Catalog: Antiques: Regional Art: Asian: Japanese (184)

A small Shigaraki pottery urn of very rough clay dating from the 16th century covered in thin natural ash glaze. The squat form known as Uzukumaru is very popular for its simplicity in Japanese Tea Aesthetics. About the shoulder is a lattice fence design engraved into the earth, otherwise it is unadorned and very humble. It is 14 cm (5-1/2 inches) diameter, roughly the same height enclosed in an ancient wooden storage box. There is an old age-darkened chip to the rim, otherwise is in surprisingly condition,
Appreciation of ancient Shigaraki pottery encapsulates a profound appreciation for imperfection, transience, and simplicity. Wabi-sabi cherishes the beauty found in the imperfect, the weathered, and the natural, fostering a sense of humility and acceptance. This philosophy values authenticity over artificial perfection, encouraging a deeper connection with nature and the passage of time. Similarly, the Japanese tea aesthetic, rooted in the tea ceremony's ritualistic practices, emphasizes harmony, respect, and tranquility. Together, they invite individuals to embrace the fleeting moments of life, finding solace and serenity in the subtle beauty of the everyday.

An image of the white robed Kannon (Quanyin), Goddess of Mercy, by Mashimizu Zoroku dating from the early 20th century. Exquisitely crafted, The figure is 14.5 x 12 x 21.5 cm (5-3/4 x 4-3/4 x 8-1/2 inches) and is in excellent condition.
Kannon, also known as Guan-yin in Chinese or Avalokitasvara is a Bodhisattva, (one who has prolonged their own eternal enlightenment to stay behind to alleviate the suffering of others in this ephemeral world. Generally shown as feminine or androgynous, she is one of the most popular deities in the Japanese Buddhist Pantheon.
Mashimizu Zoroku I ((Shimizu Tasaburo, 1822-1877) studied under his uncle Wake Kite and established his independent studio in 1843, taking the name Mashimizu Zoroku. He became independent in 1843 working along with Sen Soshitsu XI. His work was exhibited at the Vienna international exposition in 1873 and Philadelphia in 1876. Zoroku II (Jutaro,1861-1936) was born in the Gojo-zaka Pottery district of Kyoto and inherited the pottery tradition of his father, and, after his early death, continued under the guidance of his mother Chika, taking the name Zoroku in 1882. He was awarded at the Kyoto Kangyo Hakurankai Exposition. He colluded with some of the greatest artist of the day in reviving lost Japanese traditions such as Koyama Fujio and Arakawa Toyozo as well as being heavily involved in research into continental styles. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition,

A large porcelain vase by) Daimaru Hokuho (Hoppo) enclosed in the original signed wooden box titled Yellow Porcelain Lightning Pattern Vase. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises to a row of alternating concentric lines known as Lightning pattern. It is 21 cm (8-1/2 inches) diameter 25 cm (10 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A fabulous large porcelain vase by Daimaru Hokuho (Hoppoo) complete with a rosewood base enclosed in the original signed and compartmentalized wooden box titled Konko-yu Semi Monkizami Kabin (Golden Yellow Glazed Vase inscribed with Cicada Patterns). The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The baluster form rises to frets in the shape of stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 21 cm (just more than 8 inches) diameter 36.5 cm (14-3/4 inches) tall plus the base and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.