Chinese Ko-Sometsuke Wucai Porcelain Plate

Description Chinese Ko Sometsuke Wucai porcelain plate from the Ming dynasty Chongzhen period (1628 to 1644) produced specifically for the Japanese market. The porcelain plate of circular form is painted with a lively naturalistic scene beneath a peach tree with lingzhi fungus growing beside rocky outcrops. A monkey and deer occupy the foreground while birds and insects animate the landscape above. The underside bears a six character Chenghua mark 大明成化年製 painted in underglaze blue. The decorative theme is a well known and auspicious subject in Chinese culture using symbolic animals to form a visual rebus. The composition combines a magpie (xique), deer (lu), bee (mifeng) and monkey (hou), together representing the phrase xi lu feng hou, meaning “may you receive good fortune and salary and be granted the rank of marquis”. Such rebus imagery was widely appreciated in late Ming decorative arts where pictorial symbolism conveyed wishes for prosperity, rank and success. The plate is decorated in the Wucai 五彩 style, literally translated as “five colours”. Wucai refers to a polychrome porcelain technique developed during the Ming dynasty in which underglaze cobalt blue is combined with overglaze enamels such as red, green and yellow to create vibrant multi coloured designs. This method allowed painters to build complex scenes with strong contrast and lively colour. The subject on this plate is a well documented design within the Ko Sometsuke group and closely comparable examples appear in museum collections and scholarly literature, including a near identical plate preserved in the Kyoto National Museum. Examples are also recorded in several major studies of transitional porcelain produced for the Japanese market during the early seventeenth century. A highly desirable example of Ming dynasty porcelain made for export to Japan during the final decades of the Ming period. Ko Sometsuke porcelain from the Chongzhen period remains one of the most sought after groups of Ming export ceramics produced for the Japanese market. See the full Antique Ceramics Collection. See the full Antique Chinese Collection. Measurements 20.2cm Diameter x 2.7cm High (7.95 x 1 Inches) COndition Excellent, as in the below text, the above the plate is intentionally warped from initial firing and bears several frits / chipping to the rim which were placed from manufacture to simulate age. Literature & Reference See a near identical plate in the Kyoto National Museum No. GK335 -Bonhams A LIFE IN CERAMICS: THE PETER AND MARY WHITE COLLECTION OF CHINESE ART 31 October – 10 November 2025 Lot 541 – Kilburn, Richard S. Transitional Wares and Their Forerunners, Hong Kong Oriental Ceramics Society, 1981, p. 130, pl. 162 -T Canepa and K Butler, Leaping the Dragon Gate -The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, p.127, III.1.97 -Transitional Wares and Their Forerunners, An exhibition presented by the Oriental Ceramics Society of Hong Kong at the Hong Kong Museum of Art in 1981 page 139, plate 162 -S. Marchant & Son, Ming Porcelain for the Japanese Market Kosometsuke & Koake, London, 2008, p. 82, pl. 43. -M.White, Beasts at the Whites’ House: A Selection of Ceramics from the Whites’ House Collection, vol.1, n.p., 2020, p.100 -The Oriental Ceramic Society, The World in Colours: An Exhibition of Ceramics with Coloured Decoration Dating from 700 to 1920 Belonging to Members of the Oriental Ceramic Society, London, 2006, no.84 What is Ko sometsuke Porcelain? Ko Sometsuke porcelain, also known as Tianqi porcelain, refers to Chinese underglaze blue porcelain produced in the unofficial kilns of Jingdezhen during the 17th century Ming dynasty specifically for the Japanese market. The term Tianqi (天啓), pronounced Tenkei in Japanese, refers to the era name of the Tianqi Emperor who ruled from 1621 to 1628. Although the name references this reign, Ko Sometsuke production is not limited strictly to those years and generally applies to porcelain made in the early seventeenth century during the late Ming dynasty. These wares were typically produced in smaller formats such as plates and bowls. Their decoration commonly features landscapes, birds, animals, flowers and figures, all painted in cobalt underglaze blue. Many examples were treasured in Japan and became closely associated with tea ceremony culture. Evidence suggests that many pieces were made to order for Japanese tea masters, which explains the strong Japanese aesthetic influence seen in their designs and forms. Base inscriptions frequently use marks from earlier Ming reigns, with the Chenghua reign mark being particularly common. Ko Sometsuke porcelain was intentionally manufactured with characteristics that appealed to Japanese taste. The clay was often poorly levigated and the vessels roughly potted, resulting in irregularities or imperfections that were appreciated rather than rejected. Forms may appear slightly warped and rims often display small firing chips known as fritting. Another feature admired by Japanese collectors is the flaking of glaze along the rim or body edges. This effect is known as mushikui, meaning “earth worm nibbles”, and was valued as part of the aesthetic character of the ware. What is lingzhi? Lingzhi refers to a type of medicinal fungus belonging to the genus Ganoderma, most commonly identified as Ganoderma sichuanense, also known as reishi or Ganoderma lingzhi. It is a polypore fungus native to East Asia and has been recognised for centuries within Chinese culture. The fungus is visually distinctive, with a reddish brown varnished cap that is often kidney shaped and marked with natural bands. The cap is supported by a stem that grows from one side rather than the centre, creating a characteristic fan like appearance. Because of this unusual form, lingzhi became a recognisable motif in Chinese decorative arts. It appears frequently in painting, porcelain, textiles and metalwork, where its curved stem and cloud shaped cap are easily stylised into ornamental designs. In Chinese visual culture the lingzhi fungus is associated with longevity and vitality, and its inclusion within decorative scenes often reinforces auspicious meanings connected with long life and good fortune. It is commonly depicted growing beside rocks, trees or within landscape compositions, sometimes appearing alongside animals or plants that form symbolic rebus imagery. What is the Ming Dynasty 1368 to 1644? The Ming dynasty was an imperial dynasty of China founded in 1368 by Zhu Yuanzhang, a commoner who led a rebellion that overthrew the Mongol ruled Yuan dynasty. After establishing control, Zhu Yuanzhang took the reign title Hongwu Emperor and founded the dynasty under the name Da Ming, meaning “Great Brightness”. The Ming dynasty ruled China from 1368 to 1644. During this period China was governed by a succession of emperors from the Zhu imperial family, with the capital first established at Nanjing and later moved to Beijing during the reign of the Yongle Emperor. In 1644 the Ming dynasty came to an end when Beijing fell during internal rebellion and the Qing dynasty was established soon afterwards, ruling China from 1644 to 1912. The Ming dynasty was the last imperial dynasty of China ruled by the Han Chinese, the majority ethnic group of China. WHY BUY FROM JACKSONS ANTIQUE? At Jacksons Antique, we are a small family-run business with over 10 years of experience in the fine antiques trade. We are proud members of LAPADA (The Association of Art & Antiques Dealers) and CADA (The Cotswold Art & Antique Dealers’ Association), trusted by collectors, interior designers, and private clients worldwide. Every piece we offer is individually sourced, carefully researched, and fully authenticated, accompanied by a certificate of authenticity. We provide insured worldwide shipping and secure checkout via Stripe, a global payments provider trusted by companies including Amazon and Booking.com. With every order, you will receive our latest printed product guide, a certificate of authenticity, and full tracking details so you can follow your item from dispatch to delivery. 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