Japanese Porcelain

DR13

DR14

DR15

DR16

DR8, DR9, DR10: Birdcage vase, Japan, around 1720. The unusual, even bizarre shape of the vase results from an extremely rare combination of various materials and formal elements such as the archaic elephant handle and the playfulness of the birdcage. It is not clear from where the Japanese potter drew their inspiration or whether there are Japanese precursors of such a form. It is thought that the vases were produced exclusively for export. According to the inventory of 1721 there were originally twenty vases of this type in the Dresden Collection, nine of which have been preserved. DR13, DR14: Porcelain with a cobalt blue glaze and decorated in gold and silver are among the earliest Japanese porcelain made for export. They are usually dated around 1660. DR15: The box is presumably a vessel to storing incense. The decoration evokes the famous novel Genji monogatari (The tale of Genji) written about 1000AD by Murasaki Shikibu, a lady in waiting. It describes the life and love affairs of Prince Genji in the refined aristocratic culture of the Heian period (794-1185).

DR21

DR22

DR23

DR24

DR.17, DR18: Japanese porcelains with applied decorations were popular in Europe and inspired production in Meissen. The overdecoration was probably added in Amsterdam. The style of this bowl is similar to that of the covered terrine. DR23, DR24: The charming figures of flecked dogs were purchased by August the Strong for three tailors.

DR33

DR34

DR35

DR36

DR29, DR30, DR31: Blue and white garniture, Japan, late 17th century. Large covered jars, painted in cobalt blue came in garnitures and pairs. At the end of the 17th century Japanese decorative elements, compositions and styles of painting supplanted Chinese style and reached maturity. Landscapes, beautiful long tailed birds, as well as flowering plants and blossoming trees had become common decorations, combined stylized motifs like the dense karakusa (Chinese scrolling) and other auspicious patterns. DR34, DR35. DR36: “Aufsatz” (garniture) is a term used in old inventories for Chinese or Japanese porcelain consisting of covered jars or vases. This five-piece garniture is a good example of the noble decorative splendor of the Imari style. A special feature of this garniture is a shining black ground enhanced by gold decoration, The jars and vases are decorated with flowering sprigs, ribbons and decorative knots. White reserves are filled with landscapes, chrysanthemums and peonies.

DR37

DR38

DR39

DR40

DR37, DR38: Japanese Imari porcelain from around 1700. The splendid garniture shows a group of Imari porcelains decorated in brocade style (jap. nishiki-de). The name Imari is derived from a port on the island of Kyushu from where the porcelain made in and around Arita was exported. Imari porcelains are decorated in underglaze blue and overglaze colours, usually with iron red as a dominant colour with gold overlaid. The garnitures with their splendid effect of their dense decor were usually arranged symmetrically and corresponded in an ideal way to the representational needs of the Baroque period. The Dresden Collection contains one of the most comprehensive and valuable selection of Imari porcelain. DR39, DR40: Japanese blue-and-white porcelain. The splendid blue-and-white porcelains are examples of the strong and vital decorative style in early Japanese export porcelain from around 1680 to 1700. The garniture consisting of one covered jar and two beaker shape vases painted in shades of dark blue with peonies and ornamental karakusa-scrolls. The large dishes present a version of the type of design found on Kraak porcelain. Painted in the center is a vase with peonies, the broad rim contains panels with flower splays.

DR41

DR42

DR43

DR444

DR41, DR42, DR43. DR44: Japanese ladies on Imari porcelain. Japan, around 1700. The group of Imari porcelain presented in the arch and in the case at the window is painted with scenes typical for the Genroku era (1688-1704) as we find them on woodblock prints of the ukiyoe, the “pictures of the floating world”: elegant courtesans or geishas in the company of their young servants, engaged in all kinds of leisure activities. The description of fashionable ladies focus on the beauty of their kimonos with long sleeves and opulent sash obi, elaborate coiffures and make-up as well as the elegant features of the models poses. Some of them hold on leashes small spotted dogs or cats or small baskets with dragonflies, Large dishes are decorated with magnificently clad ladies, between carriages with flowers and set between screens which appear as pictures within pictures. Besides beautiful ladies, there are flower vases and trees and flowers like cherry-trees, pine trees, peonies, pomegranates and lilies. The splendid colour combination of the cobalt blue, iron red and gold of the Imari palette lend the porcelain high decorative radiation.

DR49

DR50

DR51

DR52

DR45-DR52 Japanese Symbols. Two large terrines Japan, around 1720: The decoration on these terrines shows a variety of auspicious symbols in the Japanese tradition. The main motif of the large terrine is a falcon, surrounded by flowers. Falconry was a favored aristocratic pastime, and falcons became natural emblems of Japanese samurai due to their keen eyesight and boldness. Lions figure prominently in Buddhist art; the roar of the lion is said to represent the “voices of the law” in Buddhism. Large-scale sculptures of lions in pairs often guard temple entrances. Playful depictions of lions known as karashishi (Chinese lions) resemble curly hair, blunt-nosed Pekinese dogs. On the terrine a black lion with white spots is jumping about in peonies. The finial of all terrines is in the shape of a cock. On the large terrine it is a cockerel on a drum, an old Chinese symbol of peace. The drum, beaten in time of war, has not been used in so long that a family of hens has settled on it. The drum is decorated with an auspicious symbol known as mitsu-tomoe in Japanese, consisting of three comma-like elements in a circle arranged around a “whishing jewel”. All terrines are decorated with flowers, particularly peonies, chrysanthemums and carnations. A special decor on the sides of the terrines consists of long strips, gathered in the middle, called noshi in Japanese. These are among the most distinctive motifs in the Japanese design repertoire with an interesting symbolism: Japanese have harvested abalone, awabi, since ancient times, and dried strips of meat were early offerings to the gods. Later strips of dried abalone were offered to the secular rulers, and at the Choyo festival they were attached to sprays of chrysanthemum. On auspicious occasions in general, gifts were wrapped with strips of noshi attached.

DR61

DR62

DR63

DR64

Japanese porcelain with sumptuous decoration in underglaze blue and the overglaze colours iron red and gold, is often called Imari. The name is derived from the shipping port on the island of Kyushu. They were the most popular export ware around 1700. 1. Lidded box with figural decor of a drinking scene. (DR53), 2. The porcelain is decorated with the letter, “S”, for the Dutch word syroop (syrup). The porcelain is decorated with the letter, “O” for the Dutch word olien (oil). The porcelain is decorated with the letter “A” for the Dutch word azijn (vinegar) (DR53, DR54). 3. The ewer is modelled in Persian shape and decorated with pomegranates and cherry blossoms. (DR55, DR56). 4. The bottles are adorned with small knobs in the shape of the chrysanthemum blossoms. (DR53-DR56)