Antique Japanese Meiji Period Satsuma Vase By Hozan

Dai Nippon Tomoyama zo 大日本 友山造

From our Japanese collection we are delighted to introduce this unusual Japanese Satsuma Vase by Hozan. The Satsuma Vase of good size potted in ovoid form with a rolled rim and pinched neck is beautifully executed with two large scenes. The first scene features a highly unusual painting with a vast mountainous landscape filled with trees, pagoda buildings, figures and a river. To the foreground five figures are seen in poses as they try to jump out the way of a spilled basket of octopus, fish, and lobsters, a wonderful and highly detailed scene which is a rare composition. The rear scene is painted with large trees and overhanging cherry blossom with a ground of foliage and stunning blossoming Peony 牡丹 flowers amongst others, there are a flock of birds to the top right hand corner with green-blue hues. Each scene is bordered by a thick risen enamel gilt border to the top and bottom with a cobalt body with gilt draped and scrolling vines and a forms of the Paulownia Seal. The base of the Satsuma Vase is signed in gold with a Shimazu Mon and six character mark reading 大日本 友山造 Dai Nippon (Great Japan) Tomoyama zo (made by hozan) and dates to the Meiji Period (1868-1912) circa 1895.

Peony 牡丹 in Japanese it is known as the King of Flowers (botan). The peony is a Japanese flower that is used as a symbol of good fortune, wealth, nobility, bravery and honour.

Shimazu Mon Shimazu 島津 is the name of the clan family that ruled the Satsuma province and the family crest, the Mon is a cross with a circle. The earliest Shimazu Mon was painted in Gosu blue and was believed to be painted in direct relationship to the Shimazu clan and often pre Meiji Period. A mon that is depicted in black, gold or red has no direct link to the Shimazu family and always dates from a period after Edo.

Paulownia Seal is a symbol that took inspiration from the Paulownia tree. It was used by the Toyotomi clan who ruled over Japan before the edo period. It is written in Japanese history that when a paulownia leaf falls, the world’s autumn is known. The ‘world’s autumn’ implies the changing of the dynasty. Since paulownia leaves are the crest of the Tyotomi family that ruled Japan in the sixteenth century and was ruined by the Tokugawa, the word hito ha (“one paulownia leaf”) implies a sort of sadness. The Paulownia seal is used today as the official emblem of the Japanese government.

Satsuma ware is a type of earthenware pottery originating from the Satsuma province in Southern Kyushu, Japan’s third largest island.

Meiji Period was an era of Japanese history that spanned from 1868 to 1912. It was the first half of the Empire of Japan, when the Japanese people began to build a paradigm of a modern, industrialised nation state and emergent great power, influenced by Western countries and aesthetics. As a result of radically different ideas, the changes to Japan were profound and it affected the social structure, politics, economy, military, and foreign relations across the board. The period corresponded to the reign of Emperor Meiji and was preceded by the Keio era and was succeeded by the Taisho era.

Cultural Art during the Meiji Period was of particular interest to the government and they overhauled the art export market which in turn promoted Japanese arts via various world’s fairs, beginning in Vienna at the world fair in 1873. The government heavily funded the fairs and took an active role organising how Japan’s culture was presented to the world including creating a semi-public company named Kiritsu Kosho Kaisha (First Industrial Manufacturing Company). The Kiritsu Kosho Kaisha was used to promote and commercialise exports of Japanese art and established the Hakurankai Jimukyoku (Exhibition Bureau) to maintain quality standards. For the 1876 Centennial International Exhibition in Philadelphia, the Japanese government created a Centennial Office and sent a special envoy to secure space for the 30,000 items that would be displayed. The Imperial Household also took an active interest in arts and crafts, commissioning works by select artists to be given as gifts for foreign dignitaries further emphasising the high quality and importance of Japanese art. Just before the end of the 19th century in 1890, the Teishitsu Gigeiin (Artist to the Imperial Household) system was created to recognise distinguished artists. These artists were selected for their exceptionally high quality wares and talent in their own industry. Over a period of 54 years Seventy artists were appointed, amongst these were ceramicist Makuzu Kozan and cloisonné enamel artist Namikawa Yasuyuki.

Condition report:

Good. Wear consistent with age and use.