Japanese Contemporary Blue Pink Platinum Porcelain Vase by Master Artist, 2

Exquisite contemporary Japanese gilded porcelain vase, intricately hand painted in shades of blue and pink on a beautifully shaped body, a striking signed work by highly acclaimed master artist from Arita-Imari region of Japan. In 2016, the British Museum added a work by this award-winning artist to its collection of contemporary Japanese porcelain in the Imari-Arita polychrome enamel tradition. Yu-riko or underglaze-red that is used in creating this piece is a technique that uses a copper-based colorant for underglaze painting that develops a red color under a transparent glaze. This technique is traced back to 14th century China...

Exquisite Japanese contemporary decorative porcelain vase, elaborately and intricately hand-painted in blue and pink on a beautifully shaped piece to create a translucent surface. It...

Contemporary Japanese decorative porcelain vase, hand painted in blue, purple and yellow set against a beautiful bottle shaped porcelain body in plati...

Exquisite contemporary Japanese dimpled decorative porcelain vase, hand painted in vivid blue, green and pink on an elegantly shaped porcelain body against a striking platinum background, a signed piece by highly acclaimed award-winning Japanese master porcelain artist in the Imari-Arita tradition. In 2016, the British Museum added a work by this artist to its collection of contemporary Japanese porcelain, a large lidded jar in the Imari-Arita polychrome enamel tradition. The artist is the recipient of numerous awards for his exceptional porcelain work and his unique signature gold and platinum work on porcelain. This elegant vase is the perfect canvas for a stunning floral pattern, set against a dimpled platinum background. The artist continues the platinum work to decorate the inside of this magnificent piece. The unfired porcelain shell is impressed with hundreds of dimples, to which gold and platinum are applied at the final stage of production. The dimples are designed to accentuate the luster of the precious metals by varying the thickness of application and allowing the cratering to convey a sense of depth. “Fired-on gold,” his signature style, highlights unique techniques for incorporating gold and platinum into the hand painting and multiple firing processes that yield a stunningly opulent look. The polychrome overglaze is fired at 800 degrees, followed by the application of gold and platinum that are fired at slightly lower temperature to maintain the luster of the precious metals. As a result, a single piece may undergo as many as five-ten firings. This artist's profile is available upon request. This stunning decorative porcelain vase showcases elegant Japanese toad...

Large decorative vase in light blue majolica, glazed in polychrome, characterized by the elegant presence of ornamental motifs in the shape of feathers which magnificently enhance it...

A Showa period blue cloisonne vase by Tamura, of squat ovoid form with a band of gold, silver and white prunus blossom in gin-bari around the shoul...

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...

A large Japanese cloisonne enamel vase by Tamura This large high shouldered vase has a single stylized blossom against a spray of foliage within scalloped borders in shades of turqu...