When Were Satsuma Wares Produced?

By Howard Reed and Richard Cress

Introduction

Unfortunately, there is not yet unanimity amongst either scholars or collectors on the key question of the period over which Satsuma wares were produced. As far as is known, there is no recent and widely accepted work on dating Satsuma wares.

What can be said without a shadow of a doubt is that scholarly opinions on the age of Satsuma wares have changed greatly over the past 140 years or so. In general terms, the time window for their production has narrowed significantly. In the opinion of this site, production of nearly all Satsuma ware available now in the West occurred during the period 1850-1980, with the great preponderance of this production taking place from 1870 -1940.

Some Satsuma ware is still being produced, the majority in Kagoshima.

Beginnings of Western Interest in Satsuma

Clair Pollard’s important essay Gorgeous with Glitter and Gold (2006) [1] records that the first international exhibition to include Japanese objects seems to have been London’s Great Exhibition of 1851. She states that “Japanese items — predominantly the decorative arts — continued to be exhibited in Western exhibitions on a small scale throughout the 1850s and 1860s, and Europeans were fascinated by these items from a country that had been closed for centuries and by the “discovery” of a quite different yet sophisticated culture. Japanese exhibits were enthusiastically reviewed by the press, objects were eagerly purchased, and Japanese warehouses and curio shops sprang up. Alcock, writing in 1878, noted that “within a few years of the 1862 [International Exhibition in London], Japanese fabrics, silks and embroideries, lacquer, china, faience, bronzes and enamels were being exhibited for sale in the shops of every capital in Europe.”” (p 135).

However, it is understood that Satsuma wares were first exhibited in a significant way in the West at the 1867 Exposition Universelle in Paris. The Satsuma daimyo ensured that Satsuma province exhibited separately at this major trade fair, with the Japanese government (ie the Tokugawa Shogunate) showing products from the rest of Japan. Gisela Jahn’s Meiji Ceramics (2004) records that at this fair Boku Seikan exhibited a nishikide vase “to great acclaim” (p 107). It is understood that Chin Jukan’s nishikide wares shared the same acclaim. This exposition led to an overnight European interest in importing Japanese ceramics, especially Satsuma wares.

Jahn (2004) also records that the 1873 World Fair in Vienna included “items in this style from a number of craftsmen”, including Chin Jukan, who won a prize for a large nishikide vase (p 107).

The Japanese Satsuma Pavilion at the 1867 Paris Exposition Universelle, the first time that Japan had exhibited at one of the 19th Century's Great Exhibitions.

Chin Jukan XII, lidded jar with flower design.

[1] Ellen Conant (ed) (2006); Gorgeous with Glitter and Gold - Miyagawa Kōzan and the Role of Satsuma Export Ware in the Early Meiji Ceramic Industry; Chapter 7 (pp 133-150) of Challenging past and present: the metamorphosis of nineteenth-century Japanese art.

So-called “Old Satsuma”

From very early in the Meiji era, Western collectors sought older pieces of Satsuma, which they called 'Old Satsuma'. By this they meant anything produced prior to the new Western interest in Satsuma wares, coupled with their view that “the older, the better”. Edward Morse greatly popularised this term in an 1888 article of the same name for the American publication Harpers New Monthly. From there, it entered the lexicon of all collectors.

There is an old rule of economics that “supply expands to meet demand”. Western importers and retailers sought to satisfy this collecting demand by labelling pieces as “Old Satsuma”, even though they were “fresh off the boat”. Likewise, Japanese producers began to produce large quantities of this same “Old Satsuma”, even staining pieces with tea to imitate age.

A number of Westerners wrote in the late 19^th century and very early 20^th century on Japanese creation of new Satsuma wares imitating old, including Captain Frank Brinkley, Edward Morse, Christopher Dresser, James Bowes and Mortimer Menpes. For example, Frank Brinkley, writing in The Chrysanthemum magazine in 1883, described the highly respected Kyoto and Yokohama decorator Makuzu Kōzan as a potter “whose reputation for counterfeit Satsuma was notorious”. Similar comments were made by Christopher Dresser and James Bowes (see Pollard, p 141).

Pollard (2006) writes straightforwardly on this topic: “In their enthusiasm for “Satsuma ware,” European and American collectors gradually became convinced that there was a huge difference between pre-Meiji Satsuma ware from Satsuma itself and its modern reproductions. As the demand for “earlier” pieces grew and the prices commanded by wares thought to be older appreciated accordingly, Japanese manufacturers were more than happy to supply the demand.” (p 140).

Jahn (2004) concludes her discussion of Old Satsuma by stating: “To this day it remains uncertain whether examples of “Old Satsuma” have ever existed” (p 107). On the same topic, Louis Lawrence, states in Satsuma The Romance of Japan (2011): “Beware of dealers offering pieces said to be early, or from the Edo period. People have been fooled by this since the time that Westerners first went to Japan.” (p 15). Pollard (2006) writes extensively on what she calls ‘The “Old Satsuma” Myth’ (pp 140-142).

It is noted that all three of these authors have written since the turn of the century. This site agrees with their views. We conclude that almost all nishikide Satsuma ware offered for sale in Europe or the US is exportware, and therefore must date from the time in which Japan was opened for trade with the West (around 1870). Jahn (2004) records that the workshops of both Boku Seikan and Chin “expanded enormously after the rapid growth in the export trade” (p 107). Lawrence (2011) records that Chin Jukan’s new kiln opened in 1871 (p 15). Both of these key kilns were located at Naeshirogawa (present day Miyama in Hioki City).

Öld Satsuma" style vase, signed Makuzu Kozan

Pair of "Old Satsuma" vases, unsigned but atttributed to Makuzu Kozan (att.https://www.ryansnooks.com/)

"Öld Satsuma" style vase, signed Makuzu Kozan

The Beginnings of Satsuma Production

Vase, earthenware with clear crackled glaze and decoration in overglaze enamels and gilt; Japan, Satsuma, Edo period, ca. 1800-1850 (descr. Victoria and Albert Museum)

Jar, eartheneware with crackled cream glaze and decoration in overglaze enamels and gilding; Japan, Satsuma kilns, Edo period, about 1850(descr. Victoria and Albert Museum)

Incense burner, earthenware with clear crackled glaze and decoration in overglaze enamels and gilt; Japan, Satsuma, Edo period, ca. 1800-1850 (descr. Victoria and Albert Museum)

As noted above, Satsuma wares which are truly from the Edo era (as against made during Meiji in the “Old Satsuma” style) must be rare, since exportware and mass production did not exist in Japan in those days. However, it is expected that a small number of such pieces does exist in the West.

Many writers have stated that the advent of nishikide decoration on white-bodied Satsuma (haku ji yaki) began in Satsuma province in the last years of the 18^th century. For example, Hazel Gorham’s Japanese and Oriental Ceramics (1971) considers that nishikide (brocade) and kin nishikide (gold brocade) Satsuma was being produced from late in the 18^th century (pp 80-81). Similarly, Sandra Andacht’s Treasury of Satsuma (1981) dates the beginning of nishikide and kin nishikide production to the beginning of the Kansei era (1789-1801), following the introduction to Satsuma province of existing Kyoto techniques for decorating earthenware with overglaze enamels (pp 37-38). That book shows many fine examples of early Satsuma ware (primarily gosu blue Satsuma) which she dates between 1795 and 1872. In essence, the same views were expressed a century earlier, as recorded by James Bowes in his book Japanese Pottery (1890), (see pp 52-53). Jahn (2004) considers that “There does seem to be a general consensus that nishikide was being produced in Satsuma by the late eighteenth century” (p 107).

Most commentators accept that kin nishikide was probably being produced shortly afterwards, perhaps even in the last years of the 18^th century. However, Lawrence (2011) records that overglaze enamel of Satsuma pottery by the Chin family commenced in 1844 (p 15). A 2024 web search indicates that the Boku kiln began making nishikide and kinrande (gold-painted style) wares in the same year.[2]

Consequently, there must be some Edo-era pieces still in existence, notwithstanding that most would have been made for use by the Satsuma daimyo and his family, or for gifts from him. However, it has already been established that a very great number of Satsuma pieces in imitation of this older style were produced during the first 20 years of Meiji. The difficulty lies in separating truly “old Satsuma” from pieces made in “Old Satsuma” style during Meiji. As far as is known, no clear guidelines exist on this matter. The rule of thumb should be: “99% are either early or mid-Meiji, 1% might be late Edo”.

Finally, inscriptions on so-called “Old Satsuma”, especially those which state a date of production in the Kansei, Bunka, Bunsei or Tenpo eras, are considered to be quite unreliable and much more likely created during Meiji with a deliberate intention to deceive. As stated by Jahn (2004), “Inscriptions on supposed items of pre-Meiji Satsuma should be treated with the utmost caution. … ceramics were not generally signed or stamped unless made for export – and that strongly suggests a date in the Meiji era. The Shimazu mon (family crest) appears on some objects, but its value as a mark of authenticity and age is negligible: more often than not the article in question can be dated on stylistic grounds to the Meiji era, with the mon functioning purely as a decorative motif or as a means of deceiving foreign buyers.” (p 108).

[2] See: https://japanese-ceramics.com/naeshirogawa-ware-%E8%8B%97%E4%BB%A3%E5%B7%9D%E7%84%BC/

Satsuma Production During the Meiji Era

Production in Kagoshima

As is well-known, Shimazu Yoshihiro, the daimyo of Satsuma province, forcibly brought a group of about 17 Korean potters to Satsuma in 1598. This group was divided, with most settled in Naeshirogawa (currently Miyama) and nearby Tateno (or Tadeno) in Satsuma province. The remainder were settled in Chosa and Ryumonji in the adjacent Osumi province, also under the control of the Shimazu clan.

These facts are not in themselves important to us, except that the pottery they produced was substantially different. Firstly, white Satsuma (haku ji yaki) was only produced at the kilns in Naeshirogawa and Chosa, and not at Ryumonji. More importantly, there is a substantial difference between the haki ji yaki produced at Naeshirogawa and that produced at Chosa.

According to Sandra Andacht’s Treasury of Satsuma (1981):

“Haku ji yaki (Satsuma whiteware) was a product of the kilns in Satsuma province. These kilns included that of Naeshiragawa. Haku ji yaki has a fine, hard grained paste, and articles were generally covered with a glaze that produced a fine network of minute crackles. The crackles are so fine that at times they can only be observed with the use of a magnifying glass. Haku ji yaki was generally ornamented with simple motifs executed in soft, gentle enamels outlined in either gold or black (See Figs. 30, 31).

By comparison, the Satsuma wares of Osumi province, including the kilns at Chosa, tend to have a body tint that shades towards buff, with very defined crackles. The motifs were similar to the whitewares; however, the enamels employed were bold and brilliant. Motifs were generally enhanced with bold gold outlining, and, unlike the whitewares (haku ji yaki) which have fleeting gold dust sprinkled about the motif, the wares of Osumi have gold jeweling which highlights and enhances the decoration. Thus, the Osumi wares are bold in appearance and the Satsuma wares are more subdued. (See Fig. 20).” (p 38)

As has been noted above, the success of the Naeshirogawa Satsuma wares at the Paris exposition in 1867 led to a rapid expansion of production and exports of nishikide Satsuma wares to Europe. This included the construction of Chin Jukan’s new kiln in Naeshirogawa, which opened in 1871. Jahn (2004) records that, following the success of the 1867 exposition, “Immediately, [the Boku Seikan workshop] and others in the region began specializing in such wares” (p 107).

It can only be assumed that Boku, Chin and the other Satsuma decorators sought to continue the same high quality and detailed nishikide decoration for which they had gained this important market opportunity.

It is considered that many of the gosu blue Satsuma which displays the characteristic haku ji yaki paste, very fine crackle and simple motifs was produced during the early and mid-Meiji periods in the major Naeshirogawa kilns, and potentially decorated by a variety of artisans in that area or perhaps in the port city of Kagoshima. The decoration at this time principally simple and delicate representations of nature - birds and flowers (kacho-ga), blossoms and insects, and floral bouquets, set off by surrounding nishikide (diaper or brocade) designs. In early and mid-Meiji, decorators were careful not to cover the whole body with decoration, in order to better show the beauty of the fine crackled earthenware.

Kagoshima Satsuma Sencha Tea set - 19th c. Edo

Tea Storage Jar with Paulownia and Thunder - Los Angeles County Museum of Art

Teapot with lid, stoneware with decoration painted in iron brown under clear greyish green glaze; Japan, Satsuma kilns, Edo period, ca. 1800-1850

Incense box and lid, earthenware with clear crackled glaze and decoration in overglaze enamels and gilt; Japan, Satsuma, Edo period, ca. 1800-1850

Production in Kyoto and Other Mainland Centres

Not everything we now call "Satsuma" comes from the Satsuma and Osumi provinces, near Kagoshima in the southern island of Kyushu. It was also produced or decorated in Kyoto, Yokohama, Tokyo, Kobe and other locations on the main Japanese island of Honshu. This production commenced very early in the Meiji era.

According to Jahn (2004) and others, it was Kinkōzan Sōbei VI who began production of Satsuma-style wares in Awata, a suburb of Kyoto, around 1872 (pp 153, 333). The Kiyomizu Sannenzaka Museum’s 2015 exhibition catalogue “Satsuma” states that this was actually in 1870.[3] Pollard (2006) states that “Traditional Awata stoneware, with its pale-yellow clay, crackled glaze, and overglaze enamel decoration, was very similar to Satsuma nishikide, and its manufacturers were quick to adapt to the export market.” (p 139).

Kinkōzan was soon joined in producing Satsuma ware by other Awata ceramicists, such as Taizan Yohei VIII, Tanzan Seikai and Yasuda Kisaburo (Jahn (2004), p 153). Pollard (2006) records that, by 1881, the Kinkōzan factory employed over 200 workmen and apprentices, with an annual production of 30,000 pieces (p 148). Further, that the English designer Christopher Dresser, writing in 1882, observed that 99% of so-called Satsuma ware in England was in fact made in Awata (p 139).

Meanwhile, in 1870, Miyagawa Kōzan (ie Makuzu Kōzan) moved his ceramics workshop from Kyoto to the Ōta district of the newly opened treaty port of Yokohama. He immediately “began manufacturing richly decorated stonewares in the style known as Satsuma nishikide (brocade-patterned Satsuma) for the foreign market” (Pollard, p 133). Dresser visited this workshop in 1877 and later reported that the Ōta factory was “established for simulating old works and producing deceptive copies of the most valuable pieces of Satsuma ware” (Pollard (2006), p 141).

Bowes (1890) records that: “[Makuzu] Kōzan showed much ingenuity in copying both the pâte and the decoration of the Satsuma potter and some of his works are most difficult to distinguish from the genuine ware as they resemble them alike in faïence, crackle, and in decoration, and his early wares, like them, do not wear any mark or stamp.” (p 116).

Yabu Meizan opened his Satsuma workshop in Osaka in 1880 (Jahn, p 335). It has been reported that Takichi Hododa began production of Satsuma wares in Yokohama in 1890.

It is clear that production of Satsuma wares rapidly escalated in the early Meiji era, particularly in Kyoto, but also in Yokohama and other mainland centres. Further, this production soon exceeded that of the Kagoshima kilns, perhaps by the mid-1870s.

Nonetheless, they are not easily distinguished from one another. This is partly because fine quality earthenware blanks were exported from Kagoshima to the mainland centres for decoration. In addition, the master potters of Awata soon succeeded in preparing earthenware and crackled glazes which were all but indistinguishable from the Naeshirogawa prototypes.

For most collectors, this is not an obstacle, since restricting themselves to "genuine Kagoshima Satsuma" would mean excluding beautiful Kyo-Satsuma works by masters such as Kinkōzan, Taizan, Ryozan and Kaizan. Most collectors therefore collect Kyo-Satsuma and the like as well as Kagoshima Satsuma, ie all Japanese pottery of ivory-colored clay with a very fine crackled clear glaze, with all decoration being overglaze.

[3] Rinyo Murata (ed) (2015); Satsuma; Kiyomizu Sannenzaka Museum of Art; 168 pages. See p 131.

Bowl and lid, earthenware painted in overglaze enamels, with impressed mark; Japan, Kyoto, Edo period, ca. 1865. Purchased from the Paris Exhibition, 1867 (Satsuma Government), (Victoria and Albert museum)

Kinkozan VI, VIAwata teapot

Kinkozan VII, Kylyu-shaped lidded large incennse, Yokoyama Art Museum

Taizan Yohei IX, Lidded pot with flower and butterfly design, Yokohama Art Museum

Workshops producing en masse Satsuma and other ceramics.

What is not commonly known is that, while production of Kyo-Satsuma rapidly increased during the 1870s, it fell drastically in the early 1880s. Pollard (2006) writes extensively on this. Apparently, very large quantities of poor-quality pieces had been exported to Europe from Awata. In addition, from the late 1870s, Europeans began to wake up to the scam which had been perpetrated on them in respect of so-called “Old Satsuma”. Consequently, demand fell rapidly. Pollard (2006) records that Kinkōzan Sōbei VII describes a terrible depression between 1882 and 1885 in which the majority of Awata potteries were forced to close. In the Kiyomizu-Gojōzaka area, the number of potters fell from 150 to 75 between 1881 and 1884, while Kyoto ceramic exports in general dropped by 43% (p 144).

Prior to this demand-driven economic crash, Morse wrote following his visit to a Kyoto pottery in 1879: “The output is small, except in those potteries given up to making stuff for the foreign trade, known to the Japanese as Yokohama muke; that is for export, a contemptuous expression. In many cases outsiders are employed; boys often ten years old splashing on the decoration of flowers and butterflies, and the like; motives derived from their mythology, but in sickening profusion, so contrary to the exquisite reserve of the Japanese in the decoration of objects for their own use. Previous to the demands of the foreigner the members of the immediate family were leisurely engaged in producing pottery reserved in form and decoration. Now the whole compound is given over to feverish activity of work, with every Tom, Dick and Harry and their children slapping it out by the gross.”[4]

[4] Edward S Morse (1917); Japan Day by Day; Vol 2; Houghton Mifflin; p 185.

What this suggests is that large quantities of poor quality Awata Satsuma wares may well date to the 1870s. However, the dates given in the books on Satsuma that address all types and ages of production do not reflect this well. It appears that poor quality of paste, glaze and decoration has led to general attribution of an age of Taisho or even early Showa. The approach seems to have been “quality determines dating”, whereas dating should have rested on other factors, particularly the styles, motifs and enamels.

It also seems likely that quality of Kyo-Satsuma improved again in the mid to late 1880s, after the market shakeout of the majority of producers. Those remaining would have undoubtedly sought to restore buyer confidence.

One recent source states that by 1907, the Kinkōzan kiln (the largest of the Kyo-satsuma potteries) employed more than 700 craftsmen.[5]

That quality could deteriorate so quickly in the late 1870s may also have reflected the economic drivers required for potters and decorators to make a living. This need was perhaps felt more strongly in Kyoto than in Kagoshima, where success in World Exhibitions continued for some time. In Kyoto, a huge cultural and economic shock followed the emperor's move from Kyoto to Edo, with major consequences not only for the potters, but also for decorators and other artists and craftsmen who saw many of their key domestic customers leave. The initial international successes of Satsuma ware seem to have presented an opportunity that was seized with both hands in Kyoto. Pottery production also changed in Kagoshima, but still maintained an artistic base, more focused on quality and traditional standards. That base was missing in Kyoto, where it seems that the production of Satsuma ware was focused on profit maximisation from the beginning, leading to a completely different approach to production and a strong focus on meeting the stylistic demands of Western retailers and consumers.

To capture the full value of popular new products requires expansion of production and continual focus on reducing costs. Lower requirements for the quality of craftsmanship leads to both. In addition, costs can be reduced by more efficient organisation of the workplace. Separation of production (kilns) and decoration (studios) and concentration of studios where most advantageous (often near ports) reduced costs. Producers (especially the larger ones, like Kinkōzan) also began to think more in terms of market segments, ie production focused on individual target groups. Some focused on expensive, time-consuming products for the smaller premium market, others on reasonable and mediocre work for the middle class, and some on lower-end products for the modest budget.

What is without question is that the late Meiji era saw the very best production of Kyo-Satsuma and related works, by makers such as Kinkōzan, Yabu Meizan and Yasuda, and decorators such as Ryozan, Sozan, Kaizan and others.

Stylistic developments on Meiji Satsuma are addressed on the Clues on Dating Satsuma Wares page.

[5] Rinyo Murata (ed) (2015); Satsuma; Kiyomizu Sannenzaka Museum of Art; 168 pages. See p 131.

Poor quality and high quality Satsuma items

Satsuma Production During the Taisho and Early Showa Eras

Satsuma wares from the Taisho era (1912-26) are commonly associated with a substantial fall in quality. There are certainly many pieces which fit this description. However, it is not always the case. As is discussed below, it is considered that “Meiji style” probably continued for a few years until World War I disrupted the major export markets. This may have not affected the US market until 1917. Quite a few high-quality pieces certainly seem datable to Taisho on stylistic and other grounds, including Kinkōzan wares. High quality Kyo-Satsuma pieces continued to be made during Taisho, but fewer of them.

Teapot with lid (part of a tea set), earthenware with crackled cream glaze painted in overglaze enamels and gilt; Japan, Satsuma kilns, early 20th century

In addition, there seems little evidence to suggest that Kagoshima Satsuma production either ceased during Taisho or fell in quality.

Nonetheless, the general fall in quality in Kyo-Satsuma during Taisho accelerated during early Showa. It is assumed that the major driver for this was the Great Depression (1929-39). The Western markets had little spare cash for purchases of high-end decorative homewares. The continuing export opportunity would have been very much at the lower end of the market.

Effectively, the Great Depression was the death knell for the Satsuma nishikide export industry.

Stylistic characteristics of Taisho and early Showa Satsuma are addressed on the Clues on Dating Satsuma Wares page.

Post-War Production of Satsuma

Quite a lot of Satsuma ware items are available which can be reliably dated to the post-War period. These fall into two categories.

The first is low quality pieces, sometimes with very large, open crackles and slip-trailed (moriage) outlining to the motifs, reminiscent of similar wares from the early Showa era. Commonly, these are vases or tea sets. English marks, such as “CPO” or “Made in Occupied Japan”, would clearly demonstrate post-War production. Other low-quality wares were available from the late 1940s until the 1960s, targeting the US Armed Forces and the expanding tourist market. Maruni and Sōkō are two post-War manufacturers of low and medium quality Satsuma, both based in Kobe.

The Koshida company also produced medium and higher quality Satsuma wares in Kyoto in the post-War period, at least until the 1970s, if not later. It also sold to the US Armed Forces CPO. Commonly, these are well-painted vases with authentic, finely crackled Satsuma earthenware.

Stylistic characteristics of Post-War Kyo-Satsuma are addressed on the Clues on Dating Satsuma Wares page.

Some Satsuma ware is still being produced in Kagoshima. For example, the Chin Jukan kiln remains in production near Kagoshima. No other information is held by this site on current kilns, but the Araki and Nifu kilns at Naeshirogawa and a kiln at Iso (Iso-Oniwayaki) were all in fairly recent production. Much of this production continues the high and very high standards that are characteristic of Kagoshima Satsuma.

Further information on recent and current producers of high-quality Satsuma is available on the Modern Satsuma Masters page.

Koshida CPO vase - post war

Saneyuki Hirota, Daragon Vase -contemporary Satsuma.

A Word on World Events and Dating Satsuma

Most commonly, Western collectors, museums and auction houses date Satsuma ware by what they consider to be the applicable Japanese reign era name (ie Meiji (1868-1912); Taisho (1912-26); early Showa (1926-40); or Showa (1926-89). At least one museum combines all of Meiji with Taisho (ie 1868-1926).

This is not altogether satisfactory, for two reasons. Firstly, some of these periods are short (eg Taisho) and others are quite long (eg Meiji and Showa). Many important stylistic developments took place during the Meiji period and it is therefore unhelpful to put all Meiji era pieces into a single category. More helpful is to divide Meiji’s 44 years into three – early, mid and late Meiji. Perhaps 1868 -1885 satisfies a criterion for early Meiji; 1885-1900 for mid-Meiji; and 1895-1912 for late Meiji. Even so, the development of Meiji Satsuma is a continuum without hard boundaries, with overlaps into the preceding late Edo era and the subsequent Taisho era.

Secondly and more controversially, this site knows of no reason why Satsuma decorative styles and fashions should change with the end of an emperor’s reign. As is clearly demonstrated above, production of Satsuma wares was primarily responsive to major market fluctuations in the West (both increases and decreases in demand).

On that basis, it seems more likely that “late Meiji style” persisted after the change in emperor in 1912, only to be disrupted by a major decrease in European demand shortly after the outbreak of World War I in 1914.

Likewise, “Taisho style” is considered likely to have persisted after 1926 until the Great Depression hit the West in 1929. On this basis, “early Showa style” would date from around 1930 until 1940, when Japan entered World War II.

Conclusion

The foregoing information is provided to enable more precise dating of Satsuma ware by collectors. Nonetheless, it remains difficult (and sometimes impossible) to reliably determine the age of Satsuma to within a time frame of 15-20 years.