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Kakiemon Kiln

Green Tea cups Kakiemon XII Somenishiki

item # 86


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Item Description

Antique (prefect condition)

Production District; IMARI (Saga, JAPAN)
Potter: Kakiemon XII (1878-1963)
Kiln: Kakiemon kiln (since 17th century)

Large cup,
Cup Height: 3-1/8 inch (79mm)
Top of the Cup Diameter: 2-7/8 inch (73mm)
Cup Capacity: approximately 6 oz. (180ml)
Lid Diameter: 3-1/8 inch (79mm)

Small cup,
Cup Height: 2-3/4 inch (69mm)
Top of the Cup Diameter: 2-1/2 inch (64mm)
Cup Capacity: approximately 4 oz. (120ml)
Lid Diameter: 2-3/4 inch (69mm)

Dish Washer: Not recommended
Microwave: Not microwave safe
Box: Wooden box

Attention: Only one tea cup set like this in the world. Only one order is acceptable.

Who is Kakiemon?
Kakiemon (literature from Kakiemon XIV catalog)

The first Kakiemon (1596-1666), the originator of Kakiemon porcelain, became known as gAkaeh for the first time in Japan around 1643.

The early Akae works were copied from Manreki Akae of the Ming dynasty in ancient China, which had been brought to Hizen Hirado port at that time.

Later the pattern of Akae was changed by Kakiemon to a pattern of his own like Japanese painting. Akae used techniques of over-glazing with delicate polychrome called gGosaih (five colors) or gShichisaih (seven colors) on the milk-white foundation. This was called Kakiemon-style and was known all over Europe.

From the 17th century, the Dutch East India Company carried Kakiemon to all parts of Europe instead of the products of Keitokuching, the Chinese national kiln.

European people copied from the excellent Kakiemon works and produced porcelain there. Still now you can see European Kakiemon produced, especially in the Meissen kiln of East Germany, the Chelsea kiln of England and Delft kiln of Holland.

Kakiemon is very different from other porcelain because of its warm milk-while foundation called gNigoshideh.
Kakiemonfs Akae matches Nigoshide better than other white porcelain of Arita which is bluish, neat and cool.

In the later Edo period (around 1800), however, the Nigoshide disappeared because of its difficult process of production.
In Showa period (1925-1989) people who studied Kakiemon valued Nigoshide again and hoped for the reproduction of it.

Thus Kakiemon XII and XIII combined their efforts and in 1953 succeeded in reproducing Nigoshide.
Then the technique of Kakiemon-style was highly valued and designated as an important intangible cultural treasure of Japan in March 1971.

Kakiemon XIV, who is alive today, learned a way of mixing paints and a technique of Akae directly from Kakiemon XII and the art of forming from Kakiemon XIII. He is doing his best to make up his own Kakiemon-style with a modern sense in a traditional technique. He was designated a Living National Treasure of pottery painting in July 2001.