A superb and extremely rare Ming Dynasty ko-sometsuke kōro (censer or incense burner) modelled in the form of a recumbent Buddhist lion-dog with its mouth agape to exhaust smoke, decorated in underglaze cobalt blue, splashed with fukizumi (blown ink) on the body and seated atop a rectangular plinth decorated with precious lozenges
 
Jingdezhen, Jiangxi province, China
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Ming Dynasty (1368-1644), Tianqi period (1621-1627)
 
Measurements 
10.5 cm long (4.25 inches); 12 cm high (4.75 inches)
 
Provenance 
A fine Japanese private collection (Tokyo, Japan).
 
Description
A superbly modelled Chinese porcelain blue and white ko-sometsuke kōro (incense burner) modelled as a recumbent Buddhist lion (shishi or foo-dog) splashed with fukizumi (blown-ink technique) on the body, the raised rectangular plinth form base painted on the long side in reverse technique with a flowerhead and scrolling branches on a blue ground, the ends with a precious double lozenge, all between double lines in underglaze blue.
 
Ko-sometsuke, meaning "Old Blue and White" is the term used to describe Chinese blue and white porcelain made for the Japanese market during the late Ming Dynasty. Ko-sometsuke wares were produced from the Wanli period (1573-1620) to the Chongzhen period (1628-1644), with the height of production being within the Tianqi period (1621-27). The objects produced were made specifically for the Japanese market, with the shapes and the designs being tailored to the Japanese taste. The shapes created were often expressly made for the Japanese Kaiseki (Tea Ceremony meal) and included mukozuke (small food dishes), kōro (incense burners), and kōgō (small incense containers).
 
With a traditional Japanese storage box, inner cloths and ribbon.
 
Condition
In superb original condition with no chips, cracks or restoration.
Expected glaze flakes, mushikui present (literally meaning 'moth-eaten' edges and referring to the areas where the glaze has purposely been rubbed away during production to expose raw clay edges - this techique was highly prized by 17th century Japanese tea masters and scholars as it gave the appearance of both spontinaity in production and antiquity), also natural bubble bursts.