Meiji Imari Charger with Bird and Pine Motifs

A Japanese Imari charger, Meiji period, 19th century with…
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A Japanese Imari charger, Meiji period, 19th century with foliate rim, decorated in underglaze blue and overglaze iron-red, green and blue enamels with a wide border of shaped cartouches of birds inflight amongst pine surrounded by alternating panels and a central roundel of hatch, whorl and hexagonal fret grounds, the exterior set with Japanese symbols. Height 6 cm, diameter: 38 cm

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  • Foliate - Decorated with leaves or leaf-like forms.
  • Charger - A charger is a type of large plate, typically used as a decorative base for smaller plates or bowls. They are often used in formal settings, such as at a banquet or a special occasion.

    The history of chargers can be traced back to medieval times, when they were used as a base for serving dishes in banquet settings. They were typically made of metal, such as silver or pewter, and were highly decorative, often featuring intricate engravings or designs.

    During the Renaissance period, chargers began to be made of porcelain, and their designs became more ornate. They were often used in the homes of the wealthy and were considered a symbol of wealth and status.

    In the 18th and 19th centuries, chargers were produced in great numbers by European porcelain manufacturers, and they were exported to America and other parts of the world. They were highly sought after by the upper class and were often used as a decorative element in formal table settings.
  • Roundel - A roundel is a circular disk, medallion or border on a plate or dish, on an object of furniture. A plate or dish will often have a central circular bordered decoration, termed a roundel. In furniture the word is often used instead of the word 'patera' to describe a turned circular decoration. In recent times use of the word has expanded to encompass any circular area on an object.
  • Overglaze on Porcelain - Overglaze decoration on porcelain refers to a decorative technique where designs are painted onto a fired and glazed porcelain surface, and then fired again at a lower temperature to fuse the decorative design onto the glaze surface. This technique allows for a wide range of colors and intricate designs that would not be possible with underglaze decoration, which is applied before the glaze is fired.

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