The second half of the nineteenth century was a time of great ferment and innovation in American decorative arts. Much of this was a reflection of the social and technological changes wrought by the Industrial Revolution, which began in England in the middle of the 18th century. The new mass production techniques allowed manufacturers to offer many fashionable styles at once to customers, although handmade objects continued to be produced by craftsmen. A host of revivals influenced by earlier European styles like the Rococo Revival, the Renaissance Revival, Neo-Grecque, Gothic Revival, and the Louis XV and XVI Revivals found their way into every element of home decoration.

A new ingredient was added to this stylistic melange during the late 1850s. With prodding from an American naval squadron, the nation of Japan, which had been closed to outsiders since 1637, began trading with the United States and Europe. Suddenly, exotic textiles, lacquerware, metalwork, ceramics and a host of unusual objects became available in general commerce. The appearance of the Japanese wares in the European industrial exhibitions of the early 1870s caused a sensation. The success in Europe encouraged the Japanese government to organize a huge display at the 1876 Philadelphia Centennial Exhibition. The response by visitors and critics was overwhelming, and it lead to an outpouring of respect for Japan and its culture. The ceramics on exhibition in Philadelphia included a collection of what we now call Imari porcelain. Primarily decorated in a brilliant palette of iron red, cobalt, green and gold, the Imari wares captivated the Americans. Many considered them the apex of the exhibit. The appeal of Imari porcelain, which has continued to the present, lies in its unique geometric patterns employing birds, animals, flowers and other naturalistic motifs. As it is with every antique, some knowledge of the history of Imari porcelain and Japan can provide a deeper appreciation of the piece you treasure.

It begins in 1542, when a Portuguese adventurer, Mendez Pinto, accidentally landed in Japan. He found an ordered society and well developed culture unlike anything he had known. The Portuguese established themselves, spreading Christianity and establishing a lucrative trade. However, their influence became so pervasive, the Japanese government expelled them in 1637 and limited travel into and out of the nation. About that time, the Dutch, who had been trading in China, were allowed to occupy Deshima Island in Nagasaki Harbor and trade for porcelains and other exotica. The porcelains were actually produced in Arita and shipped through the nearby port of Imari, and then brought by boat to Deshima Island. Originally the Dutch desired blue and white examples, similar to the Chinese porcelains. But soon their noble clients clamored for the brightly enameled Imari wares so familiar to us today. Since porcelain was rare and expensive, in Europe, these collectors were not run-of-the-mill folks. They included the Bourbons, Hapsburgs, Hanovers, and the greatest collector, Augustus the First of Saxony (1670-1733). The Dresden Art Museum still holds 1200 pieces of his Japanese porcelain in their collection. It’s obvious that Augustus couldn’t sate his appetite for porcelain with his Oriental acquisitions, since he created the Meissen factory to discover the secret of porcelain’s creation. By the end of the 18th century, the Dutch trade dwindled. Conditions had stabilized in China, and the prices for their porcelain were lower. Does this sound familiar? Thereafter, production at the Arita kilns was primarily for domestic purposes. The end of Japanese isolation in 1854 energized the porcelain trade. Ceramic firms were formed to produce for the Western taste. The industry transformed, moving from wood-fired to coal-fired kilns, and production soared. Since then traditional Imari porcelain has been produced consistently, except for the periods surrounding the First and Second World Wars.

You can easily find Imari porcelain in the antiques shops and auction galleries in the U.S. It fits in with almost any decorating scheme. The lidded jars and vases convert into interesting table lamps. The unusually shaped pieces in the form of fish, birds and fans are wonderful for table accents, the large circular shallow dishes, known as chargers, make dramatic wall decorations. If you are as captivated as Augustus of Saxony, here is some advice. First, it’s difficult to tell the old Imari from the new. The earlier pieces have more subdued tones in their decoration and more skillful decoration. Avoid “muddy” and poorly painted examples. Chocolate brown and green backgrounds are unusual and generally more expensive. Lastly, do not purchase damaged or restored pieces. Use your hands and eyes to carefully examine the edges and surfaces. And if you are unsure about your choice, ask the dealer or auction gallery representative for information. It’s amazing to realize that objects which were developed in the 16th century could still be in vogue in the 21st century. If history offers a glimpse into the future, Imari porcelains will be in our homes well beyond this millennium.

To learn more about Imari porcelain you can order Imari, Satsuma and Other Japanese Export Ceramics by Nancy Schiffer on the Internet from Schiffer Books, Atglen, PA.