Thicker bodies, lively paintings, and the addition of themes with narrative content characterize the wares produced at the imperial Jingdezhen kilns during the second to eighth decades of the 17th century. Ceramics made during this time are generally classified as Transitional wares because they were produced during the transition from imperial Ming patronage (1368-1644) to that of the subsequent Qing dynasty (1644-1912).
The rough potting and sketchy painting of these two plates with nearly identical decoration of a Buddhist monk holding a pagoda typify Transitional wares made specifically for the Japanese market in the first three decades of the 17th century. Ceramics of this type, known in Japanese as 'old blue-and-white' (ko-sometsuke), wereproduced in some number to be used in one version of the Japanese tea ceremony (wabicha). Plates such as these were used during a meal prior to the tea ceremony and would have held various delicacies served to each participant from a larger dish. The choice of each object used in the meal and the tea ceremony was an important aspect of each event.
Ceramics decorated in underglaze cobalt blue were appreciated for their sense of coolness. Plates such as these two were admired for their ungainliness, which was believed to convey the moment of their production or the personality of the anonymous potter who made them. They were also admired for the roughness of their glaze and for the way the glaze often eroded away from the edges. This trait wastermed 'insect-nibbled' (mushikui) by Japanese tea masters.
cxd
Thicker bodies, lively paintings, and the addition of themes with narrative content characterize the wares produced at the imperial Jingdezhen kilns during the second to eighth decades of the 17th century. Ceramics made during this time are generally classified as Transitional wares because they were produced during the transition from imperial Ming patronage (1368-1644) to that of the subsequent Qing dynasty (1644-1912).<P>The rough potting and sketchy painting of these two plates with nearly identical decoration of a Buddhist monk holding a pagoda typify Transitional wares made specifically for the Japanese market in the first three decades of the 17th century. Ceramics of this type, known in Japanese as 'old blue-and-white' (<I>ko-sometsuke</I>), wereproduced in some number to be used in one version of the Japanese tea ceremony (<I>wabicha</I>). Plates such as these were used during a meal prior to the tea ceremony and would have held various delicacies served to each participant from a larger dish. The choice of each object used in the meal and the tea ceremony was an important aspect of each event.</P><P>Ceramics decorated in underglaze cobalt blue were appreciated for their sense of coolness. Plates such as these two were admired for their ungainliness, which was believed to convey the moment of their production or the personality of the anonymous potter who made them. They were also admired for the roughness of their glaze and for the way the glaze often eroded away from the edges. This trait wastermed 'insect-nibbled' (<I>mushikui</I>) by Japanese tea masters.</P>
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