Arita

ARITA WARE

Arita ware, known in Japanese as Arita-yaki, is porcelain produced in and around the town of Arita in Saga Prefecture on the island of Kyushu. Arita developed into Japan’s first major porcelain-producing centre during the early 17th century and remains an important centre of ceramic production today.

Arita ware is not a single decorative style. The term encompasses blue-and-white porcelain, richly enamelled Imari wares, refined Kakiemon porcelain and many forms of domestic and export tableware produced over approximately four centuries.

THE ORIGINS OF ARITA PORCELAIN

Porcelain production in Arita developed following the arrival of Korean potters in Kyushu during the late 16th and early 17th centuries. According to the traditional account, the Korean potter Yi Sam-pyeong, also known in Japan as Ri Sanpei or Kanagae Sanbee, discovered porcelain stone at Izumiyama near Arita around 1616.

Yi Sam-pyeong is honoured locally as the founder of Japanese porcelain. However, the creation of the Arita industry was probably a gradual and collective achievement involving numerous Korean potters, Japanese patrons and developing kiln communities.

The availability of porcelain stone, water and abundant timber made Arita particularly suitable for ceramic production. Its kilns developed under the protection and regulation of the Nabeshima rulers of the Saga domain.

EARLY IMARI

The earliest Arita porcelain is generally known as Early Imari. These wares were made mainly for the Japanese domestic market during the first half of the 17th century.

Early Imari porcelain was commonly decorated in underglaze cobalt blue beneath a transparent glaze. The porcelain body may have a slightly greyish colour or grainier texture than later Arita porcelain, while the painting is often spontaneous and freely drawn. Common subjects include flowers, grasses, birds, landscapes and designs adapted from textiles.

The first potters drew inspiration from Korean ceramics and from Chinese porcelain produced at Jingdezhen and other kilns during the late Ming dynasty. These influences were gradually transformed into a distinctive Japanese visual language.

ARITA AND IMARI: WHAT IS THE DIFFERENCE?

Arita was the principal place of manufacture, while Imari was the port from which much of the porcelain was distributed. Finished wares travelled from the Arita kilns to Imari before being transported to Nagasaki, other parts of Japan and overseas markets.

For this reason, porcelain made in Arita became widely known outside Japan as Imari ware. The term Ko-Imari, meaning “Old Imari”, is commonly applied to Arita porcelain produced during the Edo period and transported through the port of Imari.

Today, “Imari” is also used more narrowly to describe porcelain decorated with underglaze blue, iron-red enamel and gilding. Arita ware is therefore the broader geographical term, while Imari may refer either to the historic distribution route or to a particular decorative appearance.

COLOUR AND DECORATIVE STYLES

During the middle of the 17th century, Arita potters mastered increasingly sophisticated overglaze enamel decoration. This allowed red, green, yellow, blue, aubergine, black and gold to be added over the previously glazed and fired porcelain.

Several important decorative traditions developed:

Early Imari – Early blue-and-white porcelain with freely painted decoration and a slightly heavier or less refined body.

Kakiemon – Finely potted porcelain decorated with delicate overglaze enamels. Kakiemon designs often feature flowers, birds, animals and figures arranged asymmetrically against an open white ground. The careful use of empty space is one of its defining qualities.

Imari or Kinrande – Richly decorated porcelain combining underglaze blue with iron-red enamel and extensive gilding. Designs are frequently divided into densely decorated panels containing flowers, landscapes, birds or geometric ornament.

Nabeshima – Exceptionally controlled porcelain made at a separate official kiln under the Nabeshima domain. It was intended principally for presentation to the shogunate, feudal lords and other members of the ruling elite rather than for ordinary commercial export.

The Sakaida Kakiemon family became closely associated with the development of refined enamelled porcelain. The Imaemon family also played an important role in overglaze enamel decoration, particularly in connection with Nabeshima production. Both traditions have continued through successive generations.

ARITA PORCELAIN AND EUROPE

Arita became especially important to international trade during the second half of the 17th century. Political upheaval in China temporarily reduced the availability of Chinese export porcelain, encouraging Dutch and Chinese merchants to purchase porcelain from Japan.

Arita porcelain was transported through Imari to Nagasaki, where it was collected by overseas merchants. The Dutch East India Company, or VOC, ordered large quantities for Europe and other trading centres.

Alongside dishes, bowls and jars, Arita potters produced large garnitures, covered vases, ewers, bottles, tureens, figures and models of animals. Some objects followed European shapes supplied through drawings, wooden models or imported examples.

Japanese export porcelain reached the royal palaces, aristocratic houses and fashionable interiors of Europe. Kakiemon and Imari decoration subsequently influenced European factories including Meissen, Chantilly, Chelsea, Worcester and others.

The export trade was particularly strong during the late 17th and early 18th centuries. It declined as Chinese porcelain again became widely available and European tastes changed, but Japanese porcelain exports did not completely cease around 1740.

HOW TO RECOGNISE ARITA WARE

Because Arita produced many different kinds of porcelain, it cannot be identified by colour or decoration alone. Examination should include the porcelain body, glaze, foot rim, firing marks, shape and painting technique.

Early pieces may show kiln grit, spur marks or minor firing imperfections. Many antique Arita wares are unmarked, while others carry symbols, workshop marks, auspicious characters or Chinese-style reign marks. A reign mark should not automatically be interpreted as the true date or origin of a piece.

Arita ware is best understood as a broad porcelain tradition rather than one fixed pattern. Its importance lies in the combination of Korean ceramic knowledge, Chinese porcelain influences, Japanese design and international trade.

PHOTO CAPTION

Japanese blue-and-white Arita export dish bearing the monogram of the Dutch East India Company, reflecting the important porcelain trade between Japan and Europe.