A finely crafted Taishō era (1912–1926) Japanese polychrome porcelain equestrian sculpture, this work exemplifies the quiet continuity of Japanese folk ceramic traditions at a moment when modern imagery was beginning to enter everyday life. Rather than announcing rupture or innovation, the sculpture reflects a gentle adaptation of long-established forms, allowing tradition and modernity to coexist within a single, composed figure.
Mounted riders have appeared for centuries in Japanese vernacular sculpture, well before the introduction of modern uniforms or contemporary subjects. In these earlier traditions, the horse and rider are not conceived as agents of action or conflict. Instead, they function as symbols of stability and protection: the horse stands firmly at rest, the rider faces forward, and the composition is deliberately static. Movement, confrontation, and narrative drama are consciously avoided in favor of balance, containment, and quiet vigilance.
Whether representing a warrior, a guardian figure, or later a modern officer, the mounted form consistently conveys reassurance rather than heroism. Its meaning lies not in battle or authority, but in presence—an enduring, watchful calm intended for the domestic or devotional space.
During the transition from the Taishō period into the early Shōwa era, Japanese folk workshops did not discard these established visual languages. Instead, they subtly absorbed elements of contemporary life into familiar frameworks. In this example, the timeless equestrian figure takes on the outward appearance of a modern officer, identifiable through a warm tunic, red-orange sash, black boots, and a peaked cap. Yet beneath this updated silhouette, the sculpture preserves its deeper symbolic role as a non-aggressive sentinel.
The surface is hand-painted with vivid overglaze enamels, combining orange, red-orange, deep blue, emerald green, and crisp black in a palette that is bold yet carefully balanced. Decorative details include a patterned saddle blanket, a flowing black mane, and a striking bright blue muzzle that introduces a subtle note of whimsy. The rider’s white-glazed face, outlined in strong black lines and marked by a prominent mustache, lends a theatrical quality while maintaining a sense of restraint and composure.
Although military in appearance, the sculpture remains fundamentally non-confrontational. The work stands as an example of how Japanese folk ceramics absorbed modern imagery without surrendering their underlying symbolic intent.
Equally suited as a sculptural focal point in Japandi, minimalist, wabi-sabi, or eclectic interiors, the piece also holds strong appeal for collectors of early twentieth-century Japanese decorative arts and Taishō period ceramics.
Dimensions
Height: 11 cm (4.33 inches)
Length: 9 cm (3.54 inches)
Width / Depth: 3.5 cm (1.38 inches)
Condition
Excellent overall preservation. The polychrome enamels remain vibrant and unfaded, with glaze intact. Minor age-appropriate patina and light surface wear are visible on the base. The underside is unmarked and features the characteristic firing vent hole.
Japanese Polychrome Porcelain Equestrian Sculpture - Taishō Era (1912–1926)
Dimensions
Height: 11 cm (4.33 inches)
Length: 9 cm (3.54 inches)
Width / Depth: 3.5 cm (1.38 inches)Condition
Excellent overall preservation. The polychrome enamels remain vibrant and unfaded, with glaze intact. Minor age-appropriate patina and light surface wear are visible on the base. The underside is unmarked and features the characteristic firing vent hole.
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