Dating satsuma buttons
Their works are recognized for a "restrained style" and "sparing distribution of motifs." Painted themes were often taken from literary classics, heroic legends, or represented nostalgic renderings of life in pre-Meiji Kyoto.
Early in the twentieth century these artists also began to incorporate western techniques and styles, including perspective and muted colours, It is placed above any signatures or stamps.
The mid-1880s saw the beginning of an export slump for many Japanese goods, including Satsuma ware, linked in part to a depreciation of quality and novelty through mass production.
In the Edo period, the lords of the Satsuma domain needed to fill their war chests so that they could oppose the Tokugawa Shogunate.These were in fact simply better-quality pre-Meiji nineteenth-century pieces, works from other potteries such as Kyoto's Awata ware The Paris Exposition showcased Satsuma's ceramics, lacquerware, wood, tea ceremony implements, bamboo wicker and textiles under Satsuma's regional banner—rather than Japan's—as a sign of the Daimyō's antipathy to the national shogunate.and its mention in Audsley and Bowes' Keramic Art of Japan in 1875, the two major workshops producing these pieces, those headed by Boku Seikan and Chin Jukan, were joined by a number of others across Japan.While it was originally an indication of a link to the Satsuma domain and the Shimazu clan's direct involvement in the items' production, in the age of mass production and export, the crest simply became a marketing convention.All genuine examples are hand-painted rather than stamped or machine-printed, though hand-painting is not a guarantee of legitimacy.