Description
Continuous Japanese Lakeside Scene
From our Japanese collection, we are delighted to introduce directly from a private collection this Japanese Satsuma Koro by Kinkozan. The Satsuma Koro is beautifully formed with a globular body raised upon tripod feet with twin foo dog mask moulded handles. The centre band of the Koro features a continuous Japanese lakeside scene with fishermen, geishas and a boat jetting off from a dock. The top of the Satsuma Koro is painted with millefleur style blossoming flowers with heart shaped incense holes surmounted by a button finial. The Japanese Satsuma Koro is signed to the base 金光山 Kinkozan and dates to the early 20th century during the Meiji period circa 1910.
KINKOZAN 金光山
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.
MEASUREMENTS
12cm High x 13.5cm Wide x 12cm Deep (4.72 x 5.31 x 4.72 Inches)
CONDITION
Excellent
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