Kakiemon Small Jar with Plum, Chrysanthemum, Cherry Blossom Design（Edo Period）
100,000Yen(Tax Included)
Commonly referred to as a spittoon - a vessel for receiving saliva or phlegm - this piece was, in Japan, embraced as an element of interior decoration. In some traditions, it is also known as a melon jar, said to have been used for storing watermelon seeds. Crafted in the nigoshide, the jar features a warm, milky-white porcelain base that enhances the brilliance of overglaze enamels. However, the production yield for such works was notably low, as the process required meticulous removal of impurities and the execution of highly refined techniques. Especially for complex and unusual forms such as this, the technical demands were considerable, resulting in a high rate of loss during firing. It is therefore presumed that, even in its time, this work was regarded as a rare and luxurious work - difficult to obtain and reserved for the discerning few.
- Period
- Edo Period
Late 17th century
- Weight
- 205g
- Width
- 10.8cm
- Height
- 6.8cm
- Base Diameter
- 4.7cm
- Accompaniments
- Paulownia box
- Condition
- Intact
The work embodies the essential qualities of a superior work - refined tension in form, exquisite glaze, and exceptional preservation.
Kakiemon
Kakiemon Style refers to a distinctive category of Imari ware primarily fired during the Enpō Era (1673–81). These works were not exclusively produced by the Kakiemon family; rather, they emerged as a collective response to large-scale export orders from the Dutch East India Company (V.O.C.), and were completed across various kilns in Hizen Arita. The term “style” thus denotes a broader aesthetic, now widely recognized as “Kakiemon” in its extended sense. Characterized by refined compositions that embrace negative space and delicate brushwork by skilled painters, these porcelains possess an elegant and noble beauty. Their exquisite craftsmanship captivated European royalty and aristocracy, earning enduring popularity among the V.O.C.’s cargo offerings. Among the most celebrated features is the nigoshide body – a soft, milky-white porcelain base that heightens the brilliance of overglaze enamels. This innovation profoundly influenced the development of European porcelain, notably at Meissen and Chantilly. Signatures often include the stylized “uzu-fuku (spiral-fuku)” mark, where the character for “fortune” is rendered in a swirling motif. Other marks such as “kin (gold)” and “inishiebito (ancient person)” appear on particularly fine examples. While exported Ko-Imari ware from the Edo period also displayed opulent beauty, it was the Kakiemon style that drew the greatest admiration. After World War II, many works that had journeyed to Europe were repatriated in large numbers. The sheer volume of exported works far exceeds the domestic legacy, underscoring the style’s original purpose as an export commodity. Notably, works that blur the distinction between Ko-Imari and Kakiemon styles are often referred to as Kakiemon-de. In recent years, the term “Kakiemon” has come to be applied more broadly – even to later works of lesser refinement – reflecting evolving perceptions of the style.
https://tenpyodo.com/dictionary/kakiemon/
濁手
柿右衛門様式の最盛期を象徴する技法として知られる「濁手（にごしで）」は、
佐賀地方の方言で「米の研ぎ汁」を意味する「濁」に由来し、
その名の通り、温かみのある乳白色の素地を特徴とします。
海外では「Milky White」と称され、
色絵の鮮麗さを際立たせる理想的な白磁として高く評価されました。
濁手は白磁や染付の素地のように青みを帯びず、
絵師の筆による余白を活かした文様が柔和な素地と調和する事で、
柿右衛門様式ならではの優雅な色彩美を生み出します。
この素地を得るには、陶石や釉薬の原料から鉄分を始めとする不純物を丹念に取り除き、
極めて薄く釉薬を施す必要があり、染付との併用は原則として行われません。
酒井田家に伝わる1690（元禄3）年の「土合帳」には、濁手素地の調合比として、
泉山、白川、岩谷川内の陶石を6：3：1の割合で用いた記録が残されています。
焼成時の収縮率の違いによる破損も多く、皿等の平物では約五割、
壺等の立体物では約二割しか成功しなかったとされ、
この歩留まりの悪さも濁手が途絶えた要因の一つと考えられています。
濁手は欧州への輸出を目的として開発された至高の技術であり、
柿右衛門様式における最高品質の白磁素地として確立されました。
延宝年間（1673-81）に最盛期を迎え、
南川原窯ノ辻窯で最上手の典型作が焼成された可能性が高いとされています。
1650年代には楠木谷窯にて色絵専用素地の試作が始まっていた事も窺えますが、
当初は成形の粗さや微量の鉄分が残る等、完成には至っていませんでした。
18世紀以降は磁器輸出の減少と共に、濁手も姿を消しましたが、
1953（昭和28）年に12代と13代酒井田柿右衛門氏によって濁手の復興が果たされました。
濁手の呼称はいつ頃から使用され始めたのかは判然としていませんが、
江戸時代の文献には見られない事からも、近代（昭和初期）以降の呼称と考えられています。