VOL.213 MARCH 2026
EXPLORING JAPANESE POTTERY Kutani-yaki: A Canvas of Five Vibrant Colors

Kutani-yaki is distinguished by its bold, vivid use of five colors: red, cobalt blue, green, purple, and yellow.
Photo: ITO Akihiro

Kutani-yaki (Kutani ware) is a type of porcelain produced in the southern part of Ishikawa Prefecture, along the Sea of Japan coast in central Honshu, encompassing the cities of Kaga, Komatsu, Nomi, and Kanazawa. Renowned for its bold, painterly designs and deep, vivid colors, Kutani-yaki is often called ‘Japan’s oil painting.’ This article explores the enduring appeal of this distinctive ceramic art.

Kutani-yaki is said to have originated in the early Edo period (17th century) as a project of the Daishoji Domain, a branch of the Kaga Domain that governed this region. Around 1655, porcelain stone, the raw material for porcelain, was discovered in Kutani Village, which was under the domain’s jurisdiction. The Maeda family, lords of the Kaga Domain, had color-painted porcelain made using this material. This early form of Kutani-yaki, known as Ko-Kutani (Old Kutani), was characterized by a bold and sumptuous style with vibrant colors of red, cobalt blue, green, purple, and yellow, befitting presentation to the feudal lord. However, the Ko-Kutani kiln operations ended after about 50 years due to the domain’s financial difficulties, and porcelain production in the Kaga Domain did not resume until roughly a century later.

“In the early 19th century, as political stability and the domain’s finances improved, the Kaga Domain invited master craftsman AOKI Mokubei from Kyoto, and color-painted porcelain production was resumed as a domain project. These works are known as Saiko Kutani (Revived Kutani), in contrast to Ko-Kutani,” says KABURAKI Motoyoshi, chairman of the Ishikawa Kutani Porcelain Cooperative Union, who has devoted himself to the promotion and development of Kutani-yaki. “Furthermore, in an effort to revive the traditional techniques of Ko-Kutani, contemporary merchant YOSHIDAYA Den-emon established a kiln and developed a painting style called Aote, characterized by designs centered on yellow and green. Historically in Japan, green was considered a shade of blue, which gave rise to the name Aote, meaning ‘blue style.’”

“Aote is also known as the Yoshidaya style, named after the Yoshidaya kiln, and is one of the techniques most representative of Kutani-yaki. In addition, Mokubei, mentioned earlier, is known for a decorative technique called the Mokubei style, in which figures are depicted using red line drawings overlaid with the five Kutani colors. In Kutani-yaki, the process of decoration is described not as ‘drawing pictures’ or ‘applying color,’ but as ‘laying on color,’ reflecting the generous use of pigments. This is because the porcelain body was not originally pure white, requiring pigments to be applied thickly so that the base would not show through. This overglaze enamel technique lies at the very heart of Kutani-yaki, giving rise to porcelain distinguished by its rich coloration and dignified presence—often referred to as ‘Japan’s oil painting.’”

Further decorative techniques were developed, including the Iidaya style, which features intricate red-line painting accented with gold, and the Eiraku style, in which designs are rendered solely in gold over a red undercoat. At the same time, production expanded beyond luxury decorative items for the affluent, such as jars and incense burners,¹ to include everyday wares for ordinary households, including flower vases and plates.

In the years that followed, new techniques continued to emerge and evolve, including methods using Western pigments as well as techniques combining gold leaf or gold powder with glaze.² In particular, KUTANI Shoza, who was active in the mid to late 19th century, was proactive in exporting his work overseas. As he exhibited numerous pieces at domestic and international expositions, these works gained popularity in Europe and the United States under the name ‘Japan Kutani.’

In 2025, Kaga cuisine,³ a traditional local food culture of Ishikawa Prefecture, was registered as a National Intangible Cultural Property. Together with Wajima-nuri lacquerware,⁴ Kutani-yaki vessels have also drawn attention as an essential element that enhances the presentation of these dishes and expresses the spirit of Japanese hospitality.

“As its history shows, Kutani-yaki has evolved through the ingenuity of artisans of each era, who developed new techniques and passed them down to the present day. While cherishing tradition, craftsmen have continued to express their individuality in pursuit of ever greater beauty and quality, producing a wide variety of works even today. In recent years, many female artisans have also been active in the field, and their decoration, marked by a sense of warmth and gentleness within its beauty, has gained popularity,” says KABURAKI.

Among the many distinctive works available, visitors are encouraged to seek out a piece that resonates with them personally.

• 1. A vessel used for burning aromatic materials. Originally a Buddhist ritual implement, it is also used in the practice of kodo (the Japanese art of incense appreciation) and as an ornamental object in a tokonoma alcove.
• 2. A glassy liquid applied to the surface of ceramics.
• 3. A local cuisine that brings together the rich bounty of the sea and mountains of Ishikawa Prefecture (the former Kaga Domain area) with regional culture. It is regarded as a comprehensive art form that encompasses not only the cuisine itself, but also the setting in which it is presented—featuring traditional Ishikawa crafts such as Wajima-nuri lacquerware and Kutani-yaki vessels, along with seasonal flowers and hanging scrolls.
• 4. Lacquerware produced in Wajima City, Ishikawa Prefecture. It is distinguished by its exceptional durability, achieved using high-quality diatomaceous earth, available only in the area, as an undercoating material. (See “A Life Captivated by Wajima Nuri, Japan’s Traditional Lacquerware,” in HIGHLIGHTING Japan March 2025 issue)

By IMAMURA Keiko
Photo: ITO Akihiro
Photography cooperation: KABURAKI Shoho