Satsuma Earthenware Flat Shouldered Ovoid Vase, Garlic Mouth by Yabu Meizan

A Japanese Satsuma Earthenware Vase by Kinkozan, Meiji period (1868-1912) The body inset with two panels, one depicting figures seated around a table, the other painted with a joyful scene in a shrine, all reserved on a blue ground decorated with a gilt flower pattern, signed Nihon Kyoto Kinkozan zo...

Japanese Satsuma Earthenware Vase, Meiji Period, 1868-1912, of baluster form, the decorated in poly-chrome enamels and gilt on a clear crackle glaze with a Daimyo procession, the nec...

Satsuma earthenware vase the baluster-shaped body painted in enamels and gilt with two panels, one depicting numerous immortals with raised gilt in terraced garden setting, the othe...

Satsuma earthenware cabinet vase, early 20th century, decorated with ladies and immortals, the long neck flanked by elephant handles, signed. Height 4.62 in. (11.74 cm.), by 3 in. (...

the body of this small marvelous vase is painted with a scene of a puppet show vendor with his wood backpack, on top of the backpack there are toys and dolls, he is surrounded with a group of 6 children, and on the background you can see a village. on the other side of the vase there is an amazing painting of flowers and on the sides there are two amazing strong pine trees, the amorphous background is decorated in a "Tortoiseshell" color and design that gives it a real character and which is quite rare to see on satsuma pottery. all the vase is over richly overpainted over the glaze with gold, which gives it its depth and realism. signed Kyoto Kinkozan zo, and sealed Kinkozan zo Kyoto’s Satsuma: The painting technique used in Kyoto’s Satsuma-style ware is said to be the invention of the sixth generation Kinkōzan Sōbei (1824–1884). The Kinkōzan were a famous family of Kyoto Awataguchi potters who made ceramics that were used at Shōren'in, a temple closely tied to the imperial family, and by the shoguns of the Edo government. In fact the shogun is said to have granted them the name Kinkōzan. With the upheavals at the end of the Edo period, however, and the reforms of the subsequent Meiji government, the potters lost their traditional patrons and had to develop new markets. Just at that time, the visit of a certain Westerner is said to have decided them to embark on overseas trade. By 1870, they had perfected Kyō Satsuma...

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...

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...

A finely decorated Japanese satsuma ceramic vase by Ryozan Okamoto (c.1820s-1910s) for Yasuda. Ryozan is the head artist working for Yasuda company, a Japanese ceramic makers and dea...