Large White Vase with abstract painting by Scarlet Pottery

This is a vase made by the Japanese ceramic artist unit "Scarlet Pottery." It is a piece of pottery made using Amakusa pottery stone. Amakusa pottery stone is famous as the raw mater...

This is a vase made by the Japanese ceramic artist unit "Scarlet Pottery." It is a piece of pottery made using Amakusa pottery stone. Amakusa pottery stone is famous as the raw mater...

Bicone vase by U-Turn Ushiro. It is baked for several days in an anagama (a kiln that burns firewood). It is shaped vertically symmetrically. The copper contained in the clay blows out on the surface, and reddish-black spots can be seen partially. It is a work where you can see various reactions of various ingredients. U-Turn Ushiro While working at the fire station...

Particle large blue Size: W 300 D 250 H 420 mm Art of the matter. Geometric sculptures of handmade paper in various shapes, sizes and colors. [PAPIER LANGACKERHA¨USL] "Papia...

Large Awaji pottery vase with sprigged chrysanthemums and green and white glazes, circa 1930. Measures: 18 1/4" high, 9 1/2" diameter. Excellent condition.

A stoneware vase with white dripping glaze from Hagi by Kyusetsu Miwa X (1895-1981), Showa Period. The vase is in the shape of "Double Gourd" with a bulbous ...

A impressively large and unusual stoneware vase in an urn shape 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 artist 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. This vase is dated to the end of Makuzu's life circa 1910-1916 based on similar work created around that time. After achieving domestic and international fame, Makuzu retired and handed the business to his son Hanzan in 1912. He dedicated his time to other selected projects that were more in tune with Japanese sensibility than export aesthetic. He made a group of stoneware pottery pieces inspired by Edo master like Ninsei and Kenzan as well as his own poetic creation. This piece is attributed to that period. Standing of an impressive size, this vase is more like an urn, made with stoneware instead of porcelain. It was coated with a brown iron glaze with a slight translucent quality. Underglaze whit slips were used to draw low relief decoration of bamboo leaves that sparsely scatter on the surface. Slightly more elaborate scrolling vines and autumn flowers circles under the mouth rim. Same white slip inlay was used to sign the vase under the base. The whole effect of the piece is unusual. With its dark glaze in contrast with the sparse white decoration that is more abstract and geometric than realistic, it appears almost modern with an Art Deco flavor. For stoneware urn and vase in the similar genre by Makuzu Kozan: see figure 113 on page 182 of "Sekai ni Aisa Reta ya Kimono" MIYAGAWA KOZAN MAKUZU...

A striking blue and white vase 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 around 1870s and later became one of the appointed artist 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. With a relative large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional misty winter landscape. The pine trees with upright trunks and down-sweeping branches appear receding into the depth of the mist, forming an visually unending forest. Known as one of the most creative ceramists, around 1880s, 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. 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...