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 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...

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 fine antique signed Japanese Imari porcelain bowl. In the form of a shaped bowl with a plum-like shape. Decorated throughout with exquisitely detailed painted or enameled dec...

A large earthenware bowl with a deep and wide body supported on a foot ring decorated with incision and slip paint circa 11-12th from Iran when ...

Handcrafted Japanese ceramic bowl signed Jin Kobayashi. Large stoneware plate hand made and hand painted with autumn leaves design. Hand-carved ge...

A ceramic bowl with celadon glaze by Japanese potter Ono Kotaro (Japanese, b. 1953). Named "Circular Reef", the fine porcelain bowl features an irregular ed...

A finely decorated and glazed Japanese porcelain vase by Makuzu Kozan (1842-1916) circa 1900s Meiji Period. The vase is of a classic bottle form with baluster body and short neck. It was decorated with underglaze white magnolia blossom on a pleasant celadon background. The stamens of the flower were artistically rendered in a low relief, giving the design a realistic appeal with the dimension. Miyagawa Kozan...

A Japanese long neck porcelain vase circa 1900-1910s by the studio of Miyagawa Kozan (1842–1916), one of the most established and collected Japanese ceramist from the end of Meiji Period. Commonly known as Makuzu Kozan, which also appears as the signature on his work, his originally birth name was Miyagawa Toranosuke. He was the appointed artist to the Japanese Imperial household and his work was exhibited in many international fairs that the Meiji government participated at the turn of the century. This vase features an elegant Classic form with a slender neck and slightly flared mouth above a baluster body. It was finely painted with two swimming carps in a copper red underglaze among green ribbons like waves. The background display a brilliant verdant green overall, Around the fish a poetic hazy effect was emphasized for a visual complexity by Fuki-e (the blow painting), an invention in Kozan's studio. The new technical development of chemical colors from the west was embraced circa 1900s in Kozan studio. This empowered the more creative experiments with not only colors, but also concept of dimension, which led Makuzu Kozan's work to become a bridge between East and West aesthetics. This is particularly evident in this vase with the Masterly details of the brush strokes, the expertly employment of gradient of color, and a very realistic and detailed rendering of the fish and their vivid motions. For two similar examples of Kozan's work with similar carps decoration, see Page 148-149 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

A striking blue and white vase 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 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. Of a relatively large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design 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 Taikan...

This is a good and very decorative porcelain footed deep bowl, hand-painted in polychrome enamels and dating to the second half of the 19th century, circa 1860, Meiji period. The bo...