Japanese Glazed Ceramic Bowl by Makuzu Kozan

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...

On offer is a rare ceramic bowl with overglazed design by the famed Japanese ceramic artist Makuzu Kozan (1842-1916), circa 1906-1916. The bowl is rather unusual from the potter's repertoire with its unique glaze colors and decoration, and it likely belonged to a small series that Kozan made in and after 1906. A bowl of similar glaze and nearly identical dragon motif was recorded as a diplomatic present to the British royalty Arthur Connaught (1883-1932) when he represented King Gorge V in Japan in 1906. Other pieces, such as this bowl, were likely made with similar materials and designs afterwards. Essentially round in form, the bowl has a generous volume with six harmonious lobes. The bottom of the interior showcases a coiled dragon in red, green and gold slithering on a cobalt blue background. The roundel shares an echoing lobed perimeter, which is further outlined by red and turquois bands and rising sun design. The exterior of the bowl features six stylized Japanese camellias...

A rare ceramic bowl with over glaze painted 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), an 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 an 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 beautiful ceramic vessel in the form of Bo, the so-called monk's alms bowl from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Of a relatively large size, this piece was made as a decorative center piece for display. It was brilliantly decorated with underglaze paint of a green-on-green bamboo motif, using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design that appeared bright, smooth and glossy. To create design that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama Taikan...

A large Japanese ceramic vase by the celebrated Meiji imperial potter Makuzu Kozan (1842-1916) circa 1880-1890s. Dated to his underglaze phase post 1887 after he successfully mastered the new colors available from the west and used them to the best advantage in his work deeply rooted in Japanese aesthetics. The vase has an impressive size and was potted in the classic baluster form with an elegant proportion. The surface is decorated using a combination of techniques of low relief sculpturing...

A Japanese long neck porcelain vase circa 1900-1910s by the studio of Miyagawa Kozan (1842–1916), one of the most established and collected Japanese ceramist from the end of Meiji Period. Commonly known as Makuzu Kozan, which also appears as the signature on his work, his originally birth name was Miyagawa Toranosuke. He was the appointed artist to the Japanese Imperial household and his work was exhibited in many international fairs that the Meiji government participated at the turn of the century. This vase features an elegant Classic form with a slender neck and slightly flared mouth above a baluster body. It was finely painted with two swimming carps in a copper red underglaze among green ribbons like waves. The background display a brilliant verdant green overall, Around the fish a poetic hazy effect was emphasized for a visual complexity by Fuki-e (the blow painting), an invention in Kozan's studio. The new technical development of chemical colors from the west was embraced circa 1900s in Kozan studio. This empowered the more creative experiments with not only colors, but also concept of dimension, which led Makuzu Kozan's work to become a bridge between East and West aesthetics. This is particularly evident in this vase with the Masterly details of the brush strokes, the expertly employment of gradient of color, and a very realistic and detailed rendering of the fish and their vivid motions. For two similar examples of Kozan's work with similar carps decoration, see Page 148-149 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

As part of our Japanese works of art collection we are delighted to offer this charming Meiji Period 1868-1912, ceramic baluster vase from the studios of the highly coveted Imperial ...

As part of our Japanese works of art collection we are delighted to offer this tapering square form Meiji Period 1868-1912, ceramic vase from the studios of the highly coveted Imperi...

Decorated in iron-red and green enamels with an overall design of three shish frolicking with a brocade ball, signed on the base with an impressed seal Makuzu. The storage box ti...

Mint condition From Japan, a hard to find and unusual hand-built, painted and glazed tea bowl featuring "flying bats" - signs of good fortune, created over thirty years ago. A stunn...

As part of our Japanese works of art collection we are delighted to offer this most captivating Late Meiji (1868-1912) early Taisho period (1912-1926 ),globular stoneware vessel stem...

As part of our Japanese works of art collection we are delighted to offer this most unusual Late Meiji (1868-1912) early Taisho period (1912-1926 ), globular vase stemming from the h...