satsuma dwa niezwykle bogato zdobione złotem stare fajansowe wazoniki

bardzo ładne grubo ręcznie zdobione złotem wazoniki z gejszą grająca na Moso Biwa (盲僧琵琶) o dwóch gryfach… bardzo piękny rysunek twarzy- fryzura – kimono – światło na tych rysunkach malowane jestgruba warstwą 24k złota- widoczne są płatki złota nakładane na glazurę. Pod glazura miejscami widoczny pajączek peknięć- co świadczy o tym, że ta ceramika jest bardzo stara. Kołnierze wazoników są bardzo cienkie jak porcelanowe- co świadczy o wielkim kunszcie artysty, który je wykonał. Na jednym z wazoników mamy sygnaturę pisaną na brzuścu- 3 ½ i hieroglify… co również może świadczyć o wieku- od 1854- USAnie wpuszczało żadnych produktów z Japonii bez uzgodnionych sygnatur… a ta nie jest podobna do niczego co można znaleźć… zatem kolekcjonerzy do pracy!!!

Wazoniki Maja 9 cm wysokość – średnica 7,8 cm od ucha do ucha 9 cm- kapią złotem- technika zdobienia z kropeczkami emalii w czystych kolorach- nawiązuje do techniki stosowanej na porcelanie Satsuma… ale twarze dziewcząt – nie przypominają okragłolicej bogini szczęścia Okami… raczej są to te które szczęście w jej imieniu rozdają- czyli gejsze…

Polecam.

Satsuma

The typical Satsuma ware we most of the time comes into contact with is a yellowish earthenware usually decorated with a minute decoration with Japanese figures, expressive faces or detailed oriental landscapes, or sometimes embellished with vivid dragons in relief. This ware is in fact an export product specifically designed in the mid 19th century to cater to the western export market. The Japanese themselves had very little interest in this ware.

From around the 1890's to the early 1920's at least twenty and possibly more studios or factorys were producing "Satsuma" wares of which much were of low quality and destined for the European and American export markets. At the same time, artists studio's were producing wares of the finest quality.

Most of the marks below will detail this ware since there were many masterpieces created during its hay day and several studios have created eternal fame for their names with these magnificent wares. It is easily recognized by its finely crackled glaze and by the fact that its earthenware body does not "ring" when tapped. The production soon spread to several cities such as Kyoto, Tokyo, Nagoya, Yokohama and elsewhere throughout Japan, from the Meiji period (1[zasłonięte]868-19) up until today.

Satsuma Han however has a much longer history than that. If you click the map icon to the right you will find this as the Satsuma area on the southern Kyushu island. The first historical kilns here were established by Korean potters in the late 16th century. These first wares were stone wares, covered with a thick dark glaze and are so rare that only museums might have a few to show.

The success of the Satsuma export decorative style inspired many followers, some of which have a stoneware body or a pure white porcelain, why I have chosen to collect any and all Satsuma looking wares, here.

The circle with a cross that often makes up a part of the marks, are the Shimazu mon or the family crest of the clan that ruled Satsuma Han however I doubt that any of the Shimazu clan ever owned a Satsuma export style ware piece. If that were to be the case, the crest would in that case need to be blue, since that was also the Shimazu clan colors.

Satsuma was produced in Kagoshima, Kyoto, Tokyo, Osaka, Kobe, and Kanazawa by hundreds of known artists, in many styles and by literally thousands of unknown decorators. Meizan has pieces authenticated as being done in Kanazawa (Kutani). For most of the "Zan brothers" nothing is known, in spite of very good quality work and many good studio pieces are simply unmarked.

Please also notice that the authenticity of many of the more important marks below are uncertain.

Jan-Erik Nilsson