An exceptionally rare Ko-Kutani porcelain charger

Description:

Japan, Arita, Yanbeta Kiln, Edo period, c. 1640
D. 39 cm
Arita porcelain round charger with gently flaring walls. The central medallion is decorated in polychrome enamels with a bird amidst rocks, blooming peonies, and lilies, set within a stylised star-shaped reserve. The rim features a rhythmic pattern of feather in alternating hues of yellow, dark green, aubergine, and deep blue, complemented by two floral reserves that elegantly frame the composition. The exterior is adorned with blooming chrysanthemums, flowing decorative bands, and scrolling foliage rendered in yellow and dark blue. The base is inscribed with a Fuku mark.
From an important European private collection, assembled from 1960 onwards
This round charger belongs to the sotoyama porcelains, produced outside the inner kilns (uchiyama) protected by the Saga Domain. The Yanbeta kiln was particularly experimental; potters and painters were free to develop new and striking designs, such as the feather motif shown here, which is extremely rare and found on only a few comparable pieces. The bowl is enamelled in the traditional Kokutani palette, featuring deep green, yellow, aubergine, red, and blue. Although Kokutani porcelain is relatively coarse, it appears exceptionally bright due to a white slip.
It is characteristic of Yanbeta wares from the 1650s that they were not bisque-fired. In the 1630s, the Saga Domain restructured kiln production in Arita in order to conserve raw materials while simultaneously increasing the yields of the nascent porcelain industry. While the inner, protected kilns produced small, elegant porcelains for export to Europe, the unprotected outer kilns (sotoyama) produced larger, more colourful pieces for the Japanese domestic market and occasionally for Southeast Asia. Yanbeta was particularly creative and innovative; its pieces reflect the potters’ enthusiasm for experimenting with new designs.
It is believed that Chinese potters from Fujian Province travelled to Japan in the 1650s and served as advisers at the Yanbeta kiln. A connection to China, intended to appeal to the new taste for Chinese wares, is visible in the “good fortune” (fuku) symbol, which appears on the underside of many Japanese porcelains and imitates inscriptions on Chinese trade ceramics. One of the most common symbols is fuku, executed in black lines, as on this piece. The widespread use of this and related motifs on Japanese porcelain largely ceased by the early 18th century.
Cf. Regarding the rare feather motif, an example can be found in the Metropolitan Museum of Art, New York (Accession No. 1975.268.496, Deep Dish with Egret Design). The extremely rare feather motif on this plate closely resembles that of the dish presented here, making it very likely that both pieces date from the same period. The rare yabane motif (feathered arrow) is also found on a comparative early Imari piece: a plate decorated in underglaze blue with stylised feathers, enclosed by circular lines and a dark border. This example underlines the early and experimental use of the feather motif in Hizen/Arita and provides a direct reference to the Yanbeta piece presented here. Cf.: Sotheby’s London, Fine Japanese Art, 6 November 2018, Lot 93 - Cracks, old repairs in lacquer