Beschreibung:

Japan, Meiji period (1868-1912), early 20th century.
This extremely elegant service is composed of twelve plates. All have polylobed edges, a shape that is echoed on the cavetto. The porcelain is of an extraordinary quality, very white and free of any impurities, slender and soft to the touch. Each of the plates features painted decoration over the transparent glazing with soft toned polychrome enamels. The decorative detail is not only the base but also on the rear, giving continuity to the scene as well as fine great overall elegance. The painting quality is extremely high, with minute strokes, as if it were a miniature, carried out by an extremely talented and sensitive artist. The scenes depict various landscapes, with trees, mountain peaks and architecture as well as small animals, birds and butterflies. Despite the quiet colour tones, it is immediately clear that the artist wanted to represent each place in a particular moment of the year, following the seasons. They depict snowy scenes, summer views, blooming spring flowers and landscapes full of melancholy autumn. Clearly each plate and thus each landscape represents a particular month and the twelve plates together complete a full year. Thanks to the presence of certain natural or architectural detail, it is possible to identify in some of the examples the specific place depicted. These include Mount Fuji (富嶽), the Kiyomizudera shrine (清水寺) and Kinkakuji (金閣寺, the so-called "Golden Pavilion") in Kyoto. This choice of depicting famous views of Japan takes up a theme found regularly in the history of ancient Japanese art, developed by artists such as Katsushika Hokusai (1760-1849) or Utagawa Hiroshige (1797-1858) and, in more recent times, by early photographers who were active in Japan in the late 19th century The mark that appears on the underside of all the plates refers to the porcelain factory, Imura. Founded at the beginning of the Meiji period and based in Kyoto, it specialised in both production and sales and in about 1878 it also opened branches in Yokohama, where in at least four there we more than two hundred workers (see T. Hida, "Exporters of Meiji Decorative Arts ", in O. Impey and M. Fairley (eds.)," The Nasser D. Khalili Collection of Japanese Art ", London, 1995, vol. 1, Selected Essays, p. 70-95: p. 88). The artists and craftsmen at Imura were responsible for making the pottery and its decoration, often using white pottery from other kilns in Japan or indeed abroad (porcelain produced with this die is known as etsuke). For this reason therefore, there are several types of ceramics in the Imura production, such as Satsuma, Owari, Kaga, Kutani, Seiji and naturally, Kyoto. As its market was almost exclusively European and American, Imura porcelain is characterised by Western-style shapes and for decorative detail that looked at the taste of foreign buyers. Imura participated in many of the World Expositions to present the productions, which took place between the late nineteenth and early twentieth century, always well-acclaimed by the public and increasing the sales. In addition to the trademark, in the finest Imura pottery, a diamond mark (igeta) could often be found, which is also present on these plates, the signature of the painter responsible for the decoration. In these plates, the artist is Kyōmeikan. The quality of this service is superb, even better than that which characterises a large part of Japan's Meiji period pottery that was exported to Europe and the United States. Pottery with this mark can be found in the V&A Museum (inv. FE.15-1981) and the British Museum (inv. 1986, 1011) in London. Glazed and painted porcelain. Mark: "Nihon Yokohama Imura sei" (日本横濱井村製, “Made by Imura Yokohama in Japan”) with the emblem of the manufacturer; "Kyōmeikan ga" (鏡明館画, “painted by Kyōmeikan”) set within a circular medallion. Inscription: stamped in black ink set within oval cartouche on all plates “S.81”. Condition: very fine. Glazed and painted porcelain. Mark: "Nihon Yokohama Imura sei" (日本横濱井村製, “Made by
Dim. (Diametro) 25,4 cm