Our last “Featured Item of the Month” for 2024 is something we think is a little bit special.
This beautifully decorated vase bearing the signature of “Sozan” has quickly become one of our favourite pieces of Satsuma-ware and it is one of the finest works by the Principal artist of the Kinkozan Studio that we have ever seen.
In this blog, we take a closer look at the subject and the symbolism found in this sumptuous example of Japanese, Meiji-era, (1868-1912) master craftsmanship.
About the artist: Sozan
Sozan was the principal artist at the Kinkozan workshop in Kyoto, like many artists of the time, his birth and death dates are not recorded, but he left behind many impressive works.
We do know however that he was active during the Meiji Period (1868-1912). Herbert Ponting, a documentary photographer visited the Kinkozan workshops in 1904 and documented it in his book ‘In Lotus Land Japan’ he described the scene ‘...these artists work in little houses in the garden, where weeks and sometimes months are spent on the embellishment of a single vase.’
Kinkozan owned a huge complex, and within this, small pavilions were placed in a tranquil garden. These isolated, quiet work-spaces were reserved for the finest artists, giving them space to create their masterful works. Only a few artists were deemed skilled enough to be allowed to sign their own name on Kinkozan works, Sozan was one of these and many of his works were destined for exhibitions and exclusive clients around the world.
The Tiger depicted below features on another superb vase from Sozan that we currently have in our collection. Click on the image to take a closer look.
It is likely that this vase was for an exhibition or a favoured client, as the signature to the underside is itself a work of art. It sits within a floral painted border and is rendered as carefully as the decoration on the main panels of the vase. Signatures like this are few and far between and are reserved only for the most impressive works.
The main body of the vase is a stunning depiction of the “Yushoin” (Mausoleum) at the Zojo-ji Temple complex in Tokyo.
This beautiful structure formed part of the family temple for the Tokugawa Shogunate and is recognisable by the opulently carved Dragons on the gateposts along with the “Chokugakumon” (Gate with an Imperial Inscription) which reads Yushoin and was written by Emperor Nakamikado.
Tragically the Mausoleum was destroyed along with other buildings in the Complex during a World War II air raid on March 10th, 1945. The Nitenmon Gate (the original entrance to the complex) remains and has been restored to its former glory.
The below photograph, (Credit: Felice Beato) shows the Mausoleum entrance. Felice Beato, an Italian, was one of the first Western photographers to settle in Asia. He dedicated his career to documenting life in the Far-East. This photograph was most likely captured between 1863 and 1877 when he was living in Japan. Interestingly, this is the same period that our vase will have been made… the first half of the reign of Emperor Meiji.
We love both depictions of the Zojo-ji Yushoin and we are just simply grateful that although the building is no longer standing, there are still these wonderful images documenting its existence.
This vase also offers a fascinating insight into the personality of the artist.
It’s highly likely that Sozan was an Ornithologist or at the least, had a real interest in nature. The reverse of the vase (which we think is of equal interest) features a highly complex scene showing literally hundreds of birds.
The scene is set amongst the boughs of a large pine tree on the banks of a river. A cottage can be seen in the background, and through the window, a silk weaver is working at his loom, seemingly unaware of the spectacular and diverse flock that has gathered just metres away.
All the birds are rendered in minute detail with each one (many of which, only a few millimetres in size), an accurate representation of its real-life counterpart. The skill, care and accuracy suggest that Sozan may well have been an avid bird-watcher. It is unlikely that someone who didn’t have an interest in birds would have chosen such an intense scene, to no doubt spent many weeks perfecting.
We are not as avid twitchers as the artist, but we have tried to identify as many different bird species on the vase as we can and of course we welcome any corrections or further identifications that we may have missed out.
Contact Us by Clicking Here if you spot any that aren’t listed below.
Red Crowned Cranes, including a nest in the tree: These iconic birds are a popular symbol of family, legacy and longevity.
A Hawk: Another popular subject in Japanese art, the Hawk is a symbol of Nobility and Wealth.
Several Chickens (Cocks, Hens and Chicks): These domesticated birds play a significant role in Shintoism as they are seen to bring in the new dawn. They also represent love, luck and prosperity.
Egrets: Another iconic bird in Japan associated with Earth and Water.
Mandarin Ducks: This beautiful species of duck represents Happiness.
The Wood Pigeon: Another bird with links to Shintoism and the Wood Dove is associated with the Deity of Archery and War.
Oriental Turtle Dove: This bird is a global symbol for Peace
Taiga Bean Goose: Representative of Nobility
Sparrow Hawks (A family of four including their young): A further representation of Nobility and Wealth
Green Pheasant: In Shintoism, the Green Pheasant is an important Messenger
The Common Crane: Representative of longevity
Sparrows: Another symbol of longevity
Japanese Magpies: More colourful than their European cousins, Japanese Magpies are associated with Intellect
The rust-brown ground of this vase is unusual in Satsuma ware. Kinkozan works especially, were well known for their iconic deep blue. These brown ground vases are seen a lot less often and the choice of this earthy tone pairs exceptionally well with the two main panels providing a warm hue to the entire vase and complementing the rich tones used throughout the painting. It features a simple gold floral border and golden and red Autumnal leaf motif.
The decoration n this exquisite example of Japanese Meiji-era master craftsmanship is completed with two slender rectangular panels on a teal ground and with beautiful, cascading Wisteria.
One final amusing detail we noticed when we took a close look at the detail on the vase. We spotted an inscription written on a panel just inside the entrance to the Mausoleum and wondered if it might be a poem or maybe a hidden message from Sozan himself so we had it translated…
“Nurimono ni te wo fereru bekarazu” or in English, “Do not touch the lacquered surface of the building.”
We hope you enjoyed this article. If you did, you can browse over 100 blogs and stories inspired by our collection of Chinese and Japanese Fine Art and Antiques by Clicking Here.
