Japanese Studio Ceramic Centerpiece Okumura Shozan Meiji Period

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 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...

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...

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Meticulously enamelled and gilt with different scenes satsuma bowl.

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