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Kyo-Satsuma vase with figures, flowers, and landscape scenes
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Details
- Associated place
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Asia › Japan › Honshū › Kyōto prefecture › Kyoto (place of creation)Europe (probable original location)
- Date
- c. 1890
- Artist/maker
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Hōzan (active c. 1900) (potter)Shunkei (active late 19th century - early 20th century) (artist)Uzaki (active late 19th century - early 20th century) (artist)
- Material and technique
- earthenware, slab-built and possibly moulded, with underglaze painting in blue, and polychrome overglaze enamels, including gold
- Dimensions
- 32.4 x 16 x 16 cm (height x width x depth)
- Material index
- Technique index
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- Object type index
- No. of items
- 1
- Credit line
- Presented by Mrs Ruth van Heyningen, 1990.
- Accession no.
- EA1990.1237
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Further reading
Impey, Oliver, and Joyce Seaman, Japanese Decorative Arts of the Meiji Period 1868-1912, Ashmolean Handbooks (Oxford: Ashmolean Museum, 2005), no. 20 on p. 44, illus. pp. 44-45
Impey, Oliver, ‘Reflections upon the Arts and Crafts of Meiji Period Japan with Reference to the Collection of the Ashmolean Museum’, Oriental Art, 42/3, (Autumn 1996), p. 12, illus. p. 13 fig. 4
Glossary (2)
earthenware, underglaze painting
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earthenware
Ceramic material made of clay which is fired to a temperature of c.1000-1200⁰c. The resulting ceramic is non-vitreous and varies in colour from dark red to yellow.
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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
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Second floor | Room 36 | Japan
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Second floor | Room 36 | Japan
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Japanese Decorative Arts of the Meiji Period
Earthenware vase of square section with everted neck and painted borders on neck and shoulders. The sides elaborately enameled with scenes of women and children and flowers and animals. Seal on base: Kyōto Hōzan. Each painted panel signed: Shunkei with different seals: Uzaki.
As the so-called Satsuma style in Kyōto increased in sophistication in such examples as this, and at the factory of Kinkōzan, the individual painters often signed their better work, though we lack information on their identities.
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