Chinese Antique（Ming・Qing Dynasty）
中国古美術（明・清時代）
Chinese Antique（Ming・Qing Dynasty）
https://tenpyodo.com/en/product1/cat/china/（Handled Items ⇒ Chinese Antique）
Tenryu-ji Celadon
Tenryu-ji celadon is celadon that was fired in the longquan kiln between the late yuan dynasty and the middle ming dynasty. The name comes from the fact that a large amount of this kind of celadon was shipped on the trade ship “Tenryu-ji Ship” under the guise of building tenryu-ji during the period of the northern and southern courts. There is also a theory that the name comes from the ukibotande incense burner that Muso Soseki brought to tenryu-ji temple. The celadon produced by longquan kiln also grew in size during the yuan dynasty, and is characterized by a thick devitrifying greenish glaze. Kinuta celadon was based on a plain design, but tenryu-ji celadon was mass produced in response to the general trend of demanding decoration. “Tobi Celadon”, in which iron spots are scattered on the glaze surface, is also a decoration method that characterizes tenryu-ji celadon.
Shichikan Celadon
Shichikan celadon is celadon that was fired in the longquan kiln mainly during the late ming dynasty. It is known that the origin of the name is said to have been brought to japan by an official of the seventh rank（Chinese official）. It has a blue glaze with a strong luster and a sense of transparency like vidro. Kinuta celadon and tenryu-ji celadon have no cracks on the glaze surface, but shichikan celadon has many cracks on the glaze surface. Incense burner, incense container, vase, stationery, and other literati favorites form the core of the wares.
万暦赤絵
万暦赤絵とは明時代後期の万暦年間（1573～1620）に景徳鎮官窯で焼成された五彩です。
嘉靖年間（1522～66）から万暦年間は五彩の全盛期であり、
華やかさを求めた作風は荘厳美麗を極めるかのように各々の色彩が共鳴し、
龍鳳、花鳥、魚藻、人物故事、八宝、吉祥、花籠文等が器面を覆い尽くしています。
嘉靖年間や隆慶年間（1567～72）で同様の特徴を持つ五彩も「万暦赤絵」と総括されてきました。
その濃艶な赤絵は高く評価され、
伊万里焼の上絵付けに大きな影響を及ぼした他、
茶の湯を嗜む政財界人も茶器や水指を好んで所有しました。
志賀直哉は小説『万暦赤絵』を書き、
梅原龍三郎は「万暦赤絵」の花瓶をモチーフとして繰り返し描いた事で知られます。
Kosometsuke
Kosometsuke refers to the blue and white（sometsuke）porcelain that were fired at the Jingdezhen kiln in china, mainly during the late ming dynasty’s tianqi era（1621-27）. These works were made especially for japan and many of them remain in the country. In contrast to the qing dynasty’s blue and white porcelains, known as shin-watari（new-watari）, a unique group belonging to the old style ko-watari(old-watari) blue and white porcelains are now independently referred to as “Kosometsuke”. These porcelains can be broadly divided into tea utensils ordered by master of tea ceremony and everyday items.The kosometsuke of tea utensils, which were popular among the japanese, have a thick and heavy overall appearance, possibly due to the use of a thick clay base. At the end of the ming dynasty, there was a trend among japanese master of tea ceremony to order and fire unique tea utensils, with each master of tea ceremony ordering their preferred tools. Many kosometsuke works have glaze peeling off due to differences in the shrinkage rates of the clay and glaze, exposing the inner clay. This phenomenon, which resembles the appearance of being eaten by worms, is called “Mushikui（worm eaten）”. One characteristic is that mushikui（some holes）can often be found in areas where the glaze is thinly applied, such as the rim or angular parts. While this might be considered a flaw in ordinary porcelains, master of tea ceremony found elegance in this natural phenomenon and appreciated the rough taste, valuing it as an aesthetic effect.
Tenkei-Akae
Tenkei-akae refers to the overglaze enamels porcelain that were fired at the jingdezhen kiln in china, mainly during the late ming dynasty’s tianqi era（1621-27）. Colors such as red, green, yellow, and black are added to match the blue and white of the base, and the work is characterized by a free spirited style that is stylish and tasteful. During this era, with the fall of the Wanli Emperor, the jingdezhen imperial kiln was closed down, and the civilian kiln took the lead in production and sales. Potters who worked at the jingdezhen imperial kiln moved to the civilian kiln to make a living, leaving behind masterpieces that are reminiscent of the jingdezhen imperial kiln. Most of them belong to the tenkei-akae, kosometsuke, and shonzui. Many tenkei-akae works have glaze peeling off due to differences in the shrinkage rates of the clay and glaze, exposing the inner clay. This phenomenon, which resembles the appearance of being eaten by worms, is called “Mushikui（worm eaten）”. One characteristic is that mushikui（some holes）can often be found in areas where the glaze is thinly applied, such as the rim or angular parts. While this might be considered a flaw in ordinary porcelains, master of tea ceremony found elegance in this natural phenomenon and appreciated the rough taste, valuing it as an aesthetic effect.
南京赤絵
南京赤絵とは明時代末期から清時代初期に景徳鎮民窯で焼成された五彩磁器です。
狭義には天啓赤絵や色絵祥瑞とは区別される傾向にあります。
名称の由来は明王朝の都が南京にあった事から、
中国から渡来した色絵（五彩）磁器という漠然としたものです。
透明度のある純白釉を掛け、色絵のみで構成されているものが多く、
染付はあまり使用されません。
欧州向けは主に壺、盤、水注、花瓶、大徳利、蓋物等の大作が中心を成し、
日本向けは食器や茶道具から構成されています。
呉須赤絵
呉須赤絵とは明時代末期を中心に福建省南部の漳州窯で焼成された色絵磁器です。
その様式は景徳鎮民窯の古赤絵や金襴手の系譜を引いており、
そこから展開されたものと捉えられています。
基本的に染付は下地に用いられずに乳白色の失透釉が内外に厚く施されています。
上絵付けは赤色を基調に緑や青色が加えられ、
自由放胆で荒々しいまでの伸び伸びとした描写には一種の風格さえ感じられます。
稀に赤玉文様に金箔を上絵付けしている事があります。
焼き上がりは全体的にボテボテとした甘い作品が多く目立ちます。
鉄分が強い粒子の大きな砂を匣鉢の中に敷いて器物を焼成していた為、
底部に砂が付着しているのも特色の一つです。
文様が表現された構図には日本語の「天下一」の文字銘やアラビア文字を描いた例もあり、
東南アジアから日本を主商圏としていた背景が窺えます。
中でも呉須赤絵を好んで珍重したのは日本であり、
日本の茶人は玉取獅子鉢や魁手鉢を特に高く評価しています。
呉須手
呉須手とは明時代末期を中心に福建省南部の漳州窯で焼成された粗製磁器です。
呉須赤絵、呉須染付、餅花手等の作品が知られており、
東南アジアから日本を主商圏としていました。
輸出港である広東省の汕頭港に因んで欧米では「スワトウ・ウェア」と呼ばれています。
名称の由来は書画の達人とされる宋時代の文人・趙子昴の名を逆さまにして、
絵の下手なものを「昴子」と呼び、
これが「呉須」に変化したとも考えられていますが、
江戸時代には中国南方を漠然と「呉」と呼んでいた事から中国南方の焼物という意味で、
「呉須手」と呼ぶようになったという説が最も有力視されています。
「呉須」の文字が最も一般的に用いられていますが、
元来は「呉州」、「呉洲」の当て字で主に明治～大正時代に使用されるようになりました。
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