Early-Imari Large Bowl with Design of Pine and Monky（Early 17th century）
It is the large and wonderful museum piece of early-imari. In the early17th century, it was technically difficult to mold a large-scale work that exceeded about 30.0 cm, and while many of the about 15.0 cm and about 21.0 cm were made as tableware, the large bowl is a special luxury item. Early-imari has insufficient purification of soil, pigments and glaze, and the skin is often grayish or distorted, but this work has a soft and beautiful skin and ideal dyeing. It shows color development and is excellent in baking. Of particular note is the unusual monkey design. There are many landscape design in the large bowl of early-imari, and it can be said that such a special subject is unique. From the surrounding style, you can get a glimpse of the influence of chinese porcelain, which was in high demand in japan at that time. This style of fuyo-de will be passed down to the later export old-imari. The traces of the potter's finger on the side of the bottom add a relaxing view, and you can follow the trajectory of the soul who challenged the pottery for a lifetime. The number of early-imari large bowls with excellent perfect conditions is overwhelmingly small, and most of them are stored in museums. Published in prestigious books, provenance is perfect.
- Edo Period
Early 17th century
- Bottom Diameter
- Paulonia Box
Acrylic Dish Stand
- 『Japanese Ceramics 8 Old-Imari』, Chuokoronsha, P69,No52. Published Work
『Old-Imari Blue and White Dish』, Yuzankaku、Written by Sakuro Yamashita, P30, No9. Published Work
『New Selection Old-Imari Blue and White Dish』, Soujusha Art Publishing, Written by Sakuro Yamashita, P20, No10. Published Work
Early-Imari are the first Japanese porcelain wares, thought to have emerged in 1616.
Until the mid-17th century, potters used “single fire glazing”, where bisque firing at 900℃ is skipped, and instead it is glaze fired at a high temperature of 1,300℃ right after shaping the clay.
After bisque firing was incorporated in the late-17th century, deformations and cracks during the firing process became less frequent.
As heat-resistant containers called saggars that protect wares that are being fired in the kiln were still not being used, some wares have ash, iron, and other residual particles inside the kilns attached to them.
Additionally, coarse sand was laid on the bottom of the kiln to prevent the wares from sticking to it.
As such, many of the wares have coarse sand attached to the foot ring at the bottom of the wares.
Porcelain making such as these were led by Korean potters brought to Japan, but enamel decorations were inspired by China’s Jingdezhen porcelain during the latter part of the Ming dynasty, and in the beginning, Japanese potters repeatedly conducted trial and error to come up with a unique Japanese style.
Very few types of Early-Imari have been found with inscriptions that denote the names of authors, firing kilns, and trademarks.
Those that do have inscriptions were done by potters who simply copied the inscriptions on Chinese porcelain and did not know how to write nor the meaning of the words, so many of them were incomprehensible and had mistakes or omissions.
However, the simple yet profound enamel decorations by potters on their wares are one of the greatest charms of Early-Imari.
While the techniques that went into them were still rough on the edges, they portray a sense of innocence and boldness that is not seen in perfected Imari ware.
“Beauty in Imperfection” is therefore the greatest charm of Early-Imari, which embodies a unique warmth and mildness expressed through the glaze, similar to Joseon white porcelain.