Six Kinkozan Bowls with Birds and Flowers of the Months, Meiji Period, Japan

A bold and unusual large 18.5" diameter Japanese gilt ground Imari porcelain charger featuring the Rokkasen, the Six Immortal Poets, Meiji Period, circa 1900, Japan. The impressive charger features a striking image of the Six Immortal Poets, known as the Rakkasen, seated in fenced pavilion within a lush garden setting and surrounded by numerous books and scrolls. Gnarled pine trees and and branches laden with plum blossoms tower overhead, while chrysanthemum and massive peonies bloom among rocky outcrops. The scene is unexpectedly and masterfully executed as if on a byobu, a traditional Japanese six panel folding screen. The screen is opened in a dramatic manner, slightly akimbo, almost jumping off the dish, reminiscent of the "screens within screens" genre that developed during the Edo Period. Despite the folds and changes in perspective, the painting remains harmonious and lyrical, with the fully gilt ground adding a sense of warmth and sumptuousness. The screen is bordered with a geometric bands in the shippo pattern. The shippo pattern features interlocking circles, and symbolizes the Seven Treasures. The shippo pattern on a larger scale serves at the background fo the rest of the charger. The backside of the charger decorated with two bands with underglaze blue designs. The reserve decorated with scattered stylized blossoms in iron red and gilt. The Rakkasen, known in English as the Six Immortal Poets, are a group of 9th century Heian Period waka poets whose works were included and praised by name in an anthology of poetry collected by the courtier, poet, and writer, Ki no Tsurayuki. Waka poems are a strict five line...

A nicely decorated Japanese Meiji Period Imari charger, late 19th century, Japan. The porcelain charger featuring a design of a hoho bird, or phoenix, per...

A fine and elegant Japanese Satsuma tripod incense burner, koro, with pierced metal lid, signed Eizan (?) Meiji Period, late 19th century, Japan. The koro, or censer, features a stoneware body of slightly compressed globular form, supported on three short and squat legs. The wide mouth with a recessed metal rim, and topped by an openwork metal lid topped with overlapping chrysanthemum blossoms of silver repousse. The body of the koro finely painted with fan shaped cartouches. The fans in the foreground with sprays of blossoming chrysanthemum. The fans in the background with intricate geometric brocade designs. The shoulder of the incense burner decorated with cartouches formed as stylized chrysanthemum petals, and intricately decorated with geometric and floral brocade designs. The painting finely done in raised gilt and polychrome enamels, including the highly desirable gosu blue...

A large 18.25" diameter Japanese Imari porcelain charger, Edo to Meiji Period, mid 19th century, Japan. The large charger of near flattened form and decorated in the typical Imari palette of underglaze blue with red, orange and green overglaze enamels and gilt highlights. The design is centered on a roundel with a dense design of scrolling peony blossoms and leaves in underglaze blue. Two large pictorial reserves of Shinto priests...

A small and finely decorated Japanese Satsuma tripod incense burner (koro), signed Kyozan, Meiji period, circa 1900, Japan. The censer, koro, with a compressed body supported by t...

A boldly decorated large Japanese Imari porcelain scalloped edge charger with koi fish, Meiji Period, late 19th century, Japan. The large, shallow charger features a central design ...

From our Japanese collection, we are delighted to offer this Japanese Meiji period Satsuma Bowl by Kinkozan. The earthenware bowl with pinched rim extensively decorated on both the exterior and interior. The bowl with a cobalt blue base glaze decorated to the borders with gilt shippo-tsunagi (linked-cash) with scattered medallion roundells. Around the exterior two elongated scenes are featured, one with boys playing games in a courtyard with the other featuring seated scholars in full dress both with raised enamel decoration. The interior features a central scene with Samurai warriors in training fully armoured with swords in a courtyard with landscapes scenes to the background. The central scene bordered by further stylised shippo-tsunagi type decoration with a greek key rim border. The bowl signed to the base Kinkozan dating to the Meiji Period (1868-1912) circa 1900. Shippo-Tsunagi (linked-cash) or seven treasures, is a traditional Japanese geometric pattern that combines four ellipses in a circle. These ellipses repeat outward to then create more circles, symbolising eternal peace and happiness. Kinkozan the Kinkozan family have been associated with pottery dating back to 1645. They went on to become the largest producer of Satsuma ware by one individual company, from the end of the 19th century until 1927 after which the factory closed. By the 1850s Kobayashi Sobei (1824-84), Kinkozan Sobei...

Painted with Two Snipe Amongst Iris From our Japanese collection, we are delighted to offer this Japanese Meiji Period Satsuma Plate by Kinkozan. The Satsuma Plate is extensively de...

The vase is potted in globular form with a tightly pinched neck and rolled top rim beautifully decorated with four highly detailed individual panelled scenes. The first a Geisha bari...

Kinkozan, Japanese Satsuma vase, Meiji Period (1868-1912) Of baluster form with an elongated neck decorated in polychrome enamels and gilt on a clear crackle glaze in an Art-Nouvea...

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...

A large and rare Japanese ceramic vase of exceptional quality from late Meiji period circa 1900-10s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export cer...