Imari Porcelain - History

History

Imari was simply the trans-shipment port for Arita wares. The kilns at Arita formed the heart of the Japanese porcelain industry, which developed in the 17th century, after kaolin was discovered in 1616 by an immigrant Korean potter, Yi Sam-pyeong or Kanage Sambei (1579–1655). Kanage Sambei is the name he adopted after he naturalized to Japan. Yi Sam-pyeong voluntarily emigrated to Japan leading his extended family (180 persons) responding to the offer of a privileged position in Japan, after the Japanese invasions of Korea (1592–1598). After the discovery, Arita kilns began to produce revised Korean style blue and white porcelains known as Shoki-Imari. There are many other Korean descendant potters other than Kanagae family, and they produced Shoki-Imari. Shoki-Imari is limited to blue and white. In mid-17th century there are also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani is produced around 1650 for both export and domestic market. Blue and white porcelain were continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market are highly unique in design, are valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and they dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed itself to Kinrande in 18th century. Kinrande use underglaze blue and overglaze red and gold, and later some other colors.

Imari bigan to be exported to Europe, because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exported to Europe was made through the Dutch East India Company, but the designation "Imari porcelain" in Europe connotes Arita wares mostly Kinrande Imari.

Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, you can find two kind of Imari, one is those exported in mid Edo period and those exported in Meiji. But those two types are completely different from the viewpoint of collectors, though Kinrande appearances are similar. Nabeshima is the other category of Imari. Nabeshima is a kind of Imari produced in Lord Nabeshima's official kiln only for the official use of Lord Nabeshima throughout Edo period. As such, Nabeshima is characterized by its distinctively noble design.