Japanese Satsuma Ware

Japanese Satsuma Ware 薩摩国 is a unique type of earthenware pottery that has fascinated collectors and enthusiasts around the world for centuries. This exquisite ceramic art form originated in the Satsuma province of southern Kyūshū, Japan’s third-largest island, and is renowned for its rich history and exceptional craftsmanship.

At Jacksons Antique, we focus heavily on Japanese Satsuma Ware, particularly pieces dating to the Meiji Period (1868-1912). Our ever-changing collection includes works by renowned artists such as Yabu Meizan, Okamoto Ryozan, and Kinkozan.

Historical Background

The story of Satsuma Ware began in the late 16th or early 17th century, following Toyotomi Hideyoshi’s invasions of Korea. During this pivotal moment for Japanese ceramics, skilled Korean potters were forcibly brought to Japan to establish a ceramic industry in Kyūshū. These artisans, revered for their expertise, primarily settled in Naeshirogawa and Tateno, which would become the epicentre of Satsuma pottery production.

The Satsuma region was ideal for developing kilns because of its abundant local clay deposits and its proximity to the Korean peninsula. This fortunate combination of skilled craftsmanship and excellent resources laid the foundation for one of Japan’s most celebrated pottery traditions.

Early Satsuma Ware

The earliest examples of Satsuma Ware, commonly known as Early Satsuma or Ko-Satsuma 古薩摩, date back to the early years of the Genroku era (1688-1704). These pieces are characterised by their utilitarian nature, made from iron-rich dark clay and finished with a dark glaze. In contrast to the ornate designs that later became a hallmark of Satsuma Ware, these early pieces were simple and practical, intended for everyday use in rustic settings or for tea ceremonies.

Early Satsuma potters utilised tactile techniques to enhance the visual appeal of their creations. They employed methods such as raised relief, stamped impressions, and clay carving. This approach was especially effective since many pieces were intended for use in dimly lit farmhouse kitchens.

Evolution of Satsuma Ware

1800-1867: The Rise of Decorative Techniques

Around 1800, Satsuma Ware experienced a significant transformation with the introduction of brocade (nishikide) painted decoration. This new style featured a delicate colour palette that included iron-red, glossy blue, bluish-green, soft purple-black, and touches of yellow. Soon after, artisans began to enhance the visual appeal of their creations by adding gilded elements to the brocade, known as kin nishikide.

During this period, ivory-bodied pieces with finely crackled transparent glaze began to emerge, becoming synonymous with Satsuma Ware. The designs, which often featured light and simple floral patterns, were heavily influenced by both Kyoto pottery and the Kanō school of painting. This influence resulted in an aesthetic that emphasised negative space, creating a sense of balance and elegance.

1867-1885: International Recognition and Adaptation

Satsuma Ware gained international recognition after its prominent display at the Paris Exposition Universelle in 1867. This event marked a significant turning point for Satsuma production, as artisans started to adapt their techniques to appeal to Western tastes. The two main workshops producing these pieces, led by Boku Seikan and Chin Jukan, were soon joined by many others throughout Japan.

During this period, “Satsuma” transformed from a geographical indicator into an aesthetic concept. Workshops specialising in painting blank-glazed stoneware items from Satsuma, known as etsuke, started to emerge in Kobe and Yokohama. In cities like Kutani, Kyoto, and Tokyo, artisans began creating their own blank items, further distancing the style from its geographical origins.

The export style that emerged during this period was characterised by intricate and often densely packed designs. Many pieces featured the ‘millefleur’ or ‘flower-packed’ (hanazume) pattern, as well as ‘filled-in painting’ (nuritsubushi). Artisans incorporated motifs that were appealing to Western consumers, including pagodas, folding fans, and figures dressed in kimonos. While floral and bird designs continued to be popular, there was also an increase in the prevalence of religious, mythological, landscape, and genre scenes.

1885-1930s: Mass Production and Quality Concerns

In the mid-1880s, Japan experienced a decline in the export of many goods, including Satsuma Ware. This downturn was partly due to a decrease in quality resulting from mass production. By the 1890s, contemporary Satsuma Ware had lost its popularity among critics and collectors, receiving unfavourable reviews at the 1893 Columbian Exposition in Chicago.

Despite receiving critical attention, Satsuma Ware remained a popular export commodity well into the 20th century, becoming almost synonymous with Japanese ceramics during the Meiji period (1868-1912). However, as mass production increased, the quality of the ceramics declined, which ultimately resulted in a loss of consumer interest.

Types of Satsuma Ware

Satsuma Ware encompasses a variety of styles and techniques, each with its own distinct characteristics:

Shiro Satsuma: White-glazed pieces originally produced exclusively for use within the daimyō’s household.

Kuro Satsuma: Black-bodied pieces with dark overglaze.

Jakatsu: Characterised by blue, yellow, and black glazes that run together with white overglaze.

Sunkoroku Satsuma: Older pieces modelled on 13th-century Thai Sawankhalok ceramics, decorated with brown geometrical designs.

Mishima Satsuma: Clay with light bluish-grey glaze, featuring inlaid or impressed geometric patterns filled with white slip-overglaze.

Blue-and-white Satsuma: Created in the early 19th century, these large pieces often showcased Chinese-inspired designs, particularly of landscapes.

Gosu blue Satsuma: Limited edition pieces from mid-19th-century Kyoto feature glazes with minerals like cobalt or asbolite, resulting in a bluish hue and more vivid painted images.

Unique Characteristics and Craftsmanship

Satsuma Ware is famous for its unique features and exceptional craftsmanship. Its key characteristics include:

Crackled Glaze: The transparent glaze with a finely crackled texture is a hallmark of Satsuma Ware, adding depth to the pieces.

Intricate Painting: Satsuma artisans were renowned for their incredibly detailed miniature paintings, often featuring a diverse array of colours.

Gold Embellishments: The use of gold, particularly in raised relief (moriage), is a defining feature of many Satsuma pieces.

Diverse Motifs: Satsuma ware commonly featured floral and bird designs, but it also included landscapes, mythological scenes, and depictions of daily life.

Earthenware Body: Unlike porcelain, Satsuma Ware is made from earthenware, resulting in a heavier, denser feel.

Collecting Satsuma Ware

For collectors, Satsuma Ware provides a captivating look into Japanese art and history. When assessing pieces, keep the following in mind:

Age: Early pieces from before 1800 are rare and highly valued. Most collectable pieces are from the Meiji period, which lasted from 1868 to 1912.

Marks: Genuine Satsuma is typically marked in Japanese and often includes the artist’s signature. The Shimazu clan mark 島津, a red circle with a cross inside, is commonly found on many pieces.

Quality of Decoration: Look for fine, detailed painting with a good range of colours. The best pieces will have an almost watercolour-like quality to their decoration.

Condition: Condition significantly affects the value of ceramics. While minor wear is acceptable, major damage or repairs can greatly decrease a piece’s worth.

Authenticity: Be wary of fakes and later reproductions. Genuine Satsuma never bears English markings or mentions of being “Made in Japan”.

Japanese Satsuma Ware represents a pinnacle of ceramic artistry, combining exquisite craftsmanship with deep cultural significance. Originally created as practical stoneware, it has evolved into highly sought-after decorative pieces that have captivated collectors and art enthusiasts for generations.