This piece was probably made in the mid-20th century during the Showa period. The porcelain figure is about a 50-60 years old, illustrating a wonderful treatment of ‘Mori’ which is an ornate textured pattern introduced by the Kutani artisans. Moriage is often used with gold incorporated into the figurine. After being painted in enamels and decorated in “mori” fashion, it is glazed and fired in a kiln.
This is in excellent elegant Kutani condition, with no discoloration, cracks or repairs. Signed by hand on the bottom with the Kutani red signature only used in 1930. Condition: Excellent. Dimensions: 4-3/*’w x 2-1/2”d x 3-1/2”h.
Ko-Kutani is a style of Japanese porcelain traditionally from Kutani, now a part of Kaga, Ishikawa, in the former Kaga Province, and was made in Japan after the mid-seventeenth century. Most of the pieces found today are nineteenth-century for which dealers and collectors often use the term Kutani to refer to just the later. These piece continue the tradition of beautifully colored and muted pieces decorated with red, green, black and gold representations of noblemen, warriors, animals, and birds.
Six different over-glazing techniques dominate the 19th/c form of Kutani:
Mokubei style, influenced by Chinese ink techniques.
Yoshidaya style, marked by the colours of green, yellow, purple and dark blue as the basis.
Eiraku style, which is in contrast to the Yoshidaya style, with its simplistic coatings of gold on the first coat of red color.
Lidaya style, or the Hachirode, which breaks away from the conventional nature-themed Kutani style, with minute paintings of human figures on a red-gold aka-e kinran-de mix background.
Shoza style, a blend of all four techniques of overglazing.
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