5 Teacups Set Artfully hand painted with a Red 渦福 Uzufuku Mark attributed to KAKIEMON, JAPAN!
Sometsuke with dark and light blue contrasts! The "Rohdea Japonica" Sacred Lily plant with its berries are esteemed and collected in their many varieties in Japan as African Violets once were in the US! Dark red berries in overglaze enamel. The stalk leaves are contrasting dark and light blue palettes. Though marked with a Red Uzufuku Mark usually attributed to Kakiemon on the base, the footring is decorated in a "fine tooth comb" repeating pattern normally associated with Nabeshima? This set of 5 indicates it was intended for domestic consumption as opposed to even numbered sets like 6 for export.
福 - FUKU - happiness
渦福 - UZUFUKU - with a spiral stroke in the Kanji character
Here's an opportunity to own or gift a piece of Antique Porcelain History!
SPECS/CONDITION REPORT > please scroll further down >
VIEW SHOP POLICIES > below every description is the link "View Shop Policies" for the fine print of shipping, returns, taxes, etc.
OTHER PHOTOS > related items that might be of interest >
A beautiful housewarming gift or a fine addition to your collection!
PIC 4 - OMOTO VASE by FUKAGAWA of Arita >
https://www.etsy.com/listing/237715752/fukagawa-vase-wan-nian-qng-omoto-sacred
PIC 5 - OMOTO NAKAZARA PLATE NABESHIMA STYLE >
https://www.etsy.com/listing/279565702/ko-imari-sometsuke-nakazara-nabeshim
KAKIEMON style pieces available >
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NABESHIMA pieces in my shop >
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Searching for that PERFECT CHARGER/WALL PLAQUE? Please stroll my shop with over 200 Plates from Old Delft, Chinois, Faience and Antique Japanese Porcelain from the 1700's >
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MARK - PIC 3b Uzufuku mark in over-glaze red
SPECS- about 2.125"D x 1.75 "H
CONDITION - EXCELLENT!
- age related minor scratches to glaze, nothing distracting
- kiln related carbon spots & glaze pops & grit that has risen to the glaze surface
- no hairlines, cracks, chips or flakes
- footrings are unglazed, rough
MY SUBJECTIVE GRADING GUIDE >
Outstanding - pristine, like new
Excellent - excellent considering it's an antique (minor issues)
Good - moderate issues
Fair - more than moderate issues, okay for display, but not a prized piece
Poor - major issues = a bargain deserving of continued existence
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🌺 HÅFA ADAI from the tropical island paradise of GUAHAN (Guam/USA) 🌺
KAMIEMON SAKAIDA INFO >
The Japanese potter Sakaida Kakiemon (酒井田柿右衛門, 1596–1666) is popularly credited with being one of the first in Japan to discover the secret of enamel decoration on porcelain, known as 'akae'. The name "Kakiemon" was bestowed upon Sakaida by his lord, after he perfected a design of twin persimmons (kaki), developing as well the distinctive palette of soft red, yellow, blue and turquoise green now associated with the Kakiemon style.
Kakiemon is sometimes used as a generic term describing wares made in the Arita factories using the characteristic Kakiemon overglaze enamels and decorative styles. However, authentic Kakiemon porcelains have been produced by direct descendants, now Sakaida Kakiemon XIV (1934–2013). Shards from the Kakiemon kiln site at Nangawara show that blue and white and celadon wares were also produced.
Kakiemon decoration is usually of high quality, delicate and with asymmetric well-balanced designs. These were sparsely applied to emphasize the fine white porcelain background body known in Japan as nigoshide (milky white) which was used for the finest pieces. Kakiemon wares are usually painted with birds, flying squirrels, the "Quail and Millet" design, the "Three Friends of Winter" (pine, plum, and bamboo), flowers (especially the chrysanthemum, the national flower of Japan) and figural subjects such as the popular "Hob in the Well", illustrating a Chinese folk tale where a sage saves his friend who has fallen into a large fishbowl. However, because manufacture of nigoshide is difficult due to hard contraction of the porcelain body during firing, the production was discontinued from the former part of the 18th century to mid-20th century. In this period, Sakaida Kakiemon produced normal 'akae' wares. Sakaida Kakiemon XII and XIII attempted to reproduce nigoshide and succeeded in 1953. It has continued to be produced since then.
The milk white glaze called nigoshide, developed by Kakiemon, was not continued at the end of the Edo period. However the technique was rediscovered in 1953 by Sakaida Kakiemon XII (1878–1963) and Sakaida Kakiemon XIII (1906–1982) and was declared a Japanese "Important Intangible Cultural Asset" in 1971. Kakiemon porcelain is currently made under the fourteenth Sakaida Kakiemon.
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The British Museum describes NABESHIMA PORCELAIN best >
"Nabeshima ware was made at Okawachi near Arita in Kyūshū under the authority of the Nabeshima clan. The feudal lords of Nabeshima were so proud of their technological skill, that throughout the Edo period (1600-1868) they gave porcelain (and swords) as presents to the lords of other provinces. Very few pieces of this type were exported abroad.
The designs combine pattern and empty space in pure Japanese style and often resemble the bold and sophisticated textile designs of the late seventeenth and eighteenth centuries. The Nabeshima kilns produced underglaze blue and white wares, celadons, enamels and combination pieces. The commonest shapes were food dishes usually produced in sets of five, which took over from the earlier wooden lacquered food bowls with the high foot. The Nabeshima foot is usually decorated with a repeating 'comb tooth' pattern, and the underside of the rim too has scrolling or intertwining motifs. The designs themselves are arrestingly beautiful."
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"Porcelain production began in Japan in the early seventeenth century, several hundred years after it had first been made in China during the Tang dynasty (618–906). This refined white ceramic requires more advanced technology than other ceramic types. The vessels are fired at very high temperatures so that they are strong and vitrified, as opposed to low-fired earthenware, which is porous and easily breakable. Unlike stoneware, which is high-fired but can be made from many different types of clay, porcelain is made from a specific clay mixture that includes a soft, white variety called kaolin. The smooth, semi-translucent surface of porcelain is ideal for painting delicate designs, and has been prized in both the East and West.
The Japanese porcelain industry was actually pioneered by Korean potters living in Japan. Many of them came to Japan during two invasions of Korea led by Toyotomi Hideyoshi in the 1590s. An appreciation of Korean ceramics had recently developed in Japan, and many of the feudal lords who accompanied Hideyoshi brought back Korean potters to build up the ceramic industry in their territories. The Nabeshima lord took Korean potters back to his province of Hizen on Kyushu, the southernmost of Japan's main islands. These potters would eventually become the first producers of porcelain in Japan, but they started out by reviving the production of a type of stoneware called Karatsu ware. This type of ceramic is usually simple, inexpensive, and made rapidly but skillfully on the potter's wheel. The potters also introduced a new type of kiln to Japan, the noborigama, or climbing kiln, which allows for greater precision during firing. Therefore, when in the early seventeenth century the Korean potters living in the Arita district of Hizen found suitable clay for the manufacture of porcelain, the infrastructure for its production was already in place. The Hizen region thus became the major center of porcelain production in Japan.
The first porcelain made in Japan by these Korean potters is known as early Imari. "Imari" refers to a port near the Arita kilns, from which these wares were shipped to the rest of the country. Since these porcelains were primarily for domestic consumption, the term "early" is added to distinguish them from later wares also classified as "Imari" which were typically for export. Most early Imari pieces feature designs painted in cobalt blue on a white ground, then coated in a transparent glaze, in the style known as underglaze blue . The porcelain has a coarse, grainy texture and the designs are generally carried out by a free, fluid hand. The technique of painting pictorial designs under a clear glaze was sometimes employed on Karatsu ware, so early Imari may have in part stemmed from this earlier tradition."
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I'm not an expert on Porcelain. The information above is based on my research as a collector. It's time to downsize and find an appreciative home for this exquisite piece!
Feel free to contact me if you have questions or need additional photos.
