Comollo Antiques, Fine Art & Wine
Manchester Vermont
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We have a 7 day unconditional, no ifs, ands or buts, satisfaction guaranteed policy. If after receiving a piece it doesn't work, send it back for a complete refund, just let us know within 7 days . We also have an unconditional exchange policy, regardless of how long you've had an item, we will apply 100% of the purchase price of any piece towards an upgrade or exchange, or if you like we'll take it back and give you a 100% store credit. I don't think we could make it any easier!
Members of the China Students Club of Boston were invited to share in the vast knowledge presented at the American Ceramic Circle Symposium in Providence Rhode Island in early November. One of the speakers was Andrew Maske, Associate Curator at the Peabody Essex Museum. He spoke with obvious enthusiasm about Japanese porcelain, it's history and it's influences.
The first Japanese ceramic endeavors were in Stoneware, such as
"Karatsu" which were used as simple utilitarian objects
and for tea ceremonies. They learned of making porcelain from
Korea at the end of the 16th century, approximately 1597. Their
kiln system was also imported from the Koreans.
The multi-kiln system or climbing kiln would consist of anywhere
from 4 to 18 chambers though 6 to 8 were mostly used. There would
be 6 kilns, for example, all connected and lined up a hill. They
had a long chamber running through the kilns for the dispersion
of heat. A fire would be lit at the lower end of the kiln and
the heat would slowly work its way up the hill to the far end
of the kilns, with the help of small fires in each kiln. A high
heat degree was possible in this fashion. Stoneware and porcelain
were fired together and sand was used to separate the objects.
The Japanese had been importing porcelain from Korea and China
for decades. Once they discovered a source for the fine white
clay needed for porcelain production, they copied the blue and
white designs prevalent at that time but eventually were not satisfied
with imitation. They tried new designs and patterns such as the
beautiful egret plates that Mr. Maske showed us. Their designs
were not as balanced as their Chinese counterparts. The images
were more asymmetrical, perhaps working their way around a piece.
There was also more subtly. Instead of filling a plate with a
busy design that covered every inch, there would be blank spaces,
sparser designs. Even their shapes showed originality. We were
shown a beautiful piece that was in the shape of a tea whisk.
Humour was more commonly found than in the Korean or Chinese examples.
Overglaze enamels were produced in Japan as early as 1653, possibly
a decade earlier. In the 1650's, a green type of Arita ware was
very popular. Also at that time, made in the Arita area, was "Kokutani"
ware which had dark reds, greens and yellows. This ware was derived
from screen paintings and textiles.
Other examples Mr. Maske showed us were "Korimari",
which had an underglaze of blue, overglaze of red and gold. "Kenjo"
Imari, which was presentation Imari for the emperor with his symbol
of a 16 petal chrysanthemum.
The entire speech and accompanying slides were enlightening and
made one want to delve deeper into Japanese porcelain.