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Imari ware (Japanese: 伊万里焼, Hepburn: Imari-yaki) is a Western term for a brightly-coloured style of Arita ware (有田焼, Arita-yaki) Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyūshū. They were exported to Europe in large quantities, especially between the second half of the 17th ...
The marks are usually small and unclear but occasionally full Chinese characters, or small fish symbols, can be found. The character Tian (天), meaning "Heaven" is known from at least one example. The purpose of such chopmarks has been debated, with one theory suggesting it was a way to mark the premium full sized cash coins when compared to ...
Famille noire (Chinese: 墨地素三彩, Modi susancai) uses a black ground. Genuine famille noire wares were made in the Kangxi era, although some clobbered wares had the black added to famille verte porcelain in the 19th century.
In the western world, Asian seals were traditionally known by traders as chop marks or simply chops, a term adapted from the Hindi chapa and the Malay cap, [2] meaning stamp or rubber stamps. In Japan, seals, referred to as inkan ( 印鑑 ) or hanko ( 判子 ) , have historically been used to identify individuals involved in government and ...
The type called kin-rande was especially popular and is therefore known in the West also as Imari ware (伊万里焼, Imari-yaki). This typically is decorated in underglaze blue, then with red, gold, black for outlines, and sometimes other colours, added in overglaze. In the most characteristic floral designs most of the surface is coloured ...
Many historical styles, for example mina'i ware, Imari ware, Chinese doucai, and wucai, combine the two types of decoration. [1] In such cases the first firing for the body, underglaze decoration and glaze is followed by the second firing after the overglaze enamels have been applied.
Fencai (粉彩) meaning 'powdery colours' or 'pale colours' in reference to its pastel shades, is the term commonly used in Chinese to describe famille rose porcelain. Fencai is the more modern term used by Chen Liu (陈浏) in the early 20th century and it is often used in place of yangcai in Chinese.
It was also an influence on Dutch Delft pottery and Chinese export porcelain. [8] Exports to Europe of Japanese Kakiemon porcelain, and all other types, stopped in the mid-18th century when China resumed export to Europe. Since both Kakiemon and Imari styles were already so popular among Europeans, Chinese export porcelain copied both styles. [9]