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Satsuma earthenware vase by kinkozan, Meiji period
$6,000
£4,535.31
€5,202.18
CA$8,364.25
A$9,105.16
CHF 4,833.03
MX$109,554.73
NOK 61,241
SEK 56,114.07
DKK 38,849.59
About the Item
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’s glazing technique and by 1872 they began their export in full scale. The Kyō Satsuma techniques invented by Kinkōzan Sōbei VI were then passed down to his son, Kinkōzan Sōbei VII (1868–1927), who further developed the ware.
Kinkōzan Sōbei VII (1868–1927)
The Kinkōzan continued to enlarge their business throughout the Meiji period to the point where the production of Kyō Satuma exceeded the original Satsuma made in Kagoshima.
Kinkōzan's climbing kilns
At the point of peak production, Kyoto's Satuma kilns boasted over 700 workers within a production complex over 4000 square meters in size. The ceramics were produced from two types of local clay taken from the outskirts of Awadaguchi and two types of clay from Koga in the neighboring Shiga prefecture. Painting, packing, and selling were taken care of within Kinkōzan workshops. At the time, Awataguchi was so crowded with ceramic workshops—including Obiyama, Yasuda, and Kusube—that it was said that the flames of the Awadaguchi kilns burned through the day and night.
The numerous collections of Kyoto Satsuma in Europe and the U.S. bespeak the success of Kyō Satsuma on the export market. Among the numerous museums with Kyō Satsuma holdings are the Victoria and Albert Museum in the U.K., the Guimet Museum of Asian Art in France and the Philadelphia Museum of Art in the U.S., which house Kyō Satsuma vases, incense burners, bowls, and dishes in their collections.
Kyō Satsuma production was initiated with an eye on the international market, and it reflects the trends of the late 19th century soon after Japan had reopened its doors, depicting Japan as the West wanted to see it. The heavy use of gold, the typical Japanese paintings of genre scenes or birds and flowers, and the many coffee cups and teapots produced all catered to Western preferences and life styles. Pairs of vases were frequently used as lamps or as decorations for fireplaces.
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