Japanese Meiji Period Satsuma Bowl Suizan


Featuring 53 Stations of the Tokaido Road

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    Satsuma Bowl Circa 1890

    From our Japanese collection we are pleased to offer this unusual example Japanese Meiji Period Satsuma Bowl Suizan. The bowl of beautiful form with gilt pin-striping and dotting to the accented areas. The exterior decorated with multiple goldfish swimming around the outside with small flower sprays between. To the inside a painted netting covers the bowl with butterflies and further floral sprays. The centre decorated with representations of each of the woodcut prints from Hiroshige’s Tokaido gojusan tsugi (53 Stations of the Tokaido Road). To the base a stylised cartouche signature within an oval for Suizan.This Japanese Satsuma Bowl features rare decoration from Hiroshige’s Tokaido gojusan tsugi and would compliment any Japanese or ceramics collection. The Japanese Satsuma Bowl dates to the Meiji Period (1868-1912) and the late 19th century circa 1890.

    The Fifty-Three Stations of the Tōkaidō (東海道五十三次, Tōkaidō Gojūsan-tsugi), in the Hōeidō edition (1833–1834), is a series of ukiyo-ewoodcut prints created by Utagawa Hiroshige after his first travel along the Tōkaidō in 1832.The Tōkaidō road linked the shōgun’s capital Edo to the imperial one Kyōto. It was the main travel and transport artery of old Japan. It is also the most important of the “Five Roads” (Gokaidō). The five major roads of Japan created or developed during the Edo period to further strengthen the control of the central shogunate administration over the whole country.

    Meiji Period was an era of Japanese history that spanned from 1868 to 1912. It was the first half of the Empire of Japan, when the Japanese people began to build a paradigm of a modern, industrialised nation state and emergent great power, influenced by Western countries and aesthetics. As a result of radically different ideas, the changes to Japan were profound and it affected the social structure, politics, economy, military, and foreign relations across the board. The period corresponded to the reign of Emperor Meiji and was preceded by the Keio era and was succeeded by the Taisho era.

    Cultural Art during the Meiji Period was of particular interest to the government and they overhauled the art export market which in turn promoted Japanese arts via various world’s fairs, beginning in Vienna at the world fair in 1873. The government heavily funded the fairs and took an active role organising how Japan’s culture was presented to the world including creating a semi-public company named Kiritsu Kosho Kaisha (First Industrial Manufacturing Company). The Kiritsu Kosho Kaisha was used to promote and commercialise exports of Japanese art and established the Hakurankai Jimukyoku (Exhibition Bureau) to maintain quality standards. For the 1876 Centennial International Exhibition in Philadelphia, the Japanese government created a Centennial Office and sent a special envoy to secure space for the 30,000 items that would be displayed. The Imperial Household also took an active interest in arts and crafts, commissioning works by select artists to be given as gifts for foreign dignitaries further emphasising the high quality and importance of Japanese art. Just before the end of the 19th century in 1890, the Teishitsu Gigeiin (Artist to the Imperial Household) system was created to recognise distinguished artists. These artists were selected for their exceptionally high quality wares and talent in their own industry. Over a period of 54 years Seventy artists were appointed, amongst these were ceramicist Makuzu Kozan and cloisonné enamel artist Namikawa Yasuyuki.

    Satsuma ware is a type of earthenware pottery originating from the Satsuma province in Southern Kyushu, Japan’s third largest island.

    Antique a collectable object such as a piece of furniture or work of art that has a high value because of its age and quality. Objects of this nature are generally considered antique at 100 plus years of age.

    Measurements 6.5cm High x 19cm Wide (2.56 x 7.48 Inches)

    Condition Very Good, one pin head size loss to the rim nearly invisible by the naked eye. No restoration.

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