Weaving Tradition and Pursuing New Possibilities: The Charm of Kinzangama Kiln That Captivates People.

Weaving Tradition and Pursuing New Possibilities: The Charm of Kinzangama Kiln That Captivates People.

Kinzangama Kiln, located in Komatsu City, Ishikawa Prefecture, the birthplace of Kutani porcelain, creates stunning works using the “golden decoration” technique developed over its 120-year history. These pieces captivate not only Japanese people but also individuals from overseas. What lies beneath the deep beauty of these works is the creator’s passion and commitment. We spoke with Yukio Yoshida, the 4^th generation of Kinzangama Kiln, to learn more.

Kinzangama Kiln, Known for “Gold Decoration” in the Kutani Porcelain Town

Komatsu City, located about 40 minutes by car from Kanazawa Station, a stop on the Hokuriku Shinkansen, is a town with population of around 100,000. This area has long been known for its active craftsmanship, and many people make a living by working with Kutani porcelain, one of Japan’s most iconic traditional crafts. The raw materials for Kutani porcelain are mined from the local “Hanasaka Ceramic Stone Mountain,” and the workshops that create the clay used for ceramics are also based in Komatsu. Furthermore, Kutani porcelain has traditionally divided the processes of “creating the base” and “decorative painting,” with about 80% of base creation and many kiln artisans specializing in decorative painting located in Komatsu City.

The defining feature of Kutani porcelain is its vividness, which leaves an overwhelming impression at first glance. The colorful porcelain, painted with “Kutani Gosai”(five colors of red, green, yellow, purple, and cobalt blue) and decorated with “gold leaf,” has captivated many people throughout its long history.

In 1655, during the Edo period, Kutani porcelain was first established as a kiln for the Kaga Domain by Goto Saijiro, and the porcelain made at that time was called “Old Kutani,” distinct from today’s Kutani porcelain. Although “Old Kutani” disappeared in less than a century, it was revived during the late Edo period, and in the Meiji period, porcelain decorated with a combination of color and gold leaf—called “Iroe Kinrande”—was created. These luxurious pieces were shipped overseas and highly praised as “Japan Kutani” around the world. The diverse techniques cultivated by many artisans are a true treasure of Kutani porcelain.

Kinzangama Kiln, which has been producing Kutani porcelain for approximately 120 years in Komatsu City, was established in 1906 by Shosaku Yoshida. Specializing in decorative painting, the kiln has continued to refine traditional techniques while focusing on creating works suited to the times. Today, the 4th generation of Kinzangama Kiln, Yukio Yoshida, shares his thoughts:

“Kilns specializing in decorative painting use a variety of materials and techniques such as color painting, gold leaf, and glazes, but Kinzangama Kiln particularly focuses on ‘gold decoration.’”

Yukio’s father, Yoshida Mitoshi, the 3rd generation of Kinzangama Kiln, became a National Living Treasure after perfecting the technique of “overglaze gold decoration” (known as “yuuri kinsai”) and continues to create ceramics even at the age of 92.　

“Yuuri kinsai” is a technique in which gold leaf is coated with glaze to prevent it from peeling, preserving its beauty. The use of thin and thick gold leaf creates a sense of depth, and the gold leaf blends with the glaze to create a unique expression.

“The interesting part of ‘yuuri kinsKai’ is that, while it follows the principles, it also brings new expression,” Yukio explains.

On the other hand, Yukio excels in the “Kinrande” technique, a method where gold is applied to already-colored porcelain. This technique is believed to have originated in China 500 to 600 years ago.

“When I was younger, I thought that Kutani’s gold decoration was too dazzling. However, as I worked with various colors, I gradually began to feel that gold blends very well with these colors. The more I used gold, the more I became fascinated by its beauty.”

Recently, due to rising gold prices, few kilns specialize in gold decoration. Nevertheless, Kinzangama Kiln’s commitment to the beauty created by gold decoration remains one of its defining features.

Though both Mitoshi’s “overglaze gold decoration” and Yukio’s “Kinrande” share the common element of gold decoration, their expressions are entirely different.

“I don’t want to do the same thing as my father, nor do I think I could. The techniques of Kutani porcelain may be passed down, but what is expressed through them changes with time and the artist’s age. My father found the allure in ‘overglaze gold decoration,’ integrated it into his own work, and aimed for his unique expression. That was one era. However, I find the standard ‘overglaze gold decoration’ uninteresting. As a creator, I can’t help but always want to add innovation and pursue new expressions. My father and I both believe that tradition is built upon accumulating materials and techniques that fit the times.”

Kinzangama Kiln, Known for “Gold Decoration” in the Kutani Porcelain Town

Yukio Yoshida became the fourth-generation head of Kinzangama Kiln in 2009. Did he feel a sense of duty growing up as the heir to a Kutani porcelain kiln?

“Not at all,” he says. “As a child, I never really thought about it. Kinzangama Kiln has been around for about 120 years, so it wasn’t about ‘taking over’—it was just what our family did. I was good with my hands and enjoyed making things, so perhaps I was suited for it, but honestly, it’s not as if I excelled in anything else.”

Rather than aiming for this path, Yukio naturally found himself immersed in the world of Kutani porcelain. After graduating from Kanazawa College of Art’s Craft Design Department, he entered the Ishikawa Prefectural Institute of Kutani Ware. During his time there, he won the Asahi Ceramic Art Exhibition Encouragement Award.

“Winning an award in a ceramics competition was, in some ways, a way to stand out and move forward at that time. While helping with the family business, I also pursued activities as an independent artist. That gave me some confidence that I might be able to make it in the ceramics world. My time at university and the institute felt like a period of exploration and self-discovery for me.”

By his late twenties, he joined Kinzangama Kiln. The familiar smells of paints and chemicals from his childhood lingered in the workshop, where the day began by lighting the brazier and continued with meticulous work seated at his desk.

“I honestly wondered if I could keep doing this day after day,” he recalls.

It wasn’t his traditionalist father who taught him the various techniques of Kutani porcelain but rather the craftsmen working at the kiln. Balancing his role as a craftsman at Kinzangama Kiln with his artistic ambitions wasn’t always easy.

“Creating my own work comes with its challenges, but those challenges are also what give me hope and joy for the future,” he explains.

As both an artist and a craftsman dedicated to Kutani porcelain, Yukio gradually developed his unique style.

Soft Colors, Gold Decoration, and Innovative Base Materials: A New Style of Kutani

“Having a kiln at home allowed me to freely use tools and materials, which was a great advantage,” Yukio reflects. “While experimenting with diverse works like objects and sculptures, I laid the foundation for my current style. However, I wasn’t initially a fan of the bold and vibrant colors traditionally associated with Kutani porcelain. Instead, I was drawn to the soft textures of white porcelain glazed with subtle hues and the earthy feel of ceramic clay—perhaps that’s a very Japanese sensibility.”

As he searched for a middle ground between his personal preferences and traditional Kutani aesthetics, Yukio began creating works with watercolor-like tones. By layering Western paints to achieve softness and then adding gold decoration, he crafted pieces that redefined the conventional image of Kutani porcelain.

Dissatisfied with the standard texture of porcelain, he also explored innovations in base material creation. By applying a water-repellent agent to the base, he allowed the glaze to bead like droplets of water. The resulting surface textures, when painted with layered colors, produced unique gradients and a nuanced interplay of light and shadow.

What did his father, Mitoshi Yoshida, think of these groundbreaking techniques?

“My father never said anything. He neither praised nor criticized my work. But occasionally, he would silently stand behind me while I worked. Maybe he had things he wanted to say but chose to hold back,” Yukio muses.

This reflects Mitoshi Yoshida’s belief that tradition is created by adding new techniques over time and through the contributions of individual artists.

That mindset seems to have been passed down across generations. Yukio Yoshida’s son, Taro, who works alongside him at Kinzangama Kiln, has developed a style entirely distinct from both his father’s and grandfather’s, characterized by a monochromatic aesthetic.

“Just as I felt a strong sense of rebellion toward certain aspects of Kutani porcelain, he must feel the same way in his own way,” Yukio remarks.

Yet it can be said that the ability to immerse oneself in such diverse forms of artistic expression is rooted in the story being born into a Kutani kiln family.

Bringing Kutani Porcelain Into Everyday Life

In 2019, “Mutan, a new gallery by Kinzangama Kiln, opened its doors. Built using Kannonshita stone sourced from Komatsu City, the gallery exudes a quiet warmth, almost as if enveloped by the surrounding natural environment.

“’Mutan’ serves as a space for artists and craftsmen to showcase their work. At the same time, it’s a venue to communicate the values of Kutani porcelain—something we haven’t conveyed effectively in the past. While Kutani ware isn’t inexpensive, we aim to demonstrate how it can be integrated into everyday life.”

Growing up, Yukio regularly used vibrant Kutani porcelain for meals. Conversely, he felt a sense of discomfort with plain white dishes. However, through conversations with users, he learned that some found Kutani’s gold-decorated pieces difficult to use, as the colors and gold would fade over time.

“This was quite surprising to me. For creators, it’s natural for the colors and gold to wear away over time—it’s part of the beautiful aging process. But it became clear that this value wasn’t being fully communicated.”

Rather than keeping these pieces as decorative objects, Yukio wanted people to embrace them in their daily lives. At “Mutan”, he began promoting the joy of using Kutani porcelain through collaborations with food, tea, sake, and fragrances. By hosting events and workshops, he strives to showcase new facets of Kutani’s charm.

“Kutani porcelain can be both art and craft. Its purpose can shift with the context in which it’s used. That versatility is what makes it so fascinating. Through various opportunities, I hope to gradually convey its unique value.”

Celebrating the Beauty of Fragments

Events at “Mutan” now feature a new type of Kutani porcelain: fragments of pieces that were broken during the Noto Peninsula earthquake on January 1, 2024.

“The earthquake caused significant damage to traditional crafts in the area, including Wajima lacquerware and Suzu pottery. Many of Kinzangama Kiln’s works were also shattered. We’ve repurposed these fragments into items like chopstick rests, which we use during dining and tea ceremonies.”

Even as fragments, these pieces—adorned with vivid colors and gold—retain their inherent beauty. But why leave them as-is instead of repairing them?

“Some suggest using kintsugi to repair the fragments, but to me, that feels like ‘fixing’ something in a way that makes its damage overly apparent. There’s a certain raw beauty in the fragments themselves. Adding anything to them can feel overly calculated. Instead, I believe in leaving them as fragments and exploring new ways to express the stories and emotions they carry.”

This philosophy has inspired collaborations with contemporary dancers and photographers, turning the fragments into a medium for creative reinterpretation. For Yukio, this process carries a sense of reverence, transforming the outcomes of a natural disaster into a source of new meaning and value.

Blending Tradition with Technology:
The Pursuit of New Expressions in Kutani

When asked about the future of Kinzangama Kiln, Yukio reflects:
“Neither my father nor I are particularly inclined toward nostalgia or a ‘back-to-nature’ mindset. Instead, we aim to embrace the possibilities of modern technology while preserving the essence of handcrafted art.”
His father, Mitoshi Yoshida, was skilled in technology, developing electric control panels for kilns and even creating the Ishikawa-style milling machine used to grind gold leaf. Yukio himself incorporates IT into his work, collaborating with a major electronics company to develop a system that simulates color combinations. This technology has opened up new avenues for Kutani porcelain.
“Absorbing various techniques and incorporating them into our craft has always been part of who we are, both in the past and now.”

Today, Komatsu City is attracting many young creatives. Yukio hopes they will shape and share new cultural expressions.For over 120 years, Kinzangama Kiln has evolved with the times, weaving its tradition while continuously pursuing new expressions. Yukio believes this spirit of innovation mirrors the aspirations of the new generation in Komatsu. As they continue to create, Kinzangama a Kiln will undoubtedly reveal new dimensions of Kutani porcelain’s timeless appeal.

If you would like to visit Kinzangama Kiln and further explore the world of Kutaniyaki, please see the following information.