A Fine Meiji Period Satsuma Vase, Japan, 19th Century Attributed to DAI NIHON KINKOZAN ZO H: 5-3/4" ______________________________________________________________ The Meiji era is an era of Japanese history that extended from October 23, 1868 to July 30, 1912. The Meiji era was the first half of the Empire of Japan, when the Japanese people moved from being an isolated feudal society at risk of colonization by Western powers to the new paradigm of a modern, industrialized nation state and emergent great power, influenced by Western scientific, technological, philosophical, political, legal, and aesthetic ideas. As a result of such wholesale adoption of radically different ideas, the changes to Japan were profound, and affected its social structure, internal politics, economy, military, and foreign relations. The period corresponded to the reign of Emperor Meiji. It was preceded by the Kei? era and was succeeded by the Taish? era, upon the accession of Emperor Taish?. The rapid modernization during the Meiji era was not without its opponents, as the rapid changes to society caused many disaffected traditionalists from the former samurai class to rebel against the Meiji government during the 1870s, most famously Saig? Takamori who led the Satsuma Rebellion. However, there were also former samurai who remained loyal while serving in the Meiji government, such as It? Hirobumi and Itagaki Taisuke. The government took an active interest in the art export market, promoting Japanese arts at a succession of world's fairs, beginning with the 1873 Vienna World's Fair.[29][30] As well as heavily funding the fairs, the government took an active role organizing how Japan's culture was presented to the world. It created a semi-public company — the Kiritsu Kosho Kaisha (First Industrial Manufacturing Company) — to promote and commercialize exports of art[31] and established the Hakurankai Jimukyoku (Exhibition Bureau) to maintain quality standards. For the 1876 Centennial International Exhibition in Philadelphia, the Japanese government created a Centennial Office and sent a special envoy to secure space for the 30,000 items that would be displayed. The Imperial Household also took an active interest in arts and crafts, commissioning works ("presentation wares") as gifts for foreign dignitaries. In 1890, the Teishitsu Gigeiin (Artist to the Imperial Household) system was created to recognize distinguished artists; seventy were appointed from 1890 to 1944. Among these were the painter and lacquer artist Shibata Zeshin, ceramicist Makuzu K?zan, painter Hashimoto Gah?, and cloisonné enamel artist Namikawa Yasuyuki. Japan's porcelain industry was well-established at the start of the Meiji era, but the mass-produced wares were not known for their elegance. During this era, technical and artistic innovations turned porcelain into one of the most internationally successful Japanese decorative art forms. The career of porcelain artist Makuzu K?zan is an archetype for the trajectory of Meiji art. He was passionate about preserving traditional influences but adopted new technologies from the West. He was an entrepreneur as well as an artist, organizing a workshop with many artisans and actively promoting his work at international exhibitions, travelling extensively in Europe. As his career went on, he adopted more Western influences on his decoration, while his works shaped Western perceptions of Japanese design. Underglaze blue painting on porcelain was well-established in Japan, and the Kozan workshop transformed this practice, combining multiple underglaze colors on a single item and introducing more subtle graduations of color. Satsuma ware was a name originally given to pottery from Satsuma province, elaborately decorated with gilt and enamel. These wares were highly praised in the West. Seen in the West as distinctively Japanese, this style actually owed a lot to imported pigments and Western influences and had been created with export in mind. Workshops in many cities raced to produce this style to satisfy demand from Europe and America, often producing quickly and cheaply. So, the term "Satsuma ware" came to be associated not with a place of origin but with lower-quality ware created purely for export. Despite this, artists such as Yabu Meizan and Makuzu K?zan maintained the highest artistic standards while also successfully exporting. From 1876 to 1913, K?zan won prizes at 51 exhibitions, including the World's fair and the National Industrial Exhibition.