Milan - Ceramics

Satsuma ceramic vase with disc shape, with a cobalt blue background enriched with fine golden details and reserves that house the three mons. Signed Kinkozan under the base, inside ...

A Satsuma vase characterized by three oval reserves adorned with naturalistic representations. One of the reserves depicts a flying bird among flowers, above a striking rocky water passage. Scenes of daily life and landscapes are portrayed in the other reserves. In one of them you can admire geishas, samurais, and carako beneath a majestic blooming cherry tree. While in the other one, there is a characteristic Japanese house overlooking a picturesque watercourse. These compositions evoke a sense of harmony between humans and nature, capturing traditional Japanese aesthetics. The sides of the reserves are decorated with gold, which assumes pastel tones ranging from green to red and harmoniously blends with the floral motifs. In this satsuma vase the quality and decorative perfection of the applied gold are excellent. Signed by Ryozan Yasuda Company Ryozan is a renowned brand in Japanese ceramic art, which gives this piece added value in terms of authenticity and craftsmanship. The craftsmanship of this company’s artisans is evident in every detail, from the precision of the lines to the vivid colors used. The vase represents an authentic work of art that embodies the rich artistic tradition of Japan. Its generous size and the beauty of its decoration make it not only a piece of historical and artistic value, but also a fascinating testament to Japanese culture. The signature of Ryozan Yasuda Company further adds value and authenticity to this extraordinary work of art. Its name is synonymous with quality and craftsmanship in Japanese ceramic art, and this Satsuma vase is a tangible witness to that legacy. The combination of naturalistic elements and scenes of everyday life in this work truly captures the unique soul and aesthetic of Japan. In conclusion, this Satsuma vase is more than just a work of art. It is a treasure that tells stories, captures emotions, and celebrates the beauty of Japanese nature...

Large ceramic plate from Satsuma depicting a Phoenix 鳳凰 about to take flight with wings spread wide and long feathers fluttering finely decorated with gold and relief glazes. Signed...

Pair of Satsuma vases made of finely hand-decorated ceramic depicting scenes with geishas and scenes with monks, dragon-shaped handles. Japan, last quarter of the 19th century. On th...

This powerful mizusashi is characterized by the strong asymmetrical decoration; it exudes a raw energy that is inescapable, naturally drawing viewers in closer to ponder the dynamics of its creation. The body is naturally ash-glazed (shizen-yu) on one side, while the rest is left in plain clay with some light effects of koge (burn area) and hidasuki (reddish marks obtained burning straw on the clay). The glazed side, the one to be shown to guests during the tea ceremony, is decorated with a unique pattern as a result of a natural glazing caused by the ashes in the kiln: as more wood is burned, ash builds up to the face of the pot and fuses with the clay body, creating a glaze with stunning effects. The intense and nervous pattern has inspired the name Matsugane (Pine root), inscribed in red lacquer on the mizusashi by Gengensai (1810-77), 11th master and prominent figure in the Urasenke school, and Japanese tea ceremony history altogether. Gengensai also inscribed and signed the mizusashi’s box together with his pupil Somi Fukatsu, while another box is signed by Hounsai (born 1923), 15th master of the school. The interior is richly decorated in hidasuki. The mizusashi is the largest utensil of Japanese tea ceremony; it contains the fresh water used to prepare the tea and to wash the tea-bowl and the bamboo tools. During the Muromachi period (1336-1573) Chinese vessels were used for this task but at the beginning of the Momoyama period (1573-1615), Bizen and Shigaraki wares were already more popular. The production of Bizen pottery (Bizen-yaki) started by the late Kamakura period (13th-14th century), taking its name after the place where it was made, Inbe, in Bizen province (now Okayama prefecture). Bizen-yaki ceramics are recognizable by their almost metallic hardness and their red-brownish color. The natural glazed effect and the eventual markings on the surface are consequences of the action of ashes during the firing process in the kilns; the result is an impressive variety of wares, each with different shape and surface effects. This Ko-Bizen mizusashi reflects the taste of wabi-sabi Japanese aesthetics. Its beauty is discreet and derives from its natural imperfection. Shin’ichi...

With a tactile surface texture decorated with an asymmetrical design painted between green-glazed areas, this dish is a typical example of Green Oribe (ao-oribe) ware. The glaze fire...