Rare large Japanese ovoid vase, 17th century, the slightly flared neck decorated with a band of lappets above two bands of scrolling plants, the body decorated with three large panels containing a tiger and bamboo, two deer amongst flowering plants with a mountainous landscape in the background, and peonies springing from rockwork, the panels separated by an intertwining floral and leaf decoration.
This vase was possible produced in Arita or the historical Hizen Province, located on the northwestern corner of Kyushu Island. The variable quality of the painting was due to the use of gosu an impure cobalt which when used for painting in underglaze blue proved extremely volatile. Both the gosu (asbolite), imported from China and found locally, contained impurities including high concentrations of manganese and iron which when fired made the blue appear muddy greyish colour and where the temperature was not properly controlled and the Gosu applied thickly the blue could appear burnt and in places blurred. This accounts for the variable quality of painting on this vase; two of the panels are extremely well painted in particular the panel containing the peonies issuing from rockwork, show the artist to be highly skilled. The decoration owes a great deal to Chinese porcelain. It was only later that Japanese potters developed their own designs.
Japanese potters, specifically Korean artisans brought to Japan, discovered porcelain clay (kaolin) in 1616 in the hills of Arita, Saga Prefecture. Led by potter Sam-pyeong Yi (or Ri Sanpei), this discovery allowed for the first production of porcelain in Japanese history, creating the foundation for the famous Arita ware. According to sources, the Korean potter Yi Sam-pyeong (d. 1655), or Kanagae Sanbee (金ヶ江三兵衛), is often considered the father of Arita ware porcelain.
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Rare large Japanese ovoid vase, 17th century, the slightly flared neck decorated with a band of lappets above two bands of scrolling plants.
Dimensions:
Height: 48 cm. (18 7/8in.)
Condition:
Good, apart from some surface scratches
Notes:
This vase was possible produced in Arita or the historical Hizen Province, located on the northwestern corner of Kyushu Island. The variable quality of the painting was due to the use of gosu an impure cobalt which when used for painting in underglaze blue proved extremely volatile. Both the gosu (asbolite), imported from China and found locally, contained impurities including high concentrations of manganese and iron which when fired made the blue appear muddy greyish colour and where the temperature was not properly controlled and the Gosu applied thickly the blue could appear burnt and in places blurred. This accounts for the variable quality of painting on this vase; two of the panels are extremely well painted in particular the panel containing the peonies issuing from rockwork, show the artist to be highly skilled. The decoration owes a great deal to Chinese porcelain. It was only later that Japanese potters developed their own designs.
Japanese potters, specifically Korean artisans brought to Japan, discovered porcelain clay (kaolin) in 1616 in the hills of Arita, Saga Prefecture. Led by potter Sam-pyeong Yi (or Ri Sanpei), this discovery allowed for the first production of porcelain in Japanese history, creating the foundation for the famous Arita ware. According to sources, the Korean potter Yi Sam-pyeong (d. 1655), or Kanagae Sanbee (金ヶ江三兵衛), is often considered the father of Arita ware porcelain.
Arita ware (Japanese: 有田焼, Hepburn: Arita-yaki) is a broad term for Japanese porcelain made in the area around the town of Arita, in the former Hizen Province, northwestern Kyūshū island. It is also known as Hizen ware (肥前焼, Hizen-yaki) after the wider area of the province. This was the area where the great majority of early Japanese porcelain, especially Japanese export porcelain, was made. In English usage ‘Arita ware’ was traditionally used for the export wares in blue and white porcelain, mostly copying Chinese styles. It is now recognized that the same kilns often made more than one of type of decoration, and ‘Arita ware’ is more often used as a term for all of them. The brightly coloured Kutani ware is another type that is now recognised as coming from around Arita as well as the Kutani itself, and ‘Kutani-type’ is used as a stylistic description.
