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A SWATOW-STYLE TAMBA WARE ‘FLORAL’ SAKE BOTTLE, EDO PERIOD Japan, Hyogo Prefecture, early 19th century. Boldly potted, of cylindrical form with gently concave sides, rising from a recessed base to a short, slightly waisted neck with a thick-lipped rim. The exterior painted in overglaze red and green enamels over a transparent slip, to depict a pair of highly stylized animals amid scrolling tendrils and leafy stems, outlined in black enamel. The composition framed below by an encircling band of alternating-colored triangles around the foot, and above by a cross-hatched band containing oval panels with floral motifs, extending onto the neck. The underside with the maker’s signature. Provenance: From The Sam and Myrna Myers Collection, Paris, France. Acquired between circa 1965-2012. Condition: Good condition with surface wear and firing-inherent irregularities, such as light warping, kiln grit, and firing seams. Transparent slip partially abraded. Occasional minor chips to glaze. Few minute nicks and light surface scratches. Weight: 485.8 g Dimensions: Height 19.7 cm Swatow ware, also misleadingly referred to as Zhangzhou ware, denotes a loosely defined group of Chinese export porcelains produced predominantly during the late Ming dynasty and early Qing dynasty destined primarily for markets in Southeast Asia. The term Swatow ware, traditionally used in Western scholarship, derives from Swatow (present-day Shantou), the port in Guangdong Province from which these wares were long believed to have been exported. Although underglaze blue-and-white decoration employing cobalt pigment constituted the most common decorative mode, a significant group of polychrome wares also emerged, characterized by the predominant use of red and green enamels, which did not appear before the early seventeenth century. In marked contrast to the technically sophisticated and finely finished porcelains produced contemporaneously at Jingdezhen, Swatow wares were typically coarsely potted, unevenly fired, and displayed a relatively rudimentary level of craftsmanship. Their decoration was distinguished by a vigorous and boldly brushed manner, executed spontaneously, and most frequently featuring floral compositions accompanied by small animal motifs. The frequent presence of kiln grit adhering to the glaze at the foot further attests to the utilitarian and comparatively careless conditions of production. Paradoxically, these very characteristics aligned closely with contemporary Japanese aesthetic sensibilities, contributing to the reception and appreciation of these wares within Japan. Literature comparison: Compare a related red-painted Tamba ware ‘flower and bird’ sake bottle, late Edo period, 19th century, in the Museum of Ceramic Art, Hyogo, management number 080718-009. C