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This piece is an enigma to me. It has design elements that suggest both Chinese and Japanese origin. It seems old and not old. The mark on the bottom resembles the fuku symbol adopted by Kutani potters. I would greatly appreciate an opinion on the origin and age of this piece.

Thanks again,
Carl

Hi,
When you retreive such contradictory item, it often a fake! But you can have old and valuable fakes or replica, so it dont really serve to know its real value price! But my bet will be on a old fake made for occidental tourist in the begining of 20th century, or at late 19th century! But i can be wrong, so wait for anthony M. Lee to reply!!!

Pascal

The piece looks to me to be Arita or other Southern Japanese kiln site of the late 19th century - given the phoenix motif paired with stylized Chinese patterning. The zig zag palm motif which is seem in Chinese patterning of the rim treatment in Transitional and early 18th century wares (Kangxi period) dies out after about mid 18th century in china, but remians a common form in Japan. The piercing in geometric patterns is also much more in The Japanese taste. As are the compact size of the piece and the free molded rings. If you want an etymology for the vocabulary of style - what it is is really a standard minimalistic Song style tripod censer, really a slightly tapering cylinder with small recessed feet - to which has been added large handles more commonly matched with a large baluster jar. The lid is quite original to the piece as far as I can tell. I would venture that the piece was not in Japan for long as it does not seem to have been used as a censer as originally intended, or the former owner was very careful to never burn with the lid on.

Anthony M. Lee
Asian Art Research

Anthony M. Lee
Asian Art Research

I feel such openwork
suggest it "HIRADO WARE" after 19--20th century.
The Blue and White color tone seems HIRADO tone.

I tend to think of characteristic Hirado ware as being more delicate than this - especailly in a small piece. Though there is a lot of use of perforation/piercing/openwork in Hirado wares, the work is usually very fine - almost like basketry in the best examples and here the piercings are few and leave much room to keep the vessel wall strong and stable. As well the handles are heavier than one would expect from Hirado (the high plasticity of Hirado clay body is due to high China stone percentage in the clay mix allowing finer details as in chinese dehua wares). The body is glassier in Hirado glaze - purer white, although often blue-white in colour. Finally I think the Hirado underglaze blue is usually lighter in colour - close to the tone of the rim pattern on this example - and is not so varied in tone as it is on the sides - although later Fukagawa waresdo you use several tones of blue to great advantage. It may well be that this is an Imari or Arita censer done to imitate the hirado style, but has limitations as to its fineness - great for Arita - a little clumsy for Hirado in my opinion.

Anthony M. Lee
Asian Art Research

Thanks to all for the spirited discussion and for the detailed assessment.

Carl

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