Among works of Shonzui that embody both dignity and brilliance, this piece stands as a foremost example of overglaze‑enamel Shonzui of the highest grade. At the center, a white hare is set against a richly lustrous red ground, while on all four sides cranes with vivid green-tinted wings appear within circular reserves, the entire surface densely filled with intricate ground patterns. The imagery evokes auspiciousness, longevity, and a sense of life’s joyful vitality. The vessel’s substantial yet meticulously asymmetrical form reveals a masterful balance of stillness and movement, embodying a uniquely Japanese aesthetic sensibility. Comparable examples can be found in the Tokyo National Museum, the Kyoto National Museum, and the Tokyo Fuji Art Museum, among others.
⇒ Cultural Heritage Online (Tokyo National Museum)
⇒ Cultural Heritage Online (Kyoto National Museum)
⇒ Tokyo Fuji Art Museum
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- Product Code
- 251214-24
- Period
- Ming Dynasty
Early 17th Century
- Weight
- 453 g
- Mouth Diameter
- 19.9 cm
- Height
- 3.2 cm
- Base Diameter
- 14.5 cm
- Fittings
- Paulownia Box
- Condition
- Intact
There is a tiny chip on the rim
The piece fulfills all the conditions of a first‑class work, with its dignified yet delicate form, beautiful coloration, and superb firing in perfect harmony. There is one extremely tiny chip on the exterior, but it is no more than a minor mushikui‑level flaw and remains within the category of being effectively undamaged.
Shonzui
Shonzui refers to the finest porcelain produced at the Jingdezhen folk kilns during the late Ming dynasty, particularly in the Chongzhen era (1628–44). The name derives from the underglaze-blue inscription found on some pieces—“Gorodayu, made by Wu Shonzui”—which has been interpreted to mean “made by the eldest son of the fifth son of the Wu family.” There is also a theory that Kobori Enshu was involved in their production or selection, and these works were embraced by connoisseurs of the highest caliber, including tea masters, samurai, temples, and wealthy merchants. Formed from pure white porcelain clay and shaped with substantial thickness, Shonzui pieces have a weighty presence when held and exude a dignified, commanding aura. The cobalt blue decoration is brilliantly clear, and the glaze possesses a pristine transparency. A distinctive feature is the dense coverage of auspicious motifs and geometric patterns that leave no part of the surface unadorned, creating a style in which opulence and refinement coexist. The forms show the influence of Momoyama-period tea ceramics, and examples include tea utensils such as fresh-water containers, tea bowls, tea caddies, incense containers, chakin tubes, and furidashi, as well as high‑grade tableware such as sake bottles, bowls, mukozuke, dishes, and sake cups. Incorporating Shonzui into a tea gathering imparts a sense of purity and elegance, harmonizing beautifully with ceramics and overglaze‑enamel wares.