Japanese Ceramic Dish Meiji Ogata Kenzan

A beautifully crafted large ceramic bowl as a centerpiece by Okumura Shozan (1842-1905) in the Kyo-yaki (kyoto ware) style. A Classic ovoid form with flatly...

This massive Japanese Arita plate was made in Hizen, circa 1890-1910s, at the end of Meiji period by a potter named Takeshige Yoshisuke who was active in A...

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

A celadon stemmed dish with underglaze deep blue decoration from Sukhothai (a former Kingdom in nowadays central Thailand) circa 14th-16th century. The pedestal dish was a typical ceramic output from Sawankhalok region, likely one of the kilns in Sri Sachanalai that thrived during 14th-15th century. Sukhothai ceramics made a large portion of export from Asia during that period due to the political policy in Ming Dynasty that banned the ocean faring (the so called Ming Gap). This stemmed dish, likely an export item, was modeled in a Classic Chinese form. The under-glaze deep blue decorations depicting the scrolling vines and flowers, as well as the archaic band around the base, are also reminiscent to the designs found in blue and white porcelain in Ming dynasty. The piece shows a fine crackles and age wear on the dish surface, an indication of appropriate patina. Under the reddish slip paint of the base, the gray paste can be discerned in small area, which is also a characteristic of the Thai celadon...

This very large plate made in Japan during the Emperor Meiji time 1868-1912. Wonderful blue pattern on fine porcelain. There is a crack that’s shown thro...

A wonderfully designed and beautifully hand painted tea ceremony tray/plate by esteemed Japanese artist and master potter Ogata Kenzan (1663-1743). Kenzan is widely considered to be...

An unusual antique Japanese Imari shallow porcelain dish hand painted with two scrolling ladies with flowing garments and ribbons floating amidst clouds and finely decorated in brigh...

Sharing with you this unusual and magnificent bowl from the Meiji period (19th century). It has a very interesting and lovely blue and gold scene Unmarked at the base. ————————————...