214 - KINKOZAN: A LARGE SATSUMA CERAMIC ‘RELIEF-MOLDED DRAGON AMID CHRYSANTHEMUMS’ VASE

KINKOZAN: A LARGE SATSUMA CERAMIC ‘RELIEF-MOLDED DRAGON AMID CHRYSANTHEMUMS’ VASE By the Kinkozan company, signed Dai Nippon Kyoto Kinkozan no zo Japan, early 20th century, late Meiji (1868-1912) to Taisho period (1912-1926) Finely potted, the compressed globular body supported on a short, straight foot and rising to a tall, subtly waisted neck with a dramatically everted rim and broad circular mouth. The exterior is richly decorated in luminous polychrome enamels and extensive gilding over a finely crackled glaze, dominated by a magnificent relief-molded gilt dragon winding sinuously around the neck, its boldly projecting head, long whiskers, and finely modeled claws lending the composition a striking sculptural quality. The central section is densely covered with large, overlapping chrysanthemum blossoms in delicate shades of white, cream, and pale pink, their finely delineated petals contrasting with the richly patterned decoration above and below. The neck is further divided into bold vertical panels alternating gilt grounds with scattered auspicious motifs and intricate floral arabesques in turquoise, green, and iron-red enamels against a deep black ground. Their strongly geometric arrangement creates a remarkable visual rhythm, almost Art Deco in character. The upper and lower extremities are enriched with densely clustered chrysanthemum motifs, while the bulbous base is encircled by a profusion of overlapping cherry blossoms above a narrow gilt border. The underside bearing the signature Dai Nippon Kyoto Kinkozan no zo [Made by Kinkozan, Kyoto, Great Japan]. HEIGHT 46.8 cm Condition: Excellent condition with minor wear and light rubbing to the gilding. No visible damage or signs of restoration under UV light. The present vase is particularly remarkable for its bold, almost architectural composition, combining traditional Japanese floral ornament with an unexpectedly modern geometric aesthetic. The strongly delineated vertical panels, contrasting dark and luminous grounds, and rhythmic repetition of stylized motifs anticipate the visual language of Art Deco. Particularly striking is the magnificent relief-molded dragon, whose powerful three-dimensional presence breaks through the meticulously painted surface. This imaginative combination of sculptural modeling, elaborate gilding, and highly stylized ornament demonstrates the extraordinary versatility of the Kinkozan workshop during the transition from the Meiji to Taisho periods. The Kinkozan company was among the most successful producers of so-called Kyo-Satsuma (Kyoto Satsuma) wares. Like their counterparts in Osaka, Yokohama, and Tokyo, Kinkozan’s production reflects Kyoto’s response to strong Western demand for finely painted Japanese ceramics during the Meiji period. Following the international exposure of Japanese art at the Paris Exposition of 1867, the rise of Japonisme in Europe led to a significant increase in exports, with Kinkozan wares admired for their delicate brushwork, refined compositions, and harmonious use of color and gold.