Sold Ceramics - Sold Japanese Blue and White wares 17th Century - Dishes - Page 2

Object 2012037

Dish

Japan

1670-1700

Height 76 mm (2.99 inch), diameter 443 mm (17.44 inch), diameter of footring 208 mm (8.19 inch), weight 3,056 grams (107.80 ounce (oz.))

Dish on footring, flat rim. On the base six spur-marks in a star-pattern. Decorated in underglaze blue with a flower basket with scalloped overhead handle filled with a blossoming tree. On the sides scrolling branches of pine, prunud and bamboo (shõ-chiku-bai). The rim with scrolling foliage and pine filling the ground. On the reverse two large flowering peony sprays.

The decoration with prunus, pine and bamboo (shõ-chiku-bai) is also known as the 'Three Friends of Cold Winter'. The design originated in China. It is the combination of pine, bamboo and prunus, symbolically representing Confucius, Buddha and Lao Tse. Once the 'three friends' were standing around a jar containing vinegar. Each of them tasted the liquid. Lao Tse, the gentle, called it, sweet, Buddha, the meditator, called it bitter and Confucius called it sour. But they eventually agreed that it was all the same liquid. This legend represents the idea that the three 'religions' originated from the same source. The 'friendship' of the three trees is further suggested by the property they have in common of strength during hard times. The bamboo bends with the wind but never breaks, the prunus flowers even when there is still snow and the pine is an evergreen. Together they symbolically represent long life and happiness. (Arts 1983, p.140)

In Japan porcelain is being produced since c.1600. Due to the internal conflicts in China during the second half of the 17th century kilns were destroyed, the porcelain production staggered and supply routes were cut off. In order to keep up with the ever-growing demand for porcelain from the homeland the VOC, switched to Decima, Japan. Since 1641 a Dutch trading post was based on this artificial Island in the Bay of Nagasaki. With expanding Japanese production, due to Dutch demand, the decorative elements, the designs and the more freely way in which they were applied by the porcelain decorators became more Japanese. It marked a clear change from the traditional Japanese interpretation of Chinese kraak designs. The powerful centre design and both continuous scrolls on this specific dish are good examples of that change. (Jörg 2003/1, p.260)

Condition: A short scratch to the glaze on the base.

References:

Arts 1983, p.140

Jörg 2003/1, p.260

Price: Sold.