Blue-Plate Special
by Anna Ruane
American consumers have long relied on and valued foreign goods, importing items since the earliest colonies were established. Thanks to the British East India and Dutch West India trade companies, established in the 1600s, upper-class colonial Americans could obtain fine porcelain, spices, teas, and textiles, among other goods. Products from Asia were especially coveted in the port city of Salem, and by the 1640s, a majority of exports were Chinese in origin. The reason for this was the closure of Japanese ports to foreign merchants (with access only permitted under specialized charters). The result was an excess of Chinese goods in the American market, many of which were deemed to be of higher quality than their European and American counterparts. One such category of goods was ceramic and porcelain objects.
Much of the design and composition of Asian ceramics was borrowed from other countries. Chinese potters imitated Japanese potters, who imitated Korean potters. Eventually, Europeans would add themselves to the mix and create a widespread network of ceramics (down to European chemists researching and testing various clays to imitate the kaolin clay used in most Asian porcelains!)
In the American colonies, British officials placed high taxes on imported goods, limiting the ability of the working class to purchase porcelain. Lack of British control following the American Revolution meant that American merchants could now freely and directly trade in foreign ports. Without such high taxes, goods were more affordable and accessible to working-class individuals, leading to an increased demand for foreign exports. By the late 18th-century, large quantities of Chinese porcelain were being exported. Such demand placed strain on the potters creating each piece, forcing them to sacrifice the artistic quality of the piece to meet the shipment requests. To Americans, though, it was quantity over artistic quality. A white and blue porcelain plate, even with the designs quickly scribbled on, was much sturdier than their stoneware counterparts.
Canton Ginger Jar
Circa 1850. Origin: Chinese
The 19th-century brought greater changes in American trade networks. The western expansion of America established ports along the West Coast and offered direct trade routes between America and China. As merchants sailed west, most took notice of Japan, whose ports by this point had been closed for nearly 200 years. In comparison to most goods on the market, Japanese goods were highly valued. Japanese potters also used kaolin clay for their goods. Since most items were for their domestic market, they often contained more detailed imagery, such as the sake bottle (or tokkuri) below.
Japanese Sake Bottles
Circa 1800. Origin: Japanese
A tokkuri is a jar used to serve hot sake, an alcoholic beverage that is typically served warm and offered at a celebration. On one side, a gilt hawk, representative of strength, perches on a blossoming tree branch. In the 19th-century, when these bottles were produced, falconry was a popular sport and was encouraged by many government officials. The opposite side features several sparrows (which often symbolize prosperity) flying towards a hydrangea bush. Of the three sparrows, one is all blue, one is all gold, and the last contains both blue and gilt glazes. The top and bottom of the jar contain Greek key borders.
The growing American interest in Japan led the American government to seek access to its ports. In 1854, Commodore Matthew Perry entered the port of Tokyo with members of the U.S. Navy, a letter signed by President Fillmore addressed to the emperor, and gifts for the Emperor. While the letter was accepted by the Emperor, it was threats of war from Perry that drove Japanese officials to sign the Convention of Kanagawa, or the Perry Treaty, on March 31, 1854. The treaty opened the two Japanese ports to American ships and allowed the American government to establish a consul. The ability to trade in Japanese ports did not come until a few years later, when Townsend Harris, the first Consul General (appointed by President Franklin Pierce, a friend of Nathaniel Hawthorne and fellow Bowdoin graduate), aided in the establishment of the Treaty of Amity and Commerce, or the Harris Treaty of 1858. The treaty opened a total of four ports to American merchants and allowed U.S. citizens to reside in the ports. When Japanese ports reopened to the west, a porcelain style eventually known as Satsuma was growing in popularity.
Satsuma Vase
Circa 1900. Origin: Japanese
Most terms for Asian export pottery referred to the port the object was exported from rather than a specific style. Pottery from Canton (or Guangzhou) became known as Cantonware, all porcelain exported from the Japanese port of Imari became known colloquially as Imari, and so on. Satsuma porcelain breaks this trend, however, and comes to refer to pieces with multicolored overglaze enamel and gilt.
Punch bowl (interior and exterior)
Circa 1880. Origin: Japanese
Similar to most Asian export porcelain, Japanese potters used blue and clear glazes for their ceramics. This large punch bowl features repeating floral patterns, a motif common in Japanese porcelain. The interior has a repeating geometric pattern along the sides with eight flowers in the center. At the very bottom are two dragons facing off against each other. The skybound dragon’s long, serpentine body stretches across the sky, winglessly flying above the clouds. The legs of the dragon are positioned towards its head and tail, each with three outstretched claws. Often associated with water, a secondary dragon rests in the sea. While it looks very similar to its companion in the sky, this dragon has no visible feet and a wavy, scaly spine. Between the dragons is an object that appears like a flaming orb. In some Japanese tales, dragons were given gems that allowed them to control the tides.
Willow Pattern Cup and Saucer
Circa 1940. Origin: Japanese
Willow Pattern Sauce Tureen
Circa 1850. Origin: English
Early Japanese potters were known to have studied the work of Korean and later Chinese potters to learn various techniques. As trade networks expanded, ceramics from other continents became readily available. British audiences, much like Americans, were drawn to Asian ceramics. British companies (such as Spode and Staffordshire) created ceramics with designs similar to Asian exports. Most companies relied on transfer printing, where the image would be etched onto an engraved plate and transferred on paper to a blank ceramic piece. This enabled large quantities of ceramics to be produced with the same detailed pattern. In 18th-century England, the blue willow pattern sprang up and was later copied by Japanese potters. The pattern symbolizes a folk tale from China of two lovers who were separated due to social constraints and eventually transformed into turtle doves, granting them the ability to be united without interference. The common discount diner meal, occasionally referred to as the “blue-plate special” is said to have gotten its name from the blue willow pattern plates the meals were typically served on in early 20th-century America.
Sake Cup
Circa 1860. Origin: Japanese
Sake Cup and Saucer
Cup – Circa 1820. Origin: English. Saucer – Circa 1840. Origin: East Asian.
Once the ports were opened to Western countries, Japanese exports were so popular that even Nathaniel Hawthorne’s daughter Una had her own piece. The small sake cup features the classic blue and clear glaze, this time forming branch-like designs along the cup.
More recently, Salem has developed a close relationship with Japan. In 1991, Salem established ties between their sister-city, Ota, Japan. Events are hosted yearly, enabling residents and visitors alike to explore Japanese culture and the ties that the two cities share.
Interested in seeing what other exports our collection holds? Visit our Online Collections to view more!