The Enduring Beauty of Fine Imari Porcelain

Imari ware is one of the most recognized names in Japanese ceramics, yet the term can be surprisingly difficult to define. Depending on the context, “Imari” may refer to porcelain traded through the port of Imari, ko-Imari antiques, decorative styles, or wares associated with Arita and Nabeshima.

This article explores the history, major traditions, and defining characteristics of Imari ware while introducing its continued presence in contemporary tableware.

Imari Porcelain that Captivated the World

The Beginnings of Porcelain in Hizen

The story of Imari porcelain begins in Hizen, a region encompassing present-day Saga and Nagasaki Prefectures. In the early seventeenth century, Korean potters who had settled in the area brought with them the knowledge and techniques needed to produce porcelain. As porcelain production took root in Hizen, Arita emerged as one of its principal centers, supported by the discovery of porcelain stone at Izumiyama.

Among the figures most closely associated with the origins of Japanese porcelain is Le Sanpei (Yi Sam-pyeong; d. 1655). Historical records indicate that he was living in Arita by 1616, where he is credited with establishing one of Japan’s earliest porcelain kilns. These developments laid the foundation for the industry that would later flourish throughout Hizen.

The Port That Gave Imari Its Name

Although much of this porcelain was produced in and around Arita, it reached the rest of Japan and the world through the nearby port of Imari. Merchants loaded the wares onto ships at Imari, and over time, they became known by the name of the port through which they were traded. Thus, porcelain made across the Hizen region came to be known as Imari ware.

As production expanded throughout the seventeenth century, potters developed increasingly sophisticated forms of decoration while drawing on influences from China and Korea. The arrival of Chinese artisans in Japan during the turmoil surrounding the fall of the Ming dynasty (1368–1644 CE) further enriched the artistic vocabulary of Hizen porcelain, introducing new decorative approaches and motifs such as shonzui-de.

By the late seventeenth century, Imari ware was being exported to Europe through the Dutch East India Company, where it was prized for its craftsmanship and distinctive beauty. During the eighteenth century, these porcelains became highly sought after by European aristocrats and collectors, helping establish Imari’s international reputation.

Today, collectors and museums often refer to these Edo-period (1603–1868 CE) porcelains as ko-Imari, or “old Imari.” The term was adopted later to distinguish historical wares from later production.

Major Traditions of Imari Ware

As the porcelain industry in Hizen matured, several distinctive traditions emerged. Together, they trace the development of Imari porcelain from its earliest styles to some of the most refined ceramics produced in Japan.

Early Imari

In the early decades of Imari porcelain, from the 1610s through roughly the 1630s and 1640s, potters were still exploring the possibilities of porcelain production in Japan.

Produced shortly after the discovery of porcelain stone in Arita, these early wares represent the beginnings of a new ceramic tradition. Many were decorated in blue and white, a style that would later become known as sometsuke, while drawing inspiration from both Korean ceramics and Chinese porcelain.

These pioneering works laid the foundation for the many styles that would later flourish within Imari porcelain.

Kakiemon

A significant development in seventeenth-century Imari porcelain was the emergence of overglaze enamel decoration. By the late 1640s, potters in Arita had succeeded in producing porcelains decorated with colored enamels, opening new possibilities for artistic expression.

The style most closely associated with this achievement is Kakiemon, named after Sakaida Kakiemon (1596–1666 CE), who is regarded as a pioneer of overglaze painting in Japan.

The Kakiemon style is renowned for its delicate brushwork and graceful compositions. Rather than relying on bold, uniform color, it captures subtle gradations reminiscent of ink wash paintings. The distinctive red enamel became one of its hallmarks, while the generous use of empty space, often described as the “beauty of white space,” lends the designs a sense of balance and refinement.

The style’s elegance captivated audiences both in Japan and abroad. Its refined aesthetic influenced European porcelain manufacturers and helped secure Kakiemon’s place among the most cherished traditions of Japanese porcelain.

Nabeshima Ware

Nabeshima ware stands as one of the highest achievements in the history of Imari porcelain. Originating in the late seventeenth century, these exquisite wares were produced at kilns operated under the direct patronage of the Nabeshima clan, the rulers of Saga Domain. Unlike most Imari porcelain, which was made for commercial sale, Nabeshima ware was intended primarily as gifts for the shogunate and other feudal lords. As a result, it became known for its exceptional quality, meticulous craftsmanship, and refined aesthetic.

Produced at the official kilns nestled in the mountains of Okawachiyama, Nabeshima ware is characterized by a palette of gentle and harmonious colors. The blue hues of the underglaze are carefully established before colored enamels are added above the surface, creating compositions of remarkable balance and sophistication.

More than decorative motifs, the designs are often treated as carefully composed paintings. Cherry and plum blossoms, cranes, stylized fans, and waves appear throughout the pieces, reflecting both the beauty of nature and the artistic sensibilities of the Edo period.

The Nabeshima kilns also produced fine celadon, known today as Nabeshima celadon. Drawing inspiration from the Chinese Song dynasty (960–1279 CE) and Korean ceramics, these works are admired for their translucent jade-like glazes, subtle carved decoration, and graceful forms.

Today, this distinctive lineage continues through what is commonly known as Imari Nabeshima ware, preserving one of the most cherished traditions within the broader world of Imari porcelain.

Decorative Expressions in Imari Ware

Within the many decorative approaches found in Imari ware, two techniques stand out for their enduring influence: kinrande and sometsuke. One is painted over the glaze, the other beneath it, creating distinctly different effects while showcasing the remarkable range of Imari porcelain.

Kinrande

One of the most celebrated decorative expressions of Imari porcelain is kinrande, an overglaze technique that flourished during the Genroku era (1688–1704 CE) of the Edo period. Inspired by richly ornamented porcelains produced at the Jingdezhen kilns in China during the Ming dynasty, it developed into a distinctive Japanese style characterized by its lavish use of red enamels and gold decoration.

The process begins with a vessel decorated in sometsuke and covered with a transparent glaze. After the first firing, red enamels, gold, and other colors are painted onto the surface and fixed through a second, lower-temperature firing. The name kinrande, meaning “gold brocade,” refers to the resemblance of these intricate patterns to textiles woven with gold thread.Sets of large jars and vases were produced in this decorative style, adorning the palaces and grand residences of Europe. Because such wares were introduced abroad early on as ko-Imari, the term ko-Imari commonly calls to mind precisely these large kinrande jars. In Japan, meanwhile, this period saw lidded rice bowls gradually come into common use, while fine deep bowls known as donburi also appeared—Arita porcelain working its way deep into the daily lives of the affluent.

Sometsuke

If kinrande represents the most ornate side of Imari porcelain, sometsuke reveals its beauty through restraint. The term refers to blue-and-white porcelain decorated with cobalt pigment beneath a transparent glaze, a technique that formed the foundation of Japan’s earliest porcelain production.

The design is painted directly onto the porcelain body before glazing and firing. During the firing process, the cobalt becomes sealed beneath the surface, creating the soft blue tones that characterize sometsuke. The contrast between white porcelain and deep cobalt blue is one of the defining qualities of the style.

Though limited to a single color, sometsuke offers remarkable artistic versatility. Techniques such as dami, in which a broad brush is used to wash cobalt across a surface to create subtle gradations of tone, and fukizumi, in which pigment is sprayed to produce soft atmospheric effects, allow artisans to achieve a surprising richness of expression. Landscapes, animal and floral motifs, as well as intricate patterns, emerge through variations in line, tone, and brushwork.

Preserving Elegance: The Continuation of Imari Porcelain Tradition

Today, several kilns in Arita and Imari continue the Imari heritage through porcelain made for a contemporary table.

Le Sanpei Kiln descends from Yi Sam-pyeong himself. Revived by a later generation of the family, the kiln continues to produce sometsuke porcelain. Some works are still fired in a traditional climbing kiln—the blue-and-white thread, four centuries on from where it started.

Hataman Touen creates Imari Nabeshima ware at Okawachiyama, the same hills where the lords’ kilns once stood. Its precision and repertoire of motifs continue the Nabeshima line.

Nabeshima Kosen Kiln is known for its luminous jade-like glazes and is particularly recognized for its celadon works, which demonstrate the enduring appeal of this refined ceramic style.

Arita Porcelain Lab carries forward decorative traditions associated with old Imari porcelain, drawing inspiration from the rich colors and gold embellishment of kinrande while adapting them to forms suited to a contemporary table.

More than four centuries after the first porcelains were fired in Hizen, that tradition continues to evolve. Whether expressed through the restraint of sometsuke, the elegance of Kakiemon, or the refinement of Imari Nabeshima ware, Imari porcelain remains one of the enduring achievements of Japanese ceramics.

This article was originally published on September 19, 2023, and updated on July 10, 2026.