A white ground is painted with cobalt, or gosu, and then glazed over. In China, it is called “Seika (blue flower)” or “underglaze blue. However, it is sometimes used as a generic term for underglaze painting in a broader sense. It is not known when the term “underglaze blue” was first used. The word “somezuke” is not found in the “Kimidai Kanjo Choki” of 15218, but it is found in the “Tool Handbook” of 1640, which is cited in the “Manpozensho” (Complete Works of Manpoho).
The term “Sometsuke” is found in the “Tool Handbook” of 1640 (Kan’ei 77), which is cited in the “Manpozen” (Manpo-Zen). The use of cobalt in China can already be seen in the Tang dynasty, but it was only fired over glaze, and it is thought that it was not until the Song dynasty that cobalt was used under glaze. Although it is difficult to immediately determine whether or not they are Song dynasty wares, it is safe to assume that underglaze blue porcelain was in the process of being developed during the Song dynasty, considering the fact that high-fired reduction-fired celadon was already available at that time. Thus, underglaze blue was completed at the beginning of the Ming dynasty.
There are a considerable number of pieces that can be attributed to Yongle (1403-24), and it was not until Xuande (1426-135) that the technique reached its peak of sophistication. Chinese connoisseurs generally agree that the blue-and-white wares of Seonghwa (1465-187) are not as good as those of Seondeok. The blue of Seonghwa wares from the Seonghwa to Seonde period (1506 – 121) was generally lighter and slightly darker in color. However, even within the same kiln, the coloring differs due to the fire and heat level, so it is extremely dangerous to determine the age of a piece simply by the shade of coloring on it. The Mangyeong period (1573-1620), which falls after Seika, shows a beautiful deep blue color with a slight purple tinge. By the end of the Ming dynasty (1621-1444), the blue tint of the blue system had increased to a blackish hue. The blue becomes stronger in the Qing dynasty, and the color is slightly paler again by Yongzheng (1723-35). By Qianlong (1736-1955), the blue was tinged with purple, and Jiagyeong and Dokwang (1796-1850) were extensions of this trend, similar to but not quite as strong as Qianlong. It is reasonable to assume that the Joseon Dynasty’s dyed and dyed ceramics began around the time of the Japanese invasion of Korea during the Japanese invasions of Korea during the Japanese Invasion of Korea (1592-8). The largest number of Yi Dynasty blue-and-white porcelain surviving today is from the latter half of the Yi Dynasty. In general, Yi Dynasty blue-and-white porcelain is characterized by its extremely light blue color, warmth and softness, and the impression of looking out over distant mountains through a haze. Japanese blue-and-white porcelain was created by Kanegae Sanbei (Lee Sanpei) of Hizen Arita during the Genna-Kan’ei period (1615-44), and judging from the shards excavated from the Hyakuman kiln, it can be said to be a branch of the Yi Dynasty. However, a questionable figure from this period is Ito Gorodaiu Wu Shozui Takahara Goroshichi. However, it is reasonable to assume that Shozui did not produce pottery in Japan, and although Goroshichi produced a type of unglazed porcelain or stoneware underglaze blue ware called Goroshichi ware, there is not enough data to determine that it is his legacy. Later, under the influence of the Nagasaki trade, underglaze blue porcelain from the late Ming and early Qing periods was imported to Japan, and underglaze blue porcelain was finally developed in Arita, followed by underglaze blue porcelain produced in Hirado from the mid Kan’ei period (1624-44) onward. Around the same time, Chen Yuan-Yin, a Ming dynasty scholar, became a naturalized citizen and worked for the Marquis of Owari, where he produced Annami-style underglaze blue-and-white porcelain. Nabeshima ware was produced during the Kyoho period (1716-36), Iyo-Tobe ware was produced during the An’ei period (177-181), and porcelain was produced in Kyoto during the An’ei and Tenmei periods (1772-189) by Yi River. It is likely that Kyoto also produced Sometsuke porcelain from this period. Kanda Sohei opened a kiln in Sanda, Settsu Province (Sanda City, Hyogo Prefecture) during the Temmei period (1781-189) and invited Kinkodo Kamesuke and others from Kyoto to produce Chinese-style underglaze blue porcelain. Around the same time, Akamatsu Matsuyama produced underglaze blue enamel ware at Tonda Pottery in Sanuki Province (Kagawa Prefecture). At the end of 1789-1801, Ihee Sato of Aizu ware produced his first underglaze blue ware in Oshu. During the Kyowa and Bunka periods (1801-1188), Kato Tamikichi of Kabari Seto learned the Arita technique and produced underglaze blue and white underglaze blue, which was known as Owari Shinsei. Soon the technique was transferred to Mino Province (Gifu Prefecture). During the Bunka era (1804-18), Kameyama ware emerged in Nagasaki and produced good quality underglaze blue ware. The Bunka-Bunsei period (1804-30) was the heyday of Kyoto ceramics, and Sometsuke was also at its height. Kime, Niami, and Sengen actively imitated Chinese blue-and-white porcelain and produced all kinds of pottery in the Shozui, Kozui, and Gosu styles. At this time, Tosa Ryuchazan-yaki, Nagasaki Pengasaki-yaki, Himeji Higashiyama-yaki, Izumo-Ito-yaki, and Tajima Izushi-yaki all produced Sometsuke ware, and the era of Sometsuke was almost in full swing. By the time of the Kaei Ansei Period (1848-1603), there was underglaze blue and white in many places, the most prominent of which was Koto ware in Omi Province (Shiga Prefecture), and underglaze blue and white was also produced in Iga at this time. In modern times, the number of kilns has increased, and the major ones are: Arita, Mikawachi, Kameyama, Pengasaki, Chosa, Nochayama, Tonda, Tobe, Shimizu, Sanda, Koto, Konan, Mino, Owari, Iga, Shidoro, Shikaoshiyama, Himeji, Higashiyama, Izushi, Ito, Kutani, Awaji and Aizu. All of them were produced only in kilns that were developed in various respects as ceramic production sites, and not in incomplete, small-scale kilns. Among the most famous recent potters are Chikusen I, Kozan I, and Seifu Yohei.
