Japanese Imari Hand-Painted Porcelain Charger, Meiji Period c.1890

Let's talk about beautiful imperfection. This large Japanese Imari charger from the Meiji period (c.1890) is not perfectly round. The glaze is thick and uneven in places. The firing left a slightly irregular form. And that, dear collector, is exactly the point.

These are not flaws. These are the fingerprints of a craftsman who hand-painted every single motif, loaded this plate into a traditional kiln, and produced something that no machine could ever replicate. The slight warp, the bold brushwork, the raw texture beneath the glaze — all of it screams authentic 19th century Japanese porcelain. Reproductions are perfect. The real thing is not.

The decoration is classic Imari palette: deep cobalt blue, iron red/burnt orange, celadon green, and white — featuring cranes, pheasants, cherry blossom, bamboo, lotus leaves and geometric diaper patterns arranged in the traditional cartouche format. The reverse has a simple blue underglaze border and a period metal hanging bracket, confirming this was always intended as a display piece.

Crazing throughout the glaze is consistent with age and entirely expected in pieces of this period. This is a charger that has survived 135 years looking this good. Respect.

Details:

• Large decorative charger/display plate
• Hand-painted Imari porcelain
• Classic Imari palette: cobalt blue, iron red, celadon green, white
• Motifs: cranes, pheasants, cherry blossom, bamboo, lotus
• Original metal hanging bracket on reverse
• Diameter: 37cm | Depth: 5cm | Weight: 1,850g
• Meiji period, Japan, c.1890
• Unmarked (typical for export Imari of this period)

Condition: Good antique condition. Crazing throughout glaze consistent with age. Slight kiln warp and uneven glaze application — authentic characteristics of hand-crafted Meiji porcelain, not damage. No chips or cracks.

⚠️ WARNING: Hanging this on your wall will immediately make every other piece of wall art in the room feel deeply inadequate. Maison de L'oro accepts no responsibility for any subsequent redecorating spiral, the inexplicable urge to learn Japanese, or the smug satisfaction of explaining to guests that yes, it's slightly wonky, and yes, that's why it's worth more.