Kyoto Satsuma Vase by Ito Tozan I

A Japanese Kyoto Satsuma vase by Ito Tozan I (1846-1920); Meiji…
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A Japanese Kyoto Satsuma vase by Ito Tozan I (1846-1920); Meiji period (1868-1912); of spherical form with a long, slender neck, finely decorated with plum blossoms to the body in raised blue and white enamels and raised gilding below a brocade lappet border to the neck. Three character mark in black enamel to the base reading 'Tozan Zo'. 24.5 cm high, 12 cm diameter; other notes: Ito Tozan I was one of only five ceramicists to be appointed 'Teishitsu Gigei-in' (Imperial Household artist) in the Meiji period in Japan. He was appointed for his mastery of enamelling and gilding on the traditional Kyoyaki body.

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  • Lappet Decoration - In the context of furniture, ceramics, and oriental wares, the word "lappet" refers to a decorative motif that consists of a repeated pattern of stylized or abstracted "lappets."

    A lappet in this context is a decorative element that resembles a small, hanging flap of cloth or fabric, but rather are stylized patterns that resemble the shapes and folds of lappets. They can be found on a wide range of objects, including furniture, vases, bowls, and plates.

    Lappet decoration can take many different forms, but typically consists of a series of semi-circular or pointed shapes that are repeated in a continuous pattern. The shapes may be simple or highly ornate and may be arranged in a regular or irregular pattern. The design may also include other decorative elements, such as floral or foliate motifs.

    Lappet decoration is often associated with Asian design traditions, and can be found on a wide range of objects from these regions, including Chinese porcelain, where lappet decoration is often used as a symbol of abundance and prosperity, and is believed to have protective and auspicious qualities.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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