带有模制和网状设计的香炉（koro）和盖子 - 美国大都会艺术博物馆展品查阅

品名（中）	带有模制和网状设计的香炉（koro）和盖子
品名（英）	Incense Burner (koro) and Cover with Molded and Reticulated Design
入馆年号	1919年，19.14.2a–c
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1700 - 公元 1799
创作地区
分类	陶瓷制品（Ceramics）
尺寸	高 (with cover) 3 3/4 英寸 (9.5 厘米)
介绍（中）	这个三足香炉的盖子和主体都是模制和网状的。陶器主体覆盖着透明的微黄色裂纹釉，这是萨摩烧的典型上釉技术。萨摩烧是十六世纪由带到日本的韩国陶艺家在九州萨摩省生产的。后来萨摩烧也在京都生产（京都萨摩）。主体的材料代表了瓷器和陶器之间的过渡，在比瓷器更低的温度下烧制。物体的和谐比例和精致的曲线，以及其未装饰的表面，表明了萨摩烧的早期历史。到明治中期（1868-1912），萨摩烧被大量装饰在釉上彩绘和金色中，描绘了鸟花的构图，受木版画启发的场景或类似的流行日本图像，以满足西方人的需求。萨摩作品在1867年巴黎博览会上推出后，它们在西方收藏家中很受欢迎，但鉴赏家最欣赏的收藏品仍然是早期的萨摩烧。
介绍（英）	The cover as well as the body of this three-legged incense burner is molded and reticulated. The earthenware body is covered with a transparent, slightly yellowish crackled glaze, a typical glazing technique for Satsuma ware. Satsuma ware was produced in Satsuma Province in Kyushu from the sixteenth century by Korean potters brought over to Japan; later Satsuma ware was produced in Kyoto as well (Kyoto Satsuma). The body's material represents a transition between porcelain and earthenware, fired at a lower temperature than porcelain. The harmonic proportions and the delicate curves of the object, as well as its undecorated surface, are indicative of the earlier history of Satsuma ware. By the mid-Meiji period (1868–1912), Satsuma ware was extensively decorated in overglaze polychrome paint and gold depicting bird-and-flower compositions, scenes inspired by woodblock prints, or similar popular Japanese imagery to satisfy the demands of Westerners. After Satsuma pieces were introduced at the 1867 Paris Exposition, they became popular among Western collectors, but the most appreciated collectibles for connoisseurs remained early Satsuma ware.