polychrome painting. The term "kutani" means "Nine Valleys."

History

The first mention of Kutani dates to 1655, during the early Meireki era. Production began as an industrial promotion policy of the Daishōji Domain, a cadet branch of the Maeda clan. Clays suitable for porcelain making were found in the Kutani mines of the Daishōji Domain, and Gotō Saijirō, a member of the Maeda clan, was sent by Maeda Toshiharu, daimyō of Kaga Domain, to Arita in Hizen Province to study porcelain-making techniques. Gotō Saijirō subsequently established a kiln in the village of Kutani, and a memorial stone stele to him was later erected near an old Kutani ware kiln in Kaga. Two kiln sites, known as Kiln No. 1 and Kiln No. 2, remain in Kutani-chō, Yamanaka Onsen, Kaga City.

Kutani ware history is conventionally divided into two phases. The first, Ko-Kutani, covers production from the 17th and early 18th centuries. Ko-Kutani production suddenly closed down in 1730, with theories for the closure including difficulty finding pigment supplies and financial difficulties. Much, if not most, of the Ko-Kutani production is now recognised to have been centred around Arita.

The revival period, known as Saikō-Kutani, began in 1807 (Bunka 4), when the Kaga Domain invited Aoki Mokubei from Kyoto to open the Kasugayama kiln in Kanazawa. Around the same time, new pottery stone was discovered at Hanasaka Mountain (present-day Hachiman, Komatsu City) in Nomi District. In 1819 (Bunsei 2), the Kaga Domain banned the import of porcelain from other domains. Several kilns were established during this period: the Wakasugi kiln in 1811, the Ono kiln in 1819, the Yoshidaya kiln in 1824 (Bunsei 7), and the Miyamotoya kiln in 1832 (Tenpō 3).

A particularly significant figure in the revival era was Kutani Shōza (1816–1883), born in Terai Village (present-day Terai-chō, Nomi City) into a farming family. Invited to the Ono kiln as a ceramic master at the age of 17, he later discovered a pigment called "Noto Gosu" at Hidaniya (present-day Shika-chō) in Noto. He returned to his hometown at the age of 26, opened the Terai kiln, and established the "Saishoku Kinrande" (colourful brocade) style by incorporating Western pigments. The Japanese-Western fusion painting style he created became known as "Shōza-fu" and is also referred to as "Japan Kutani."

In 1872 (Meiji 5), die-pressing techniques were introduced into production, and the Kanazawa-ku Kata Kaitakusho ceramic division was established as an employment facility for unemployed samurai following the Meiji Restoration. This institution was renamed the Ishikawa Prefecture Industrial Promotion Hall in 1876 (Meiji 9), and Kanazawa Industrial School (present-day Ishikawa Prefectural Industrial High School) opened in 1887 (Meiji 20). Kutani ware was exhibited at the Vienna World Exposition in 1873, one of its first important international exhibitions, where the kinran-de (金襴手) gold-brocade style was shown. During the Meiji era, the ware became a significant export product, finding popularity in Europe and America during the period of Japonisme. From around 1892, production of figurines including lions became popular, and during the Taishō era plaster moulds enabled mass production.

Asakura Isokichi II (1913–1998) received the Order of Culture in 1996. The artificial lake created by the Kutani Dam on the upper reaches of the Daishoji River, completed in August 2005 and inaugurated in March 2006, was named "Gosai-no-Umi" (Five-Color Lake) through public solicitation, referencing the ware's famous five-colour tradition.

Techniques & Production Process

Kutani-yaki is defined by its overglaze enamel painting tradition. The classical five-colour style, known as gosai-de (五彩手), employs green, blue, yellow, purple, and red, rendered in vitreous enamel. In the standard production process, an artisan receives a plain white ceramic piece and paints a komon (小紋) fine pattern onto it. Outlines are applied using zaffre, a material consisting of cobalt oxide. The vessel is then fired in the kiln, a process that takes approximately seven hours and turns the zaffre dark. Overglaze colours in vitreous enamel are subsequently applied.

Several distinct decorative styles are recognised within the Kutani tradition. The Aote (青手) style of Ko-Kutani employs deep green, yellow, dark blue, and purple. The Iroe (色絵) style uses red, green, purple, dark blue, and yellow. In the 19th century, a more red-dominant design called aka-e (赤絵) came to prominence, featuring intricate patterns. The gold technique known as kinran-de (金襴手) was combined with aka-e to create the aka-e kinran-de style. The Yoshidaya style is marked by a palette of green, yellow, purple, and dark blue. The Eiraku style features simplistic coatings of gold applied over a first coat of red. The Iidaya style (Hachirōde) is characterised by minute paintings of human figures on a red-gold aka-e kinran-de background. The Mokubei style draws on Chinese ink painting techniques and features Chinese-style figure paintings on a red background. The Shōza style is a blend of all four overglaze techniques. Kutani Shōza additionally established the Saishoku Kinrande style by incorporating Western pigments.

How to Identify Kutani-yaki

Kutani-yaki, particularly from the Ko-Kutani period, is marked by vivid, dark overglaze colours that characterise its lavish aesthetic. The Ko-Kutani style employs a heavy five-colour composition using red, yellow, blue (green), ultramarine, and purple applied to a white porcelain body. The Yoshidaya style — also called "Ao-Kutani" (blue Kutani) — omits red from the palette, distinguishing it from Ko-Kutani. The Iidaya style red ware, fired at the Miyamotoya kiln, is referred to as "Aka-Kutani" (red Kutani). The Kasugayama kiln is associated with a Kyoto style, the Wakasugi kiln with an Arita style, and the Yoshidaya kiln with the Ko-Kutani old style. The Shōza-fu fusion style, also known as "Japan Kutani," reflects the combination of Japanese and Western ceramic painting approaches. Kinran-de pieces are identifiable by their gold brocade patterning applied over red. Outlines rendered in zaffre, which fires to a dark tone, are a consistent technical feature across Kutani styles.

The Craft Today

Kutani-yaki was designated a Traditional Craft by the Minister of Economy, Trade and Industry in 1975. Today, many Kutani artists are located in Komatsu, Ishikawa, and Terai. Two Living National Treasures have been designated for Kutani ware: Tokuda Yasokichi III (1933–2009), recognised for his enamel work in ao-de ko-Kutani, and Yoshida Minori (b. 1932), a third-generation master specialising in the yūri-kinsai technique. Production continues across the southern Ishikawa cities of Kanazawa, Komatsu, Kaga, and Nomi, maintaining the overglaze painting traditions established across both the Ko-Kutani and Saikō-Kutani periods. For a broader overview of Japan's ceramic traditions, see Japanese Pottery: A Complete Guide.

Frequently Asked Questions

What does "Kutani" mean?

The term "kutani" means "Nine Valleys." It refers to the village of Kutani where the original kiln was established, now part of the Kaga area of Ishikawa Prefecture.

What are the five colours of Kutani-yaki?

The classical five-colour style, known as gosai-de (五彩手), consists of green, blue, yellow, purple, and red. These colours are rendered in vitreous enamel applied over a white porcelain body.

What is the difference between Ko-Kutani and Saikō-Kutani?

Ko-Kutani refers to the original phase of production from approximately 1655 until the kiln's sudden closure in 1730. Saikō-Kutani refers to the revival period that began in 1807, when the Kaga Domain invited Aoki Mokubei from Kyoto to reestablish production, leading to the opening of several new kilns and the development of new styles including aka-e and kinran-de.

Where is Kutani-yaki produced today?

Kutani-yaki is produced across the southern Ishikawa Prefecture area, specifically in the cities of Kanazawa, Komatsu, Kaga, and Nomi. Many Kutani artists today are located in Komatsu and Terai.

Has Kutani-yaki been exhibited internationally?

Yes. One of the first important international exhibitions of Kutani ware was held in 1873 at the Vienna World Exposition, where the kinran-de (gold brocade) style was shown. During the Meiji era, Kutani ware became a significant export product, gaining popularity in Europe and America during the period of Japonisme.