Description
Meiji Period (1868-1912)
From our Japanese collection, we are delighted to offer Japanese Satsuma Vase by Kinkozan. The Satsuma Vase of ovoid globular shape with a garlic style shaped mouth with a rare pierced decoration. The Satsuma Vase with a cobalt blue ground extensively decorated with polychrome enamel flowers outlined in gold, further gilt decoration to the neck and body surrounding two beautifully painted scenes. The first scene depicts two samurai warriors in full armour carrying weapons with a third samurai in the background. The second scene features multiple figures surrounding a well preserved Japanese maple tree with further polychrome enamel leaves. The Satsuma Vase is signed to the side with the painted Kinkozan mark and also to the base with the blind impressed Kinkozan mark showing it was both potted and painted within the Kinkozan workshops. The Japanese Pierced Satsuma Vase by Kinkozan dates to the Meiji period (1868-1912) circa 1890.
Kinkozan the Kinkozan family have been associated with pottery dating back to 1645. They went on to become the largest producer of Satsuma ware by one individual company, from the end of the 19th century until 1927 after which the factory closed. By the 1850s Kobayashi Sobei (1824-84), Kinkozan Sobei (artist name Kinkozan IV), started to export his products together with the Kyoto manufacturer Taizan VIII. The main target market was America with their main production period approximately between 1875-1927 under the leadership of Kinkozan V(1868-1927).
Satsuma ware is a type of earthenware pottery originating from the Satsuma province in Southern Kyushu, Japan’s third largest island.
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.
Condition Very Good, very minor rubbing to the gilding
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