Kakiemon ware

Dish with Auspicious Fruit. Arita region, Enpō era (1673–81), Kakiemon style. National Treasure of Japan. Gift of Dr. Yokogawa Tamisuke Tokyo National Museum G-1049

🏛️ National Cultural Property
This craft is recognized as an official cultural property at the national level.

🌿 Living Tradition
This craft continues to be practiced today and remains part of the community’s cultural life.

Introduction

Kakiemon ware (Japanese: 柿右衛門様式, Kakiemon-yōshiki) is a distinguished style of Japanese porcelain originating in the Arita area of Saga Prefecture. Renowned for its brilliant white body (nigoshide) and delicately balanced overglaze enamels, Kakiemon ware is among the finest achievements of early modern Japanese ceramic art. Its distinctive aesthetic — asymmetrical composition, reserved use of space, and luminous palette — influenced porcelain production across Europe from the late 17th century onwards.

Terminology

The name “Kakiemon” derives from the Sakaida family, particularly Sakaida Kakiemon I, who is credited with perfecting the refined overglaze enamel techniques and the snow-white porcelain body associated with the style. The term nigoshide refers to the special milky-white, slightly translucent porcelain body developed during the 17th century.

Materials

Kakiemon ware is produced using:

• high-quality porcelain clay from the Arita region
• refined kaolin for the nigoshide body
• overglaze enamel pigments (red, yellow, blue, green, and black)
• transparent feldspathic glaze applied before firing

The purity of the clay is essential for achieving the characteristic whiteness of early Kakiemon ware.

Decorative Techniques

Kakiemon ware is characterized by:

• finely drawn outlines with iron-red or black pigments
• soft, translucent enamel colours
• asymmetrical compositions with large areas of negative space
• delicate motifs such as pheasants, flowering branches, sages, quail, pines, bamboo, or mythical animals
• controlled use of contrasting colours to create an airy, balanced aesthetic

Painting is carried out after the initial glaze firing, and enamels are fixed in a secondary overglaze firing at a lower temperature.

Production Process

Clay Preparation

The clay is purified and kneaded to remove impurities, ensuring a smooth porcelain body suitable for fine shaping.

Forming

Kakiemon vessels are wheel-thrown or mould-formed. Common shapes include dishes, bowls, sake bottles, and decorative pieces such as figurines.

Biscuit Firing

After shaping and drying, the pieces undergo an initial low-temperature biscuit firing.

Glazing

A clear feldspathic glaze is applied to achieve the distinctive glossy yet soft surface.

Glaze Firing

The ware is fired at high temperature (approx. 1300°C) to vitrify the porcelain body.

Overglaze Application

Once cooled, the characteristic enamel motifs are painted by hand.

Overglaze Firing

A final firing at around 800–900°C fixes the enamel decoration.

Historical Development

Kakiemon ware emerged in the mid-17th century as part of the broader development of porcelain production in Arita. Sakaida Kakiemon I is traditionally credited with refining the overglaze enamel technique and producing the earliest examples of nigoshide porcelain.

By the late 17th century, Kakiemon ware became highly valued in Europe. The Dutch East India Company (VOC) exported significant quantities, leading to widespread influence on European manufactories such as Meissen, Chantilly, and Chelsea.

Production experienced periods of decline, particularly after the disappearance of the original nigoshide formula in the early 18th century. However, the Sakaida family continued to develop the tradition, and in the 20th century renewed efforts succeeded in reconstructing the historical porcelain body.

Kakiemon ware remains a vital cultural tradition, and the Sakaida family has been designated as Living National Treasures in Japan.

Characteristics

Kakiemon ware is distinguished by:

• nigoshide white porcelain body
• restrained and elegant enamel decoration
• delicate brushwork and refined line quality
• asymmetry and use of white space
• themes drawn from nature, folklore, and auspicious symbolism
• harmony between form and painted motif

These features give Kakiemon ware its unique sense of clarity, lightness, and visual balance.

Variants

Several stylistic subtypes developed:

• Classical Kakiemon — early nigoshide pieces with light, graceful decoration
• Later Kakiemon — slightly heavier bodies with similar motifs
• Kakiemon-style Arita ware — works produced by other kilns adopting Kakiemon motifs
• European Kakiemon-inspired porcelain — Meissen, Chantilly, Chelsea, and others

Regional Distribution

Kakiemon ware is primarily associated with:

• Saga Prefecture
• Kyushu Region

Within Arita, several kiln sites historically produced Kakiemon ware or Kakiemon-style pieces.

Cultural Significance

Kakiemon ware played a critical role in shaping global porcelain history. Its export success helped establish Japan as a leading producer of high-quality ceramics in the 17th century. The style’s influence on European porcelain factories marks it as one of the earliest examples of significant cross-cultural artistic exchange.

Within Japan, Kakiemon ware is admired for its purity, elegance, and technical sophistication. The Sakaida lineage continues to preserve and transmit the tradition.

Modern Developments

In the 20th century, the Sakaida family succeeded in recreating the original nigoshide body, leading to a revival of classical Kakiemon aesthetics. Contemporary workshops combine traditional techniques with modern artistic innovation, producing both utilitarian and decorative pieces.

Today, Kakiemon ware retains international acclaim and is frequently exhibited in museums worldwide.

References

• Impey, Oliver. Japanese Export Porcelain: Catalogue of the Collection. Ashmolean Museum.
• Ishii, Yūko. Arita and the Early Porcelain Kilns of Japan. Tokyo: Heibonsha.
• Moyes, Christopher. “Kakiemon and the Early Export Trade.” *Transactions of the Oriental Ceramic Society*.
• Richards, David. Japanese Porcelain, 1600–1850. London: British Museum Press.
• Official publications of the Sakaida Kakiemon Kiln.