Imari and Kakiemon wares are produced in the Arita area of Kyushu, a focus of domestic porcelain production since the 17th century. In addition to the sophisticated potting techniques and cobalt/celadon underglaze decoration learned from Korea, Japanese potters learned Chinese overglaze enamel techniques and the brilliant porcelains of Kyushu appeared almost overnight. These porcelains were shipped through the port of Imari, and hence became known by that name. Wares from the Kakiemon kilns are well known for their bright yet subtle red enamel, the delicate balance between decorated and white areas, and the painstaking care directed to every step from refining the clay to the enamel firing. This book provides a visual overview of the history, techniques and distinguishing features of Kakiemon wares.
Takeshi Nagatake (1916-1987) was born in Ushitsu, Saga Prefecture, the son of the head priest at Jofuku-ji temple. He graduated from Tokyo Technical College and went on to study museology at Tokyo University of Fine Arts. He thereafter returned to Kyushu, where he was professor of art at Saga Women’s College. Ceramic Museum. Nagatake Takeshi, trustee and consultant to the collection of the Tanakamaru Foundation, is also Director of the Arita Museum and Curator of the Saga Prefectural Museum. A foremost authority on Kyūshū wares, he is a prolific author and a guide to all students of Kyūshū ceramics.
The Publisher is Kodansha International Ltd., (1981). First edition. Thin folio. 40 pages. With 53 color illustrations and one map. Book Condition: New and in flawless Excellent condition with its original dust jacket and shrink wrap. Dimensions: 10.5” x 0.5” x 14.5”
Excellent Condition- In unused, or like-unused condition. No visual or structural or surface wear or damage shown. Pristine. As good as the day it was made.
Great Condition- Appears in slightly used condition but looks "Like New". Some minor wear, but retains the original craft/workmanship. May show minor wear, that does not affect the main design, or associated motif. No cracks, dents, chips or missing elements.
Good Condition- Minor wear which can be restored or repaired; may have surface flaws, like staining or soiling, confined to a small area. The flaw(s) are counterbalanced by another feature, like brilliant color or innovative design. Some fading or the piece may have been altered in some fashion.
Fair Condition- Main aesthetic/design showing damage. Excessive noticeable wear or damage. Worth buying if can be restored/repaired because of its aesthetic or design appeal or rarity. Note: wear/damage consistent with age/use can often enhance the 'Antique' qualities of a piece, giving it a desirable second chance in one's collection