Antique Pair Japanese Meiiji Imari Blue & White Arita Porcelain Temple Vases 19C
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Of ovoid form, they feature a wide flaring and ribonned rims.
The body is beautifully hand-painted with an integrate design in lovely shades of underglaze cobalt blue with two centre panels, one with birds in a flowering tree and the other with flying birds with lotus.
Instil a certain elegance to a special place in your home with these fabulous vases.
In excellent condition, with no chips, cracks or signs of repair, please see photos for confirmation.
Dimensions in cm:
Height 95 x Width 33 x Depth 33
Dimensions in inches:
Height 3 feet, 1 inch x Width 1 foot, 1 inch x Depth 1 foot, 1 inch
Arita ware is a broad term for Japanese porcelain made in the area around the town of Arita, in the former Hizen Province, northwestern Kyūshū island. This was the area where the great majority of early Japanese porcelain, especially Japanese export porcelain, was made.
In English usage "Arita ware" was traditionally used for the export wares in blue and white porcelain, mostly copying Chinese styles. The wares with added overglaze colours were called Imari ware or (a sub-group) Kakiemon. It is now recognized that the same kilns often made more than one of these types, and "Arita ware" is more often used as a term for all of them.
According to tradition, the Korean potter Yi Sam-pyeong d. 1655 or Kanagae Sanbee is often considered the father of Arita ware porcelain. This narrative is however disputed by many historians. He is nevertheless honoured in Sueyama Shrine as the founder.
The first porcelain made in Japan followed the discovery of porcelain clay near Arita near the end of the 16th century. A number of kilns opened up in the area, and a considerable variety of styles were made, the Japanese export porcelain destined for Europe often using Western shapes and Chinese decoration. Early wares used underglaze blue decoration, but by the mid-17th century, Arita was in the forefront as Japan developed overglaze "enamelled" decoration in a range of bright colours.
Between the second half of the 17th century and the first half of the 18th century, they were extensively exported to Europe, travelling initially from Arita's port of Imari, Saga to the Dutch East India Company's outpost at Nagasaki. The type called kin-rande was especially popular and is therefore known in the West also as Imari ware. This typically is decorated in underglaze blue, then with red, gold, black for outlines, and sometimes other colours, added in overglaze. In the most characteristic floral designs, most of the surface is coloured, with "a tendency to overdecoration that leads to fussiness". The style was so successful that Chinese and European producers began to copy it.
Nabeshima ware was an Arita product, with overglaze decoration of very high quality, produced for the Nabeshima Lords of the Saga Domain from the late 17th century into the 19th, with the first half of the 18th century considered the finest period. It was never exported at the time. Kakiemon is a term that generates further confusion, being the name of a family, one or more kilns, and a brightly-coloured overglaze style broadly imitating Chinese wares. The style originated with the family, whose kilns were the main producers of it, but other kilns also made it, and the Kakiemon kilns made other styles. It was also widely imitated in Europe, and sometimes in China.
Angelica Kauffman, RA (1741 - 1807)
was a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome. Though born as "Kauffmann", Kauffman is the preferred spelling of her name in English; it is the form she herself used most in signing her correspondence, documents and paintings.
While Kauffman produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting, was considered the most elite and lucrative category in academic painting during this time period. Under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes.
Despite the popularity that Kauffman enjoyed in British society and her success as an artist, she was disappointed by the relative apathy that the British had towards history painting. Ultimately she left Britain for the continent, where history painting was better established, held in higher esteem and patronized.
The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait. There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek atMunich, in Kadriorg Palace, Tallinn (Estonia).
is a hard and durable wood with a satinlike sheen, much used in cabinetmaking, especially in marquetry. It comes from two tropical trees of the family Rutaceae (rue family). East Indian or Ceylon satinwood is the yellowish or dark-brown heartwood of Chloroxylon swietenia.
The lustrous, fine-grained, usually figured wood is used for furniture, cabinetwork, veneers, and backs of brushes. West Indian satinwood, sometimes called yellow wood, is considered superior. It is the golden yellow, lustrous, even-grained wood found in the Florida Keys and the West Indies.
It has long been valued for furniture. It is also used for musical instruments, veneers, and other purposes. Satinwood is classified in the division Magnoliophyta, class Magnoliopsida, order Sapindales, family Rutaceae.
Our reference: 09359a
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