This Japanese Vintage Arita Nabeshima Ware porcelain censer or incense burner was made by the famous modern potter Shouzan Youzan 祥山 , whose given name was or is Ichikawa Sachiyama 市川祥山 . The simple yet elegantl censer is made of fine white porcelain tripod feet. It is decorated in underglaze blue with red -ikae over glaze enamels with a colorful of a traditional Japanese floral design. A foo dog finial adorns the top, the handles are curved in keyhole style. It is in very good vintage condition, no cracks. It has a very small chip on the inside rim of the lid as seen in the pictures which cannot be seen when it is closed and a common place for chips to occur.
The bottom is signed and someone was able to interpret this for us signed as: 鍋島藩窯 祥山. It reads 鍋島藩窯, or Nabeshimahan-gama, which is the name of the kiln where it was made. The name is derived from this kiln having been the exclusively designated kiln by the lord of Nabeshima clan 鍋島藩 during the Edo period, making it a historically famous kiln. It is located in located in Saga prefecture, Imari city, Okawachi town. The kiln works in the Imari style. The name of the potter Shouzan Youzan potter name also signed on the bottom and refers to complete name 市川祥山 which is Ichikawa Sachiyama and his given name. He is or was a modern potter. Having received this translation in Japanese, we were able to do a google search and find many gorgeous Nabeshima pieces he has made. The auction prices on some of them were quite high, so we hope to find more about this potter for you. This was made between 1960 and 1970's, placing it between mid-century and contemporary or a modern piece.
SIZE: Approximately 4" Wide by 3.5" High or 10.16 cm by 8.89 cm.
Translated History from the Potter's Shouzan Youzan祥山 Page
The following is some great information, please have a sense of humor here due to translation by the country's websites trying to talk to each other. We are including it because we think it is great.
Edo era, as misuse kiln of Nabeshima clan, burned for gifts between the gifts and the lord to Kinri-Shogun, to general Outflow of had been prohibited. In particular, I hate the outflow of technique, by blocking the entrance and exit of the inside and outside gathering craftsmen to the current Imari Ouchiyama, and burned in secret It had. At the time, it had been burned in Kakiemon and other early Imari ware Arita Township one yen that had been exported, prized in Europe Thing of things, after kiln of Germany of Meissen and Europe is I wrote the same kind of pattern imitated in. Currently, in each kiln of Europe there is a Japanese-style pattern This is why. On the other hand, those of the Nabeshima clan kiln was exposed to finally limelight of the world in the ‘.Expo Paris’. of the late Edo period. Elegant gorgeous pattern rich in sophisticated technique, elegance we have come to today as the pinnacle of the color picture porcelain. In harmony, while inheriting the tradition from generation to generation also, things the other of being challenged in. A new attempt ‘.Nabeshima clan kiln.
About Nabeshima 鍋島Ware
First, Nabeshima is considered part of Imari or Arita ware, which are one in the same- please see our other Arita and Imari items.
Excerpts from Wiki
Nabeshima ware was created under the protection of the feudal lord of Nabeshima, who reserved ceramics made at his kilns for use as presentation pieces. These plates, bowls, or vases would be given to other lords, to nobles, or to high-ranking retainers in the service of the Nabeshima lord. The greatest Nabeshima wares were made at the village of Okawachi from about 1675 until the mid-eighteenth century. During this time, the lord and his retainers maintained tight control over production, and the system of production was highly organized.
Shapes, design patterns, and sizes of bowls and plates were all regulated, and any pieces not meeting the lord's standards were destroyed. Secrets of manufacture were closely guarded. Wares produced at Okawachi are thus of uniformly superior quality in materials, shape, painting, and glazing. The painting on the bowl owned by the Los Angeles County Museum of Art is exceptional, both for its flawless application and for the sense of liveliness achieved by the painter.
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