Kosometsuke Dish with Design of Lotus and Heron（Ming Dynasty / Published Work）
This is the good kosometsuke with lotus and heron design as its theme. It has a slightly thick and sharp shape, and has beautiful blue and white on the high quality white porcelain base. This is the actual work listed in the authoritative book "Kosometsuke（References）" published by kyoto-shoin.
- Ming Dynasty
Early 17th century
- Bottom Diameter
- Paulonia Box（Tadanari Mitsuoka Appraisal）
- 「KOSOMETSUKE Document」、Kyoto-Shoin、P168、No662、Published Work
- Excellent Condition（There is a mushikui at the edge）
The base, blue and white coloring, and firing are ideal, and they are in excellent condition.
In china, the white heron was loved for its beauty and graceful appearance, and like the lotus, it was a favorite symbol of a noble character that would not be submerged in mud. The design of a heron on a lotus pond is an allegory for success in career success by successively passing the imperial examinations, and was often depicted in paintings and crafts from the song dynasty onwards.
The edge is decorated with light blue and white to add a touch of elegance. There is few mushikui, and it is the good work.
There is sand attached to the bottom, and this rough atmosphere is one of its characteristics.
This work is included in the book published by kyoto-shoin.
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.
Tadanari Mitsuoka 1907-1994
Tadanari Mitsuoka was born in mie prefecture.
In 1930, after graduating from Department of Aesthetics and Art History, Faculty of Letters, Tokyo Imperial University, worked at the Museum Yamato Bunkakan.
In 1968, became the Professor of the Kyoto City University of Arts.
In 1970, researched new guinea sepik art.
In 1972 became the Director of the Tekisui Museum of Art.
In 1974, visited the kiln in south gyeongsang province, south korea.
From 1974 to 1986, became the Professor of the Otemae Women’s University.
In 1987, received the Fujio Koyama Memorial Award Achievement Award.
His research focuses on the history of oriental ceramics, and his publications include “Ancient Kiln of the Tea” and “Shigaraki and Iga”.