Marks on Japanese Porcelain

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To help you find your way among the many different Japanese porcelain marks there are, here is an initial screening section. Below, you will find the most common marks that are most likely to appear on Japanese porcelain or pottery. Kindly use this information to refine your search or go directly to the most likely sub-section in the navigation panel to the left. If these marks are not on your piece, it does not mean your piece is not Japanese. Kindly try the general Japanese marks section or try "Chinese marks".

KUTANI

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
The characters on KUTANI (MARK) are mostly written in red, unless they appear within a square or double square mark. Kutani often is marked Fuku, in the old days, and even today. It is best known perhaps for use of a rust red color and gilding, and also strong green and yellow, but rarely mixed. Old Kutani was overglaze polychrome, and until about 1835 red was not used in designs. Kutani can be unmarked, particularly if old. If marked, use of more than six characters is uncommon. Larger pieces have spur marks.

KUTANI (MARK) KUTANI (MARK) KUTANI (MARK)

SATSUMA

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
Satsuma is often recognized for Moriage style and crackle glaze, with raised dots, enamels and a non-smooth surface. It is usually pottery, not porcelain. Gold writing on black within a square or rectangle is very common, and if the Shimazu clan mark appears on the bottom, it is almost conclusive of Satsuma, but if it appears in the design, it is suggestive not conclusive. Some Satsuma is decorated in China. Quality is widely varied. Satsuma is often unmarked. If marked, often many characters can appear, often in gild. Sometimes mark in design.

SATSUMA (MARK) SATSUMA (MARK) SHIMAZU CLAN MARK (SATSUMA) ( MARK)

ARITA

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
Marks indicating ARITA are often strongly blue and white, pieces are often unmarked, and if relatively large and older, has spur marks. It is mostly underglaze blue. It may have a Chinese motif, like many Japanese pieces have, even today.

ARITA (MARK) ARITA (MARK) ARITA (SPUR MARK)

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
FUKU (Happiness) marks are common and there are several types. If they appear, they are strongly suggestive of Japan as origin, but should be combined with a general view of the piece itself to be more certain. Fuku mark first occured in ... and are still in use.

FUKU (SEVERAL WAYS), suggesing ARITA FUKU (SEVERAL WAYS), suggesing ARITA FUKU (SEVERAL WAYS), suggesing ARITA

FUKAGAWA

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
FUKAGAWA is often marked with a mountain with a double line stream undernearth it with or without the character name. There are marks similar to it though (copies?) It is characteristically not gaudy, understated simplicity, and has a blurry surealistic appearance. Blue is often dominant color. Smooth to touch. Still made today, but all are marked.

FUKAGAWA MARK LOGO
The characters for Mikawachi(above) are common on marked Fukagawa pieces. FUKAGAWA MARK LOGO FUKAGAWA MARK LOGO

IMARI

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
IMARI is mostly overglaze polychrome, and sometimes is decorated in China but if not, often has Chinese motifs. Strong red and blue, with gilded highlites are most common. Older Imari is quite often unmarked. If marked, often simply.

IMARI (MARK) (LOGOS) IMARI (MARK) (LOGOS) IMARI (MARK) (LOGOS)

SETO

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
SETO can imitate all above except Satsuma, and unmarked can be confused with Kutani, Arita, Hirado, and Fukagawa, but less likely Imari. If marked, almost always in blue on bottom. It has a wide range of markings, often using many characters. Poetry phrases common.

SETO (MARK) SETO (MARK) SETO (MARK)

HIRADO

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
HIRADO is less common than above, and unmarked can be easily confused with Fukagawa and Seto. Hirado is often a brilliant white paste glaze, simplicity of design with wide areas of no design, and is almost always smooth to touch. Like Fukagawa, often design is slightly softened (blurred) but not as often as Fukagawa. Sometimes reticulated, often just white.
HIRADO (MARK HIRADO (MARK HIRADO (MARK

NIPPON

NIPPON (MARK) DAI NIPPON (MARK) DAI NIPPON (MARK)

CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized):
DAI NIPPON consists of the three characters Dai Ni Hon meaning Great Japan, or may appear just as shown here. Its appearance only confirms "Japan" as country of origin, and was used on porcelain from Kutani, Satsuma, Seto, and others, so does it does NOT in itself indicate area or kiln, but rather a timespan.

NON WRITTEN MARKS

NON WRITTEN MARKS (SUCH AS KORANSHA MARK NON WRITTEN MARKS (SUCH AS GEISHA LITHOPHANE NON WRITTEN MARKS (SUCH AS ROOF TOP MARK
A 'rooftop' (MARK) called 'Sha' with a character underneath, is a strong indication of it being Japanese.

KUTANI
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): The characters on KUTANI (MARK) are mostly written in red, unless they appear within a square or double square mark. Kutani often is marked Fuku, in the old days, and even today. It is best known perhaps for use of a rust red color and gilding, and also strong green and yellow, but rarely mixed. Old Kutani was overglaze polychrome, and until about 1835 red was not used in designs. Kutani can be unmarked, particularly if old. If marked, use of more than six characters is uncommon. Larger pieces have spur marks.
KUTANI (MARK)	KUTANI (MARK)	KUTANI (MARK)
SATSUMA
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): Satsuma is often recognized for Moriage style and crackle glaze, with raised dots, enamels and a non-smooth surface. It is usually pottery, not porcelain. Gold writing on black within a square or rectangle is very common, and if the Shimazu clan mark appears on the bottom, it is almost conclusive of Satsuma, but if it appears in the design, it is suggestive not conclusive. Some Satsuma is decorated in China. Quality is widely varied. Satsuma is often unmarked. If marked, often many characters can appear, often in gild. Sometimes mark in design.
SATSUMA (MARK)	SATSUMA (MARK)	SHIMAZU CLAN MARK (SATSUMA) ( MARK)
ARITA
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): Marks indicating ARITA are often strongly blue and white, pieces are often unmarked, and if relatively large and older, has spur marks. It is mostly underglaze blue. It may have a Chinese motif, like many Japanese pieces have, even today.
ARITA (MARK)	ARITA (MARK)	ARITA (SPUR MARK)
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): FUKU (Happiness) marks are common and there are several types. If they appear, they are strongly suggestive of Japan as origin, but should be combined with a general view of the piece itself to be more certain. Fuku mark first occured in ... and are still in use.
FUKU (SEVERAL WAYS), suggesing ARITA	FUKU (SEVERAL WAYS), suggesing ARITA	FUKU (SEVERAL WAYS), suggesing ARITA
FUKAGAWA
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): FUKAGAWA is often marked with a mountain with a double line stream undernearth it with or without the character name. There are marks similar to it though (copies?) It is characteristically not gaudy, understated simplicity, and has a blurry surealistic appearance. Blue is often dominant color. Smooth to touch. Still made today, but all are marked.
FUKAGAWA MARK LOGO The characters for Mikawachi(above) are common on marked Fukagawa pieces.	FUKAGAWA MARK LOGO	FUKAGAWA MARK LOGO
IMARI
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): IMARI is mostly overglaze polychrome, and sometimes is decorated in China but if not, often has Chinese motifs. Strong red and blue, with gilded highlites are most common. Older Imari is quite often unmarked. If marked, often simply.
IMARI (MARK) (LOGOS)	IMARI (MARK) (LOGOS)	IMARI (MARK) (LOGOS)
SETO
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): SETO can imitate all above except Satsuma, and unmarked can be confused with Kutani, Arita, Hirado, and Fukagawa, but less likely Imari. If marked, almost always in blue on bottom. It has a wide range of markings, often using many characters. Poetry phrases common.
SETO (MARK)	SETO (MARK)	SETO (MARK)
HIRADO
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): HIRADO is less common than above, and unmarked can be easily confused with Fukagawa and Seto. Hirado is often a brilliant white paste glaze, simplicity of design with wide areas of no design, and is almost always smooth to touch. Like Fukagawa, often design is slightly softened (blurred) but not as often as Fukagawa. Sometimes reticulated, often just white.
HIRADO (MARK	HIRADO (MARK	HIRADO (MARK
NIPPON
NIPPON (MARK)	DAI NIPPON (MARK)	DAI NIPPON (MARK)
CLUES (Very broad, not inclusive, not conclusive, widely exceptional, and grossly generalized): DAI NIPPON consists of the three characters Dai Ni Hon meaning Great Japan, or may appear just as shown here. Its appearance only confirms "Japan" as country of origin, and was used on porcelain from Kutani, Satsuma, Seto, and others, so does it does NOT in itself indicate area or kiln, but rather a timespan.
NON WRITTEN MARKS
NON WRITTEN MARKS (SUCH AS KORANSHA MARK	NON WRITTEN MARKS (SUCH AS GEISHA LITHOPHANE	NON WRITTEN MARKS (SUCH AS ROOF TOP MARK A 'rooftop' (MARK) called 'Sha' with a character underneath, is a strong indication of it being Japanese.