Book Antique Nabeshima Imari Old Arita Porcelain Enamelled Dish Plate Jar Edo

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View Book Antique Nabeshima Imari Old Arita Porcelain Enamelled Dish Plate Jar Edo with current marketplace pricing, condition, product images and item details. Ko-Imari, Arita Ware, Early Nabeshima, and Mature Nabeshima. Among Ko-Imari ceramics, Nabeshima ware developed a distinctive style as the official kiln of the Nabeshima domain. Its full beauty was first recognized by Westerners and introduced by British collectors. === In stock / Ships from Japan === This Japanese art book is in hand and personally photographed. Please refer to the description below for detailed images and information. Large-Format Illustrated Catalogue Japanese Book of Nabeshima Ware and Ko-Nabeshima Ware Nabeshima Kiln The Pinnacle of Overglaze-Enamelled Porcelain Tokugawa Shogunate Edo Period Collection of Works, Photographic Reference, and Commentary A Pageant of Japanese Ceramics 71 Color Plates, 88 Figures Ko-Imari, Arita Ware, Early Nabeshima, and Mature Nabeshima Edited and explained by Yoshiaki Yabe Supervised by Tetsuzo Tanikawa Editorial Committee: Masahiko Sato, Kiyotari Tsuboi, Shoichi Narasaki, and Seizo Hayashiya Published by Chuo Koronsha 1976 78 pages Size: Approx. 34 x 26 x 2.5 cm / 13.4 x 10.2 x 1.0 in. Hardcover with slipcase Full-color plates of works Monochrome reference illustrations accompanying the commentary Language: Japanese  A 4-page overview and English list of works are included at the end of the book. Out of print A large-format, full-color illustrated reference on Nabeshima ware, Ko-Nabeshima ware, and Ko-Imari. Large collector's edition with slipcase. Among Ko-Imari ceramics, Nabeshima ware developed a distinctive style as the official kiln of the Nabeshima domain. Produced under strict control with carefully selected materials, it employed highly refined techniques in overglaze enamels, underglaze blue, celadon, and other forms of decoration, and represents one of the highest achievements of Japanese enamelled porcelain. Nabeshima ware was originally produced mainly as presentation ware for the shogun, daimyo, and other high-ranking figures. Its existence, including even its name, was therefore unknown to the general public. It became widely recognized as an object of aesthetic appreciation only after the Meiji Restoration and the dissolution of the feudal domain system. Its full beauty was first recognized by Westerners and introduced by British collectors. Nabeshima ware is now admired internationally. This volume presents the refined beauty of Nabeshima large plates, seven-sun plates, five-sun plates, mukozuke dishes, sake cups, and other forms in full-color photographs. It includes a carefully selected range of outstanding works from Japanese collections. The works are arranged by vessel form to cover a broad range of examples and show the development of the style. In addition to the full-color photographs, the final section provides dimensions and detailed commentary for every work. English titles are given for all works. The volume includes numerous masterpieces from museums and other institutions, together with outstanding works from private collections that are rarely available for public viewing, all presented with color photographs and commentary. Because of the book's large format, each work is reproduced at a substantial size, allowing close examination of fine details. It is an important reference for ceramic artists, collectors of tea utensils and antique ceramics, specialists in ceramic decoration and design, and collectors of antiques. === Editorial Notes === This volume includes 71 works and 88 figures of Nabeshima ware, primarily from the early to middle Edo period, from the early 17th through the 18th century. As a general rule, when a single work is shown from two different angles, it is counted as one work and two figures, with a single title assigned to the group. The works are arranged by vessel form to cover the full range of examples and show the development of the style. As a general rule, each work is accompanied by a plate number, title, and dimensions, together with an English title. Readings of the Japanese titles are provided in the commentary on the works. The names of public and private museums and other institutions are given, while the names of private owners are omitted. Words and technical terms considered difficult are marked with an asterisk, with explanatory notes provided in the upper margin. An English summary and an English list of plates are included at the end of the volume. === Contents === Works Overview: The Beauty of Presentation Ware - Yoshiaki Yabe Commentary on the Works - Yoshiaki Yabe Ceramic Traditions and Local Culture 25 - Morio Tsunoda References Catalogue of Works English Overview English Catalog, List of Plates === Excerpt from the Introduction to Overview: Nabeshima - The Beauty of Presentation Ware by Yoshiaki Yabe === Nabeshima ware, needless to say, refers to the products of the official domain kiln directly operated by the Nabeshima domain, which governed Hizen Province, now Saga Prefecture, during the Edo period. The enamelled and underglaze-blue Nabeshima ware celebrated for its beauty was produced mainly at the Okawachi kiln, built at the foot of Mount Okawachi in Imari, Saga Prefecture. Its decoration developed primarily across four sizes of round dishes in the so-called mokuhai form. These are generally known as one-shaku dishes, seven-sun dishes, five-sun dishes, and three-sun dishes, all based on a distinctive form with a comparatively high foot. A small number of hollow forms also survive, including jars, heishi bottles, incense burners, flower vases, and sake bottles, as well as sculptural pieces such as incense burners and ornaments shaped as animals or buildings. Despite their differences in size, the extremely simple and standardized vessel forms constitute the foundation that defines the character of Nabeshima ware itself. They may also be seen as silently expressing the fundamental principles adopted by the Nabeshima domain in ceramic production. Beneath the finely textured, high-quality transparent glaze, popularly described as having the surface of white jade, original and ingeniously conceived designs were rendered in underglaze blue with consummate skill. On enamelled works, refined overglaze colors were then precisely applied across the glazed surface in accordance with the underdrawing, producing an even more purified world of colored design. Nabeshima ware created jewel-like miniature compositions within the fixed pictorial field of a circle, supported by porcelain technology of an exceptionally high level of completion. Nabeshima ware was originally produced mainly for presentation to the shogun, daimyo lords, and other persons of high rank. Its products, and apparently even the name itself, therefore remained unknown to the general public. It was only after the Meiji Restoration and the dissolution of the feudal domain system that Nabeshima ware became widely known as an object of aesthetic appreciation. Moreover, Westerners were the first to recognize its full beauty. It is said that the first person to introduce it in a published work was the British Captain Brinkley, who had come to Japan at the invitation of the new government. British residents in Japan, including Mr. Gatsby and Mr. Robinson, were also known as prominent collectors. Because Nabeshima ware did not fall within the aesthetic values of tea ceramics, which dominated ceramic appreciation from the Edo through the Meiji period, it remained outside the principal sphere of artistic interest. (Omitted) If the first golden age of early modern Japanese ceramics can be identified with the pottery of the Momoyama period, and the second with the porcelain of the early Edo period, I privately believe that Nabeshima ware occupied an unparalleled position among the porcelain kilns of the Edo period in terms of technical perfection, while also standing above the others in the refinement of its aesthetic character. When Japanese culture opened to the outside world in the Meiji period, the strong appeal of Nabeshima ware to Western aesthetic judgment provided clear evidence of the breadth of its artistic qualities. Nabeshima ware is sometimes said to rely excessively on technical skill and to lack the resonance and elegance that touch the heart. This is certainly true in one respect. Behind its superficial splendor, however, I perceive an intensely sharpened aesthetic consciousness directed inward. (Remainder omitted) === Excerpts from Commentary on the Works by Yoshiaki Yabe - Dimensions and Collections Included === Enamelled Dish with Rock, Peony, and Flowerpot Design Height: 8.2 cm Mouth diameter: 30.9 cm Foot diameter: 15.8 cm Awata Museum of Art A supreme example among the one-shaku dishes of the mature period of Nabeshima ware that became known in recent years. Among surviving large enamelled dishes, few equal this work in the quality of its vessel form. Although it is a large dish, its magnificent shape rises in firm, taut curves and deserves particular attention. The taste for appreciating flowers planted together with rocks in a large flower basin is distinctly Chinese. The lobed flowerpot is highly stylized and forms a well-balanced composition. Because underglaze blue occupies much of the design, the brilliant red peony stands out with particular vividness. The reverse bears a rose-scroll pattern, while the outer wall of the foot is decorated with a linked-circle pattern rendered in light and dark underglaze blue. Enamelled Tripod Dish with a Scene of Playing the Qin The sides rise more shallowly than those of most one-shaku dishes, but the form has firmness and an archaic dignity. The low, broad ring-shaped foot fitted with three supports is a form characteristic of large dishes. The central field is bordered with alternating large and small ruyi-head motifs. Within it are two recluses, one playing the qin and the other listening to its sound. The scene may represent the celebrated story of Boya playing the qin. The cloud motifs recall those on blue-and-white porcelain from the imperial kilns of the Jiajing and Wanli periods of the Ming dynasty, suggesting that the original model may have been found in Chinese ceramics. The rock-texturing technique, executed through light and dark applications of underglaze blue, is masterful, while the birch-brown enamel applied to the trunk of the pine tree is extremely unusual. The reverse is covered with a fine underglaze-blue design resembling wild roses arranged as scrolling foliage. The unglazed contact surface of the foot retains 41 pin-stacking marks, made to prevent vessels from adhering to one another during firing. Enamelled Dish with Assorted Treasures Design Okayama Museum of Art A fragment with the same type of rim has been excavated from the Okawachi domain kiln site. This is a typical design of the Genroku period, 1688-1703, and the compositional method of leaving the center of the dish undecorated also appears to have been devised during this period. Six cusped-window-shaped frames are arranged around the dish and connected by chrysanthemum-shaped rings. Assorted treasure motifs are scattered within the frames. Both the treasure motifs and the chrysanthemum-shaped rings are frequently seen on molded Imari ware, but here they have been transformed into a design so original that the connection is scarcely apparent. This dish is another masterpiece among Nabeshima one-shaku dishes. On the reverse, large peony blossoms are placed in four directions within an overall scrolling design, while the foot is encircled by a linked-circle pattern. Enamelled Dish with White Orchid Design This is another representative work from the mature period. Orchids had been a traditional subject of Chinese painting since the Song and Yuan periods. The orchid, growing freely with its leaves spreading to either side, differs from its treatment in ink painting and is filled with an exceptionally elegant atmosphere. To make the white blossoms stand out, the ground is covered with a pale cobalt-blue wash, while the petals and stems are outlined in red, creating a particularly striking color arrangement. The reverse bears interlocking-circle motifs in three places, and the foot is encircled by a comb-tooth pattern. Enamelled Dish with Peach Design Hakone Museum of Art This work is another representative example with a pale cobalt-blue ground. The refined technical skill of enamelled Nabeshima ware is fully displayed in a manner characteristic of a one-shaku dish. Unlike Figure 6, the rim is left white while the interior is completely filled with color. Three large peaches with leaves are placed in the foreground, with a flowering peach tree behind them. The red outlines of the peach blossoms resemble iron-wire line drawing. The stippling in underglaze blue and red enamel used to convey the texture of the peaches, together with the gradation of the cobalt-blue wash, demonstrates exceptional technical precision. The composition creates a sense of depth and fully expresses the sophistication of Nabeshima design. The exterior is decorated with flowering peony branches bearing three blossoms, while the foot is encircled by a linked-circle pattern in underglaze blue. Other works are also included. === Author Biography === Yoshiaki Yabe Born in 1943 (Showa 18) in Oiso, Kanagawa Prefecture. Graduated from the Department of Oriental and Japanese Art History, Faculty of Letters, Tohoku University. At the time of publication, he was a member of the Ceramics Section at the Tokyo National Museum. He later served as Head of the Decorative Arts Department. His publications include Blue-and-White Porcelain of the Yuan Dynasty, published by Heibonsha. === A portion of the English-language section is shown below === NIPPON TOJI ZENSHU 25 A Pageant of Japanese Ceramics NABESHIMA WARE by Yoshiaki Yabe translated by Hiroko Nishida The term Nabeshima ware is usually applied to the products of the Nabeshima fief kiln. The kiln was located in Okochi, 5 kilometres to the north of Arita in Kyushu, the southern island of Japan. Nabeshima ware was made for the Nabeshima family, the feudal lord of Hizen province, mainly for presentation to the ruling Shogun and feudal lords of the Edo period. The most appreciated pieces were enamelled dining utensils, especially dishes with an elegant curved surface and a large high foot. Since the sale of these ware was strictly prohibited, before the Meiji restoration(1868) Nabeshima ware was scarecely known in Japan. In the Meiji era Nabeshima ware was not appreciated by Japanese collectors, whose standard of beauty was based on the tradition of tea ceremony utensils. It was Captain Brinkley, an English man, who recognized of the value of Nabeshima ware and introduced it to the world of art for the first time.  Nabeshima ware gradually emerged from its position of obscurity and is now highly prized in Japan. NABESHIMA FIEF AND ITS PORCELAIN INDUSTRY The Nabeshima fief is also famous for another porcelain product called Imari ware (Vol. 23). It is generally said that the technique of making porcelain was introduced to Japan by the Korean potter Li-Sampei who found porcelain clay at Izumiyama in Arita and began to make blue-and-white porcelain at Kamishirakawa-Tengudani in 1616. Recently the date has been modified to around 1600 as a result of scientific excavation of the Tengudani kiln. The enamelling technique was successfully perfected by the potter Sakaida Kakiemon around 1646. (Omitted below) === English List of Plates (excerpt) === Dimensions are provided for all works; collection names are included where listed. (Kurita Art Museum, Okayama Art Museum, Hakone Art Museum, Tokyo National Museum, Tanakamaru Collection, Umezawa Kinen-kan Museum, Arita Ceramics Art Museum, etc.) Dish with design of peonies, trees and rocks in a pot, underglaze blue, overglaze enamels Three-legged dish with design of man playing koto (musical instrument), underglaze blue, overglaze enamels Dish with "various treasures" design, underglaze blue, overglaze enamels Dish with white orchid design, underglaze blue, overglaze enamels Dish with peach design, underglaze blue, overglaze enamels Dish with mandarin orange design, underglaze blue, overglaze enamels Dish with design of water wheels and seigaiha (conventionalized overlapping waves), blue and white, partial celadon glaze Three-legged dish with design of circles linked by quatrefoils, underglaze blue, overglaze enamels Three-legged dish with pine tree design, blue and white Dish with landscape design, blue and white Vase with pine, bamboo, plum and mandarin orange design, underglaze blue, overglaze enamels Three-legged incense burner with climbing rose design, underglaze blue, overglaze enamels Large jar with yuzuriha plant design, blue and white Large jar with "various treasures" design, blue and white Dish with cherry tree design, underglaze blue and brown, partial celadon glaze Dish with cherry tree design, underglaze blue, overglaze enamels Octagonal dish with design of "various treasures" around the character kotobuki ("Long Life"), underglaze blue, overglaze enamels Dish with paired phoenix design, underglaze blue, overglaze enamels Dish with rock and peony design, underglaze blue, overglaze enamels Dish with scrolling peony design, underglaze blue, overglaze enamels Dish with three gourd design, underglaze blue, overglaze enamels Dish with design of karahana (conventionalized flowers) in circles, blue and white, partial celadon glaze Five dishes with cherry tree designs, underglaze blue, overglaze enamels Dish with braided cord design, underglaze blue, overglaze enamels Dish with water wheel design, blue and white, partial celadon glaze Dish with Chinese figure design, blue and white Dish with karahana flower design, blue and white Dish with design of mokko (four-lobed medallions), underglaze blue, overglaze enamels Dish with design of circle composed of peonies and katabami (wood sorrel) plants, underglaze blue, overglaze enamels Dish with karahana flower design, underglaze blue, overglaze enamels Dish with handscroll design, underglaze blue, overglaze enamels Dish with shakunage (alpine rose) plant design, underglaze blue, overglaze enamels Dish with aquatic plant design, underglaze blue, overglaze enamels Dish with dandelion design, underglaze blue, overglaze enamels Dish with design of various vegetables, underglaze blue, overglaze enamels Ten dishes with carrot designs, blue and white Dish with crane design, blue and white, partial celadon glaze Dish with design of bands of cherry blossoms, blue and white, partial celadon glaze Dish with design of bamboos covered with snow, underglaze blue, overglaze enamels Dish with clematis design, underglaze blue, overglaze enamels Five dishes with fujibakama (Chinese agrimony) plant designs, underglaze blue, overglaze enamels Dish with two wagtail design, underglaze blue, overglaze enamels Dish with narcissus design, underglaze blue, overglaze enamels Five dishes with rock and ivy designs, underglaze blue, overglaze enamels Dish with rock and bamboo design, underglaze blue, overglaze enamels Dish with yuzuriha plant design, underglaze blue, overglaze enamels Five dishes with shuro (hemp palm) leaf designs, underglaze blue, overglaze enamels Dish with chintz-style pattern, underglaze blue, overglaze enamels Dish with karahana flower design, blue and white, partial celadon glaze Dish with chintz-style pattern, underglaze blue, overglaze enamels Dish with three pot design, underglaze blue, overglaze enamels Dish with pine tree design, blue and white, partial celadon glaze Dish with cherry and wheel design, underglaze blue, overglaze enamels Wine cup with peach blossom design, underglaze blue, overglaze enamels Mukozuke (small bowl for vinegared food) with cloud design, blue and white Mukozuke bowl with rose design, underglaze blue, overglaze enamels Wine cup with karahana flower design, underglaze blue, overglaze enamels Wine cup with karahana flower design, blue and white Mukozuke bowl with floral scroll design, underglaze blue, overglaze enamels Mukozuke bowl with karahana flower design, underglaze blue, overglaze enamels Mukozuke bowl with karahana flower design, underglaze blue, overglaze enamels Crab-shaped dish with peony design, underglaze blue, overglaze enamels Quatrefoil dish with karahana flower design, underglaze blue, overglaze enamels Quatrefoil dish with roundel design, underglaze blue, overglaze enamels Dish with reed design, underglaze blue and brown, partial celadon glaze Dish with design of hibiscuses in circles, blue and white, partial celadon glaze Dish with plum design, underglaze blue and brown Dish with peach design, underglaze blue, overglaze enamels Dish with design of gourds and seigaiha waves, blue and white, partial celadon glaze Dish with moon and hare design, blue and white Three-legged dish with peony design, celadon === Supervision  === Include information as of the time of publication Tetsuzo Tanikawa - Philosopher, art critic, translator, and member of the Japan Art Academy Editorial Committee Masahiko Sato - Art historian, ceramic researcher Kiyotari Tsuboi - Archaeologist, Person of Cultural Merit Shoichi Narasaki - Professor Emeritus at Nagoya University, historian of Japanese ceramics Seizo Hayashiya - The leading authority on Japanese ceramics from the Showa to Heisei periods, who held key positions at institutions like the Tokyo National Museum. === Condition === This is a very old book published in 1976, showing natural aging over more than 40 years. The slipcase has general age-related wear such as discoloration, light stains, and rubbing from normal storage (some of which may not be fully visible in the photos). The hardcover book with dust jacket shows typical aging-discoloration and minor foxing around the spine and edges-with a used but well-preserved appearance overall. There is age-toned spotting on the top edge, fore edge, and margins of the text pages, but the color plates remain bright and clean. No noticeable writing or underlining. Overall, the book is in good readable condition for its age. (Please note that some minor imperfections may have been overlooked.) Actual item shown in photos inspected and stored carefully in Japan. All photographs are of the actual item. Out of print and rarely available. A valuable reference book for collectors and researchers of Japanese ceramics. Recommended for those who appreciate vintage books. === Information for Buyers === All items are in stock. Price is fixed. Please take a moment to review the photos and description before purchase. For easier viewing, the listing photos and the photos shown in the description may be presented in an order different from the actual sequence of the book. This is a pre-owned vintage item and shows normal signs of use. There are no major writings or underlines, but minor oversights are possible. Due to monitor settings and display differences, photos may appear slightly brighter than the actual item. This book is out of print and no longer available through ordinary bookstores. Because it is a limited or discontinued publication, the market price may be higher than the original retail price. There are limits to translation, and slight variations in wording may occur. === Shipping & Packing Information === Ships from Japan via an expedited international service. The book is carefully packed in a waterproof sleeve, wrapped in bubble sheet, and shipped in a rigid cardboard box. Customs or the carrier may open and reseal international parcels for inspection. For this reason, the book itself is protected with multiple layers of packaging. === Taxes and Fees === For U.S. buyers, this item is shipped on a Delivered Duty Paid (DDP) basis. For buyers in other countries, this item is shipped on a Delivered Duty Unpaid (DDU) basis. For DDU destinations, even when import duty is exempt, additional charges such as import VAT, customs clearance fees, courier handling fees, and other related costs may apply. These charges may be collected or billed by the courier before delivery, at delivery, or after delivery, depending on the destination and the courier's procedures. Please follow only the instructions provided by the official courier. === Other Information === Messages are replied to during Japan business hours, within eBay's required response time. If you have any questions or concerns, please feel free to contact me through eBay messages. I will respond sincerely and do my best to help. Thank you very much for your understanding. All text and photos (c) 2026 ARTIS-DOU Books Japan. Condition: Pre-owned book. In stock and ready to ship from Japan. Please see the full description below for detailed photos and information. Actual item in hand and personally photographed. Written in Japanese, and the English translation is provided for reference only. Please allow for minor variations in the rendering of technical terms, proper nouns, and similar expressions.. Category: Antiques › Asian Antiques › China › Plates.

Country of Origin

Japan