Makuzu Kozan II Furniture

Mizu ( 水 ) ~ (n) water Our Mizu bowl comes with 3 short legs. It would look elegant on its own or as a keeper of trinkets or potpourri. This Mizu bowl is the kind of piece to creat...

Mizu ( 水 ) ~ (n) water Our Mizu bowl comes with 3 short legs. It would look elegant on its own or as a keeper of trinkets or potpourri. This Mizu bowl is the kind of piece to crea...

Japanese Meiji period satsuma scalloped shaped bowl. The bowl of beautiful form with gilt pin-striping and dotting to the accented areas. The exterior decorated with multiple fish swimming around the outside with small flower sprays between. To the inside a painted netting covers the bowl with butterflies and further floral sprays. The centre decorated with representations of each of the woodcut prints from Hiroshige's Tokaido gojusan tsugi (53 Stations of the Tokaido Road). To the base a stylised cartouche signature within an oval for Suizan.  This Japanese satsuma bowl...

Nicely made artifact of high quality. Condition No damages, just some ware due to age. Size 180mm wide 110mm depth 50mm high Period 19th century 20th century Meiji Perio...

Mizu ( 水 ) ~ (n) water Our Mizu bowl comes with 3 short legs. It would look elegant on its own or as a keeper of trinkets or potpourri. This Mizu bowl is the kind of piece to creat...

This blue and white ceramic Chinese pot is decorated in Classic blue spiraling vines sprouting from a center flower on a white background. There is also an animal figure laying down ...

A impressively large and unusual stoneware vase in an urn shape 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 circa 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. This vase is dated to the end of Makuzu's life circa 1910-1916 based on similar work created around that time. After achieving domestic and international fame, Makuzu retired and handed the business to his son Hanzan in 1912. He dedicated his time to other selected projects that were more in tune with Japanese sensibility than export aesthetic. He made a group of stoneware pottery pieces inspired by Edo master like Ninsei and Kenzan as well as his own poetic creation. This piece is attributed to that period. Standing of an impressive size, this vase is more like an urn, made with stoneware instead of porcelain. It was coated with a brown iron glaze with a slight translucent quality. Underglaze whit slips were used to draw low relief decoration of bamboo leaves that sparsely scatter on the surface. Slightly more elaborate scrolling vines and autumn flowers circles under the mouth rim. Same white slip inlay was used to sign the vase under the base. The whole effect of the piece is unusual. With its dark glaze in contrast with the sparse white decoration that is more abstract and geometric than realistic, it appears almost modern with an Art Deco flavor. For stoneware urn and vase in the similar genre by Makuzu Kozan: see figure 113 on page 182 of "Sekai ni Aisa Reta ya Kimono" MIYAGAWA KOZAN MAKUZU...

A stunning pair of ceramic vases with gilt, paint and high-relief decoration by imperial artist Makuzu Kozan (1842-1916, also known as Miyagawa Kozan) circa 1876-81 (late Meiji period). These vases belong to early period (1876-1881) of Kozan's repertoire, during which time the high relief sculpturing (known as Takauki ware) was used as a distinguished technique on top of the traditional gilt and paint ornaments of satsuma ware. Due to the relatively limited production and the fragile nature of these wares, not a large quantity of the examples remained in the first place, not mentioning a fine matching signed pair in such impressive sizes. Not only a rarity, this pair of vases is also superb in workmanship, thus the fine example of the work from that short and unique period of the artist's career before he switched to the underglaze period. In a conceptually mirrored fashion, the surface is richly decorated with flying cranes among large lotus leaves and flower, like an idyllic aqua scenery of pure poetry on a circular scroll. The high-relief appliques were rendered and composed in realistic fashion but with a dramatic touch. They are literally about to break the surface free, alive and in motion. The dark colors of the glaze were used to set a moody tone. The approach to create this type of ornamentations is more akin to sculpturing an ink painting in three-dimension than ceramic making. It is not hard to imagine the demand of both the artistry and the technique. Both vases were signed as "Makuzu Kozan Kiln" and each further with another name and seal, which are most likely the individual artist involved in the making process. Similar signatures can be seen in the reference book below. For similarly Takauki vases, see Miyagawa Kozan Makuzu...

O/1393 - This bowl is more antique tha I wrote. This is one piece from a large collection of ancient pottery, gathered 35 years ago and never exhibited to the public. I woud like to sell...

A large Japanese ceramic vase by the celebrated Meiji imperial potter Makuzu Kozan (1842-1916) circa 1880-1890s. Dated to his underglaze phase post 1887 after he successfully mastered the new colors available from the west and used them to the best advantage in his work deeply rooted in Japanese aesthetics. The vase has an impressive size and was potted in the classic baluster form with an elegant proportion. The surface is decorated using a combination of techniques of low relief sculpturing...

Very unique tall Japanese vase with abstract pattern in a variety of brown tones. The deepest brown glaze is raised, giving the vase a wonderful tac...

A Japanese hand-painted porcelain jardiniere.