Kakiemon in Australia by Hamilton Gallery

Kakiemon catalogue cover.indd 1

4/3/2014 9:06:51 AM

Introduction DANIEL MCOWAN

Kakiemon IN AUSTRALIA

Seventeenth century Kakiemon is significant both as the high point of Japanese porcelain production as well as being the link, together with Dehua (blanc de chine) ware from Southern China, between the Oriental and European porcelain traditions. The fall of the Ming Dynasty in 1644 and the corresponding disarray of the Jingdezhen kilns in Northern China opened a brief window of opportunity for Japanese porcelain producers. The insatiable appetite of the Europeans for â&#x20AC;&#x2DC;chinaâ&#x20AC;&#x2122; still needed to be met and Japan was the only supplier capable of fulfilling that demand. The necessity to produce and gradual development meant that by 1690 the Japanese had achieved an astounding level of quality with their porcelain bodies and their decoration, comparable indeed to the best Chinese pieces. In 1708 the Meissen factory in Germany succeeded in producing true porcelain for the first time and the models and decoration they initially emulated were those of Dehua or Kakiemon. The forms and sprigged decoration of Dehua and the decoration and palette of Kakiemon provided the inspiration. By 1710 the Jingdezhen kilns recommenced export and by under-cutting the Japanese caused demand to decline and Japanese production to plummet. There is a sense that production ceased at this time because nothing more was imported by the Europeans but reduced levels of production no doubt continued for a home market that, by this time, was well aware of the proficiency of the Kakiemon family and other Japanese porcelain makers.

Consequently this exhibition focuses on work that we describe as Kakiemon. Its strict definition is contentious but essentially it is marked by on-glaze polychrome decorated wares, under-glaze blue decorated wares and plain white wares usually all moulded forms of above average quality and somewhat sparsely painted leaving significant areas undecorated. As with all such wares there is a spectrum in the production and Kakiemon is no exception to that. Nonetheless its impact when it first arrived in Europe was highly significant and its beauty has retained its appeal to the present.

Kakiemon IN AUSTRALIA

My interest in Kakiemon has grown out of a broader interest in Japanese ceramics but was particularly stimulated by the publication of Menno Fitkiâ&#x20AC;&#x2122;s Kakiemon Porcelain A Handbook and strongly supported by the publication of the eight volumes of Shibata Collection, a gift some 10,000 pieces of Arita Porcelain given by Akihiko and Yuko Shibata to the Kyushu Ceramics Museum. This comprehensive catalogue, an invaluable resource the likes of which is rarely undertaken by museums, is indispensable for modern scholars and will remain the prime reference on Japanese porcelain for many years to come.

I would like to thank Patricia Begg for her contributions to this catalogue, for her patience in discussing the myriad ideas that one encounters when focussing on a singular topic and for her enthusiasm for Kakiemon. I also thank Lesley Kehoe for her support, generosity and enthusiasm. Patricia and Lesley were the key motivators for this project and without their input there would have been slow progress indeed. My special appreciation goes to the small band - both from Japan and Australia - of lenders to this exhibition. They have had the wisdom to collect these rare but superb wares and the generosity to share them with us. I convey my thanks to Louise Cort, Curator of Ceramics, Freer Gallery of Art, Smithsonian Institution, and Monica Bincsik, Mellon

Kakiemon IN AUSTRALIA

Curatorial Fellow, Department of Asian Art at the Metropolitan Museum who graciously opened their collections and databases to me when I commenced this project. I also thank Dr Chiaki Ajioka whose translations assisted me with some of the more difficult elements of my research and Anne Hanlon whose editorial advice I was happy to receive. Finally I wish to thank the staff of Hamilton Art Gallery, especially Ian Brilley who photographed the works, designed and typeset the catalogue and set up the exhibition, and to the Council and Management of the Shire of Southern Grampians who made this all possible.

Daniel McOwan 19 March 2014

Essay DANIEL MCOWAN

Kakiemon IN AUSTRALIA

Background Japan essentially has two ceramic traditions. An indigenous stoneware/earthenware tradition that matured by the 1500s into a number of distinctive types, many of which are still made today. A second tradition arose from immigrant Korean craftsman and the concurrent discovery of kaolin at Izumiyama and that was the porcelain tradition. This second tradition was centred on town of Arita, near Izumiyama, in Hizen Prefecture (modern Saga Prefecture) on the island of Kyushu under the guidance of the Nabeshima Daimyos. In the seventeenth century Arita in its turn produced three distinctive styles of porcelain - Ko-Kutani, Kakiemon and Imari. Ko-Kutani was fully glazed with pigmented glazes over black under-drawing but it is quite rare and was only produced for a brief period around 1640 1. The best known of these three styles is Imari ware, characterised by dark under-glaze cobalt blue combined with on-glaze iron red and often gilt. Occasionally it has additional on-glaze 2 colours as well but the other colours tend to predominate. This made its appearance around 1690 3 and was to become the most common of the three types. The third type, Kakiemon ware, appeared around 1643 4 but achieved its technical peak around 1690. It was defined as being fully on-glaze decorated but as this exhibition will show the picture is more complex than that.

Increasingly it is becoming obvious that the three types of Arita porcelain evolved in a sequence with each borrowing some of the characteristics of the style before it. Initially Ko-Kutani appeared with its the entire surface on-glaze enamelled, almost as if the enamel were used as a glaze only that it was pigmented, not clear. Next Kakiemon ware appeared and it may have been simply a more frugal and considered use of the on-glaze process. Less on-glaze enamel was used on the surface but it was consciously painted in a range of patterns and it developed its own aesthetic values and consequent popularity. Finally Imari ware appeared where the emphasis was on under-glaze blue, on-glaze red and gilding. Fitski suggests this style evolved in response to demands from the Dutch market 5 but concurrently achieved popularity in the home market that was increasingly relied upon after 1700. Significantly, with some specific exceptions 6, Imari was more casually painted in comparison to its forebears and seems, unlike Kakiemon, to have not been painted to specific patterns but freely painted so that few pieces actually match. Kakiemon on the other hand is painted from pattern books so specific motifs recur in its decoration.

Kakiemon IN AUSTRALIA

The Kakiemon kiln was run by the Kakiemon family and was located in the Nangawara area of Arita, slightly separated from the Uchiyama area where Imari and Ko-Kutani ware originated. The first on-glaze enamels are reputed to have been obtained by Kakiemon 1st via intermediaries from a Chinese merchant in Nagasaki 7 and indeed on-glaze decoration was well worked out in China by the Jiajing period (1522-66) and reached full maturity in the wucai wares of the Longqing period (1567-72) period of the Ming Dynasty 8.

Two anecdotal stories give the origin of the name Kakiemon. Either the name is derived from the colour of kaki fruit (persimmon) which is a brownish-red, the colour of the on-glaze red used by Sakaida Kizaemon (Kakiemon I) or alternatively the Daimyo of Nabeshima bestowed the name on Sakaida Kizaemon after the latter had given him a gift of an ornament in the shape of two kaki fruit. This name appears in documents dated to around 1680 9 and was in use by 1699 as it appears on dated items marked kaki.10 In Europe Kakiemon established its reputation in the 1670s when large quantities were imported by The Dutch East India Company in lieu of the decline in production of Chinese ceramics at Jingdezhen following the fall of the Ming Dynasty in 1644. This ware was very popular in Europe and its patterns and forms impacted on the nascent European porcelain industry. As such it is, together with Dehua blanc-de-chine from Southern China, the true connection between the Oriental ceramic tradition and the European ceramic tradition that was yet to fully emerge.

Kakiemon IN AUSTRALIA

Defining Kakiemon ware The defining type of Kakiemon ware was fully on-glaze decorated, produced at a very high standard and in a number of definable patterns and forms. These patterns frequently made great use of empty space and became the archetypal representations of Oriental patterns in the West. The forms were usually moulded which enable complex shapes of great sophistication that contrast dramatically to the simplicity of thrown forms. The best of them used a pure milky white body, known as nigoshi-de body, covered with a somewhat matt, waxy, thin, clear glaze and decorated with on-glaze enamels within a black outline. This nigoshi-de body is frequently referred to but experience has shown that it is quite rare and generally only used for small items. Great care was taken with all steps of production even to putting fine points on the kiln supports, usually placed in the centre of the base or evenly spaced around it, so they break off leaving a minimal mark. High-period Kakiemon from around 1680 to 1700 was made for an elite market both as an export ware and for emerging local consumers. Its novel patterns and quality gave it great appeal in Europe leading to the notion that it was only made for an export market but its considerable presence in Japan and their awareness of its importance is indicative of its local appeal as well.

What has emerged in recent years though is that the Kakiemon factory also produced plain white wares, frequently with moulded decoration, and blue under-glaze wares as well. These similarly are defined by the extremely high quality of their manufacture and decoration and an identifiable range of decorative patterns and forms. The Kakiemon under-glaze blue decoration makes use of transitions in the shading not simply infill in a single shade that characterises under-glaze blue Imari of the same period. The Porcelain Compositions or Bodies Much has been made of the nigoshi-de body, called â&#x20AC;&#x2DC;milk whiteâ&#x20AC;&#x2122; 11 , in the West but the true, thinly glazed, limpid milk white body is comparatively rare. It is always decorated with on-glaze enamels that emphasise its whiteness. Its manufacture seems constrained to around 1690-1700 when it gets replaced with a more commercial body probably as a consequence of the cost of firing losses. The best examples of this later body are c.1700 dishes (catalogue numbers 32 and 33) and the pair of beakers (catalogue no. 30). These onglaze decorated pieces all have a dense, white body free of spots or flaws, are thinly glazed and the on-glaze colours sit smoothly on their surfaces. The plain white pieces in this exhibition have none of the translucency of the nigoshi-de nor do any of the other on-glaze decorated wares. It has long been understood that under-glaze blue never appears on nigoshi-de bodies nor do tall pieces use this body either. Work remains to be done to chemically and physically define the nigoshi-de body but it would appear

Kakiemon IN AUSTRALIA

from its whiteness that it has a levigated kaolin base with other additions. The levigated kaolin stone used to make Hirado ware produces a similar whiteness but it â&#x20AC;&#x2DC;feelsâ&#x20AC;&#x2122; (and appears) considerably denser than the nigoshi-de body reflecting its different composition and kaolin source. Kakiemon ware vs Kakiemon Style It has also become obvious that there are classes within these wares and increasingly they are now split between Kakiemon wares, those pieces ostensibly made by the Kakiemon family in Nangawara in Arita and substantiated with excavated kiln sherds, and Kakiemon style describing wares decorated with on-glaze enamels but various characteristics that differentiate them from Kakiemon wares.

Kakiemon style pieces tend to have a clear, thicker glaze, are rarely moulded, never use the nigoshi-de body although they can have a very white opaque body and the kiln supports are randomly placed and often roughly detached. These pieces are thought to have been made in Uchiyama in Arita partly to fulfil the demands of the export trade and partly to imitate the success of the Kakiemon family production. There is still subjectivity in defining this difference and I have tended not to emphasise it in this catalogue. Suffice to say that when many pieces of Kakiemon are brought together there are discernable levels of quality and sophistication in their manufacture, those of better quality are attributed to the Kakiemon kiln and those of lesser quality are described as Kakiemon style.

Kakiemon IN AUSTRALIA

Forms The use of moulded forms also characterises Kakiemon ware from its competitors. This manufacturing technique not only yielded a more sophisticated and more interesting forms but enabled the edge to be built up when strengthening was required. This was especially significant for nigoshi-de paste as it frequently warped or collapsed in the kiln and a thickened rim gave some support for the piece through the firing process. In the set of five small dishes (catalogue no. 23) each appears identical but tracing their outline shows that no two are the same yet logic dictates that, prior to firing, they would have all emerged from the same mould. On the rectangular dish (catalogue no. 27) the lack of a thickened rim has lead to the sagging of one side. The large bowl, indeed very large for nigoshi-de paste, (catalogue no. 25) has the thickened rim but examination under high intensity light shows that it was constructed in two halves through the vertical axis. This is a most unusual way of making such a bowl but may have had advantages in coping with the internal forces that result from firing and preserve the object in the kiln.

Two pieces in the exhibition (catalogue numbers 17 and 18) are not only moulded shapes but have moulded detail on their centres. These pieces are from the 1740-1760 period were made after export to the Europe had ceased and consequently intended for the domestic market. There is debate as to whether these are Kakiemon but the Kakiemon after 1710 is poorly documented and more significantly the Kakiemon family still hold the moulds for these dishes 12. These two are representative of a far larger group as they were made in varying sizes of which these two represent the extremes. They do not stand the test of quality that normally applies to Kakiemon but following the cessation of export around 1710 the Kakiemon family fell on hard times 13 and their consequent survival may have necessitated a decline in standards. The overall shape of the moulded forms, their fuchi-beni brown rims and their elegant proportions immediately suggest Kakiemon but until the Kakiemon familyâ&#x20AC;&#x2122;s production from the eighteenth century is better analysed a definitive attribution cannot be made.

Kakiemon IN AUSTRALIA

Decoration The decoration of Kakiemon is generally influenced by Edo period paintings of the Kano and Tosa Schools but designs were also taken from woodblock-printed copybooks14. In some cases the same design is used on different forms e.g. the bowl (catalogue no. 6) was not found in Shibata part 5 detailing Kakiemon 15 ware but identical elements of the same pattern appears on a dish and a different shaped bowl that are pictured in that part of the catalogue 16. A complete correlation between these copybook images and Kakiemon decoration remain to be proven but given that most porcelain decorators in Arita around 1700 were not formally trained as artist/painters it is more likely that they sampled from these images in preference to using them in toto. A number of the pieces in this exhibition illustrate Chinese stories 17 that would have been of interest to the literati in Japan and originally derived from Chinese sources. Brown points out though that the Japanese selected pertinent images out of these stories more than trying to tell them in their entirety 18 . Similarly the plum blossom on an ancient gnarled branch so often seen on Kakiemon has Chinese precedents in Ming Dynasty wares of the Wanli period (1573-1620)19.

Under-glaze blue decorated wares can conform to recognisable patterns such as the Scheveningen patterns based no doubt on imported Dutch Delft ware or Matsushima Bay patterns based on the scenic views of the pines at Matsushima Bay. There pieces are obviously intended as export wares but their Kakiemon heritage sees them manufactured with the same superlative quality that the onglaze wares are manufactured with. The function of Japanese ceramics remains a determinant in their decorative schemes. The large areas of undecorated space on Kakiemon could be to allow the food to colour the plate with the small area of on-glaze decoration functioning merely as a garnish. The decorative scheme also hints at the purpose in the celebratory sense as well. Combinations such a pine and cranes symbolise longevity and may have been intended to be used at celebrations for significant older members of the population. The pieces decorated with Chinese themes seemed destined for Japanese literati for whom the stories they depict may have had personal references. It is significant that two of the major pieces (catalogue numbers 25 and 34) derive their decoration from stories related to reclusion. These most likely would have been commissioned pieces, and given Kakiemonâ&#x20AC;&#x2122;s status, commissioned by persons of substance and wealth for whom the reclusion stories would have had appeal.

Kakiemon IN AUSTRALIA

Marks The on-glaze and plain white Kakiemon is rarely marked whereas under-glaze blue and combination under-glaze blue and on-glaze enamel decorated pieces are often marked. When a mark does occur it is often one of a number of variations on what are called fuku (meaning ‘happiness’ or ‘good luck’) marks. These are symbolic but some resemble Chinese seal script marks and like the faux Chenghua marks (catalogue numbers 10 and 11) hint at the possibility of these works being Chinese. The fuku mark appears on Chinese porcelain and later on Imari wares as well as Kakiemon consequently other characteristics are more important and these should be given precedence over the marks in deciding the authenticity of Kakiemon. Nonetheless the use of these marks by the Kakiemon family is reasonably documented 20. The other mark used is the kin (meaning ‘gold’) mark used by the Kakiemon family from 1670-1700. Similarly it appears that the gobenka, an idealised plum blossom, was indicative of Kakiemon in its earliest appearances but it too became a common Imari motif. These marks are pictured in Appendix 1.

Conclusion The intention behind this catalogue is to document Kakiemon in Australia and in doing so add to the corpus of published images and descriptions of works called Kakiemon. It is only in bringing these works together that the archetypes as well as the idiosyncratic pieces get exposure and provide a yardstick for scholars, collectors and those starting to take an interest in the rich world of Japanese ceramics.

Catalogue PATRICIA BEGG & DANIEL MCOWAN

Kakiemon IN AUSTRALIA

UNDER-GLAZE BLUE DECORATED WARES

[1] Beaker 1670-1690

[2] Dish 1660-1680

h. 8.7 cm, Ø 8.2 cm

h. 2.8 cm, Ø 18.6 cm

A bell-shaped beaker with an everted rim and a narrow vertical foot ring, painted in underglaze blue with sochikubai - plum blossom, bamboo and pine (the ‘three friends of winter’). It has single line under the decoration and the double lines circling the rim and foot. The foot ring has been wiped clear of glaze.

A moulded round dish with a raised rim painted in under-glaze blue in the centre with birds below rocks and chrysanthemums and a border with meandering flowers and leaves. Three evenly spaced stilt marks within the wiped foot ring.

Mark: No marks Private collection References: Shibata Collection Part 1, p 86 224; Impey 2002, p. 118, pl. 150. Note: Around 1730 Meissen did an exact copy of this pattern.

Mark: fuku mark No. 3 in double lined square Hamilton Art Gallery, donated through the Australian Government's Cultural Gifts Program Acc. No. 2012.579 References: Shibata Part 5, 1997 p. 16, pl. 4; Shibata Part 2, 1991 p. 138, pl. 348

Kakiemon IN AUSTRALIA

[3] Jar c.1670-1700 h. 32.3, Ø 19.4 A hexagonal jar with high shoulder and short neck, decorated on each face with tall flowering plants on rocks, karakusa scrolls with three peonies on the shoulder and a geometric pattern on the neck. Lid missing. Base wiped clean. Mark: No marks Private collection References: Impey 2002, p. 99, pl. 104 Ashmolean Museum; Ayers, Impey and Mallet 1990, p. 174, pl. 154 (Victoria and Albert Museum)

[4] Bowl c.1690 h. 9.8 cm, Ø 21.1 cm An octagonal bowl with everted rim painted in under-glaze blue with external double panels showing chrysanthemum, pomegranate, peony and plum and a fuchi-beni rim. The interior has a central square showing landscape with building, surrounded by two egrets and three pomegranates and the rim has a petal border. A vertical foot ring with one central stilt mark.

Mark: kin mark No. 5 in double lined square Hamilton Art Gallery, purchased with annual Council allocation, Acc. No. 2012.662 References: Partners to this bowl appears in Fitski 2011 p. 85, pl. 94. (Rijksmuseum collection); Davies 1997 p. 103, pl. 52. (formerly the Impey Collection); Jörg 2003 p. 147, pl. 163 (Twickel Castle collection, Delden, The Netherlands)

Kakiemon IN AUSTRALIA

[5] Dish 1670-80

[6] Bowl 1690-1710

h. 3.0 cm, Ă&#x2DC; 17.7 cm

h. 4.7 cm, Ă&#x2DC; 14.7 cm

A moulded six-lobed dish with a vertical foot ring, painted in under-glaze blue with two cranes among pine trees. It has a fuchi-beni rim. The centre with one blue ring, two other blue rings and karakusa scrolls on the outside. The foot ring has been wiped clean and there are three evenly spaced stilt marks.

An eight lobed bowl painted in under-glaze blue with a stylised floret in the centre surrounded by hedges and flowering plants overlaid with yukiwa (idealised snowflakes). A single, central stilt mark inside the foot ring. Karakusa scrolls on the outside and a fuchibeni rim.

Mark: No marks Private collection References: Shibata Part 7 2001 p. 175, pl. 356; Ashmolean Museum 1981 p. 96 pl. 270. Note: Later decorated in Holland with on-glaze enamels depicting plum blossom.

Mark: fuku mark No. 1 in double lined square Hamilton Art Gallery, purchased with annual Council allocation, Acc. No. 2011.025 References: This design hybridises designs from Shibata Part 2 1991 p. 188, pl. 493 and Shibata Part 2 1991 p. 227, pl. 569 Note: This bowl came out of a Dutch collection.

Kakiemon IN AUSTRALIA

SCHEVENINGEN OR VAN FRYTOM PATTERNS These variations, collectively called Van Frytom or Scheveningen patterns, are close in style to Delftware patterns made by a potter called Van Frytom (Dutch: Frederik van Frijtom) that were copied in Japan (and China). The Dutch coastal village of Scheveningen is the most likely candidate for the scene although this is by no means certain. They are often considered as depictions of Deshima Island in Nagasaki Harbour but really do not conform to its known features.4

[7] Bowl 1700-1720

[8] Dish 1700

h. 4.8 cm, Ă&#x2DC; 8.0 cm

h. 2.0 cm, Ă&#x2DC; 18.9 cm

A small octagonal bowl with a flanged rim on a vertical foot ring, painted in under-glaze blue on the outside with a continuous scene of figures in a landscape, a building and tall ships in the distance. The inside has a blue gobenka (stylized floret) on the base and karakusa scrolls on the flange and a fuchi-beni lip. The base has a blue ring and fuku mark and the foot ring has been wiped clean.

An eight lobed dish on a vertical foot ring painted in under-glaze blue. Three figures in the foreground, one leading a dog. A building located on a hillock in the distance, two towers and rooftops on the right. Ship sails in the far distance. There is a fuku mark within a blue ring and three stilt marks around a fourth central mark. The foot ring has been wiped clean. Three blue rings and karakusa scrolling on the outside.

Mark: fuku mark No. 2 in double lined square Private collection References: Davies 1997, p. 139, pl. 77.

Kakiemon IN AUSTRALIA

[9] Dish 1700-10 h. 3.0 cm, Ø 15.5 cm A moulded five-lobed dish painted in underglaze blue with a landscape, two Chinese figures under an umbrella and a tower in the distance, fishermen in the foreground. On the underside a single stilt mark and fuku mark within a blue ring, a vertical based wiped clean and karakusa scrolls around the outside. It has a fuchi-beni rim. Mark: fuku mark No. 1 in double lined square Private collection

[10] Dish 1700-30 h. 2.5 w. 15.4 cm, d. 12.8 cm A small multi-lobed oval dish with a sloping foot rim, painted in under-glaze blue with two ‘man of war’ ships and a lighter carrying five men beneath curly clouds. The rim decorated with a continuous band of heartshaped motifs. The underside has six Chinese characters within a wiped foot ring. No exterior decoration. Mark: A Chinese six character mark for the Chenghua emperor (1465-1487) of the Ming Dynasty. Mark No. 7 Private collection References: Jörg 2003, p. 247, pl. 319; Wrestling Boys, p. 15, pl. 44; Japan Society 1988 p. 175, pl 63. Note: The shape was made for Dutch market. The Japanese often used Chinese reign marks as a mark of respect but also to infer that their products were comparable in quality to Chinese porcelain, especially those of the Chenghua period.

Kakiemon IN AUSTRALIA

MATSUSHIMA BAY PATTERNS [11] Dish 1680-1700 h. 3.5 cm. Ă&#x2DC; 19.0 cm A moulded, eight-lobed dish painted in underglaze blue with a pine forest on the banks of a lake or the sea (Matsushima Bay?). On the base three evenly spaced stilt marks and a 6 character mark inside a blue ring, the foot wiped clean and karakusa scrolling around the outside. Mark: A Chinese six character mark for the Chenghua emperor(1465-1487) of the Ming Dynasty. Mark No. 8 Private collection References: A similar pattern appears in Shibata Part 1, 1990, p. 105, pl. 264; Shibata Part 5, 1997 p. 64, Ref. pl. 50

[12] Bowl 1680-1700 h. 4.7 cm, Ă&#x2DC; 15.5 cm A moulded octagonal bowl freely painted in under-glaze blue with a border of a lake or sea surrounded by plovers and pine trees and a gobenka floret in the centre. A fuchi-beni rim. On the base a central stilt mark and a mark within a blue ring, foot wiped clean, three more blue rings and the rest of the outside surface covered with karakusa scrolling. Mark: fuku mark No. 1 in double lined square Private collection References: - shape only - Shibata Part 5, 1997 p. 161, pl. 229; Shibata Part 1, 1990, p. 118, pl. 296; see Shibata Part 5 p.107 pl. 141 for the same free painting style.

Kakiemon IN AUSTRALIA

[13] Dish 1690-1710

[14] Dish 1680-1700

h. 5.1 Ă&#x2DC; 30.2 cm

h. 5.1, Ă&#x2DC; 30.2 cm

A moulded ten-lobed dish decorated in underglaze blue with two scholars in a landscape of pine, plum and a tea-house containing two more scholars. It has a fuchi-beni rim. Six unevenly spaced stilt marks and the fuku mark inside a blue ring, the foot wiped clean with three rings and karakusa scrolling around the outside.

A moulded eight-lobed shaped dish painted in under-glaze with two sages standing on a rock under a pine tree viewing a waterfall. The perimeter decorated with two tigers among plum, peony and bamboo. It has a fuchi-beni rim. Seven stilt marks surround a central stilt mark and the fuku mark inside a blue ring, the foot wiped clean and then three rings and karakusa scrolling around the outside.

Mark: fuku mark No. 1 in double lined square. Johanneum mark in black Ni4651 over a zig zag. Private collection References: Shibata Part 1, 1990, p. 142, pl. 362; Shibata Part 5, 1997, p. 177, pl. Ref. 95 Note: This pattern probably also illustrates the Four Sages of Mt Shang (see cat. no. 34).

Mark: fuku mark No. 1 in double lined square. Private collection References: Davies 1997, p. 96, pl. 47; Ayers, Impey and Mallet 1990, p. 158, pl. 133. Notes: Shards of similar examples have been excavated at the Kakiemon No. 1 kiln site. This dish was formerly in the collection of Margaret, Duchess of Portland, Welbeck Abbey.5 This design also has similarities with the two sagescholars on one side of the on-glaze decorated bowl in this exhibition (cat. no. 34).

Kakiemon IN AUSTRALIA

[15] Dish 1670-1680

16. Dish 1690-1710

h. 3.6, Ø 21.8 cm

h. 4.2 Ø 31.8 cm

A moulded, eight-lobed dish painted in under-glaze blue with a tiger beneath bamboo in the centre. The perimeter is decorated with dragons and clouds with sochikubai (three friends of winter) in between. It has a fuchi-beni rim. Four unevenly spaced stilt marks are placed around a central stilt mark with the fuku mark inside a blue ring, the foot wiped clean and then three rings and karakusa scrolling around the outside.

A moulded dish with multi-lobed form painted in under-glaze blue with a dragon appearing through the clouds to a striding tiger among plum and bamboo. It has a fuchibeni rim. Six stilt marks surround a central stilt mark and the fuku mark inside a blue ring, the foot wiped clean and then three rings and karakusa scrolling around the outside.

Mark: fuku mark No. 2 in double lined square Private collection References: Shibata 5 1997 p. 102, pl. 129; Jörg 2003 p. 146, pl. 160;

Mark: fuku mark No. 4 in double lined square Private collection References: Jörg 2003 p. 144, pl. 158; Ayers, Impey and Mallet 1990, p. 154, pl. 126.

Kakiemon IN AUSTRALIA

17. Dish c. 1770 h. 4.7 cm, Ă&#x2DC; 30 cm A ten lobed dish moulded with two elephants and a young man. Under-glaze blue Chinese characters superimposed on the moulding. A dot border of blue pigmented slip below the glaze and a fuchi-beni rim. There are five cruciform stilt marks and the mark within a blue ring, the foot ring is wiped clean. There is no exterior decoration. Mark: fuku mark No. 6 in double lined square Hamilton Art Gallery, purchased with annual Council allocation, Acc. No. 2012.511 References :Shibata Part 2 1991 p. 298, pl. 784; Shibata Part 8 2002 p. 124, pl. 228 (smaller size); Related 'Filial Piety' dishes appear in Shibata Part 8 2002 p. 124 pls. 226 and 227; details of the moulds appear in Fitski 2011 p. 108, reference pl. 122; Note: This dish takes its illustration from the first story in the Chinese Yuan Dynasty (1260-1368 AD) compendium of The Twenty-four Exemplars of Filial Piety written by Guo Jujing (n.d., J. Kaku Kyokei) who lived north of Dehua in Fujian Province. The under-glaze blue characters give the title and the brief verses explaining the story: Elephants in file plow the fields in spring. Little birds in flocks come weed the summer grass. Following Emperor Yau, he took the Dragon Throne. His filial conduct touched the hearts of creatures under heaven.1 There is debate as to whether these dishes are Kakiemon but the Kakiemon Family still hold the moulds used in their manufacture. 2

[18] Dish c. 1770 h. 2.5 cm, Ă&#x2DC; 10.5 cm A small fluted dish moulded with a house and two people in a landscape, painted in under-glaze blue with Chinese characters and a repeating border decoration. It has a fuchibeni rim. The underside has the mark within two blue rings, the foot ring wiped clean. No exterior decoration. Mark: fuku mark No. 1 in double lined square Private collection References: a large sized version occurs in Shibata Part 8 2002 p. 124, pl. 227 Note: This dish illustrates a famous Chinese Tang Dynasty (618-907 AD) poem by Meng Haoran (689740) titled A Spring Morning and illustrates the first line 'Sleeping on a Spring morning I've missed the dawn' i.e. she has overslept. The daughter or servant is shown bowing and apologising for her lateness.3

Kakiemon IN AUSTRALIA

ON-GLAZE COLOUR DECORATED WARES [19] Bowl 1660-1670 h. 4.0 cm, Ă&#x2DC; 17.5 cm A moulded bowl painted on-glaze in red, turquoise, blue and black with two circling phoenix and scattered stylised flowers. Inward sloping foot with some adhesions. No exterior decoration. Mark: No mark Private collection References: Davies 1997, p. 159, pl. 90; A slightly larger bowl, of the same form, with a similar early palette is held in the Metropolitan Museum, New York, Acc. No. 1995.268.175

[20] Bowl 1700-20 h. 5.0 cm, Ă&#x2DC; 14.0 cm A six-lobed bowl moulded with panels with lotus scrolling alternating with a trellis pattern, painted on-glaze in red, blue, turquoise, yellow and black with a central encircling dragon and a fuchi-beni rim. The foot ring has been wiped clean and there is a central stilt mark. Mark: No mark Private collection

Kakiemon IN AUSTRALIA

[21] Dish 1680-1700 h. 2.7 cm, Ă&#x2DC; 11.5 cm A small moulded dish painted on-glaze in red, blue, turquoise, black and gold with reed fencing in front of pine, bamboo and plum (the three friends of winter). The foot ring wiped clean and no exterior decoration. Mark: No mark Private collection References: Impey 2002, p. 163, pl. 244.

[22] Bowl 1680-1700 h. 5.1 cm, Ă&#x2DC; 14.9 cm A moulded six lobed bowl painted on-glaze in red, green, blue, yellow and black with a spray of chrysanthemums. Three flower sprigs in on-glaze red and blue on the outside. It has a fuchi-beni rim. Mark: No mark Private collection References: Shibata 5 1997 p. 84 pl., 97.

Kakiemon IN AUSTRALIA

[23] Set of five Bowls 1680-90 h. 4.5 cm, Ø 13.0 cm Five deep bowls moulded with a foliated rim and a vertical foot ring, painted on-glaze in red, turquoise, blue, yellow and black with a chrysanthemum spray and an insect. The base has one central stilt mark and the foot ring is wiped clean. No exterior decoration. Nigoshide body.

Mark: No mark Private collections (4), Hamilton Art Gallery, Trust acquisition – Geoff and Helen Handbury Gift, Acc. No. 2004.047 (1) References: Similar patterns appear in Shibata 2 1991 p. 173, pl. nos. 443 & 444; Begg 2006 front cover and p.14, no. 19; Agnew & Marno 2000 p. 8, pl. 8; Jörg 2003 p. 88, pl. 83.

Kakiemon IN AUSTRALIA

[24] Bowl 1680-1700 h. 4.5 cm, Ă&#x2DC; 15.0 cm A moulded six lobed bowl with cloud forms descending into the interior. Painted on-glaze in red turquoise, blue, yellow and black with plum, bamboo and a bird. Vertical foot wiped clean and no exterior decoration. Nigoshi-de body. Mark: No mark Private collection References: Impey 2002, p. 147, pl. 204.

[25] Bowl c. 1680 h. 8.7 cm, Ă&#x2DC; 19.7 cm A moulded eight lobed bowl with cloud forms trailing into the interior. Asymmetric sprigs of flowers decorate the interior. A foliated rim and a vertical foot ring, externally decorated in on-glaze red, green, blue, yellow and black of a Chinese man playing with a small dog, his servant and a woman. Nigoshi-de body. Mark: No mark Hamilton Art Gallery, Gift of Kaneko Noriaki and Lesley Kehoe, Acc. No. 2012.675 References: A bowl of similar overall shape (but different internal moulding) appears in Shibata Part 5, 1997 p. 131, pl. 181.

Note: The figure on this bowl is likely to be Liu Ling (221-300 A.D.), one of the Seven Sages of the Bamboo Grove 6. He was famous for his love of alcohol and this is symbolised on this bowl by the gourd that hangs from his servant's staff. The Seven Sages were a mythological group, as their lives did not necessarily overlap, nonetheless their story and its symbolism is similar to that of the Four Sages of Mt Shang (see cat. no. 34). They were all learned men fleeing the oppressiveness of the bureaucracy to pursue their own path. Liu Ling was a poet whose most famous work In Praise of the Virtue of Wine7 has become a great classic of China poetry. His drunken state was unacceptable but at the same time it freed him to be the creative soul he truly wished to be. This bowl came out of a Japanese collection. It is particularly large for a piece in nigoshi-de paste although its shape and relatively thick rim would have made its firing simpler. It is also of a most unusual construction appearing to be made of two equal moulded halves with the join running down one side at a slight angle, across the middle of the bottom and up the other side. Its glaze and translucency is similar to the other nigoshi-de pieces in the exhibition.

Kakiemon IN AUSTRALIA

[26] Rectangular Dish c.1690 h.3.5, w.22.2, d. 11.1 cm Moulded dish of irizumi (indented corners) form decorated with on-glaze red, blue, yellow and green of two ayu fish among a trailing water plant. Fuchi-beni rim. Rectangular inward sloping foot ring wiped clean. Interior of foot ring glazed with two randomly placed stilt marks. No decoration on the outside. Nigoshi-de body. Gilt lacquer repair to one corner. Mark: No mark Private collection, Japan References: Under-glaze blue examples of this motif appear on Kakiemon e.g Shibata 5 1997 p.55, pl.57, but no references were found to the is rare on-glaze example.

[27] Bowl 1680-1700 h. 4.5 cm, Ă&#x2DC; 14.0 cm A moulded eight lobed bowl painted on-glaze in red, turquoise, blue, yellow and black with two sprays of chrysanthemum and two butterflies. Nigoshi-de body. Vertical foot ring wiped clean and no exterior decoration. Mark: No mark Private collection

[28] Pair of Dishes 1700-1750 h. 2.1, Ă&#x2DC; 15.3 cm A pair of plain dishes painted on-glaze in red, blue, yellow, aubergine black and gold with two Chinese figures flying kites. The underside is undecorated and has no marks other than a central stilt mark. A vertical foot ring wiped clean and no exterior decoration. Mark: No marks Private collection, Japan References: Shibata part 5 1997 p.186 pl. 264; Impey 2002 p.248, pl. 442

Kakiemon IN AUSTRALIA

[30] Two Beakers 1690-1710 h. 5.4 cm, Ø 6.5 cm Each a finely potted, octagonal beaker on a raised foot ring painted on-glaze in red, turquoise, blue, black and gold with peony and Chinese bellflowers (?) on alternate facets. Mark: No marks Private collections References: Wrestling Boys p. 22, pl. 62; Impey 2002 p. 153, pl. 221; Agnew & Marno 2000 p. 6, pl. 1; Godden 1974 p. 61; Japan Society 1988 p.261, pl. 113.

Note: This shape was a Japanese form that was bought by the Dutch and sold to distributors in England who had matching saucers produced in the same pattern. The collection in Burghley House, England, has ten of these beakers with ten matching Chelsea saucers.

[29] Dish 1680-1700 h. 2.6, Ø 11.1 cm A moulded, finely fluted dish with a vertical foot ring, painted on-glaze in red, turquoise, blue and gold with plum, peony and persimmon sprays around the outside and a gobenka (stylized floret) in the centre. The foot ring has been wiped clean and there is one stilt mark in the centre. Mark: No mark Private collection References: Impey 2002 p.154, pl. 124.

[31] Cup and saucer 1670-1690 Cup: h. 4.0 cm, Ø 6.2 cm; saucer: h. 2.0 cm, Ø 10.5 cm A small cup and non-matched saucer painted on-glaze in red, turquoise, blue, yellow, aubergine, black and gold with rocks plum blossom and a bird. No stilt marks. The inside of the cup and underside of the saucer are undecorated. Mark: No marks Private collection References: Fitski 2011 p. 40 pl. 31; Jörg 2003 p. 198, pl. 249 Note: Invariably these small table-ware cups and saucers are non-matched shapes

Kakiemon IN AUSTRALIA

[32] Dish 1670-90 h. 2.5 Ø 11.7 cm A moulded eight-lobed bowl with a vertical rim painted on-glaze in red, turquoise, blue, yellow, black and gold with plum blossom behind shibagaki (banded hedge) and a phoenix. It has a fuchi-beni rim. The base has a sloping foot ring, a single stilt mark and has been wiped clean. No exterior decoration. Mark: No mark Private collection References: Shibata 5 1997 p. 45, pl. 40; Fitski 2011 p. 72, pl. 79.

[33] Dish 1680-1700 h. 3.4 cm, Ø 21.7 cm A moulded ten lobed dish with a vertical rim painted on-glaze in red, blue, turquoise, yellow, black and gold with a tiger below plum blossom. The border painted with a continuous floral design in red and gold. It has a fuchi-beni rim. The underside has five small, evenly spaced stilt marks in a cruciform shape. The vertical foot is wiped clean. Mark: No mark Hamilton Art Gallery, Valerie Sheldon Bequest 2013.040 References: Impey 2002 p.159 pl. 233; Impey, Jörg and Mason 2009, p. 114 pl. 67.

Kakiemon IN AUSTRALIA

[34] Bowl 1690-1710 h. 9.1, w. 17.9, d. 18.2 A moulded octagonal bowl with an everted rim painted on-glaze in red, turquoise, yellow, green, aubergine, black and gold with two sages on a promontory confronting a dragon on one side. On the opposite side two figures seated on a promontory are playing Go. The interior has a ho-o bird in on-glaze colours within two circles of red; the lip decorated in green, black, red and gold. Mark: No mark Hamilton Art Gallery, Gift of Pauline Gandel, Acc. No. 2012.681 References: Its pair appears in Shibata 5 1997 p. 149 pl. 211. A similar motif appears in a rectangular dish in Shibata Part 5 1997 p. 115, pl. 156. Note: The four figures depicted on this bowl are historic figures known as the Four Sages of Mt Shang 8 . They are also known as the Four Greybeards, a reference to their age and consequent wisdom. Dressed as Confucian scholars, two on one side of the bowl are looking across a valley at a dragon in the sky and the two on the opposite side are playing Chinese chess (J. Go, Ch. Weiqui), a complex game indicative of their learning. These scholars were famous for fleeing the despotic government of the Chinese late Qin dynasty (221-206 BC) and becoming recluses. This protest exercised through political reclusion has echoes of aesthetic reclusion as well. This would have been readily understood by the sophisticated Japanese owner of this bowl. This bowl and its pair in the Kyushu Ceramic Museum came from a Japanese collection.

Kakiemon IN AUSTRALIA

[35] Teapot 1690-1710 h. 12.7 w. 18.8 d. 12.0 cm A moulded multi-lobed teapot with matching cover and knop painted on-glaze in red, green, yellow, aubergine and black with a bird among foliage. No decoration, marks or stilt marks on the base. Foot ring wiped clean. Cloth impressions and spatula work on the interior. Mark: No mark Private collection References: Ayers, Impey and Mallet 1990, p. 207, pl. 204.

[37] Soup Bowl and Stand 1690-1730 Bowl: h. 6.0 cm, Ø 10.3 cm; stand: h. 2.6 cm, Ø 15.0 cm,

[36] Water dropper 1690-1710 h. 6.0 cm, Ø 5.5 cm A small globular water dropper with short spout an loop handle, an under-glaze blue band around the neck and painted on-glaze in red, green, black and gold with scattered blooms. Foot ring and base wiped clean. Mark: No mark Private collection References: Wrestling Boys p. 42, pl. 102; Japan Society 1988 p. 266, pl. 117.

A moulded octagonal soup bowl and stand with a vertical rim with a vertical foot ring, painted on-glaze in red, green, yellow, aubergine, black and gold with bamboo, plum and peony. The foot ring has been wiped clean and there is a central stilt mark. The outside of the stand painted in red with simple karakusa scrolls and three red lines.

Mark: No marks Private collection References: Shibata 5 1997 p. 146 pl. 205 & pl. 206

Kakiemon IN AUSTRALIA

JOINT UNDER-GLAZE BLUE AND ON-GLAZE DECORATED WARES [38] Dish 1670-1690 h. 3.0 cm, Ă&#x2DC; 21.8 cm A moulded eight lobed dish painted with cloud forms decorated in under-glaze blue and on-glaze red, green, yellow, aubergine, black and gold with a bird in bamboo and plum blossom growing among rocks. The underside has the mark and three stilt marks within a blue ring. The foot ring is wiped clean. The outside decorated with three more blue rings and karakusa scrolling. Mark: fuku mark No. 1 in double lined square Private collection References: Shibata 7 2001 p. 166, pl. 335; Fitski 2011 p. 88 pl. 99 edges different

[39] Footed Rectangular Dish 16701700 h. 3.5, w. 21.4, d. 9.2 cm A moulded dish painted in under-glaze blue and on-glaze red, green and yellow showing a pine tree and a blossoming plum tree growing among rocks with two birds flying above. The underside is neither glazed nor decorated. Two stepped strips create four glazed feet. Karakusa scrolling on the outside sides and ends.

Mark: No mark Private collection, Japan References: a closely related footed rectangular dish, although with complex edge decoration, appears in Shibata 5 1997 p.65 pl. Ref.51 and the same dish appears in Nagatake 2003 p.41 pls.31&32. The two birds are unique to this dish on exhibition. Note: The attached foot is unusual in Kakiemon making this example particularly rare.

[40] Beaker 1670-1690 h. 7.5 cm, Ă&#x2DC; 8.0 cm An octagonal beaker with a vertical foot ring painted in under-glaze blue and on-glaze red, green, yellow and gold with plum, peony, chrysanthemum and camellia. The foot ring has been wiped clean. Inside simply a gobenka on the base. Mark: The base has been painted under-glaze with a flower, leaves and a blue ring. See mark No. 9 Private collection References: Shibata 5 1997 p. 155, pl. 217.

Kakiemon IN AUSTRALIA

[41] Dish 1680-1700 h. 3.0 cm, Ø 18.5 cm A moulded eight fluted dish painted in underglaze blue and on-glaze red, green and gold. The centre with a flower cart and the border with peony, chrysanthemum and Chinese bellflowers. The underside has four stilt marks inside a blue ring. The foot ring is wiped clean but has a few adhesions. The outside decorated with three blue rings and karakusa scrolling. Mark: No mark Private collection References: Shibata 2 1991 p. 170, pl. 437

[43] Dish 1680-1700 h. 2.7 cm, Ø 20.1 cm A moulded round dish painted in under-glaze blue and on-glaze red, green, yellow and black. The centre with a river scene and two boats, the border with chrysanthemum, peony and Chinese bellflowers. Four unevenly spaced stilt marks inside a foot wiped clean. The underside is undecorated. Mark: No mark Hamilton Art Gallery, Valerie Sheldon Bequest, Acc. No. 2013.041 References: Shibata 1 1990 p. 116, pl. 294; Fitski 2011 p. 97 pl. 109.

[42] Bowl 1690-1710 h. 5.0 cm, Ø 13.2 cm A moulded bowl with an everted rim on a vertical foot ring, painted in under-glaze blue and on-glaze red, blue, turquoise, black and gold with pine, plum, chrysanthemum and a deer in the centre. Kraak style composition of cartouches between panels. The base has no decoration or stilt marks and the foot ring is wiped clean. The outside decoration of an under-glaze blue rock with on-glaze red plum blossom with one blue ring above the decoration of the opposing pair of motifs and three blue rings below them. Mark: No mark Private collection References: Impey 2002 p. 125, pl. 160. Note: This is a most unusual Kakiemon bowl because of its mixture of Kraak (Chinese) style decoration on the interior and Japanese style decoration on the exterior. Similarly the four lion head masks on the rim are an unusual feature.

Kakiemon IN AUSTRALIA

PLAIN WHITE WARES The Kakiemon workshops made a variety of shapes, some with the brown edge and some plain. They were mostly decorated but some were left plain. Some of these undecorated pieces were later decorated in Holland. Undecorated white wares rarely feature in Western references but the Shibata volumes treat them as a distinct entity and so they are treated that way in this exhibition. They are either elegant forms in their own right or alternatively they feature distinctive moulding as their decoration.

[44] Dish with Date family mon 16801700 h.4.5 cm, Ă&#x2DC; 22 cm Moulded porcelain with enamelled decoration. Flat dish with beaded border and central moulding. Green enamel and gilt mon for the Date family of Sendai in the TĹ?hoko region on the Pacific coast north of Tokyo. Mark: No mark Private collection References: A smaller, undecorated version of this dish, appears in Shibata 5 1997 p. 135 pl. 185 Note: This dish is displayed with its accompanying lacquer serving tray, also decorated with the Date family mon.

Kakiemon IN AUSTRALIA

[45] Bowl 1670-1700 h. 4.9 cm, w. 13.8 cm A five lobed bowl, with a vertical foot ring, moulded with camellia and a trailing vine. It has a fuchi-beni (brown) rim. The foot ring is wiped clean and shows a white body. This form is based on a maple leaf. Mark: No mark Hamilton Art Gallery, Trust acquisition â&#x20AC;&#x201C; Geoff and Helen Handbury Gift, Acc. No. 2005.022ab (one of a pair) References: Shibata 7 p.190 pl. 387

[46] Dish 1680-1700 h. 3.1 cm, Ă&#x2DC; 18.5 cm A five lobed, moulded porcelain dish with asymmetrical moulding of two flowing plums and one bamboo plant all growing in rocky ground and with clouds above. It has a fuchi-beni rim. The underside has three evenly spaced stilt marks around one stilt mark. No exterior decoration and the foot ring is wiped clean. Mark: No mark Hamilton Art Gallery, purchased with annual Council allocation, Acc. No. 2012.653 References: Shibata vol 2 pl. 392 p. 155; Shibata vol 5 pl. ref. 85 p.131; Note: This shape is based on 11th century Chinese lacquer dishes from the Northern Song Dynasty which in turn reflect Tang Dynasty silver forms. The New York dealer Kaikodo advertised a Northern Song, 11th century, lacquer dish of the same form in 2013 which had the annotation on the base 'this heart'. This lacquer dish had come from a Japanese collection.

Kakiemon IN AUSTRALIA

[47] Dish 1670-1690 h 3.0 cm, Ă&#x2DC; 17.9 cm A six-lobed, moulded porcelain dish with bamboo growing among rocks in the centre. Opposite lobes with two chrysanthemum blooms and a single bloom in the remaining four lobes. It has a fuchi-beni rim. The underside has three evenly spaced stilt marks. No exterior decoration and the foot ring is wiped clean. Mark: No mark Hamilton Art Gallery, purchased with annual Council allocation, Acc. No. 2013.085 References: Shibata vol 5 pl. 48, p.49; a decorated version belonging to the Kakiemon Family collection is in Nagatake 2003 pl. 11, p.35.

[48] Square dish 1670-1700 h.3.6, w.16.5, d.16.6 cm Moulded porcelain with bamboo under clouds and growing among rocks on the left of centre. Linear patterns on two sides and plums under clouds on the other two sides. It has a fuchi-beni rim. The glaze on this example is bluish which seems to reflect kiln conditions. The underside has one stilt mark. No exterior decoration and the foot ring is wiped clean. Mark: No mark Hamilton Art Gallery, donated through the Australian Governments Cultural Gifts Program, Acc. No.2012.585ab References: Shibata vol 7 pl. 399 p.195 Note: The one pictured in Shibata is pure white and one of a set of five, this is one of a pair, both having the bluish glaze (the other three presumably lost).

Kakiemon IN AUSTRALIA

APPENDIX 1 - MARKS The various fuku marks were used by potters other than the Kakiemon family so in themselves do not confirm a piece as being Kakiemon. As with the use of the gobenka their presence indicates that the Kakiemon kiln should be considered as a possible origin.

Gobenka

Mark 1 fuku

Mark 3 fuku

Mark 2 fuku

Mark 4 fuku Mark 5 kin

Chenghua Mark Cat. No.7

Chenghua Mark Cat. No.8

Mark 6 unidentified fuku style mark Cat. No. 17

Johanneum Mark Cat. No.13

Kakiemon IN AUSTRALIA

APPENDIX 2 - DEFINITIONS fuchi-beni An mineral applied to the rim that is characteristic of Kakiemon. It is painted on the rim after the bisque firing and before glazing, it is thought that it was used to strengthen the rim and prevent chipping but may just play an aesthetic role of framing the design. It rarely appears on Imari ware but occurs on some Chinese ceramics. gobenka A design based on an idealised cherry blossom that again is mostly used on Kakiemon wares. karakusa A scroll decoration based on honeysuckle but idealised into a number of linear decorations mon A stylised motif, frequently circular, often symbolising a Daimyo family. nigoshi-de This particularly beautiful porcelain was initially thought to only have been made at the Kakiemon pottery but now known to have been made at other sites.9 The etymology of the term comes from the Japanese word nigoru meaning 'murky' and the comparison with nigoshi-de porcelain comes from its likeness to murky water that had been used to wash rice. In the West nigoshi-de is usually translated as 'milk-white', a term the Japanese also use (nyūhaku-de lit. milk white object/thing).10 shibagaki Barriers made of reeds tied together. Without understanding the material it was made of the motif was later used by Continental and English factories where it became known as a banded hedge. sochikubai plum blossom, bamboo and pine used as a single motif (the ‘three friends of winter’)

Johanneum mark Inventory marks added to porcelain belonging to the collection of Augustus the Strong (1694-1733) of Saxony. The first inventory was made in 1721. A second inventory list of the porcelain collection at Dresden was made between 1770 and 1779. The term ‘Johanneum’ was taken from the building in Dresden to which the royal collection was moved in 1875-76. ‘Duplicates’ in this collection were sold in the early 20th century (1914, 1917) hence their presence in private collections.11

ESSAY FOOTNOTES 1. Ko-kutani is usually dated to around 1640 but little is known of its history. Initially thought to be the product of the Kutani kilns near Kanazawa, hence its name ‘Old Kutani’, shards of it were found in the waste heaps at Arita in 1963 necessitating a re-attribution to the Arita kilns. An under-glaze blue form also exists called Ai-Kutani. 2. On-glaze or on-glaze colours are usually enamels that are fired on top of the glaze and can be detected as an area of slightly risen pigmentation. These colours are all fired at a lower temperature than that required for the vitrification of porcelain. This is done in a small muffle furnace and so these colours are sometimes referred to as muffle colours. The exception to this is on-glaze red which is actually iron oxide that is fixed in place after the glaze below it is melted. This accounts for its matt surface in contrast to the gloss surface of the enamels. 3. Date of the appearance of Imari ware (not under-glaze blue Imari ware) 4. Nagatake 2003 p.71 5 Fitski 2011 p.20 ‘much less green’ and a move to under-glaze blue decoration 6. Kenjo (Presentation) Imari was always made at a quality comparable with Kakiemon 7. ibid p.68 8. He Li 1996 p. 232-3, plates 457-459

9. Nagatake 2003 p.69 10. Klein 1984 p.252 11. See Appendix 2 for the discussion on ‘milk white’ paste 12. Fitski 2011 p.108 13. ibid p. 102 14. Nagatake 2003 p.76 15. As good as the Shibata volumes are they make no claim to showing an exhaustive range of patterns or forms 16 See catalogue no. 6 17. Catalogue numbers 13,14,17,25 and 34 18. Brown 1997 p.19 19. He Li 1996 p. pl 20. Shibata part 5 1997 p.261 and Fitski p.164 both detail and date fuku marks

CATALOGUE FOOTNOTES 1. David K. Jordan's translation at http://www.ruf. rice.edu/~asia/24ParagonsFilialPiety.html 2. See Fitski 2011 p.108 for some of this discussion 3. The full poem is at http://www.chinese-poems. com/me.html. 4. Fitski 2011 p.162. 5. See commentary in Ayers, Impey and Mallet 1990, p. 158, pl. 133. This is the same dish with the spot of cobalt above the pine. 6. See Brown 1997 p.20 for a full treatment of both the Seven Sages of the Bamboo Grove and the Four Sages of Mt Shang. 7. The full text is at http://sylviawen.com/2010/02/ get-drunk-hymn-to-the-virtue-of-wine/commentpage-1/ 8. Brown 1997, p.20 9. Impey 2002, p. 25 10. From Yukio Suzuta, Kyushu Ceramics Museum, The Kadokawa Encylopedia of Japanese Ceramics, Kadokawa Shoten 2002, translated by Dr Chiakia Ajioka 2012. 11. Details at http://gotheborg.com/glossary/ johanneummarks.shtml.

BIBLIOGRAPHY Ayers, Impey & Mallet 1990

Ayers John, Impey Oliver and Mallet J. V. G., Porcelain for Palaces, The Fashion for Japan in Europe 1650 – 1750, Oriental Ceramic Society, London 1990.

Begg 2006 Brown 1997

Begg, Patricia, The Japanese Aesthetic, Catalogue of the exhibition by the Ceramics and Glass Circle of Australia Hamilton Art Gallery, Hamilton 2006.

Davies 1997

Davies, Barry, Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, Barry Davies Oriental Art Ltd, London 1997.

Fitski 2011

Fitski, Menno, Kakiemon Porcelain, A handbook, Leiden University Press, Leiden 2011.

He Li 1996

Li, He Chinese Ceramics The New Standard Guide, Thames and Hudson, London 1996

Brown, Kendall H., The Politics of Reclusion, University of Hawai'i Press, Honolulu 1997.

Impey, Jörg& Mason 2005 Impey, Oliver, Jörg, Christiaan and Mason, Charles Dragons, Tigers and Bamboo, Douglas & McIntyre, Vancouver, Canada 2005. Impey 2002

Impey, Oliver, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, Hotei Publishing, Amsterdam 2002.

Japan Society 1988

The Burghley Porcelains Japan Society, New York 1988.

Jenyns 1965

Jenyns, Soame, Japanese Porcelain, Faber and Faber, London 1965.

Jörg 2003

Jörg Christiaan J. A., Fine & Curious, Japanese Export Porcelain in Dutch Collections, Hotei Publishing, Amsterdam 2003.

Klein 1987

Klein, Adelbert, translated by Watson, Katherine, A Connoiseurs Guide to Japanese Ceramics, Alpine Fine Arts Collection, London 1987.

Leatham 1983

Leatham, Lady Victoria The wrestling boys: an exhibition of Chinese and Japanese porcelain Burghley House Stamford, 1983.

Nagatake 2003

Nagatake, Takeshi, Classic Japanese Porcelain Imari and Kakiemon, Kodansha International, Tokyo 2003.

Shibata 1 1990

The Catalogue of the Shibata Collections: Early Imari to Kakiemon, Part 1, The Kyushu Ceramic Museum, Saga Prefecture, 1990.

Shibata 2 1991

The Catalogue of the Shibata Collections: Changes in Design, Part 2, The Kyushu Ceramic Museum, Saga Prefecture, 1991.

Shibata 5 1997

The Catalogue of the Shibata Collections: The Creation and development of the Enpo Style Part 5, The Kyushu Ceramic Museum, Saga Prefecture, 1997.

Shibata 6 1998

The Catalogue of the Shibata Collections: Techniques and Decorative methods used in the Edo Period, Part 6, The Kyushu Ceramic Museum, Saga Prefecture, 1998.

Shibata 7 2001

The Catalogue of the Shibata Collections: Arita Porcelains produced in the 17th Century - The Essence of Arita, Part 7, The Kyushu Ceramic Museum, Saga Prefecture, 2001.

Shibata 8 2002

The Catalogue of the Shibata Collections: The Splendour of Ko-Imari, Part 8, The Kyushu Ceramic Museum, Saga Prefecture, 2002.

Shibata 2003

Complete Catalogue of the Shibata Collection, The Kyushu Ceramic Museum, Saga Prefecture, 2003 (a compilation of the 8 volumes).

Images in some of the later parts of Shibata reference back to earlier parts. e.g. pieces of Kakiemon appearing in Part 2 also appear in Part 5, which is dedicated to the 'Enpo Style' i.e. Kakiemon. These pieces drop the normal number sequence and take a up a sequence of 'Ref.Numbers' and at the end of the volume there is a table that gives the concordance between these reference numbers and the earlier appearance of the same piece. In the compilation volume of the Shibata collection reference occurs to the part and image number of each piece to its original appearance in the eight parts and a concordance appears as an appendix.

Kakiemon in Australia Published to coincide with Kakiemon in Australia exhibition held at Hamilton Art Gallery. 9 April - 18 May 2014 ÂŠ Hamilton Art Gallery as a unit of the Southern Grampians Shire Council 2014 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission. Every effort has been made to contact persons owning copyright in the works of art illustrated in the catalogue. In cases where this has not been possible owners are invited to notify Hamilton Art Gallery. Published 2014

107 Brown Street (Locked Bag 685) Hamilton, Victoria 3300 (03) 5573 0460 info@hamiltongallery.org www.hamiltongallery.org ISBN 978-0-9595414-1-0 Edition 500 Writers: Daniel McOwan and Patricia Begg Design and Photography: Ian Brilley Printing: Sovereign Press, Ballarat Cover 420 gsm Blitz Hi Bulk with matt laminate Text 170 gsm Titan Satin

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