In this series, Lagniappe presents works from the collection of the New Orleans Museum of Art, with commentary from a curator.
A stacked Japanese picnic box, known as a jubako, made of a type of export porcelain commonly called “Imari,” (after the port where ceramics manufactured at the Arita kilns in northwestern Kyushu were loaded for export), is currently on view in Cafe NOMA, at the New Orleans Museum of Art.
Traditionally, tiered boxes were used to hold and present food for special occasions, such as celebratory New Year’s meals. This box, however, was most likely created as a decorative object for the Western (European or American) market, and not for utilitarian purposes.
The late 19th to early 20th centuries saw a period of intense interest and engagement with Japanese aesthetics by the West, giving rise to an art movement known as “Japonisme,” which was brought about by the forced reopening of Japanese-foreign trade in 1858.
Within decades, the new Meiji (1868-1913) government was promoting traditional Japanese arts and industries, particularly porcelain, textile and metal work, at international expositions such as the Vienna International Exposition of 1873. Western audiences were entranced not only by the tremendous skill and craftsmanship of these objects, but also by the unfamiliar forms, styles and approaches to decoration.
The elaborate underglaze blue, overglaze red and gold decoration that characterize Imari porcelains first gained popularity nearly 200 years before the manufacture of this box. During the mid-17th through early 18th centuries, Japanese potters satisfied Western demand for export porcelain when the long-standing trade with China was disrupted due to the Ming-Qing dynastic transition.
Once the Qing kilns were re-established, China quickly reasserted its dominant position in export ceramics. The Arita kilns continued to produce Imari for a primarily domestic audience, until the Meiji period, when international trade expanded.
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