Miniature Japanese Satsuma Porcelain Gourd Shaped Cabinet Vase Meiji Era

This finely crafted miniature Satsuma porcelain cabinet vase dates to the Meiji Era and exemplifies the meticulous artistry of Japanese ceramic tradi...

Chinese, late Qing Dynasty.
A good quality antique porcelain vase depicting two women picking flowers under a colorful tree. Lion head handles and story marked to verso.
Ap...

Japanese Satsuma Earthenware Four-Panel Tea Caddy Attributed to Ryuzan Studio (龍山), Kyoto, Meiji–Taisho Period, circa 1900–1920 A finely painted Japanese Satsuma earthenware tea cad...

Chinese, 19th century or earlier. An early Chinese porcelain vase polychrome decorated with a green, red and blue foo dog surrounded by foliate detailing. Accompanied with a rosewoo...

Description Sharing with you is this nice satsuma miniature vase decorated with birds in an mountainous landscape scene. Condition Overall Condition missing chips and restuc...

Fabulous Japanese earthenware Satsuma vase with nice decoration of flowers and figures decoration marked. Meiji period, 19th c Lovely piece. Additional information: Material: Porce...

Description A Japanese Satsuma vase and cover marked base Condition Overall Condition: 1 restuck chip to rim. Size 190mm high Period 19th century Meiji Periode (1867-1912).

An Satsuma ceramic stone ware vase, circa 19th century, around the end of the Edo and the beginning of Meiji period. In the form of a Classic garlic bottle whose prototype was from China, the white bodied piece is decorated with an early form of kin nishikide, the so called golden brocade, a palette of iron-red, blue, green, yellow, purple and black with golden highlight. The over glazed enamel paint shows a group of robed figures in a garden setting with a lion and three tigers. A transparent overall glaze shows very fine crackles. The design is relatively sparse with plenty of negative space in contrast to the Satsuma production from the late 19th century, when the trend became fussy and overly glitz, due to the influence by the perceived western taste for the export market. This piece may still be made for export but its pattern was more influenced by both Kyoto Pottery and the Kano school of painting compared to the export ware by the end of the 19th century onward to the early 20th century. It was believed by many that this was a result of Satsuma potters visiting Kyoto in the late seventeenth century to learn over glaze painting techniques. There are some age glaze crackles especially around the foot. The piece is not signed in keeping with the earlier production before Satsuma ceramics...