Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art

Ashmolean − Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art

Miyagawa (Makuzu) Kōzan (1842-1916)

Discover our beautiful collection of works by one of Japan's most influential artists.

Miyagawa (Makuzu) Kōzan (1842-1916)

Collection trails: 1 object

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Baluster vase with cartouches depicting Mount Fuji, samurai, and chickens

Glossary (2)

porcelain, underglaze painting

  • porcelain

    Ceramic material composed of kaolin, quartz, and feldspar which is fired to a temperature of c.1350-1400⁰c. The resulting ceramic is vitreous, translucent, and white in colour.

  • underglaze painting

    Painting applied to ceramic material before a transparent, or monochrome or coloured glaze for Islamic objects, is applied. The technique was initially developed in China.

Location

    • Second floor | Room 36 | Japan

Objects are sometimes moved to a different location. Our object location data is usually updated on a monthly basis. Contact the Jameel Study Centre if you are planning to visit the museum to see a particular object on display, or would like to arrange an appointment to see an object in our reserve collections.

 

Publications online

  • Japanese Decorative Arts of the Meiji Period 1868-1912 by Oliver Impey and Joyce Seaman

    Japanese Decorative Arts of the Meiji Period

    Squat baluster porcelain vase with moulded white body and three panels painted in underglaze copper red with chickens, temple buildings in a landscape with Mount Fuji and samurai with attendants beside a stream. Silver mounted rim. Signed with underglaze blue seal-mark on the base; Makusu gama Kōzan sei (made at the Makusu Kōzan kiln).

    The deeply moulded pattern resembles that on a vase, now in the Khalili Collection, that Miyagawa (Makuzu) Kōzan (1842-1916) exhibited at the World's Columbian Exposition in Chicago in 1893. His family name was Miyagawa, but he is usually referred to by his art name, Makuzu. His kiln was at Ōta, in Yokohama, and such was his versatility that he was sometimes, in his lifetime, called 'The wizard of Ōta'. Kōzan was so eclectic in his choice of styles that it is difficult to date his work; the most successful dating system is based upon the shape and style of signature, for he seems to have changed the signature several times. The blue and white seal-style signatures are actually written, not stamped.

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