{"id":"kakiemon","no":511,"name":"Kakiemon","ja":"柿右衛門様式","era":"17th century–","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Getty Research Institute — Art & Architecture Thesaurus: Kakiemon (300018597)","url":"https://vocab.getty.edu/page/aat/300018597"},"reference":{"status":"verified","pageUrl":"https://vocab.getty.edu/page/aat/300018597","credit":"Getty Research Institute — Art & Architecture Thesaurus: Kakiemon (300018597)","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Japanese%20-%20Dish%20of%20the%20Kakiemon%20Type%20-%20Walters%20491235.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Japanese%20-%20Dish%20of%20the%20Kakiemon%20Type%20-%20Walters%20491235.jpg","credit":"柿右衛門手 色絵皿 有田 1675-1725年頃 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Hexagonal%20Jar%2C%20Imari%20ware%2C%20Kakiemon%20type%2C%20Edo%20period%2C%2017th%20century%2C%20flowering%20plant%20and%20phoenix%20design%20in%20overglaze%20enamel%20-%20Tokyo%20National%20Museum%20-%20DSC05329%20(retouched).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Hexagonal%20Jar%2C%20Imari%20ware%2C%20Kakiemon%20type%2C%20Edo%20period%2C%2017th%20century%2C%20flowering%20plant%20and%20phoenix%20design%20in%20overglaze%20enamel%20-%20Tokyo%20National%20Museum%20-%20DSC05329%20(retouched).jpg","credit":"色絵花鳥文六角壺 伊万里焼 柿右衛門手 江戸時代 17世紀 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Boy%20on%20a%20Go%20board%2C%20Fitzwilliam%20Museum.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Boy%20on%20a%20Go%20board%2C%20Fitzwilliam%20Museum.jpg","credit":"碁盤に座る童子 柿右衛門様式 1680年頃 — Wikimedia Commons / CC0"}]},"essence":"肥前有田で焼かれた白磁に、赤・緑・青の上絵の具を釉の上から差す様式。上絵付けを1640年代の有田へ持ち込んだとされる絵付け一族の名が、そのまま様式の名になった。白い素地を広く塗り残し、絵をその一方へ寄せる。","cues":["絵の具が釉の上に載るので、絵の部分だけがわずかに盛り上がって光を返す","赤・緑・青の細い線と金彩で、梅・竹・鳥・人物を描く","白い素地の面積が絵より広く、中心を空けたまま端に絵を寄せる","器だけでなく人物や象の置物があり、器と同じ上絵の具と金彩で塗られている"],"intents":["高級","静けさ","技術"],"works":["白を背景色ではなく主役として扱う紙面で、図版を端へ寄せて中央を空ける配置を試すとき","少ない色数で高価に見せたいとき、線を細く保ち色面の総量を小さく抑える配色を組むとき"],"recipe":{"type":"文字は細い線で小さく、色は絵と同じ赤か墨の一色に絞る。太らせて白地を潰さない。","layout":"面の中心を空け、絵を一方の端へ寄せる。左右を揃えず、余白の広い側をそのまま残す。","material":"白い地の上に赤・緑・青の細線と小さな色面、要所に金。地そのものには色を置かない。"},"avoid":"余白を描き残しと考えて描き足していくと、白の広さが崩れて細い上絵の線が地に沈む。","colors":["#F9F5EC","#C4402D","#3F7D52"],"motif":"graphic","pair":["delftware","chinoiserie"],"study":["17世紀後半の有田の作例で、白い地と絵の面積比を実際に測る","同じ図柄を写した18世紀ヨーロッパの磁器と並べ、線の細さと余白の取り方の差を見る","置物と器とで、金彩がどの位置に入るかを比べる"],"en":{"essence":"Porcelain from the Arita district of Hizen, painted with bright enamels laid over the glaze on a fine white body. The name comes from a family of decorators said to have brought overglaze enamelling to Arita in the 1640s. Wide areas of the white body are left bare and the painting is pushed to one side of them.","cues":["The enamel sits on top of the glaze, so only the painted areas stand slightly proud and catch the light","Thin red, green and blue lines with gilding, drawing prunus, bamboo, birds and figures","More bare white body than painting, with the centre left open and the motif pushed to an edge","Figures of people and animals as well as vessels, painted in the same enamels and gilding"],"works":["Laying out a page where white is the subject rather than the backdrop, with the image pushed to one edge and the centre left open","Making a small palette read as expensive by keeping every line thin and the total area of colour small"],"recipe":{"type":"Keep text small and thin, in one colour taken from the painting or in black, so it never closes up the white.","layout":"Leave the centre of the field open and push the image to one edge. Do not balance the two sides; keep the wider margin wide.","material":"Thin red, green and blue lines and small patches of colour on a white ground, with gold at a few points. The ground itself stays unpainted."},"avoid":"Filling the empty ground because it looks unfinished collapses the width of the white and lets the thin enamel lines sink into it.","study":["measuring the area ratio of bare white ground to painting on late seventeenth century Arita pieces","eighteenth century European porcelain copying the same motifs placed alongside, and the differences in line weight and in how much ground is left","comparing where the gilding falls on figures and on vessels"]}}