Porcellana Di imri – Wikipedia

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from Wikipedia, L’Encilopedia Libera.

“IMARI” dish, built in Arrit, 18th century.
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The porcelain of imari It is the name by which the western collectors define the Japanese porcelain objects made in the city of Arita, in the former province of Hiizen (which currently corresponds to the prefectures of Saga, where Arrit is located, and Nagasaki) to the northwest of the island of Kyūshū , who left for export, especially towards Europe, from the port of Imitari. In Japanese these objects are known by the name of Arita-yaki ( Arita ware ? ) .

Porcelain KO-IMARI It is Iro-Nabeshima are generally painted with a decoration in blue under nail polish It is red iron oxide on a white background. The decorations represent floral plants and themes. In the porcelain Kakiemon Nail polish colors other than blue and red are also used. The objects have a base, which is not enamelled, raw and grainy to the touch.

Royal Crown Derby porcelain object made in imitation of the IMARI porcelain; beginning of the nineteenth century

IMARI was simply the port in which the objects produced in Arita passed before the export. The furnaces of Arrit represented the centerpiece of the Japanese porcelain industry, which developed in the seventeenth century after the porcelain clay (Caolinite) had been discovered in 1616 by the Korean ceramist Yi Sam-Pyeong (1579–1655). Yi Sam-Pyeong had been deported together with his numerous enlarged family (180 people) following the Japanese invasion of Korea of ​​1598. After his discovery, the Arital laboratories also adopted the Korean style that provided for the overlap, taking inspiration for The decorations from Chinese porcelain, taking advantage of the fact that China was in a difficult political situation, the Jingdezhen industries had remained damaged in the riots and the new Qing dynasty had blocked the trade between 1656 and 1684.

Even the first porcelain made in Arrit, which imitated Chinese white and blue decoration, were exported to Europe by the Dutch Company of the Eastern Indies, but the definition of ” porcelain of imari “It applies to an arrite product designed specifically to conquer the tastes of the Westerners

IMARI porcelain plate, 1700-1740, Topkapi, Istanbul

Although in Arita, sophisticated objects were produced in authentic Japanese style for the demanding internal market [first] , the porcelain intended for export to Europe imitated the style blue and white overlap Chinese, or had enamel colors superimposed on cobalt blue and iron oxide in paint. The objects were often covered with abundant gilding, and sometimes they had individual floral decorations, but more frequently they were decorated thickly according to various sections.

The spherical teapots of imari with swan neck spout, in fact they established a standard in Europe for these then new consumption objects.

Chinese “IMARI” Chinese dish, the beginning of the Xing dynasty, about 1700-25, Topkapi Museum, Istanbul

The first experiments carried out in Arita with the polishing enamel colors are linked to the famous Sakaida Kakiemon (1596–1666), whose name is handed down by the objects called “Kakiemon” style, which represent the other large local school for objects with superimposed enamel decorations. Dutch merchants had a monopoly for the export of these objects, from the moment in which the Dutch Company of the Eastern Indies had made the first big order in Arita in 1656. The trade reached the culmination towards the end of the seventeenth century, and then be slowly replaced by that of Chinese porcelain at the beginning of the following century; He ended up entirely in 1756, when the situation in China stabilized with the rise to power of the Qing dynasty: the objects produced in China in the eighteenth century in imitation of the Arita style ended up replacing the Japanese originals completely.

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The IMARI style, as well as the decorations ” Kakiemon “And their colors influenced the production of orientalizing objects made in Meissen’s porcelain factories and, later, by Vincennes.

Various European production centers imitated the style of Imari production, initially to Delft in the Netherlands where majolica objects were produced, and at the beginning of the nineteenth century in the Robert Chamberlain factory in WoCrester.

  1. ^ Names for the various types of army porcelain: ko-imari (the “old imari” style, products intended for exports or in the internal market), Kakiemon (mainly for export and nabeshima (objects not intended to be on the market ). Some scholars attribute the production called Ko-Kutani to the Arital area (intended for the internal market).
  • Henry Trubner, “Japanese Ceramics: A Brief History”, in Seattle Art Museum, Ceramic Art of Japan , 1972.
  • S. Sadao and Stephanie Wada in Tsune, Discovering the Arts of Japan: A Historical Overview , 2003
  • Georges Le Guy, “Imari, earthenware and porcelain from Japan, China and Europe” Editions Massin, Paris 2004. Web: https://web.archive.org/web/201127014634/HTTP://imari.fr/

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