The distinctive overglaze technique—applied in bold strokes of red, green, blue, and black over a greyish-white body coated with a thick, milky glaze—is characteristic of what is commonly known as “Swatow ware,” which was widely exported from Southeast Asia to Japan. In the center, a phoenix, revered as an auspicious bird, is depicted in gentle accord with a large peony blossom. The fluid brushwork and subtle modulation of tones resonate beautifully, imparting a vivid sense of life to the composition. On the reverse, traces of kiln sand adhering to the foot reveal the rustic features typical of folk kilns, quietly conveying the conditions of its original production. Its free and unrestrained expression exemplifies the charm of the Zhangzhou kilns, and in Japan, such pieces have long been cherished by tea practitioners as confectionery bowls for the tea ceremony.
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⇒ Collection of the Tokyo National Museum (External Site)
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- Product Code
- 260402-1
- Period
- Ming Dynasty
Early 17th Century
- Weight
- 804 g
- Diameter
- 27.2 cm
- Height
- 4.9 cm
- Base Diameter
- 14.9 cm
- Accessories
- Antique Box
- Condition
- - Perfect Condition
Gosu Aka-e
Gosu Aka-e refers to overglaze enamels porcelain produced primarily during the late Ming dynasty at the Zhangzhou kilns in southern Fujian. Its style inherits the lineage of Ko-Aka-e and Kinrande made at the Jingdezhen kilns, while at the same time developing along an independent trajectory. Underglaze blue decoration is generally not used as a foundation; instead, a thick layer of milky, opacified glaze is applied both inside and out. The overglaze painting is dominated by red, accented with green and blue, and the sometimes bold, even rough brushwork imparts a distinctive presence. On rare occasions, gold leaf is applied over patterns of red roundels. The fired pieces often have a soft, somewhat heavy appearance. Because the vessels were fired on beds of sand, grains of sand adhering to the foot are a characteristic feature. Some works bear inscriptions such as “Tenka‑ichi” (“Best under Heaven”) or even Arabic script, reflecting the fact that their principal markets lay in Southeast Asia and Japan. Japanese tea masters held in high esteem pieces such as the tamatori‑shishi bowls and Sakigake-de bowls, whose uninhibited energy and exotic flavor introduced a new aesthetic sensibility into the world of tea.