FINE SATSUMA 'PAINTINGS' VASE MEIJI PERIOD, POSSIBLY SOZAN FOR THE KINKOZAN WORKSHOP 明治 或爲素山畫 錦光山製 薩摩燒錦地十幀畫小瓶 of tapered ovoid form resting on a countersunk foot, rising to high shoulders, small waisted neck and short everted mouth, delicately enamelled around the body with ten scattered rectangular panels as paintings, each finely depicting sea fishes, cat gazing upwards towards flowers and weed, pagoda in dramatic landscape, lilies underneath wisteria tree, a majestic rooster standing on a rock above peony blossoms, a landscape with trees and waterfall afar, a fruit basket containing pomegranates and apples with butterflies in flight, chrysanthemum blossoms on trellis, a hut next to a large tree with double-gourds in its garden, and a dramatic serene landscape, mostly minutely signed in the margin with gilt, seemingly 'Sozan', with either one or two square red seals, all against vertical bands of repeated flowers, key-fret, auspicious clouds, trellis, diapers, coin patterns and so on, the shoulders and above foot with overlapping panels simulating a 'cloth-wrapped' effect, the base inscribed 'Dai Nihon Kinkozan Sei Kyoto Shi' on a red panel with gilt border (11.5cm high) Qty: (1) Provenance: Private Scottish collection, Athelstaneford Note: The painter Sozan was one of the most productive and best artists who worked for the Kinkozan workshop. The Kinkozan workshop knew many decorators, most of them worked anonymously and most of the 'products were sold under the firm's name; this is, they bore a workshop stamp or signature.' Only a select group of the very best decorators were allowed to place their signatures on elaborate pieces next to that of Kinkozan. Itozan, Gassan, Keizan and certainly Sozan were among them. 'This may indicate that Sozan was responsible not only for the execution of the decoration, but also for its design.' [1] According to Louis Lawrence, Sozan was working in the Kinkozan workshop when Hebert Ponting visited in 1904 and said '... these artists work in little houses in the gardens where weeks and sometimes months, are spent in the minute embellishment of a single vase.' [2] Sozan was able to produce work of very high quality and refinement, in a manner that was in line with Western painting techniques. Kinkozan items painted by Sozan are very sought after and belong to the best Satsuma style ever made. However, nothing is known about his life itself and even his year of birth and death remains unknown. Compare to a similar fine ovoid vase decorated with scenes of open books, signed Sozan on many books and marked 'Kinkozan' on the base, illustrated in Louis Lawrence. 2011. Satsuma: The Romance of Japan. Tarzana: Meiji Satsuma Publications, pl. 72, details pp. 107-108. A comparable Satsuma four-sided rectangular vase, painted by Sozan for the Kinkozan Company, Meiji period, of which one side of the painting simulates a scroll painting, was sold at Bonham's London, 14 May 2015, lot 363. Another fine Satsuma vase, signed Sozan and Kinkozan, Meiji period, decorated with hanging scrolls with minute signatures and seals, was sold at Christie's London, 18 May 2012, lot 133; Also compare to two fine Satsuma wares, in the form of dishes, with similar overlapping and well-arranged panels each with fine paintings against a key-fret and foliage grounds, were sold at Bonhams New York, 10-20 January 2022, lot 66, and Bonhams New York, 15 March 2017, lot 6271. [1] Jahn, Gisela. 2004. Meiji Ceramics: The Art of Japanese Export Porcelain and Satsuma Ware 1968-1912. Stuttgart: Arnoldsche, pg. 33. [2] Lawrence, Louis. 2011. Satsuma: The Romance of Japan. Tarzana: Meiji Satsuma Publications, pg. 74.