Ko-Sometsuke Fan-Shaped Mukozuke with Landscape and Poetic Inscription (Set of Five / Ming Dynasty)
350,000Yen(Tax Included)
Ko-Sometsuke mukozuke of substantial potting, elegantly formed in the shape of a widening fan, with a landscape scene and poetic inscription rendered in concise brushwork within the vessel. The inscription, “Spring waters fill the marshes on every side; summer clouds gather to form wondrous peaks” (Shunsui Man Shitaku, Kaun Takiho), derives from a poem by the Eastern Jin poet Tao Yuanming. It evokes a scene in which abundant spring waters fill the surrounding wetlands while billowing summer clouds rise into fantastic mountain forms. Through the contrast between tranquil waterways and dynamic cloud-capped peaks, the poem expresses the changing rhythms of nature and the vitality of life, reflecting the richly poetic world cherished by Chinese literati. As food is served, glimpses of the painted landscape appear and disappear beneath the arrangement, creating the sensation of viewing a lyrical landscape painting. The piece lends an air of refined elegance and literary sophistication to tea gatherings and kaiseki dining alike.
- Period
- Ming Dynasty
Early 17th Century
- Weight
- Approx. 259 g Per Piece
- Width × Depth
- Approx. 18.2 × 8.8 cm
- Height
- Approx. 3.1 cm
- Accessories
- Tiered Paulownia Box
- Condition
- - Excellent
- There is pitting (mushikui) on the rim
Ko-Sometsuke
Ko-Sometsuke refers to a distinctive group of blue-and-white porcelain fired at the Jingdezhen kilns during the late Ming dynasty, particularly in the Tianqi era (1621–27). A distinct group of blue-and-white porcelains, known as Ko-Sometsuke, is cherished as a category of its own, characterized by unique stylistic features. In contrast to the Qing dynasty Shin-watari (New Imports), these works belong to the older tradition of Ko-watari (Old Imports), and many surviving examples were transmitted to Japan. Following the death of the Wanli Emperor, the Jingdezhen imperial kilns were shut down, and Jingdezhen private kilns assumed control over both production and distribution. Many potters who had once served in the imperial kilns moved to private kilns to sustain their livelihoods, leaving behind works that still reflect the refinement of official ware. A significant portion of these works are classified as Ko-Sometsuke and Shonzui. Ko-Sometsuke is broadly divided into two categories: tea pottery commissioned by Japanese tea masters, and everyday utensils for general use. As tea pottery, Ko-Sometsuke works were crafted in imitation of the thick-bodied forms favored by Japanese tastes, characterized by substantial walls and a bold, vigorous presence. In the late Ming dynasty, Japanese tea masters actively commissioned the production of novel tea utensils, seeking works that reflected their individual aesthetic sensibilities. Many Ko-Sometsuke works exhibit a phenomenon in which the glaze flakes away due to differences in shrinkage between the base and the glaze, exposing the underlying base. This effect, resembling insect bites, is poetically referred to as “Mushikui”. This phenomenon is most commonly observed along the rim and at the corner, where the glaze tends to be applied more thinly. Though typically regarded as a flaw in conventional ceramics, tea masters discerned in it a natural elegance, appreciating its rustic simplicity as a form of aesthetic expression.