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Some falsely used the names of famous artists or studios to mark pieces. [52] Early Japanese ceramics rarely had stamps or signatures, which can make dating some Satsuma ware difficult. [ 53 ] One characteristic of earlier pieces, however, is a high-quality glaze and finish, as later mass production led to dramatically inferior works. [ 54 ]
Yabu Meizan (Japanese: 藪 明山, birth name Yabu Masashichi (藪 政七), [1] January 20, 1853 – 1934) was a Japanese artist and workshop owner known for painting on porcelain. His studio produced high-end Satsuma ware, primarily for the export market. That term was originally coined for artistic painted porcelain from the Satsuma Province ...
Satsuma ware was a name originally given to pottery from Satsuma province, elaborately decorated with overglaze enamels and gilding. These wares were highly praised in the West. Seen in the West as distinctively Japanese, this style actually owed a lot to imported pigments and Western influences, and had been created with export in mind. [22]
Used for laboratory ware, such as evaporating dishes and reaction vessels. [5] China clay Synonym for kaolin: a raw material for many types of clay body, and is the main clay for porcelain. [6] China stone A pottery stone that was formerly mined in Cornwall in the UK. Traditionally was used at around 25% in bone china bodies. Also known as ...
Chinese export porcelain made for European markets was a well-developed trade before Japanese production of porcelain even began, but the Japanese kilns were able to take a significant share of the market from the 1640s, when the wars of the transition between the Ming dynasty and the Qing dynasty disrupted production of the Jingdezhen porcelain that made up the bulk of production for Europe ...
Kakiemon is a term that generates some confusion, being the name of a family, one or more kilns, and a brightly-coloured overglaze style. The style originated with the family, whose kilns were the main producers of it, but other kilns also made it, and the Kakiemon kilns made other styles.
For the first time in centuries the new blue and white appealed to the taste of the Mongol rulers of China. [citation needed] Blue and white ware also began making its appearance in Japan, where it was known as sometsuke. Various forms and decorations were highly influenced by China, but later developed its own forms and styles.
The title Makuzu was given by Yasui no Miya, a Shingon monk; the artistic name Kōzan by Kachō no Miya of Chion-in. Both the givers of the names were monzeki (prince-abbots) connected to the Imperial family. [3] [4] Igi Tadazumi (1818–1886), patron of Makuzu Kōzan. Miyagawa Toranosuke was the fourth son of the family. [5]