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Hi, All.  Here is a charming little weekend find. It is a barrel-shaped Japanese planter (roughly 6" high and 6" wide), reticulated around the top and covered with garden insects, including a snail, cicada, dancing grasshopper(!), and a praying mantis, plus several other flying insects and flowers. I have never seen this before--is it a common style?
The glaze, as you can see, is a pale brown (lighter than latte, more of a milky tea). It doesn't really get darker towards the bottom--that's just the lighting. I think it is Satsuma, although the paste looks a little like a grainy porcelain. The hole in the bottom has some chips on the inside, but it is glazed on the outside, so it was there from the beginning. Â
The vase is signed, and using Gotheborg, I think I have translated as "____ kozan made"--but I can't read the first character, and there are a lot of "___kozan" in the list of Satsuma kilns.  Is it Kinkozan? Anyone willing to offer an opinion?  If it is Kinkozan, any idea of the age?
(OK, he looks like he is dancing to me, so that is my interpretation!)
Â
Thanks,
Charles
my guess would be 1950s ...but lets see what others have to say.
i like it ...pretty thing
Hi Charles,
I dont think it's by the hand of kinkozan sobei the 7th (last of the masters). Said factory closed in 1927 after his death. I see/know why you think it's possible by the hand of kinkozan. By the mark shown in the gotheborg site.Â
I am terrible with Japanese marks etc. Here is a example of kinkozan sobei 7th and kinkozan from Meiji period.Â
Personally I think the style is inconsistent with kinkozan 7th. So kozan?
It's a nicely detailed piece that in my opinion is from the late Taoshi (1912-1926) to early Showa (1926-1989). So 1920's-1930's.
Just my thoughts and opinion. 🙏
MarkÂ
Hi Charles,
I really like insect depictions, they give a light-hearted, warm feel to pieces. I love your little planter, so pretty. I keep thinking it is bigger, by the form. My guess would be later for this, 2nd half 20th. But by a skilled artist. I could easily be wrong, just an overall feeling. Some aspects seem older, such as the mark and the quality of the work, but the glaze and enamel colors seem less old. So, I am very interested to get a more definitive answer about the age. Its not a common type or a mass produced thing.Â
Todd
take it with a grain of salt
Interesting post by Todd.
I was just viewing the mark and the sobei 7th example in more detail. It's not consistent.
However if you compare it with Meiji one I posted some of the marks are consistent with each other. But a bit stiff and rigid. The quality is good but not master standard in my opinion.Â
Ahhh the mystery continues with this one. I do hope others chim in with their thoughts and opinions.
MarkÂ
Did you check Satsuma, The Joy of Beauty on the reference case? I love it, it is too pretty to place outside, so get yourself a houseplant or adapt to a different use. Kinkozan won a medal at the 1904 World's Fair in St. Louis. I think the praying mantis is especially lovely. Looks like morning glory and bachelor button flowers to me. Sharon
Hey Charles,
It is Kinkozan.
This style being one of many pieces produced in a KyĹŤtĹŤ location largely focused on exporting what some may currently call Awata-ware; and starting originally as a joint venture between Sobei VI and Taizan Yohei XI.Â
Nice piece; I imagine it was designed as either a jardiniere or a brazier of some form.
-JRN
Thank you very much! With that information, I was able to look up Kinkozan Sobei VI production of Awata ware for export, and it started in 1869. The Kinkozan kiln shut down in 1927, so that gives me a range on the age. I found pieces with somewhat similar motifs and glaze online, with some people claiming they are Meiji, but that may be wishful thinking...
Charles
Â
Hey Charles,
Glad it was of some assistance; and hope your research treated you well!
(I also don’t think anybody would fault you for a Meiji dating range for your charming piece if you were still wondering).
@imperialfinegems
Dear Mark,
The wide range of production types also sometimes leaves me scratching my head, too..
I think the prolific nature of his “brand”/workshoppes’ productions (and their ranging styles) show what an astutely capable businessman he was; on par with his gift to turn out gorgeous works by his own hand when he felt called to..
-JRN
Â
@JRN,
Thanks for that. If my memory serves me I believe kinkozan had about 3000 artists working for him at his height of production. So not all end products would have been of the same quality imo. Especially with so-many artists in board!
His by hand would have been the superb.
MarkÂ
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