The rapid development and diversification of the Japanese porcelain industry in the 17th century is one of the most fascinating episodes in the history of ceramics. During this period, the city of Arita, located in the Saga Prefecture in Hizen Province on the southern island of Kyushu, became the largest and most important center for the production of porcelain in the world. Several factors contributed to this development. One was the contribution of the many technically advanced potters brought to Japanfrom Korea during the late 16th-century Japanese invasions of that country. Another was the prohibitive effects of the civil disarray in 17th-century China on its ceramic industry, which led Europeans and other customers in search of highly prized porcelains to turn to Japan.
The first Japanese porcelains were painted with underglaze cobalt blue, known as "old blue-and-white" ware (ko-sumetsuke). But by about 1640, overglaze enamels had been added to the palette. It is generally accepted that overglaze enamels were introduced to Kyushu from Kyoto rather than from China. One reason for this assumption is the use of a vibrant overglaze blue--seen here on these mandarin ducks--in both Kyoto ware and Japanese porcelains, a color not found in Chinese ceramics of that period.
The majority of Japanese porcelains are classified as Arita wares, based on the location of their production. Arita wares are traditionally subdivided into Imari, Kakiemon, and Nabeshima styles (although this system is currently under revision). This family of mandarin ducks, painted in the Kakiemon-style palette of pale overglazeenamels, represents a popular type of ceramic figurine produced in the 17th and 18th centuries. The drake and duckling are painted in shades of red, green, blue, and yellow, while the hen is a dark brown. Although these three sculptures have no function,it has been suggested that the appearance at Arita of porcelain ducks might be linked to the Kyoto tradition of making incense boxes in the shapes of ducks and other birds. Another possible source is the mandarin ducks that were often used as a symbol ofmarital happiness--a theme with Chinese prototypes--in Japanese art. Porcelain figurines of beautiful women, lion-dogs, and ducks were exported to Europe as exotic examples of the art of Japan, and it is unlikely that their imagery was well understood there.
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The rapid development and diversification of the Japanese porcelain industry in the 17th century is one of the most fascinating episodes in the history of ceramics. During this period, the city of Arita, located in the Saga Prefecture in Hizen Province on the southern island of Kyushu, became the largest and most important center for the production of porcelain in the world. Several factors contributed to this development. One was the contribution of the many technically advanced potters brought to Japanfrom Korea during the late 16th-century Japanese invasions of that country. Another was the prohibitive effects of the civil disarray in 17th-century China on its ceramic industry, which led Europeans and other customers in search of highly prized porcelains to turn to Japan.<P>The first Japanese porcelains were painted with underglaze cobalt blue, known as "old blue-and-white" ware (<I>ko-sumetsuke</I>). But by about 1640, overglaze enamels had been added to the palette. It is generally accepted that overglaze enamels were introduced to Kyushu from Kyoto rather than from China. One reason for this assumption is the use of a vibrant overglaze blue--seen here on these mandarin ducks--in both Kyoto ware and Japanese porcelains, a color not found in Chinese ceramics of that period.</P><P>The majority of Japanese porcelains are classified as Arita wares, based on the location of their production. Arita wares are traditionally subdivided into Imari, Kakiemon, and Nabeshima styles (although this system is currently under revision). This family of mandarin ducks, painted in the Kakiemon-style palette of pale overglazeenamels, represents a popular type of ceramic figurine produced in the 17th and 18th centuries. The drake and duckling are painted in shades of red, green, blue, and yellow, while the hen is a dark brown. Although these three sculptures have no function,it has been suggested that the appearance at Arita of porcelain ducks might be linked to the Kyoto tradition of making incense boxes in the shapes of ducks and other birds. Another possible source is the mandarin ducks that were often used as a symbol ofmarital happiness--a theme with Chinese prototypes--in Japanese art. Porcelain figurines of beautiful women, lion-dogs, and ducks were exported to Europe as exotic examples of the art of Japan, and it is unlikely that their imagery was well understood there.</P>
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