Japanese Porcelain
Japanese Kakiemon / Kakiemon-style wares
Page 1
When internal wars began to impede the production of, and consequently the trade in, Chinese porcelain toward the end of the Ming Dynasty (1368-1644), several Dutch Merchants began to buy porcelain in Japan. At the same time, the production of faience pottery in Delft was stimulated, in order to compensate the shortage of Chinese porcelain. From 1658 onward, the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) also recognized these commercial opportunities and began to order greater quantities of porcelain from Japan. In addition to a very diverse assortment of blue-and-white porcelain. largely in the style of traditional Chinese export goods, the coloured Japanese porcelain formed an unexpected new article in the Netherlands. It soon became very fashionable and the Company was able to generate a great deal of profit in this field.
One potter who benefited greatly from the new Dutch orders was Sakaida Kakiemon, who owned a porcelain kiln near Nangawara, just outside Arita. His porcelains characterized by a lucid whit composition and texture with decorations in various tints of enamel including orange-red, grass-green and blue.
Japanese Kakiemon / Kakiemon-style wares - Kakiemon
Japanese Kakiemon / Japanese Kakiemon-style wares - Japanese Kakiemon - Page 1
Object 2011333
Dish
Japan (Kakiemon)
1680-1700
Height 35 mm (1.38 inch), diameter of rim 186 mm (7.32 inch), diameter of footring 112 mm (4.41 inch) weight 336 grams (11.85 ounce (oz.))
Dish on footring, moulded sides with a scalloped underglaze brown-edged rim. On the base four spur-marks in a Y-pattern. Decorated in underglaze blue with a village with a church and houses, a lighthouse with trees, figures with a cow and poles with clouds. On the reverse stylized foliate scrolls. The low footring is encircled with a double concentric band. Marked on the base with a fuku ['luck'] mark within a double-lined square in seal script, four spur-marks in a Y-pattern and an old circular paper collectors label which reads: '47.'.
The design on this dish has traditionally been called 'Deshima' or 'Scheveningen'. This design was highly popular in The Netherlands, and possibly also in Japan as a kind of Western exoticism. It first appeared, in underglaze blue, on Japanese dishes of the late 17th century.
It certainly does not depict the Dutch factory in Deshima (Nagasaki), a fan-shaped, man-made island in Japan to which Westerners were restricted between 1641 and 1862. Scheveningen, a fishermen´s village on the Dutch coast near The Hague seems a more appropriate name. In fact 47 'Scheveningen' plates were already mentioned in the 1778 sale catalogue of the porcelain shop of Martha Raap in Amsterdam, clearly indicating this type. Much research was done to find the print that was used as a model, but non with this view have yet come to light. it is therefore possible that another source was used, maybe a plate or dish in the so-called Frijtom style. Frederick van Frijtom (c.1632-1702) was a Delft faience painter who specialised in plates, dishes and plaques with landscapes in blue. His work is characterised by wide blank rims on plates and dishes, detailed painting of trees and landscapes and a specific way of drawing clouds. (Jörg 2003/1) The existence of a Scheveningen Japanese plate in precisely this style makes it plausible that at some point a Delft example by Frijtom was used. (Terwee 1989)
For this Japanese 'Scheveningen decoration' dish in Frijtom style, please see
- Japans porselein met blauwe decoraties uit de tweede helft van de zeventiende en de eerste helft van de achttiende eeuw. (D.F. Lunsingh Scheurleer in Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, vols. 64/65, 1971), p.73, cat. 66.
- China for the West. Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, (D.S. Howard & J. Ayers, Philip Wilson Publishers for Sotheby Parke Bernet Publications, London 1978), vol. 1, pp.72-73, cat. 32a.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.240, cat. 306.
Several variations of the ´Scheveningen decoration´ design are known, in both Japanese and – later - Chinese porcelain. These were mostly dishes, but elements of the design were also used on bowls and cups. Some copies are barely recognisable.
For some examples of variants of the Japanese ´Scheveningen decoration´ design, please see:
- Japanese Porcelain, (S. Jenyns, Faber & Faber, London / Boston, 1979), cat. 19a, (ii).
- Ko-Imari from the collection of Oliver Impey, (Barry Davies Oriental Art, London, 1997), pp.136-137, cat. 75.
- Japanese Export Porcelain. Catalogue of the Collection of the Ashmolean Museum, Oxford, (O. Impey, Hotei Publishing, Amsterdam, 2002), p.227, cat. 391, 392, 393 & 394.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.240, cat. 307, 307a, 308, 310 & 311.
- Complete Catalogue of the Shibata Collection, (The Kyushu Ceramic Museum, Kyushu 2003), p.326, cat. 2459.
- Faszination des Fremden: China - Japan - Europa, (D. Antonin & D. Suebsman, Hetjens-Museum, Deutsches Keramikmuseum Düsseldorf, 2009), pp.242-243, cat. 98.
- Kakiemon Porcelain. A Handbook. (M. Fitski, Leiden University Press, Leiden & Rijksmuseum Amsterdam, 2011), pp.94-95, cat. 106 & 107.
For a similarly, sold, Japanese 'Scheveningen decoration' dish, please see:
An interesting example in the collection of the Groninger Museum: a blank Chinese porcelain dish overdecorated in Delft (the Netherlands) c.1700-1730. The circle was thus made complete, the design having travelled from Delft to Japan and then back to Delft. (Jörg 2003/1, cat. 307a)
For this Delft variant, please see:
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.241, cat. 307a.
Another interesting example in this regard, from Meissen, c. 1730:
In the cargo of the Ca Mau shipwreck, c.1725 a total of 80 dishes decorated with the Chine de commande 'Scheveningen decoration' were found. As we know the original designs were traditionally made in Japan for the Dutch. These dishes were so popular that Chinese potters copied them in order to compete with the Japanese. Such copies were already known, but the occurrence in the Ca Mau made it likely that these dishes, and therefore most of the porcelain cargo, were destined for Batavia because only the Dutch would appreciate such specific Chine de commande pieces. (Amsterdam 2007, p.17, lot 223-233 & p.179)
For some examples of later Chinese copies of the ´Scheveningen decoration´ design, please see:
- Chine de Commande, (D.F. Lunsingh Scheurleer, Hilversum, 1966), cat. 272.
- China for the West. Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, (D.S. Howard & J. Ayers, Philip Wilson Publishers for Sotheby Parke Bernet Publications, London 1978), vol. 1, pp.72-73, cat. 32.
- Japanese Porcelain, (S. Jenyns, Faber & Faber, London / Boston, 1979), cat. 19a, (i).
- La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.88, cat. 4.20 & 4.21.
- The Choice of the Private Trader. The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, (D.S. Howard, Zwemmer, London, 1994), p.44, cat. 11.
- Made in Imperial China. 76,000 pieces of Chinese Export Porcelain from the Ca Mau Shipwreck, circa 1725, auction catalogue Sotheby’s Amsterdam, 29, 30 & 31 January 2007, p74-75, lot 223-233.
- Faszination des Fremden: China - Japan - Europa, (D. Antonin & D. Suebsman, Hetjens-Museum, Deutsches Keramikmuseum Düsseldorf, 2009), pp.242-243, cat. 99.
- Kostbaar Goed van Grote Pracht. Chinees en Japans exportporselein uit de 17e en 18e eeuw, (Mr. L.C.A.M. Schölvinck, Zwolle 2010), p.57.
This dish is a Kakiemon version of the ´Scheveningen decoration´ design.
Fitski describes an identical Kakiemon Nangawara workshop, 'Scheveningen’ dish decorated in underglaze blue. He compares it with two Kakiemon-style 'Scheveningen ' dishes decorated in underglaze blue from the Uchiyama workshop. Fitski notes that the Kakiemon piece has the fine texture characteristic of Nangawara. Also the true Kakiemon piece is made in a mould, the others are not. Furthermore, the painting on the Kakiemon example is more detailed and precise, with finer colour gradations than the two Uchiyama examples. The figures on all the dishes are rather strange and doll-like, but the Kakiemon figures are less stiff than the others. Overall, the painting of the Kakiemon-style dishes is more simplified. Other clues are provided when Fitski looks at the back of the plate. One is the fuku mark in seal script. Only the Kakiemon dish has a mark, very similar to our dish. Pieces with high-quality painting invariably bear an equally well-written mark and a mark can thus help to confirm identification. However, since some marks found on Kakiemon pieces from Nangawara workshops were also used on products from Uchiyama workshops, one cannot use it as the sole identifying characteristic. The most common mark by far is 'fuku' within a double-lined square, originally a Chinese commendation mark. This cursively written mark in different variants has come to be seen as the hallmark of Nangawara pieces from the period 1670 to 1700. On these pieces, the mark is neatly drawn and the calligraphy of the character is fluent but careful. The fuku variant on the base of object 2011767 seems to have been used around 1680 to 1700. (Jörg 2003/1, cat. 309), (Fitski 2011, p.164)
Looking at the reverse, this Kakiemon example also has a characteristic decoration with stylised foliate scrolls. One of the Kakiemon-style dishes does have a similar foliate scroll decoration, but it is less carefully painted. Furthermore, the Kakiemon example has a smoothly finished footring, just as on our dish. The Uchiyama examples still have sand adhering to theirs. The difference in the colour of the body is also evident in the footring: the Kakiemon dish is whiter. Lastly, the Kakiemon piece Fitski describes has one small, neat spur mark, while those on the other dishes are larger and less neat. If we look at our dish the four spur-marks are also very neat. (Fitski 2011, pp.94-95)
For similarly Kakiemon Nangawara 'Scheveningen decoration' dishes decorated in underglaze blue, please see:
- Porcelain for Palaces. The Fashion for Japan in Europe 1650-1750, (J. Ayers, O. Impey & J.V.G. Mallet, Oriental Ceramic Society & The British Museum, London 1990), p.113, cat. 67.
- The Voyage of Old-Imari Porcelains: Exhibition Catalogue of the Kyushu Ceramic Museum, Arita 2000, p.48, cat. 71.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.242, cat. 309.
For a similarly Kakiemon-style Uchiyama 'Scheveningen decoration' dishes decorated in underglaze blue, please see:
Underneath a comparison between the Kakiemon 'Scheveningen decoration' dish and a later Japanese and Chinese version.
Kakiemon version, c.1680-1700 Japanese version, c.1700 Chinese version, c.1720-1735
Condition: A circular firing flaw (crack) and a missing piece of glaze ate the front.
References:
Lunsingh Scheurleer 1966, cat. 272
Lunsingh Scheurleer 1971, cat. 65 & 65
Howard & Ayers 1978, cat. 32 & 32a
Jenyns 1979, cat. 19a. (i) & (ii)
Hervouët 1986, cat. 4.20 & 4.21
Ayers, Impey & Mallet 1990, cat. 67 & 301
Impey 2002, cat. 391, 392, 393 & 394
Jörg 2003/1, cat. 306 & 307, 307a, 308, 309, 310 & 311
Amsterdam 2007, p.17, lot 223-233
Antonin & Suebsman 2009, cat. 98 & 99
Fitski 2011, p.164 & cat 105, 106 & 107
Price: € 499 Currency Converter
Japanese Kakiemon / Kakiemon-style wares - Kakiemon-style wares
Japanese Kakiemon / Kakiemon-style wares - Kakiemon-style wares - Page 1
Object 2012507
Dish
Japan
1680-1700
Height 28 mm (1.10 inch), diameter of rim 222 mm (8.74 inch), diameter of footring 123 mm (4.84 inch), weight 384 grams (13.55 ounce (oz.))
Dish on footring, flat rim. On the base four spur-marks in a Y-pattern. Decorated in underglaze blue with two Hó-ó birds perched on a rock amongst chrysanthemums and peonies. On the sides and rim a border with birds, flowers and scrolling foliage. The reverse is undecorated.
Comparison between object 2012507 and sold object 2012506 (not included in this sale/offer.)
Barry Davies states that plates of this design appear to have one of two types of borders: birds in flight amongst flowers and foliage, or one of Kraak style. This design is also known in coloured enamels. Sherds of similar examples have been found at the Kakiemon kiln site. (London 1997, p.36)
In Japan the bird on the rock, the Hó-ó, is a mythological animal, emblematic of imperial authority. It is considered a symbol of wisdom, strength and also an inhabitant of the Buddhist Paradise. According to legend it would perch only on a kiri- or Paulownia Imperialis tree (Chinese: Wu t’ung). Carving the wood of the kiri is an art form in Japan and China. Several Asian string instruments are made from it, including the Japanese koto. The leaves and blossom of the Paulownia Imperialis became the official crest (mon) of the Empress of Japan. The kiri tree is emblematic of rectitude (Arts 1983, p.133 & 149)
According to Fitski Kakiemon production can be divided into two groups: pieces made in Nangawara which we call 'Kakiemon' and pieces made in Uchiyama, for which we use the appellation 'Kakiemon style'. This dish is representative of a group of pieces, mainly dishes, without the milky-white nigoshide body which is the main characteristic of Kakiemon. In this case, the porcelain is greyish with some impurities or kiln grit on the front and back. Such pieces were not made by the Kakiemon kiln, but by contemporary competitors and are therefore referred to as Kakiemon style. (Jörg 2003/1, p.75 & cat. 62), (Fitski 2011, pp.70-71, p. 90 & p. 97)
For similarly shaped, sized and in underglaze blue, Kakiemon-style decorated dishes, please see
- Ko-Imari from the collection of Oliver Impey, (Barry Davies Oriental Art, London, 1997), pp. 100-101, cat. 49.
- Sold Ceramics - Sold Kakiemon / Kakiemon style wares - Objects 2011910A, 2011930 and 2011931.
For a similarly, in underglaze blue with enamels, Kakiemon-style decorated dish, please see:
- Ko-Imari from the collection of Oliver Impey, (Barry Davies Oriental Art, London, 1997), pp. 100-101, cat. 49.
- Complete Catalogue of the Shibata Collection, (The Kyushu Ceramic Museum, Kyushu 2003), p.201, cat. 1545.
For a similarly shaped, sized and in underglaze blue, Kakiemon-style decorated dish with the Kraak-style border please see:
Condition: Some firing flaws.
References:
Fitski 2011, pp.70-71, p.90 & p.97, cat. 108, 109 & 110
Price: € 799 Currency Converter
Object 2010140
Saucer
Japan
c.1700
Provenance: Mr D.H.J. Ninck Blok, Groningen, the Netherlands.
Height 21 mm (0.83 inch), diameter of rim 110 mm (4.33 inch), diameter of footring 59 mm or (2.32 inch), weight 70 grams (2.47 ounce (oz.))
Saucer on footring, spreading sides with an everted and foliated rim. Kakiemon decorated in enamels with a bird perched on the branch of a blossoming prunus tree growing from rocks near water. The reverse is undecorated. On the base two labels, the first a rectangular black paper dealer label with silver letters that reads: ' D.J.H. Ninck Blok antiquair - beëdigd taxateur, Noorderhaven 40, 9712 VL Groningen NL Tel: 050-3127232. The second label is a rectangular plastic label with black letters that reads 'no: 146 Kakiemon, ca.1700 f 875,-.
This saucer was originally described as 'Kakiemon' by the well-respected Dutch antiques dealer Mr. D.J.H. Ninck Blok from Groningen (see the label on the base). Since I bought this saucer in 1996 I have come to the conclusion that it should actually have been classified as Kakiemon-style rather than Kakiemon. The quality of the pureness of the porcelain and the quality of the decoration both indicate that it was made in kilns competing with those of the original Kakiemon products.
In China, the blossoms of the Prunus mume (ume) symbolize purity and renewal, and occur very early on in Chinese painting, frequently in combination with pine and bamboo. In Japan, it primarily heralds the coming of spring, and is also used in art and literature to evoke the feel of the cold of winter loosening its grip. The delicate scent of the blossoms also evokes memories of a love one for many poets. The incisively painted, angular branches of the Prunus mume are a very characteristic element of Kakiemon, mostly depicted with fine black lines and clear red blossoms against the white porcelain. The blossoms are sometimes blown up to almost chrysanthemum-like proportions, and it is mostly depicted in a fairly stylized manner. Bamboo (take) is evergreen, and pliable, yet very strong. It is quick to recover after a heavy snowfall or a storm. In Japan, these qualities have led to its representation of indomitability, and the posture that a wise person should adopt, particularly in times of adversity. On kakiemon, bamboo has this connotation primarily in combination with Prunus mune and pine. The pine tree (matsu), an evergreen capable of living to extreme old age, represents power, a long and happy life, and even immortality. On Kakiemon porcelain we see it depicted as an old, venerable tree, but also sometimes as a young shoot, in combination with the crane. The brushwood fence (shibagaki) is made of bundles of twigs tied together, it is frequently combined with a bamboo trellis, an enlarged branch of flowering tree peony, and a shishi. It is a motif that occurs frequently on Kakiemon, with or without these companions, and one which evidently appealed greatly to the European consumer, given the fact that it is often seen on European imitations of Kakiemon. (Fitski 2011, p.148, p.151, pp.153-154 & p.163)
(2010140 reverse side)
For an identically shaped and sized and Kakiemon decorated saucer, please see:
Condition: A chip to the inner footring.
References:
Fitski 2011, p.148, p.151, pp.153-154 & p.163
Price: € 1.099 Currency Converter
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