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Japanese Traditional Porcelain and Its Influence and Expansion on Other

Countries.

Introduction.

Since time immemorial, individuals in the East Asia countries such as Japan have been

well acquainted with the production and use of porcelain.1 In Japan, porcelain is ceramic wares

made of Kaolin or China clay that appear blue or whiter, more refined, complex, and have a

higher degree of density. Each of the Japanese traditional porcelain pieces is manufactured using

materials available locally. This is why the Japanese porcelain pieces are named based on place

of origin including, Karatsu, Arita, and Imari ware.2 Apart from seeing the artistic creativity of

artisans, analyzing the source and progression of Japanese porcelain may be a vehicle in which

an individual can understand consumer taste and the origin of some porcelain designs. Japanese

traditional porcelain is fascinating because of its unique designs and an artistic influencer for

manufacturing in other countries. In this regard, this paper scrutinizes how the export of

traditional Japanese porcelain has been prejudiced in the cultures of other nations, for instance,

its upshot on the Dutch’s delftware, French’s chase of artistic freedom, control of larger

delftware market by Holland potters in times of war, and the excavation of porcelain artifacts by

the Philippines in Manila.

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Background of Japanese Porcelain.

In Japan, porcelain production began at the beginning of the seventeenth century during

the Edo Period.3 This was many years after porcelain had first been made in China. Korean

potters pioneered porcelain production in Japan. After the invasions of Korea, several feudal

lords brought back to Japan Korean potters to work in the ceramic industry. Eventually, the

Korean potters brought into the country became the first manufacturers of porcelain in Japan. It

is worth acknowledging that before the production of Japanese porcelain, the potters began by

reviving the production of porcelain known as Karatsu.4 Karatsu production is considered

inexpensive and straightforward. The potters later found suitable clay (Kaolin) used for

manufacturing porcelain in the Arita district. This is why Arita ended becoming a central

porcelain production hub in Japan, where several important porcelain centers productions were

opened. This allowed the production of porcelain in different forms and styles that usually had

regional variations. With the turn of time, increased porcelain production in Japan fostered an

aesthetics of various varieties, which became valued artwork. Thus, understanding some of the

widely appreciated Japanese porcelain makes it easier to acknowledge its influence. As

mentioned in the introduction, Japanese porcelain is labeled according to its origin, including

Arita and Imari. Firstly, the Arita ware dates back to the sixteenth century.

Fig 1,2
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Arita is considered the birthplace of Japanese porcelain. Arita ware is painted in blue on white

background (Figure 1,2). Besides, Arita ware designs are carried out using a free fluid hand. In

addition to this, Arita ware has a grainy texture and has coarse. During the period, Arita ware

was only domestic use and thus transported through the nearest port in Imari (Figure 3,4).

Fig 3,4

This is why Arita ware sometimes was referred to as Imari. The other type of traditional

Japanese porcelain is Karatsu ware (Figure 5,6), produced in various forms, including tea bowls

since the 16th century. The Karatsu ware is of Korean origin and was produced in Kyushu, Japan

bearing some trademarks of ceramists from Korea.

Figure 5,6

Initially, the potters strictly copied Korean elements. However, with the turn of the period, they

incorporated Japanese techniques to give the designs a more spontaneous feel. For instance,
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incorporating colored enameled to the production of multicolored ware, other than the blue-and-

white porcelain.5Karatsu ware is a little different from Arita and Imari ware, but some of them

were brought to Europe, and Karatsu ware influenced some cultures like Imari ware. It is evident

from the various types that although artisans began with prototypes of porcelain that heavily

borrowed techniques from Korean and Chinese kilns, they translated and translated their

porotypes into unique Japanese creations, for example, the Imari ware, which Korean potters in

Japan made. Therefore, the new Japanese pieces went on to be an

inspiration to other countries.

Influence of Japanese Porcelain on other Countries.

Analyzing the history of Japanese porcelain around the 17th to 19th centuries makes

it easier to understand its influence on various countries. Initially, porcelain was traded as a

gift for warlords and royals.2 This was contributed by the fact that production porcelain was

costly, and thus only the wealthy could afford it. Thus, other countries traded with Japan and

started manufacturing their porcelain with Japanese palate to accumulate wealth. This was

contributed by the fact that Japanese porcelain was unique and produced like magic. The desire

by other countries to imitate it led them to search and explore materials and artistic methods used

in the production of Japanese porcelain. Therefore, after other countries learned how to produce

Japanese porcelain, they made many porcelains that looked like Japanese ones. Japanese

porcelain has left a lot of influences because the originality and uniqueness of Japanese porcelain

are the one and only. In addition, Japanese

porcelains were introduced to many countries by trades or souvenirs even though they did not

directly influence other countries' culture or ware.

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The Influence on Dutch.

The apparent influence of Japanese porcelain on the Dutch is that it catalyzed the

formation and industrial progression of porcelain in the country. Until the late 18th century,

Holland lacked the skills, expertise, and infrastructure to produce porcelain. This explains

why in 16th and 17th century the country only imported many pieces to satisfy the demand

instead of making them.6 During the period, the Dutch East India Company (VOC) was

instrumental in ordering, shipping, and distributing porcelain in the country.7 Each year, the

company ordered over ten thousand pieces, entering the European market through the Dutch

ports. This means that VOC's ordering and trading of Japanese porcelain resulted in the

development of Dutch majolica during that period. It is understandable that when the country

becomes successful in trade due to importation of porcelain on a large scale causes a vital

shift from importation to production.

Dutch manufactures wanted to become competitive by producing colorfully glazed.

Dutch majolica (Figure 7,8).

Figure 7,8

This was different from the Japanese, which bear over glaze-blue enamels. Since the importation

of Japanese porcelain was massive, Dutch manufacture could not keep up with the competition,
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leading to the closure of some of the majolica kilns.8 Other companies in the country limited

their production to native European decorations and shapes. Also, since production of Japanese

porcelain was expensive, the majolica-potters opted to produce a cheaper substitute for Japanese

porcelain, for instance, the Dutch majolica dish, circa 1630-1650 (Figure 7,8). The Dutch

delftware arose from the majolica and tin glaze material of the Dutch majolica. Dutch potters

who found it challenging to create Japanese porcelain learned to make delftware. This was

another item with its beauty that substituted expensive Japanese porcelain.9 Delftware later

became part of Dutch culture because of 18th and 19th-century Dutch engagement with Japan.

Since the demand was not high, the Japanese were able to satisfy the Dutch market.

However, as demand increased, Arita kilns could not keep up with the demand for porcelain in

enormous quantities due to a lack of material and infrastructure. As a result, VOC was forced to

order other quantities from China. However, to maintain the trade relations and rescue the

situation in Japan, Dutch provided a stimulus for Japan to increase production. Of course, this

move promoted Dutch international ties. In the 17th century, European countries had not found

their way into Japan. Therefore, through the Dutch's relation with Japan, Europeans found their

way into Japan through porcelain trade. Also, the influence of Japanese porcelain is on Dutch

consumers who were enthralled with pieces that had traveled different continents and distance

into their homes. Japanese porcelain changed the color and unique interiors into Dutch homes.

Of course, to learn methods and techniques to produce Japanese porcelain, Dutch researchers

were forced to travel into Japan to learn about Japanese culture, and they conveyed the methods

to create original ones. (Figure 9,10). The Arita bowl dated 1669 (Figure 10), which is in the

museum of Kunsthandwerk in Frankfurt, is an example of a more elaborate decoration of Delft

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potters applying Japanese style. The Dutch delft bowl (Figure 9) is another example, and it is

located at The Hague in the Haags Gemeentemuseum.

Figure 9,10.

The Influence on France.

For many years, western influences were unwanted in a country like Japan. As

mentioned, apart from the Dutch who exasperated the country, the others were firmly vetoed.

During the period, the Japanese were an object of indigenous belief. This means Japan chose to

self-isolate, and thus its influence was minimal. However, the most told and written story is

about how Japan revolutionized the French ceramic industry. Japanese porcelain influence of

French culture and ceramics is slightly different from Dutch's. Japanese porcelain notably

influenced French tableware (Figure 11).

Figure 11.
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From time immemorial, French people had been in pursuit of artistic freedom. This resulted in

intense experimentation and production of creative designs in the country.10 Overall, the 18th

century was amazingly a creative era. There were many art pieces produced during the period.

Louis Gonse, Edmond de Goncourt, and Philippe Burty were promoters of Japanese art and

culture from the early 18th century in France. Philippe Burty had numerous writing and

collection items from Japan. Besides, other French art critics traveled to Japan to purchase

Japanese items, including porcelain.11

Philippe Burty and other art lovers frequently shared their collections with the public.

This sparked the public's interest in Japanese porcelain: the newly introduced Japanese

porcelain revolutionized French faience tableware. The tradition of French faience was simple

flat plate designs freed of constricting borders. However, with the influence of Japanese

porcelain new wave of Japonisme decorative art, especially in ceramic tableware, was introduced

in France in the late 18th century (Figure 12,13).

12
For example, Japanese Imari ware usually has fine blue lines and botanical and nature

drawings. And these elements create a pattern-like section that fits in the shape of each ware.

Likewise, French ware inspired these elements, and some French ware were created with blue

lines and botanical objects, but their line work is thicker than Japanese ones, and they focus on

one significant main element, such as a bird. Elements of Japanese traditional porcelain aesthetic,
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such as cartouches which included large dishes with flower vases and landscapes, appeared in

the tradition of French faience.

(https://images.metmuseum.org/CRDImages/as/original/30020.jpg)

Cartouches are a Japanese aesthetic that was skillfully introduced within the decorative technique

of French ceramics.

The other influence of traditional Japanese porcelain is how they revolutionized the

French decorative arts.

Figure 14,15.

In French, Rousseau's service decorative arts are considered one of the earliest expressions of

Japonisme inspired by Japanese artist Katsushika Hokusai (1760-1849), a Japanese artist, ukiyo-

e painter, and printmaker of the Edo period.13 The Rousseau service inspired color in flat layers

to fill the background on traditional French faience to signify cloudy sky or nighttime. Apart

from influencing French decorative arts, especially in the ceramic industry, it had a social and

commercial influence on France's ceramic market. The newly decorated ceramics with Japanese
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aesthetics induced a mass consumption of the product in France. This led to the domination of

Japanese porcelain in the French market in the 19th century. From this discussion, there is no

doubt that the Japanese influenced the French interior and was a source of inspiration that

revolutionized decorative art in France. In addition, some researchers and artists brought back

Japanese Karatsu ware to France, and a few French wares were inspired by the unique gradient

color of Karatsu ware (Figure 14,15).

The Expansion in the Philippines

Apart from European countries, such as France and Holland, it is interesting to learn

that Japanese porcelain found its way into the Philippines. The study conducted in 2004

established that the artifacts excavated in Manila with Kazuhiko Tanaka, Hsiao- Chun Hung,

among other archeological experts, revealed that some of the pieces were Japanese porcelain.14

This archaeological evidence revealed that at one point in history, Japanese porcelain was

exported to the Philippines. There were approximately 200 pieces of Japanese porcelain

discovered by the archeologists (Figure 16).

Figure 16.

The Japanese porcelain in the Philippines.

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Perhaps, Japanese porcelain found its way into the Philippines during the Spanish colonial

period. The settlement in the Philippines is divided into two segments, including non-Spanish

and Spanish territories. The non-Spanish segment had Japanese society, among others. The

Japanese porcelain was imported into the country through Manila, a trade route in the early 19th

century that connected the Asian world with the American continent. Though it might seem far-

fetched, the presence of Japanese porcelain in the Philippines attracted researchers and

archeologists trying to establish how such pieces reached the country. Of course, this created

new Jobs in the archeological sites in the Philippines, and the researchers discovered that they

treated Japanese porcelain very carefully because some of the discovered pieces was rearranged

as new elements such as home-decoration objects by owners even though the original piece was

broken. Therefore, the result of the research shows that Japanese porcelain was popular not only

in European countries like France but also in Southeast Asian countries like the Philippines, even

though Japanese ware did not influence its culture directly.

Conclusion.

Summing up, this paper examines how Japanese porcelain influenced other countries'

cultures and porcelain design and foundation. The Dutch, France, and Philippines have been the

best examples to be rummage-sale. Japanese porcelain production began at the beginning of the

seventeenth century during the Edo Period, and it banqueted extensively like wildfire to other

countries.

Japan’s artistic originality of porcelain creation is an influencer to many of today’s

manufacturing industries. This is brought about by the diversification of the country’s pottery

style in the past. Other countries like Holland and France greatly desired the style of Japanese
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ceramics, and they imitated it with either minor adjustments or major and much better art than

conjured the Japanese designs. Some factories, such as VOC, transited into shipping thousands

of pieces of Japanese porcelain into the European market due to its high demand. In France,

Japan's style greatly revolutionized its decorative arts and is inculcated in designs such as the

normal tableware. The museums of the Philippines are filled with artifacts of Japan's porcelain

art. It is justifiable to stipulate that traditional Japanese porcelain has greatly influenced the

expansion of other countries, not only in art but also in expanding the porcelain economy.
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Works Cited.

Boston: Brill, Journal of Japonisme, 2019, Vol.4 (1-2), pp.1-124.

Laurens et al. "Reflections on the Japanese influence on some French ceramics, 1866-1886."

Maske, Andrew L. "The Early Porcelain Kilns of Japan: Arita in the First Half of the

Seventeenth Century." Journal of Japanese Studies, vol. 24, no. 1, The Society for

Japanese Studies, 1998, pp. 119-122.

Montanari et al. "The Origin of overglaze-blue enameling in Japan: New discoveries and a

reassessment." Elsevier Masson SAS, 2019, Vol.37, pp.94-102.

Nogami, Takenori. “Japanese Porcelain in the Philippines.” Philippine Quarterly of Culture and

Society, vol. 41, University of San Carlos Publications, 2013, pp. 101-121.

Scholten, Frits. "The influence of early Japanese export porcelain on Dutch delftware, 1660-

1680." 1990, pp.15-22.