Description
JAPANESE PORCELAIN VASE WITH KAKIEMON DESIGN AND COVER Kyushu Island, Arita factory, circa 1660-1670 Porcelain glazed with orange-red, pale yellow, pale green and blue Perfect state of preservation H. 19 cm Provenance Galerie Perlès Private collection, Paris This vase has kept its lid decorated with foliage. On the body, birds populate a luxuriant vegetation, attracted by the perfume of the flowers and the sugar of the fruits. A band of shippo-hanabishi decorates the neck and emphasizes the roundness of its forms. These vases with Kakiemon decoration, eponymous of the potter who initiated it, appeared on the European market in the third quarter of the 17th century. Several examples of this type are now in the collections of the British Museum in London and the Ashmolean Museum in Oxford. Stéphane Castelluccio explains in his book on the taste for Far Eastern porcelain in Paris in the 17th and 18th centuries, that the Chinese civil war led to a halt in production at the Jingdezhen kilns in 1644, after the conquest of the province. Production resumed from 1660 but was interrupted from 1675 until the 1680s when the city burned down. In order to enable the export of Asian porcelain to Europe, the Dutch East India Company sourced its porcelain exclusively from the Japanese market in the second half of the 17th century. Most of the production was concentrated in Arita on the island of Kyushu and in some neighbouring towns. Thus, the first porcelain with polychrome enamel on the Kakiemon cover appeared on the European market. Europeans were used to blue and white Chinese porcelain and celadon. Porcelain painted in the Kakiemon style, named after the potter who created these decorations, is characterized by a translucent enamel decoration on the cover which covers the greyish-white paste of the porcelain. The palette is limited to blue, pale green, pale yellow and orange-red with occasional gold highlights. Unlike the Imari period, which followed from 1700 onwards, the decorations are sober and asymmetrical and leave a great deal of space. Consequently, this vase is a piece of historical interest, as it corresponds to the first Japanese porcelain introduced to the European market in the third quarter of the 17th century. Further information given by the collector is accessible by QR Code in the PDF.
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JAPANESE PORCELAIN VASE WITH KAKIEMON DESIGN AND COVER Kyushu Island, Arita factory, circa 1660-1670 Porcelain glazed with orange-red, pale yellow, pale green and blue Perfect state of preservation H. 19 cm Provenance Galerie Perlès Private collection, Paris This vase has kept its lid decorated with foliage. On the body, birds populate a luxuriant vegetation, attracted by the perfume of the flowers and the sugar of the fruits. A band of shippo-hanabishi decorates the neck and emphasizes the roundness of its forms. These vases with Kakiemon decoration, eponymous of the potter who initiated it, appeared on the European market in the third quarter of the 17th century. Several examples of this type are now in the collections of the British Museum in London and the Ashmolean Museum in Oxford. Stéphane Castelluccio explains in his book on the taste for Far Eastern porcelain in Paris in the 17th and 18th centuries, that the Chinese civil war led to a halt in production at the Jingdezhen kilns in 1644, after the conquest of the province. Production resumed from 1660 but was interrupted from 1675 until the 1680s when the city burned down. In order to enable the export of Asian porcelain to Europe, the Dutch East India Company sourced its porcelain exclusively from the Japanese market in the second half of the 17th century. Most of the production was concentrated in Arita on the island of Kyushu and in some neighbouring towns. Thus, the first porcelain with polychrome enamel on the Kakiemon cover appeared on the European market. Europeans were used to blue and white Chinese porcelain and celadon. Porcelain painted in the Kakiemon style, named after the potter who created these decorations, is characterized by a translucent enamel decoration on the cover which covers the greyish-white paste of the porcelain. The palette is limited to blue, pale green, pale yellow and orange-red with occasional gold highlights. Unlike the Imari period, which followed from 1700 onwards, the decorations are sober and asymmetrical and leave a great deal of space. Consequently, this vase is a piece of historical interest, as it corresponds to the first Japanese porcelain introduced to the European market in the third quarter of the 17th century. Further information given by the collector is accessible by QR Code in the PDF.
