| Kyoto
ware. General name of the ceramic wares of Kyoto (except *rakuyaki
楽焼), beginning in the Momoyama period and often decorated with polychrome enamels.
In the early 17c, a potter (or potters) from Seto 瀬戸 moved to Awataguchi 粟田口 and
made copies of Seto ware *setoyaki
瀬戸焼 in the *karamono 唐物 (Chinese)
and Kourai 高麗 (Korean), sabi-e 銹絵 (rusty painting), and *sometsuke
染付 (blue-and-white china) styles. Between 1655 and 58, Nonomura Ninsei 野々村仁清 perfected
*iro-e 色絵 techniques by employing
aspects of oshikoujiyaki 押小路焼 together with the styles of Chinese kouchiyaki
交趾焼 and *shippou 七宝 (cloisonne).
Ninsei's luxurious tea-related wares, made at his kiln in Omuro 御室 near Ninnaji
仁和寺, were patronized by aristocrats and samurai 侍, establishing a strong
patron base for kyouyaki. Ogata Kenzan 尾形乾山 (1663-1743) developed these
traditions at the end of the Genroku 元禄 era (1688-1704). Later most kyouyaki
kilns moved to the Gojouzaka 五条坂 area below Kiyomizudera 清水寺. In the Bunka 文化
and Bunsei 文政 eras (1804-30), Okuda Eisen 奥田穎川 (1753-1811) and Aoki Mokubee 青木木米
(1767-1833) made porcelains. With the fashion for green tea sencha 煎茶,
Chinese-style sometsuke and iro-e jiki 色絵磁器 (multi colored porcelains)
dominated with these iro-e jiki commonly called *kiyomizuyaki
清水焼. At this time such great potters as Takahashi (Ninnami) Douhachi 高橋(仁阿弥)道八
(1783-1855) and Ogata Shuuhei 尾形周平 (1788-1830) gained fame. Because much kyouyaki
derives from foreign models, the ware exhibits a wide range of techniques: pieces
may be wheel thrown, formed by hand or using molds: Stamp inka 印花, comb
kushime 櫛目, inlay *zougan
象嵌, and slip trailing itchin イッチン are common design techniques; and dipping,
dripping, trailing, painting and spraying are used to apply the primarily mineral
glazes. |
