A large and very elegant late nineteenth century Meiji period Japanese Imari porcelain dish with European gilt metal mounts, the square dish with canted corners, painted in traditional Imari colours of red, cobalt blue and gold, featuring at centre a blue handled bowl decorated with a single chrysanthemum flower, the bowl filled with further chrysanthemum, peonies and peach blossom, surrounded by ornamental friezes and outer cartouches on the four sides decorated with pairs of fish swimming amongst reeds and other vegetation. The slightly later pierced gilt metal mounts at either side to include a pair of dragons amid scrolls, the metal mounts secured to the underside, with the porcelain dish resting on a circular pierced frieze, interspersed by the heads of four mythical beasts above scrolled feet
The porcelain: Arita, Japan, circa 1875-85. The mounts: probably Paris, circa 1890-1900
The plate: width 44 cm, depth 44 cm. Height with the mounts: 17 cm.
Provenance: From a Swiss collection and then probably sold at Gallery Koller, Zurich (marked: He-AK 245, on a label attached verso).
Renowned for its vivid colours, intricate designs, and masterful craftsmanship, Imari porcelain has long stood as a symbol of Japan’s artistic excellence. Though its roots stretch back to the early seventeenth century, it was during the nineteenth century Meiji period (1868–1912) that Imari porcelain experienced an evolution. This era not only marked a technical and stylistic renaissance in Japanese ceramics but also saw the height of an international fascination with Japanese arts, particularly in Europe, where Imari ware was much sought after. In response, European artisans often modified Japanese porcelain with decorative gilt bronze and other gilded metal mounts, transforming such wares into luxury objets d’art.
The origins of Imari porcelain are closely tied to the town of Arita on Japan’s southern island of Kyushu. While the name Imari comes from the port from which these wares were shipped, it is Arita that served as the centre of production. The discovery in 1616 of kaolin at Izumiyama, near Arita by the Korean potter Ri Sampei enabled Japanese artisans to produce true porcelain for the first time. The first products had a fine white body decorated with linear and floral designs in underglaze cobalt blue, rather like late Ming provincial Chinese porcelain. Over time, ceramicists began adding brilliant overglaze enamels—typically in red, blue and gold and sometimes with touches of turquoise, green, aubergine and yellow.
By the late 1800s, Japan had become a major participant in the European export market, with the Dutch East India Company becoming the primary conduit for Japanese porcelain into Europe. There, Imari ware found an eager audience among aristocrats and collectors who were captivated by the exotic motifs, bold colours, and fine craftsmanship. The Meiji Restoration of 1868 brought a sweeping modernization and re-engagement with the world after centuries of relative isolation. Japan’s participation at the international exhibitions in Paris, Vienna, and Philadelphia demonstrated its desire to showcase its artistic abilities to the world. For ceramic artisans in Arita, this new global attention presented both challenges and opportunities. Traditional forms and motifs persisted, but artists began adapting their work to appeal to Western tastes. The Meiji period saw the production of larger, more technically complex pieces, often adorned with dense layers of enamel and gilding. New themes also emerged including landscapes, birds in flight, exotic animals, and scenes drawn from Japanese folklore, which together offered a broader narrative and visual appeal for foreign collectors.
Simultaneously, Europe was experiencing a new cultural movement known as Japonisme – a term that reflected the widespread fascination with Japanese art and design that swept through the decorative arts, painting, fashion, and interior design. As a result, collectors, particularly in France and Britain, developed a strong appetite for Japanese porcelain. Imari wares were not just appreciated as fine ceramics; they became icons of cosmopolitan taste and were prominently displayed in the homes of the wealthy. This enthusiasm inspired a wave of European reinterpretation. Japanese vases, plates, and bowls were frequently adorned with ornate gilt bronze and other metal mounts, especially so in France, where luxury firms such as Christofle and Barbedienne specialized in such transformations.
The metalwork often took the form of elaborate bases, handles, rims, and lids. So, for instance bowls were transformed into jardinières, vases into candelabra, and plates into framed wall-mounted displays. Rococo-style scrolls, lion-paw feet, classical busts, and floral motifs were commonly employed to harmonize the Japanese porcelain with European tastes, while here we see dragons that were a common feature in Oriental art. Whilst these additions served a decorative function, at times they also provided stability to large or irregularly shaped porcelain forms. Among the most frequently mounted forms were large chargers, typically adorned with central medallions of phoenixes or chrysanthemums surrounded by radiating panels of vivid enamel and gold. These were often framed and hung like paintings. Bowls, particularly those with scalloped or undulating rims, were set into mounts and used as centrepieces or decorative planters. Baluster vases and covered jars were fitted with metal bases, handles, and domed lids, frequently topped with pinecone or fruit finials. Some pieces were even adapted into lamps or incorporated into elaborate garnitures. In rarer cases, teapots, ewers, and small tea sets were mounted and displayed as part of European cabinet collections.
The decoration on Meiji-period Imari porcelain retained traditional Japanese symbols but introduced a new thematic richness. Floral motifs such as peonies, chrysanthemums, and peach blossoms, as seen here, conveyed meanings of beauty, resilience and renewal, while fish, particularly Koi carp, symbolize perseverance, good fortune, and sometimes faithfulness. Birds, particularly cranes, symbolized longevity and peace, whilst mythical creatures, like dragons and phoenixes, represented imperial power and transformation. The quality and complexity of Meiji Imari porcelain reflected the ambitions of Japanese artisans eager to demonstrate their mastery to an international audience. These works were not mass-produced wares but were individually painted and while many were destined for the export market for everyday use, some were intended simply for display in a private home or to be showcased at the various international exhibitions.
Today one can find many examples of both mounted and unmounted Imari porcelain in numerous international private as well as public collections. Among them are the Victoria and Albert Museum in London, the Musée Guimet in Paris, the Getty Museum, California and the Metropolitan Museum of Art in New York, while the Kyushu Ceramic Museum at Arita offers additional insight into the regional and technical aspects of Imari production. Imari porcelain from the Meiji period occupies a unique place in the history of decorative arts. It is the product of centuries-old craftsmanship reimagined for a new world, one in which beauty, technique, and cultural exchange converged. Whether displayed in its original form or enhanced with intricate bronze and other metal mounts, Meiji Imari still continues to embody the elegance, adaptability, and enduring appeal of Japan’s ceramic tradition. To this end, mounted Imari wares are valued not only for their beauty but also for their historical significance.