2024.03.14
The Yaesu, Nihonbashi, and Kyobashi area is a hidden gem known only to those in the know, offering contemporary art, crafts, and antiques. What type of art are you planning to check out today with Mademoiselle Yulia, who is also deeply knowledgeable about the arts?
This time, we visited Maesaka Seitendo, located just off Higashinaka-dori Avenue near Takashimaya S.C. in Nihonbashi. This gallery features a variety of pottery pieces made from the early to late Edo period (from the early 1600s to the mid-1800s). The gallery mainly displays exquisite porcelain, such as Nabeshima and Koimari, both crafted in Hizen Province, the current Saga Prefecture. The owner, Noriyuki Maesaka, shared the history and enduring charm of this beautiful pottery, known as Arita-yaki, which has been cherished since the Edo period.
Yulia: Hello. I see a variety of beautiful pieces.
Maesaka: Hello. Our gallery primarily specializes in porcelain from the Edo period and is produced in present-day Arita town in Saga. Have you ever heard of Koimari?
Yulia: Yes, of course I have. It gives me the impression of vibrant and beautiful pottery. Can we consider Koimari to be an earlier version of modern Arita-yaki?
Maesaka: During the Edo period, pottery made in this area was shipped from the port of Imari to various parts of Japan and overseas. This pottery was known as Imari-yaki, which refers to ceramics that originated from the port of Imari. Around the Taisho period (1912 to 1926), people began referring to Imari-yaki as Arita-yaki because it was produced in Arita town.
Yulia: Why did the region become a site for pottery production?
Maesaka: There are two types of pottery: ceramics and porcelain. Ceramics include earthenware like Shigaraki-yaki and Karatsu-yaki, which are primarily made from clay and fired at temperatures between 800 and 1,250 degrees Celsius. Porcelain, on the other hand, is referred to as a type of stoneware. It is a white, hard material created by crushing pottery stones, mixing them with clay, and shaping the mixture into wares before firing them at a high temperature of around 1,300 degrees Celsius.
In Japan, the technology to create porcelain did not exist until the early Edo period. However, during his invasion of Korea, Toyotomi Hideyoshi brought back potters from Korea. Later, ceramic stone, the raw material for porcelain, was discovered at Izumiyama in what is now Arita Town, leading to the production of porcelain. It is believed to date back to 1616, and since then, the technology has been passed down through the generations with porcelain still being produced in Arita town today.
Yulia: It has been produced for more than 400 years.
Maesaka: Imari-yaki started being produced in the early Edo period. Items made before the end of this period are referred to as Koimari, meaning old Imari. Those made during the earliest years, roughly from the 1610s to the 1640s, are called early Imari. Items produce during the Meiji period (1868–1912) are referred to as Imari, while those made during and after the Taisho period (1912–1926) are called Arita-yaki. This reflects the changing names over different eras.
Yulia: Have the characteristics of the porcelain changed over time? Koimari is known for its gorgeous appearance. However, as you can see from the porcelain displayed in this gallery, the early Imari pieces have a much simpler design.
Maesaka: Yes, that’s right. Early Imari, produced in the early Edo period, was created by painting patterns directly onto the vessels without applying glaze first. Afterward, a glaze was applied, and the pieces were fired. The shapes are sometimes irregular, and the patterns consist of simple designs painted in underglaze blue and white. Later, the technique of color painting was brought in from China, leading to the production of the brightly colored porcelain you see today.
Yulia: I see that there are many different styles of Koimari.
Maesaka: There are five main styles of Imari-yaki. These five styles include early Imari, Kakiemon, Kokutani, Kinrande, and Nabeshima. Each of these styles was created using different methods, depending on who they were made for and the intended purpose. In Imari-yaki, the ceramic industry of the Edo period, creators likely produced marketable products by adapting to the trends and needs of their time. As a result, shapes and designs evolved differently.
Yulia: What are the key features of the Kakiemon style?
Maesaka: Kakiemon wares were exported to Europe, and many of their designs make effective use of margins. There, pines, bamboos, plums, or birds are painted.
Yulia: It is a truly unique aspect of Japanese painting.
Maesaka: They were created as decorative pieces for the palaces of European royalty and nobility. Such designs gained immense popularity in Europe. King Augustus II the Strong of Germany had a collection of these pieces. King Augustus aimed to produce this beautiful white porcelain in his own country, so he gathered craftsmen to study the technique, leading to the establishment of the first European porcelain kiln, Meissen. This took place in the early 1700s.
Yulia: Are you saying that Meissen has its roots in Japanese Imari ware?
Maesaka: That’s right. In the early days of Meissen, it appears they produced many copies of Kakiemon designs. Just as Japanese pottery makers initially imitated Chinese porcelain, this practice began by replicating what was popular at the time.
Yulia: Was the Kakiemon design originally created with the intention of being exported to the West?
Maesaka: Yes, that is correct. In contrast, the Kinrande style is a beautiful and luxurious type of vessel crafted for affluent merchants in Japan during the Edo period. The Genroku period (1688–1704) was a time of extraordinary prosperity during the Edo period, similar to a bubble economy. During this period, wealthy merchants favored these types of exquisite pieces.
Yulia: I associate Koimari with this kind of gorgeousness Kakiemon is like a fusion of Japanese painting and porcelain, while Koimari is like a collection of patterned designs or graphics.
Maesaka: The Kinrande style is inspired by the designs created by the Chinese dynasties, featuring patterns painted across the entire surface of the vessel and symmetrical designs. These items were not intended for shipment to Europe.
Yulia: Nabeshima has a refined appearance with beautiful paintings and nicely arranged margins.
Maesaka: The Nabeshima family, the head of the Saga Domain, brought together highly skilled craftsmen to create Nabeshima as offerings for the Tokugawa family. They established Domain-run kilns in the present-day Okawachi area of Imari City and had craftsmen create Nabeshima. I believe it was a fortunate environment for the selected potters, who were able to fully showcase their skills and create quality products without budget constraints.
Yulia: Both Kakiemon and Nabeshima exude a sense of dignity since as they were created for royalty and the Tokugawa shogunate family.
Maesaka: That’s right. There is a certain dignity to pieces made as the finest tableware for people of high status.
Yulia: Is it Nabeshima that is considered valuable even today?
Maesaka: Yes, it is Nabeshima. The sense of value comes from their rarity since few pieces of Nabeshima ware were produced. Their designs are also exquisite and unique, specifically created as offerings for the Tokugawa family. Nabeshima always features a floral design. The potters considered that some people who might use these plates may not like insects or animals, so they painted flowers that everyone would find beautiful.
Yulia: Flowers are a common motif in other styles, but the designs on Nabeshima appear especially noble and beautiful.
Maesaka: Imari-yaki basically features five colors for its decorative painting. Kokutani also uses five colors. In contrast, most Nabeshima ware uses three colors to avoid overly ornate designs. Some pieces are painted with one or two colors but never more than three. Nabeshima is known for its refined elegance of balancing subtlety with a touch of glamour.
Yulia: The painting style appears to differ somewhat from both Kakiemon and Kokutani.
Maesaka: In Kakiemon and Kokutani, the designs are contained within the boundaries of the vessel. However, in Nabeshima, motifs are often cropped or used as focal points with the overall design crafted to suggest scenes that extend beyond the vessel and allow viewers to imagine what lies beyond the visible.
Yulia: The most striking piece I saw today was this Kinrande style dish. The gorgeous pattern perfectly reflects my idea of Koimari.
Maesaka: Although this style was certainly passed down through generations in Japan, I actually purchased it far away in London. I found it at a relatively unknown auction.
Yulia: In London! Was there a collector?
Maesaka: I’m not sure how it ended up in London, but it’s possible that someone brought it back during the war or the postwar turmoil. According to the information I found before the auction, it was said to be an imitation from the Meiji era (1868–1912). However, when I arrived, I discovered it was actually a genuine piece from the Edo era.
Yulia: It was an unexpected discovery! Antique hunting can sometimes lead to those kinds of encounters.
Maesaka: Perhaps no one noticed because it was at a little-known auction. I was so thrilled that I brought it back to the hotel and couldn’t resist taking photos of it (laughs). It is common to attend an auction with high hopes only to be disappointed by the actual pieces we find.
Yulia: I also love this sake bottle with the grape and squirrel motif. Grapes and squirrels are a commonly used combination of motifs, but the depiction of this squirrel truly piqued my curiosity. It’s so round and cute that at first glance I thought it was a raccoon (laughs).
Maesaka: It sure looks like a racoon (laughs). The combination of grapes and squirrels is popular in the West, but the way squirrels are depicted varies between the West, Japan, China, and other regions. You can often identify the period and country just by observing the style.
Yulia: You mean you can tell which era it was created in? What aspects do you consider when assessing their value?
Maesaka: For example, you can tell by the difference in pigments and the intensity of colors. There are many other factors to consider, such as how light reflects on the colored areas. You become more skilled at identifying these aspects by observing numerous pieces.
Yulia: Wonderful! I can kind of tell which era kimonos were made in (laughs).
Maesaka: That’s probably because you’re used to seeing kimonos every day. When you encounter the real thing, you can identify which styles resonate with your sensibility. Authentic items definitely hold a special appeal for us. Every detail in quality pieces is truly splendid.
Yulia: Is there a specific piece in the gallery today that you really like, Maesaka-san?
Maesaka: That is a difficult question. I used to purchase sellable items as part of my business, but in the course of doing so, I started buying only what I truly liked. I buy pieces with some flaws if I like really them, but I won’t purchase perfect pieces if I don’t find them appealing. I would also buy low-priced pieces if I like them.
It feels like this collection represents my tastes, so I appreciate everything on display in this gallery. It feels wonderful to be surrounded by things you love.
Yulia: It’s lovely. But that means you have a hard time letting them go.
Maesaka: That’s why if a customer shares my belief that it’s a quality product, I genuinely feel happy to sell it to them. Even if a piece is priced at only a few tens of thousands of yen, I’m glad it can stay here for a long time if I liked it and brought it here. If it leaves, I’m happy as long as it goes to someone who will cherish it.
Today’s interview provided me with a much deeper understanding of pottery, including Koimari and Arita-yaki.
The recipient of a piece influences its detailed painting styles and color choices, which also vary depending on the era. It feels risky—if I learn more about this intriguing world of pottery, I might end up starting a collection!
The story about the auction in London was especially impressive. Working with antiques is a romantic endeavor. Pottery from various times and countries ends up in someone’s hands and then embarks on a new journey. What a wonderful job this is!
Costume cooperation:CURRENTAGE
(Inquiries: Melrose Co., Ltd. +81 (0)3-6682-0054)
Photo: Tatsuya Yamanaka
Writer: YUCO
Maesaka Seitendo
Address: 1F Naito Building, 3-7-10 Nihonbashi, Chuo-ku, Tokyo
Tel: +81 (0)3-3527-9595
Business hours: 11 a.m. to 6 p.m.
Regular holidays: Sundays and public holidays
For the website Click here
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Yulia started her career as a DJ and singer in her teenage years. In addition to her work as a DJ, she is involved in a variety of activities, including kimono styling, teaching kimono classes, and writing columns, all while being based in Tokyo and traveling the world. She updates her YouTube channel, Yulia’s Room, every week.
「Yulia’s Room」:@melleyulia
Instagram:@mademoiselle_yulia