A Ming Porcelain Ko-Sometsuke Bowl with Two Horses
A Small Ming Ko-Sometsuke Bowl, Tianqi or Chongzhen Period (1621-1644). This design of two prancing horses was clearly popular in Japan, there are several different versions and variations of this design. Julia Curtis mentions in ‘Trade and Transformation, Jingdezhen Porcelain for Japan, 1620-1645 ‘ (see references) that “In China the galloping horse is emblematic of speed and endurance and also symbolises strength and courage. In the Shinto religion of Japan, the horse was able to carry messages between heaven and earth”. Ko-Sometsuke is a term used to describe Chinese blue and white porcelain made for Japan, it means ‘old blue and white’. This late Ming porcelain was made from the Wanli period (1573-1620) until the Chongzhen period (1628-1644), the main period of production being the 1620`2 and 1630`s. The porcelain objects produced were made especially for the Japanese market, both the shapes and the designs were tailored to Japanese taste, the production process too allowed for Japanese aesthetics to be included in the finished object. Its seems firing faults were added, repaired tears in the leather-hard body were too frequent to not, in some cases, be deliberate. These imperfections as well as the fritting Mushikui (insect-nibbled) rims and kiln grit on the footrims all added to the Japanese aesthetic. The shapes created were often expressly made for the Japanese tea ceremony meal, the Kaiseki, small dishes for serving food at the tea ceremony are the most commonly encountered form. Designs, presumably taken from Japanese drawings sent to China, are very varied, often using large amount of the white porcelain contrasting well with the asymmetry of the design.
See below for more photographs and references.
SOLD
- Condition
- In excellent condition, some very minor glaze fritting.
- Size
- 14.2 cm (5 1/2 inches)
- Provenance
- N/A
- Stock number
- 26271
- References
- For a Ming blue and white porcelain dish with this design from the Butler Family Collection see : Trade and Transformation, Jingdezhen Porcelain for Japan, 1620-1645 (Julia B.Curtis, China Institute Gallery, New York 2006) page 78, plate 54.
Photos
Information
A Similar Ming Porcelain Ko-Sometsuke Dish with Horses
Robert McPherson Antiques - Sold Archive - 24514
Julia Curtis mentions in 'Trade and Transformation, Jingdezhen Porcelain for Japan, 1620-1645 ' (see references) that "In China the galloping horse is emblematic of speed and endurance and also symbolises strength and courage. In the Shinto religion of Japan, the horse was able to carry messages between heaven and earth".
Condition
very good, minor fritting.
Size
Diameter : 14.5 cm (5 3/8 inches)
Provenance
N/A
Stock number
24514
References
For a Ming blue and white porcelain dish with this design from the Butler Family Collection see : Trade and Transformation, Jingdezhen Porcelain for Japan, 1620-1645 (Julia B.Curtis, China Institute Gallery, New York 2006) page 78, plate 54.
Ko-Sometsuke Ming Porcelain
Ko-Sometsuke is a term used to describe Chinese blue and white porcelain made for Japan. This late Ming porcelain was made from the Wanli period (1573-1620) and ended in the Chongzhen period (1628-1644), the main period of production being the 1620`2 and 1630`s. The porcelain objects produced were made especially for the Japanese market, both the shapes and the designs were tailored to Japanese taste, the production process too allowed for Japanese aesthetics to be included in the finished object. Its seams firing faults were added, repaired tears in the leather-hard body were too frequent to not, in some cases, be deliberate. These imperfections as well as the fritting Mushikui (insect-nibbled) rims and kiln grit on the footrims all added to the Japanese aesthetic. The shapes created were often expressly made for the Japanese tea ceremony meal, the Kaiseki, small dishes for serving food at the tea ceremony are the most commonly encountered form. Designs, presumably taken from Japanese drawings sent to China, are very varied, often using large amount of the white porcelain contrasting well with the asymmetry of the design.