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Large Bowl, Birds and flowers in overglaze enamel

Edo period, 17th century

Tokyo National Museum

Tokyo National Museum

It was in 1659 when the Imariyaki kiln began firing items for export to Western Europe. This resulted in the completion of iro-e (on-glaze decoration using color glazes) pottery in a unique, beautiful style. It is now collectively called Kakiemon-style iro-e pottery. This large and deep iro-e bowl with a bird and flower motif is typical of the Kakiemon style and believed to have been created in the 1680s, 20 years after the beginning of pottery exports.While it was originally a container with a nicely curved lid with a lion-shaped lug, the lid has been lost and only the body has been passed down to the present. It is now called a large, deep bowl. Different from the milky-white ground unique to the Kakiemon style, the ground of this one has a slightly bluish color in the transparent glaze, which is probably due to the blue border lines that are drawn to divide the surface area for different patterns. Similar pottery of this type that has a blue-and-white ground all shows the same glaze tendency. On this bluish white ground, two birds resting on Taiko rocks (porous rock found near Lake Taiko in China) on two sides of the bowl and a motif of chrysanthemum and peony with big flowers growing into two directions on other two sides are drawn in a stylized manner in bright, clear red, green, yellow, lapis lazuli and black via the yusai technique (a technique where layers of different color glazes are used to create a beautiful gradation of colors). While the rich composition with a wide margin follows the example of the original iro-e pottery created by the kilns in Jingdezhen, China, the style of this one is much more elegant, indicating that the Chinese iro-e style has been completely Japanized. While all similar works have been handed down in Western Europe, only this one has been passed down in Japan.

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Details

  • Title: Large Bowl, Birds and flowers in overglaze enamel
  • Date Created: Edo period, 17th century
  • Physical Dimensions: w303 x h214 mm
  • Object Title: 色絵花鳥文大深鉢
  • Object Notes(Japanese): 伊万里焼が西欧にむけて輸出物を焼造しはじめたのは万治2年(1659)からであり、その結果独特の様式美をそなえた色絵磁器が完成された。今は柿右衛門様式として捉えている色絵磁器がそれである。この色絵花鳥文大深鉢はそうした柿右衛門様式の典型作であり、輸出開始ののち、20年ほど経過した1680年代の作と考えられる。 本来は、獅子鈕(ちゅう)をもったゆたかな甲盛りのある共蓋がそなわっていたが、今は失われて、身の部分が伝わり、大深鉢と呼びならわされている。素地は柿右衛門様式独特の乳白色とは若干異なって、ほんのり青味が透明釉に加わっている。文様帯を区切るために染付の界線が引かれており、そのために釉に青味がさしたのであろう。この種の染付下地の類品はすべて釉調を呈している。そして、この素地上に、澄みきった赤・緑・黄・群青(ぐんじょう)・黒のあざやかな釉彩で二方に太湖石に羽根をやすめる2羽の宿禽と二方に枝を伸ばして大輪の花をつける菊と牡丹の図様を図案化して描き込んでいる。余白をたっぷりのこした豊麗な構図は、本歌である中国景徳鎮窯の色絵磁器のそれを手本としながら、はるかに優雅な仕立てであり、ここに中国様式の色絵はすっかり和洋化されたといってよい。類品のすべてが西欧に伝世したのに対して、この作品のみは、日本に伝来した。
  • Object Date: 江戸時代・17世紀
  • Medium(Japanese): 磁器
  • Kiln(Japanese): 伊万里(柿右衛門様式)
  • Kiln: Imari ware, Kakiemon type
  • Type: Ceramic
  • External Link: http://www.emuseum.jp/detail/100524

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