COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1993.2
amicoid
CMA_.1993.2
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japan
cdt
Japan
Creator Dates/Places
false
Creator Name-CRT:
Japan, Edo Period
crt
Japan, Edo Period
Creator Name-CRT
false
Title:
Flask in the Shape of a Fan, Kakiemon Ware
otn
Flask in the Shape of a Fan, Kakiemon Ware
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
17th Century
oct
17th Century
Creation Date
false
Creation Start Date:
1600
ocs
1600
Creation Start Date
false
Creation End Date:
1699
oce
1699
Creation End Date
false
Materials and Techniques:
porcelain, molded, carved, and glazed with overglaze enamel designs
omd
porcelain, molded, carved, and glazed with overglaze enamel designs
Materials and Techniques
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Dimensions:
Diameter: 19.4cm, Overall: 33.3cm
met
Diameter: 19.4cm, Overall: 33.3cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1993.2
ooa
1993.2
ID Number
false
Credit Line:
Severance and Greta Millikin Purchase Fund
ooc
Severance and Greta Millikin Purchase Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Japan's earliest Jomon vessels and medieval utilitarian jars reflect the culture's fundamental preference for natural earthen colors and gritty robust forms. So it is not surprising that the materials and technology necessary to produce white porcelain became available well after similar developments in Korea and China. Indeed, neither the technical discovery nor the urgency to produce porcelain were indigenous. Instead, the Korean potters in Kyushu, the large southern island of Japan, first identified a source for porcelain clay there, and Dutch tradesmen, who were searching for a source to match the demand for porcelain in their Southeast Asian and European markets, encouraged its production. Chinese porcelain with blue-and-white designs had been exported directly by the Portuguese to Europe by the mid-sixteenth century, thereby establishing a taste there for these colorful ceramics. In the early seventeenth century the Dutch began to rival and then surpass the Portuguese as exporters of Chinese, and then Japanese, porcelain wares. Further, when China's civil wars inhibited the flow of high-quality porcelains, the Japanese industry in the area around Arita in Kyushu stepped in to fill the void. By the mid-seventeenth century the porcelain industry in Arita was producing an improved underglaze blue ware as well as early enameled wares. Toward the last decades of the century, when the rare shape depicted here was produced, various innovative styles of high-quality overglaze decoration had become established at kilns in the Arita region. Among these, Kakiemon was particularly appreciated by both Dutch and Chinese traders, whose primary markets included France and England for this type of ware. It is precisely this Kakiemon style that the porcelain factories at Chantilly, Meissen, and Chelsea emulated in the eighteenth century. Indeed this unusual sake flask came from a collection in England where documented inventories of Japanese porcelains from the late seventeenth century filled the public rooms of aristocratic country houses. Its shape is that of a rigid, rather then folding, bamboo fan with painted panels. The white clay body is of very high quality, and the flower and phoenix design delicately executed. Most notable however are the felicitous compositions, done with the inimitable Japanese sensibility for the economy of space and the acute precision of placement. M.R.C.
cxd
Japan's earliest Jomon vessels and medieval utilitarian jars reflect the culture's fundamental preference for natural earthen colors and gritty robust forms. So it is not surprising that the materials and technology necessary to produce white porcelain became available well after similar developments in Korea and China. Indeed, neither the technical discovery nor the urgency to produce porcelain were indigenous. Instead, the Korean potters in Kyushu, the large southern island of Japan, first identified a source for porcelain clay there, and Dutch tradesmen, who were searching for a source to match the demand for porcelain in their Southeast Asian and European markets, encouraged its production. Chinese porcelain with blue-and-white designs had been exported directly by the Portuguese to Europe by the mid-sixteenth century, thereby establishing a taste there for these colorful ceramics. In the early seventeenth century the Dutch began to rival and then surpass the Portuguese as exporters of Chinese, and then Japanese, porcelain wares. Further, when China's civil wars inhibited the flow of high-quality porcelains, the Japanese industry in the area around Arita in Kyushu stepped in to fill the void. By the mid-seventeenth century the porcelain industry in Arita was producing an improved underglaze blue ware as well as early enameled wares. Toward the last decades of the century, when the rare shape depicted here was produced, various innovative styles of high-quality overglaze decoration had become established at kilns in the Arita region. Among these, Kakiemon was particularly appreciated by both Dutch and Chinese traders, whose primary markets included France and England for this type of ware. It is precisely this Kakiemon style that the porcelain factories at Chantilly, Meissen, and Chelsea emulated in the eighteenth century. Indeed this unusual sake flask came from a collection in England where documented inventories of Japanese porcelains from the late seventeenth century filled the public rooms of aristocratic country houses. Its shape is that of a rigid, rather then folding, bamboo fan with painted panels. The white clay body is of very high quality, and the flower and phoenix design delicately executed. Most notable however are the felicitous compositions, done with the inimitable Japanese sensibility for the economy of space and the acute precision of placement. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1993.2.tif
ril
CMA_.1993.2.tif
Related Image Identifier Link
false