COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1964.245
amicoid
CMA_.1964.245
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japan
cdt
Japan
Creator Dates/Places
false
Creator Name-CRT:
Japan, Edo Period
crt
Japan, Edo Period
Creator Name-CRT
false
Title:
Plate with Persimmon Branch Design, Kutani Ware
otn
Plate with Persimmon Branch Design, Kutani Ware
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
late 17th Century
oct
late 17th Century
Creation Date
false
Creation Start Date:
1666
ocs
1666
Creation Start Date
false
Creation End Date:
1699
oce
1699
Creation End Date
false
Materials and Techniques:
glazed stoneware with overglaze enamel decoration
omd
glazed stoneware with overglaze enamel decoration
Materials and Techniques
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Dimensions:
Diameter: 33.4cm, Overall: 6.2cm
met
Diameter: 33.4cm, Overall: 6.2cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1964.245
ooa
1964.245
ID Number
false
Credit Line:
Severance and Greta Millikin Collection
ooc
Severance and Greta Millikin Collection
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
The seventeenth and eighteenth centuries in Japan offer an especially rich and varied group of ceramic wares. Their individual histories of development and patronage, technical advance, and visual creativity is relatively well recorded. The strong domestic market for tea utensils favored the traditional earthenware and stoneware kilns. But high-fired painted porcelains from China and Korea were known and sought after by the well-to-do in Edo society. The market for underglaze blue ware or plates decorated with classical Chinese legends appealed to the Japanese, and the Chinese produced and exported sufficient numbers to meet the demand. Domestic kilns also sprang up in the Arita region in Kyushu, eventually producing good quality porcelains decorated inunderglaze cobalt blue for a Southeast Asian market. But it was the fall of the Ming dynasty and the subsequent disruption of the flow of export ware from China to Europe that promoted the meteoric rise of Japan's porcelain industry. Through the offices of the Dutch East India Company, which had an office on an island near Nagasaki, Japanese potters were given huge orders to fill with requirements for higher quality ware. Between mid-century and the early decades of the eighteenth century the Japanese porcelain industry responded with various, brilliantly colored ware in a style that Europeans favored over Chinese examples. Imari ware and especially Kakiemon were in great demand, as was the more standard blue-and-white Arita ware. But other porcelain types, Kutani and Nabeshima ware, also appeared at this time and found favor primarily with the burgeoning domestic market. Kutani ware features large plates decorated in bold designs that embrace the entire surface of the form. The rich enamel palette comprises blue, green, red, yellow, and aubergine applied in bold contrasting patterns. While most of these designs feature compositions with imaginary Chinese scenery, another important group presents imagery done in a classical Japanese-style painting vocabulary. This plate, with its background of mustard yellow ferns acting as a foil for the truncated branch of a persimmon tree, is a splendid example of Kutani's exuberance. It is an innovate motif not unlike those in the highly decorative and imaginatively designed compositions of the Rimpa School of artists in the seventeenth and eighteenth centuries. And while those artists were justly famous in their day, very little can be factually stated about the Kutani kilns and their potters. Thus far the potters, decorators, and patrons of the ware remain anonymous. Yet along with Nabeshima, Kutani is among the most sought after of all Japanese porcelains. M.R.C.
cxd
The seventeenth and eighteenth centuries in Japan offer an especially rich and varied group of ceramic wares. Their individual histories of development and patronage, technical advance, and visual creativity is relatively well recorded. The strong domestic market for tea utensils favored the traditional earthenware and stoneware kilns. But high-fired painted porcelains from China and Korea were known and sought after by the well-to-do in Edo society. The market for underglaze blue ware or plates decorated with classical Chinese legends appealed to the Japanese, and the Chinese produced and exported sufficient numbers to meet the demand. Domestic kilns also sprang up in the Arita region in Kyushu, eventually producing good quality porcelains decorated inunderglaze cobalt blue for a Southeast Asian market. But it was the fall of the Ming dynasty and the subsequent disruption of the flow of export ware from China to Europe that promoted the meteoric rise of Japan's porcelain industry. Through the offices of the Dutch East India Company, which had an office on an island near Nagasaki, Japanese potters were given huge orders to fill with requirements for higher quality ware. Between mid-century and the early decades of the eighteenth century the Japanese porcelain industry responded with various, brilliantly colored ware in a style that Europeans favored over Chinese examples. Imari ware and especially Kakiemon were in great demand, as was the more standard blue-and-white Arita ware. But other porcelain types, Kutani and Nabeshima ware, also appeared at this time and found favor primarily with the burgeoning domestic market. Kutani ware features large plates decorated in bold designs that embrace the entire surface of the form. The rich enamel palette comprises blue, green, red, yellow, and aubergine applied in bold contrasting patterns. While most of these designs feature compositions with imaginary Chinese scenery, another important group presents imagery done in a classical Japanese-style painting vocabulary. This plate, with its background of mustard yellow ferns acting as a foil for the truncated branch of a persimmon tree, is a splendid example of Kutani's exuberance. It is an innovate motif not unlike those in the highly decorative and imaginatively designed compositions of the Rimpa School of artists in the seventeenth and eighteenth centuries. And while those artists were justly famous in their day, very little can be factually stated about the Kutani kilns and their potters. Thus far the potters, decorators, and patrons of the ware remain anonymous. Yet along with Nabeshima, Kutani is among the most sought after of all Japanese porcelains. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1964.245.tif
ril
CMA_.1964.245.tif
Related Image Identifier Link
false