Description
Depicting Bishamon one of the seven lucky gods
From our Japanese Satsuma collection, we are delighted to offer this Japanese Satsuma Kogo by Taizan. The Satsuma Kogo of petit circular form in two halves with a matching lid and base beautifully decorated throughout. The lid of the Satsuma Kogo has a central painting of Bishamon, one of the seven Japanese lucky gods within a black oval cartouche bordered by scrolling motifs and further painted decoration. The base of the kogo is painted with a looped pattern intercepted by small floral gold motif and a single banded pattern. The base is signed with the blind mark 帯山 for Taizan Yohei. The interior of the Satsuma Kogo is painted on both the inner lid and the base, the inner lid depicts a citron tree (also known as buddha’s hand) with a small lady beetle. The base is painted with a rectangular scroll style portrait with a central crane bird stood upon a rocky outcrop in front of a river of gold framed in a bamboo stem with foliage. The Japanese Satsuma Kogo by Taizan dates to the Meiji Period (1868-1919).
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 treeÂ
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.
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.
MEASUREMENTS
3.5cm High x 7.5cm Diameter (1.4 x 2.95 Inches)
CONDITION
Excellent
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