Description
Depicting Bishamon one of the seven lucky gods
From our Japanese Satsuma collection, we are delighted to offer this finely decorated Japanese Satsuma Kogo by Taizan Yohei.
The kogo, of petite circular form, is composed of two halves with a matching lid and base. The lid features a central painting of Bishamon, one of Japan’s Seven Lucky Gods, enclosed within a black oval cartouche framed by scrolling motifs and gilt decoration.
The base is decorated with a looped band intercepted by small floral motifs in gold, complemented by a single geometric border. The underside carries the blind mark 帯山 for Taizan Yohei.
The interior of the kogo is also decorated. The inside lid shows a citron tree (Buddha’s Hand) with a small lady beetle, while the interior base depicts a scroll-style scene with a crane standing on a rocky outcrop before a flowing river, framed by bamboo stems and foliage.
The Japanese Satsuma Kogo by Taizan dates to the Meiji period (1868–1912).
Bishamon (毘沙門)
Also known as Bishamonten (毘沙門天) is depicted as an armour-clad god of warriors. Bishamon is often portrayed holding a spear in one hand and a small pagoda in the other hand, the latter symbolising the divine treasure house, whose contents he both guards and gives away.
Taizan Yohei IX (1856–1922)
Takahashi Yohei (called Taizan), was the head of the 9th and final generation of the Takahashi family of Awata potters. Taizan was a renowned Kyoto potter who exhibited and won prizes at a number of international events, including the 1893 Chicago World Expo. Taizan also decorated work for workshops such as Kinkozan, these pieces generally have Kinkozan and Taizan markings, the Kinkozan mark is generally pressed into the piece itself and the Taizan mark is written. Taizan also crafted pieces himself such as this vase often going against the grain and becoming known for his gradient hue glazes. Taizan Yohei died in 1922 signifying the end of production.
Citron tree
the fingered citron (Citrus medica var. sarcodactylis) is a citron variety whose fruit is segmented into finger-like sections, resembling those seen on representations of the Buddha hence its widely used nickname, Buddha’s hand.
MEIJI PERIOD (1868-1912)
The Meiji era marked Japan’s transformation into a modern nation and a golden age of decorative arts. With the end of samurai rule and Japan’s opening to the West, artisans produced works of exceptional quality for both domestic and international audiences. Supported by the government through world fairs and Imperial commissions, Japanese lacquerware, cloisonné, satsuma ceramics, bronzes, and ivory carvings reached collectors worldwide. Many leading artists of the time, including Makuzu Kozan and Namikawa Yasuyuki, were honoured as Imperial Household Artists, ensuring the Meiji period remains one of the most celebrated eras of Japanese art.
For further information please see our article Japanese Meiji Period: Art, Collecting, and Cultural Transformation.
SATSUMA WARE
Satsuma ware originated in southern Kyūshū around 1600 and developed into one of Japan’s most recognisable ceramics. Early Ko-Satsuma pieces were rustic, dark-clay wares made for everyday use, while the later Kyō-Satsuma style became famous worldwide during the Meiji period.
Characterised by ivory crackled glaze, delicate overglaze enamels, and lavish gilding, export Satsuma appealed strongly to Western collectors. Designs often feature landscapes, flowers, figures, and scenes from Japanese life and mythology. Renowned artists such as Yabu Meizan, Ryozan, and the Kinkōzan workshop produced some of the finest examples, which remain highly sought after today. Genuine Satsuma can often be identified by the Shimazu crest, artist signatures, or the mark “Dai Nippon” used during the Meiji era.
For further information on the history of Satsuma Wear please see our article Japanese Satsuma Ware.
MEASUREMENTS
3.5cm High x 7.5cm Diameter (1.4 x 2.95 Inches)
CONDITION
Excellent
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