Original Wooden Box
D11.5cm H22.9cm
This piece features a refined form reminiscent of ancient Chinese ritual bronzes. It is adorned on both sides with intricate beast-mask handles featuring fixed rings (fuyuukan, or non-movable rings), exuding an air of profound dignity and prestige.
The primary highlight is the exquisite contrast between the soft, pale celadon glaze and the vibrant band of underglaze blue (sometsuke) that encircles the body. The depiction of fish leaping amidst powerfully surging "standing waves" is rendered with both delicate and bold brushwork, showcasing Kozan’s signature ability to infuse his subjects with a sense of vibrant life.
It comes with an accompanying wooden display stand.
Kozan MAKUZU (MIYAGAWA) , The founder
1842-1916
He was born in Makuzugahara (today Higashiyama-ku) in Kyoto as Miyagawa Toranosuke. His father, Chozo, was also a potter and opened a kiln in Makuzugahara in 1851 and was given the artistic name 'Kozan' by a member of the imperial family at a later stage of his career. Kozan first studied painting but succeeded to the family kiln when his father died in 1860.
In 1871, he opened a ceramic studio in Yokohama where he initially produced Satsuma-style nishikide ceramics. His work were exhibited and won prizes at international exhibitions, including Vienna (1873), Philadelphia (1876) and Paris (1878). Around this period, he exceeded other cramic artists in his realistic representation. His style changed again in late 1880s and early 1890s, when he was deeply influenced by styles popular in Europe around this period.
He was appointed an Imperial Household Artist (Teishitsu gigeiin) in 1896.
Kozan MAKUZU (MIYAGAWA) , the second
1858 - 1940
Son of Chohei, brother of the 1st generation Makuzu Kozan, he often assisted his uncle in Yokohama making ceramics. After the 1st generation Kozan died in 1916, he was named 2nd generation Kozan. Inheriting his style from his uncle, he primarily produced sculptured vases, sculptured figurines and other works, often incorporating birds and flowers. More so than his predecessor, he based his work on scientific research into glazes, which allowed him to develop innovative new works that solidified the reputation of Makuzu-ware.
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