Japanese Satsuma Inkwell

This Japanese Satsuma inkwell is a masterpiece of the Meiji period (1868–1912), an era when Japanese artisans reached a pinnacle of craftsmanship specifically for the Western export market.

Description & Construction

• Material: Although often referred to as “porcelain,” Satsuma ware is technically a fine-quality, ivory-colored earthenware. Its most distinctive feature is a finely crackled (crazed) glaze that covers the entire surface.
• Technique: The inkwell was made by shaping the clay and firing it at a relatively low temperature. It was then decorated with overglazed enamels and gilding. The raised, textured gold work is known as moriage (meaning “piled up”), which gives the piece a jewel-like, three-dimensional quality.
• Form: This inkwell is square and includes a removable ceramic insert to hold the liquid ink.

The Figures Depicted

The figures on this elaborate piece are most Rakan (also known as Lohan in Chinese), who are the Buddhist disciples or “immortals”.

• Identity: They are depicted as bald-headed monks with expressive, exaggerated facial features.
• Symbolism: In Japanese art, the Rakan represent spiritual attainment and wisdom. On export pieces like this, they were used to provide the “exotic” and mysterious Oriental aesthetic that was highly popular in Europe and America.

The Mark on the Underside

The mark on a genuine Meiji Satsuma piece usually consists of several parts:

1. The Shimazu Crest: A circle with a cross inside (⊕). This is the family crest (mon) of the Shimazu clan that ruled the Satsuma province.
2. Dai Nippon (大日本): These characters translate to “Great Japan,” a patriotic marking common during the nationalist Meiji era.
3. Satsuma (薩摩): The characters for the province or the style of ware.
4. Artist/Studio Name: Common names found on high-quality inkwells include Hododa (保土田), Kinkozan (錦光山), or Meizan (明山).

Estimated Age

This inkwell likely dates to the late 19th century (circa 1885–1905). During this window, the demand for “Gold Brocade” Satsuma was at its peak, and workshops in Kyoto and Yokohama were producing their finest work before the market became saturated with lower-quality, mass-produced versions in the Taisho period.