Japanese Porcelain Incense Burner 1970s Karabito

This is an incense burner which was made in Japan around 1970s in Showa era. This incense burner is made with porcelain. Dimensions: 6 x 6 x H8 cm

This is a small box which is made with porcelain. This can be used as KOURO (the box we use to put some incense which we use during a traditional tea ceremony.). And also as a jewelr...

This is a flower vase from Japan. It is made with porcelain and the design is a landscape. This flower vase was made around 1980s. Dimensions: 10.5 x 10.5 x H8.5 cm

This incense burner was made in 1920s (Taisho era) in Japan. On the top, there is a Komainu (Lions that guard the entrance or the honden of sanctuaries). It can use as incense burne...

Old Japanese porcelain lidded incense burner in the original box The lid with the lion, two pierced handles on each side, and four feet at the four corners to stand. This is an old...

A Chinese blue and white porcelain incense burner. Pictured in the book of Tang Ying Academy about the Kosometsuke exhibition in the Jingdezhen Yanshan Art Museum. Also with beuatifu...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was 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 artists 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. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs 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...

Chinese porcelain small lidded censer.