Makuzu Kozan Decorative Objects

A pair of porcelain vases in classic form, decorated with underglaze blue and copper red painting by Imperial potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916), Makuzu was one of the most established and collected ceramist known to the west from Meiji Period. The vases are in a classic Chinese form called "Bang Chu Ping" (grain-mallet vase...

Made by the studio of the legendary Japanese imperial potter Makuzu Kozan (1842-1916), this is a large porcelain vase glazed in a soft yellow color with a subtle gradient, on top of ...

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...

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 porcelain ewer with fine underglaze iron red, brown and blue decoration made by the legendary Japanese imperial potter Makuzu Kozan (1842-1916), this relatively rare piece is dated to circa Meiji 23rd to 26th year (1890-1893) based on the mark used on the base. This is the starting period when the artists departed from his high-relief and gold gilt period and started focusing on making porcelain pieces with underglaze paint and experimented new colors. The ewer form is also relatively rare in the artist's survived repertoire compared to other forms. The piece takes its shape from the prototype Chinese...

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...

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 around 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. With a relative large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional misty winter landscape. The pine trees with upright trunks and down-sweeping branches appear receding into the depth of the mist, forming an visually unending forest. Known as one of the most creative ceramists, around 1880s, 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...

A porcelain vase with dragon design by Japanese imperial potter Makuzu Kozan (1842-1916), circa 1900s. The vase is made in what is considered early phase of his underglaze period during late Meiji era. In a classic baluster form, the surface of the vase was decorated with a slithering dragon in underglaze iron red circulating the exterior among pink clouds. The animated rendering of the dragon is fine and detailed, with five claws, scales, long tails and highlighted eyes. The pink cloud is misty and called Morotai or the hazy style, created with a unique technique developed in Kozan's studio called fuki-e by blowing the pigment powders onto the surface. Kozan Studio experimented with newly available colors from the west starting in the 1880s, which resulted in the expansion of the palette and style that bridged the east and west aesthetic tradition. Marked in underglaze blue on the base. Known also as Miyagawa Kozan...

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...

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 around 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. With an impressively large size, this vase was likely made and reserved as a presentation piece for one of the many expositions the studio participated in the early 20th century. It was decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional literary landscape known as "Mountain and Water". Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs 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...

A rare published glazed ceramic bowl with surface paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916) with its original inscribed tomobako storage wood box. Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and specifically, the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold sweet cakes during the tea ceremony. It has a very distinguished form with a circular swelled lower body morphing into a square upper portion that further opening with flared rim. The surface has a distinct glaze pattern partitioned diagonally in black and brown. On top, snow-covered branches of prunus flowers were painted overglaze in a poetic near-abstract fashion. Blooming in winter, prunus flower is the symbol of the season and cherished for its resistance to cold. The bowl was likely reserved for the tea ceremony during the winter months. A white porcelain plaque with Kozan in black inlay was placed on the black glaze toward the bottom. Under the base, the bowl was further branded with two incised characters "Makuzu" as shown. The original tomobako bears ink inscription and paper slip label "Sweet Bowl...

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

A rare porcelain vase by Makuzu Kozan (1842-1916) circa 1870-81 (late Meiji period). The vase is dated to the earlier work from Kozan's studio during his early period (Takauki-ware p...

An extremely fine and delicate porcelain bowl from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected cer...

A porcelain vase with dragon motif by Japanese imperial potter Makuzu Kozan (1842-1916), circa 1900s. The vase is made in what is considered early phase of his underglaze period during late Meiji era. In a classic elongated baluster form, the surface of the vase was decorated in an unusual pink mist on a white and aubergine background (called Morotai, the Hazy style), on which a flying dragon is showcased on the center. The dragon was outlined in iron red and filled with the aubergine color and was artistically emphasized on its bulging eyes, claws, scales and a long tail. It was the sole focus of the design circumventing the entire body of the vase. The imagery calls in mind the dragon decoration found in Korean...

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1887-1910. Dated to his underglaze phase post 1887 after he successful...

Two small nearly identical ceramic vases by Japanese Meiji imperial potter Makuzu Kozan (1842-1916), circa 1890-1900s. The vases were made in the form of jarlet with swelled shoulder...

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...