Wild Geese under a full moon | Unknown | Late Edo period / early Meiji period (1867–1912)

Painted ceramics from the Imari and Arita regions on the island of Kyushu have always been considered particularly valuable. “Koimari” means “old Imari”; it is unclear exactly up to what period the term “Koimari” applies. From a technical standpoint (based on the rim), it is possible that this plate was made around 1850, though its subject matter appears more modern.

The decoration on this plate is aesthetically captivating with its bold medallion design. A classic motif of good fortune is depicted in the center (teh well of the plate). It consists of two elements: at the bottom, one can see the leaves and blossoms of a paulownia (桐 kiri). Above it soars the legendary phoenix with its long, colorful tail feathers. The combination of the phoenix and the paulownia is a classic motif—kirihōō (桐鳳凰)—and is regarded as a symbol of an auspicious world order. It is entirely conceivable to see in it a sign of the times—namely, the new world order of the Meiji era (1868–1912)—which opened Japan up to modernity and to the wider world.

The three identically designed medallions along the cavetto reveal that this interpretation is not too far-fetched. Their theme is “Wild Geese on a Full Moon Night.” This is an ancient poetic trope: wild geese fly across the evening sky, calling out as they search for the rest of their family flock on the shore. The scene is illuminated by the moon and has a distinctly sentimental tone—it conveys a longing for togetherness. The wild goose motif has been popular in painting for centuries—in ink wash painting, the birds’ varied feathers are rendered with gradations of ink intensity; in other forms of painting, artists typically adhere to the natural brown tones of the plumage.

The geese on the cavetto of this plate, however, have light green, blue, and orange wings. The old philosophical-poetic topos thus becomes a purely decorative formula here.

Such a departure from tradition, such a reformulation of the time-honored, is typical of the Meiji era. In the period before the Meiji era, the geese (on the cavetto) had absolutely nothing to do with the phoenix (in the well). The unusual combination of the two motifs was thus considered “interesting” at the end of the 19th century.

The fact that the plate nevertheless appears so harmonious in form is likely due in large part to the use of dark blue. In the center (the well), the paulownia leaves and the dark blue feathers form a strong medallion-like structure. The three images of wild geese are framed by a bold dark blue border, thereby creating a sense of unity in this ceramic artwork despite the diversity and disparity in detail.