TOGURI MUSEUM OF ART

*From April 28 through May 31, 2012.

(Open every day during this exhibition)
It is closed from June 1 to June 9 for setting up new exhibition.

The Kakiemon Porcelain
-The Toguri Museum 25th anniversary special exhibition-

This year is the 25th anniversary of the opening of the Toguri museum of art. To commemorate this, masterpieces of Sakaida Kakiemon XIV are being exhibited. This artist, who turns 77 this year and is a Living National Treasure, succeed his father Kakiemon XIII 30 years ago. He is famous for this overglaze enamels decoration technique (iroe porcelain), we are delighted to be able to exhibit his work together with works produced in Edo period from our collection.
The Japanese porcelain Imari was born in Arita in the Saga Domain, it developed rapidly when its export began at the end of 1650s, a decade which also saw the debut of Kakiemon type porcelain. This original porcelain was the fruit of a long period of development to obtain a pure white body (nigoshide) on which there are ornamented translucent overglaze enamels on elegant motifs, in which Kakiemon’s characteristic red is used as base color. The Sakaida Kakiemon family is regarded as having played an essential role in the perfection of overglaze enamels that gave birth to the porcelain in overglaze enamels (iroe) particular to Kakiemon style. This Kakiemon style porcelain became highly regarded in Europe at the end of 17th and beginning of the 18th century, but a declining export industry and changing tastes caused the disappearance of pure white body technique during 18th century.
This technique was revived during Showa period thanks to the work of Masters Kakiemon XII and XIII. Today Sakaida Kakiemon, the 14th generation, is pursuing his ancestor’s works while taking into account today’s tastes in its form and motifs. The new Kakiemon generation has also been born, traditions are followed but images such as flowers from the countryside and mountains of Japan are added in the motifs.
Kakiemon’s traditions have been passed down continuously from the Edo period to the present today, its lost techniques have been revived, and it continues to evolve with the times. The Toguri Museum of Art invites you to discover the beauty of its traditions and innovations.

*From June 10 through September 23, 2012.

The Museum is closed every Monday.
(Open if Monday is a national holiday 7/16,9/17 and closed on the following day)
It is also closed from September 24 to October 17 for setting up a new exhibition.

Shoki-imari -The birth of the Japanese porcelain.

The birth of Japanese porcelain is thought to be the skills passed on by Korean potters who came to Japan following a military expedition to the Korean peninsula by the daimyo Toyotomi Hideyoshi during the period Bunroku-Keicho (1592-98). This porcelain, produced in the Arita region of the north of Kyushu, was transported to the domestic and overseas market from nearby port of Imari, which gave the porcelain its name.
The early type of Imari ware, known as Shoki-imari, was mainly blue and white porcelain (sometsuke). One of its characteristics is its relative lack of sophistication, works are also often warped and the underglaze blue color imperfect. Despite these shortcomings, the joy that went into the creation of these early works can be felt.
This exhibition presents Shoki-imari in the beginning of 17th century. Fragments of porcelain collected from the remains of kiln and the findings of the most recent archeological research also exhibited.

*From October 7 through December 24, 2012.

The Museum is closed every Monday.
(Open if Monday is a national holiday 10/8, 12/24 and closed on the following day)
It is also closed from December 25,2012 to January 5, 2013 for setting up a new exhibition.

The masterpieces of Ko-kutani porcelain - Enchantment of color.

The debate about the origin of the porcelain known as Ko-kutani lasted a long time, some claimed it originated in Kaga Domain’s Kutani kiln, while others suggested Saga Domain’s kiln in Arita. Today the debate is effectively settled and the latter is regarded as its birthplace. This type of porcelain was aspired to be like Chinese porcelain in overglaze enamels and frequently featured Chinese geometric designs and subjects from Chinese paintings. However, Japanese traditional motifs (for example the Kimono) were also used in the designs. The dynamic composition of the motif, the deep and concentrated color of the overglaze enamels painted over a black outline constitute the characteristic charm of the Ko-kutani.
This exhibition focuses on the Imari ware in Ko-kutani style, produced in the middle of 17th century at Arita in the Hizen region. And our new collection, the Aode porcelain (porcelain characterized by its dominant deep green color), acquired at the beginning of 2012, is also unveiled in this exhibition.
-Dish, decorated with paved pattern design in overglaze enamels. Imari ware in Ko-Kutani style. Edo period. Mid 17th century. Diameter: 43.9cm

*From January 6 through March 24, 2013.

The museum is closed on every Monday.
(Open if Monday is a national holiday 1/14, 2/11 and closed on the following day)
It is also closed March 25 to 31 for setting up a new exhibition.

The elite kiln -the sublime Nabeshima ware.

During the Edo period, the kiln controlled by each of Japan’s hans, or domains, was called ‘hanyou’. There were differences between them though, including why the kiln was established, the characteristics of work produced there, and how the local han administrated it. The Nabeshima clan governed the Saga Domain and its Nabeshima kiln was at the forefront of porcelain manufacturing. Its Nabeshima ware was produced in order to give porcelain as tribute and gifts to the Royal Family and Shogun. During Nabshima ware’s heyday in Genroku period, its production was tightly regulated with the size and shape of works standardized and limits imposed on the number of colors which could be used. Fine designs were painted on the porcelain with careful brushwork, the elegant works produced were said to be the ‘the high point of Japanese ceramics’.
However, because the method of making porcelain was considered to be a secret, detailed records were not left and many aspects of its production, including how it developed, remain a mystery even today.
This exhibition focuses on Nabeshima ware masterpieces, their attractiveness and the perfect techniques of the potters can be appreciated. The latest information gained from kiln ruins and Edo ruins is also introduced, so the reality of the Nabeshima ware can be understood.