This Japanese Antique Inban Transferware porcelain leaf shaped plate is decorated with a fine picture. A purchase from the U.k, this plate dates to the Meiji period of 1868 to 1912. The plate is handmade and shaped in a lovely form of a very realistic leaf turned up slightly on the edges with a rounded stem forming a finger hold spot, on nice white porcelain as can be seen in the picture. Over this, a blue transferware or Inban picture is laid and hand painted prior to glazing, Two women stand along a river bank in a peaceful setting of irises and other foliage; birds are in season changing formation above and a pavilion is seen in the distance. The plate is bordered in an ivy or wisteria vine. It has a nice tall kodai or foot indicative of age to the 19th century, which all Japanese Inban is. The plate is over glazed blue transferware. It has no chips or cracks and is a very beautiful blue and white Inban plate, a nicely formed piece with good work.
SIZE: Approximately 6 x 5"
ANTIQUE INBAN 印判 and Inbante Copper Wire Transferware
Transferware was first produced in England in 1756. Inban ware was produced mainly in the Imari and Seto regions from the late Edo era for regular people of limited means. The porcelain was heavier and more durable, the sometimes complex designs transferred in full or in part rather than painted entirely by hand. Transfer ware was often used to copy an original famous or well Known artist design.. Early inban ware plates in the Edo era were made with paper stencils -shiban, later with technology introduced in the Meiji era, doban- copper stencil began to be used. After being taught and studying many of both you can judge this difference by eye. The kodai also reveals many clues and differences regarding the period of creation. The copper stencils were of course handmade and hand applied, a rather difficult process, but the stencil could be reused. As the application was done by hand mistakes were not uncommon.
The process: Transfer printing is a process by which a pattern or design is etched onto a copper or other metal plate. The plate is then inked and the pattern is transferred to a special tissue. The inked tissue is then laid onto the already bisque fired ceramic item, glazed and fired again. Initially patterns were transferred to the pottery after glazing, but the ink often wore off, and that is why under printing was born. Transfer items have a crisp almost decal look about them. If you look closely you can often see the place where the transfer design ends. Often these are the areas where the pattern doesn't quite match, like wallpaper.
The inban ware was prone to smudging and misplacement. This is perfectly common and quite normal for plates of the period. You will often see where the design does not match up completely, smudges, and even, sometimes large, gaps in the design. Whereas this would be unacceptable in the porcelain destined for the noble households and their ceremonial purposes, inban ware was for the common people in their daily use and so minor imperfections flaws were still most acceptable in their households.
There are more details to be found and discussed in books and articles on the copper wire method of both stencil and transferware, and can be found on the web.
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