All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1495671
(stock #NA)
The Kura
$650.00
$650.00
A set of two large deep Imari fluted porcelain bowls dating from the later Edo to Meiji period (19th century) decorated with blossoming cherry trees over wave frets with a rabbit in blue in the center. Each is roughly 16.5 cm (6-1/2 inches) diameter, 11.5 cm ((4-1/2 inches) tall and both are in overall fine condition.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1495670
(stock #NA)
The Kura
$1,400.00
$1,400.00
A set of Nesting Oribe bowls dating from the Momoyama to early Edo period from the Ohira-gama enclosed in an old collector’s box. Both They display a brownish color, typical of early works from the late Muromachi to Momoyama periods. The spur marks between are quite distinct “C” chapes. A simple tendril of iron has been poured over the sand textured surface, otherwise there is no decoration. Both slightly onched shapes feature kin-tsugi gold repairs. The large bowl is 23 x 24.5 x 6 cm (9 x 9-3/4 x 2-1/2 inches), the smaller 21 x 22.5 x 5 cm (8-1.2 x 9 x 2 inches).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495669
(stock #NA)
The Kura
$300.00
$300.00
A hauntingly beautiful set of 6 Edo period dishes decorated with Sasa-grass in mellow beige color on a creamy white surface. Each is roughly 12 x 8 x 2.2 cm (4-3/4 x 3-1/4 x 1 inches) and are in overall fine condition, enclosed in an ancient wooden box. It is likely there were originally 10 dishes, 6 of which have survived the centuries.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1800
item #1495668
(stock #NA)
The Kura
$350.00
$350.00
A set of four “Mokume” wood-grained dishes in pale crackled glaze decorated with iron lattice from the Seto area enclosed in an ancient wooden box titled Seto Oribe naga-zara. Each dish rises slightly off the table on four pinched feet. They are roughly 19 x 10 x 3 cm (7-1/2 x 4 x 1-1/4 inches) and all are in overall fine condition.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495639
(stock #NA)
Tile images on cracked pale glaze decorate this squared bowl stamped on the bottom Fuji from the Fujimiyaki Kiln of Nagoya enclosed in an old wooden box. There is one tiny gold repair on the rim, otherwise is in perfect condition. 13.5 cm (6-1/2 inches) square, 9 cm (3-1/2 inches) tall.
The founder of Fujimiyaki, Murase Hachiroemon I (Miki) was a samurai of the Owari Domain who served in various positions, regional magistrate and head of the domain school. He was also skilled in many arts, including seal carving, tea ceremony, poetry, and haikai (Japanese linked-verse poetry). His house was adjacent to a kiln belonging to the potter Keisuke (of Keiraku ware), and he married Shige, the daughter of Hozo Ichie, an Owari samurai. Because of these connections, he learned pottery techniques from Hozo and enjoyed making his favorite ceramics around Kaei 5 (1852). In 1879 (Meiji 12), they built a kiln in the garden of their villa in Kamimaezu (Fugetsuso Seisonsha) and began their pottery business with six people, including four technicians invited from Seto. Some of the works from Mika’s pottery hobby up until this time, including tea bowls, water jars, and flower vases, are part of the Morse Collection at the Museum of Fine Arts in Boston. They are also included in the Clemenceau Collection at the Montreal Museum of Fine Arts.
The founder of Fujimiyaki, Murase Hachiroemon I (Miki) was a samurai of the Owari Domain who served in various positions, regional magistrate and head of the domain school. He was also skilled in many arts, including seal carving, tea ceremony, poetry, and haikai (Japanese linked-verse poetry). His house was adjacent to a kiln belonging to the potter Keisuke (of Keiraku ware), and he married Shige, the daughter of Hozo Ichie, an Owari samurai. Because of these connections, he learned pottery techniques from Hozo and enjoyed making his favorite ceramics around Kaei 5 (1852). In 1879 (Meiji 12), they built a kiln in the garden of their villa in Kamimaezu (Fugetsuso Seisonsha) and began their pottery business with six people, including four technicians invited from Seto. Some of the works from Mika’s pottery hobby up until this time, including tea bowls, water jars, and flower vases, are part of the Morse Collection at the Museum of Fine Arts in Boston. They are also included in the Clemenceau Collection at the Montreal Museum of Fine Arts.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1940
item #1495638
(stock #NA)
The Kura
sold, thank you
sold, thank you
A beautiful Kuro-Raku Chawan decorated with the character Kotobuki (Great Fortune) in red by the 88 year old Hyakuhyaku-okina (Shibakawa Souemon, b. 1853). It is 11 cm (4-1/2 inches) diameter, 7.5 cm (3 inches) tall and in perfect condition, enclosed in an old wooden box.
The Shibakawa family was a prominent merchant family located in Fushimi-machi, Semba, Osaka, since the end of the Edo period. The Shibakawa family’s history dates back to around 1837 when Shinsuke Shibakawa, the grandfather, established a new business, "Mukade-ya," an importer of Western goods in Fushimi-machi, Osaka. During the era of Mataemon (the second generation) in the mid-Meiji period, the family evolved into modern entrepreneurs. In 1886, he closed the Western goods trading business but continued to manage the family’s affairs, focusing primarily on real estate. Around that time, they acquired land in Kotomura (now Kotoen, Nishinomiya City), which was still a cold, rural area with vast rice fields. In 1896, they developed an orchard there called Kotouen. In one corner of this orchard, in 1912, a unique villa with a blend of Japanese and Western architectural styles, designed by Goichi Takeda, was built. Yoshiro (the second Mataemon’s second son, 1883-1970), who inherited the family estate in 1923, reportedly requested that C.J.L. Bates, the president of Kwansei Gakuin, ensure the university was open and without fences around the campus, similar to the University of Washington in Seattle, which he saw during an inspection trip to America. Seeing the potential beyond cultivation at Kotouen, Yoshiro founded Dai Nippon Fruit Juice Co. (now Nikka Whisky) in 1934.
The Shibakawa family was a prominent merchant family located in Fushimi-machi, Semba, Osaka, since the end of the Edo period. The Shibakawa family’s history dates back to around 1837 when Shinsuke Shibakawa, the grandfather, established a new business, "Mukade-ya," an importer of Western goods in Fushimi-machi, Osaka. During the era of Mataemon (the second generation) in the mid-Meiji period, the family evolved into modern entrepreneurs. In 1886, he closed the Western goods trading business but continued to manage the family’s affairs, focusing primarily on real estate. Around that time, they acquired land in Kotomura (now Kotoen, Nishinomiya City), which was still a cold, rural area with vast rice fields. In 1896, they developed an orchard there called Kotouen. In one corner of this orchard, in 1912, a unique villa with a blend of Japanese and Western architectural styles, designed by Goichi Takeda, was built. Yoshiro (the second Mataemon’s second son, 1883-1970), who inherited the family estate in 1923, reportedly requested that C.J.L. Bates, the president of Kwansei Gakuin, ensure the university was open and without fences around the campus, similar to the University of Washington in Seattle, which he saw during an inspection trip to America. Seeing the potential beyond cultivation at Kotouen, Yoshiro founded Dai Nippon Fruit Juice Co. (now Nikka Whisky) in 1934.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1930
item #1495621
(stock #NA)
The Kura
$300.00
$300.00
A fan shaped dish from the Gentaku Kiln dating from the first half of the 20th century decorated with a poem and autumn persimmon fruits. It comes enclosed in a wooden collectors box annotated inside with a description of the piece in delicate brush strokes. The dish is 25 x 28 x 5.5 cm (10 x 11 x 2 inches) and is in excellent condition, stamped Gen on the underside. A very intriguing bit of Japanese Ceramic history. In the early Showa period, the first generation, Kahei, built the Gentaku Mountain Villa and established the Gentaku Kiln to produce pottery for guests. However, the kiln naturally fell into disuse with the onset of the Second World War. Oshima Rakuan and various potters were invited to create work there.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495620
(stock #NA)
The Kura
SOLD
SOLD
A 19th century fan shaped dish from Southern Kyoto decorated with sailboats passing the pines of Matsushima in front of Mt. Fuji enclosed in an old wooden collectors box. It is 23.5 x 16 x 2.5 cm (9-1/2 x 6-1/4 x 1 inches), with minor chips to the edges typical of the softer clay of Awata. It is stamped on the underside Rakunan, Junzan. Rakunan refers to the southern part of Kyoto city.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495619
(stock #NA)
The Kura
$299.00
$299.00
Cranes soar inside this set of five dishes from the Tosa domain on Shikoku. Outside waves crash about over the fawn spotted Gohon glaze. Each is clearly stamped on the base Odo. They are roughly 15 x 10 x 5 cm (6 x 4 x 2 inches) and all are in fine condition, but for one hairline crack.
In 1653, under the order of Tosa Domain's lord at the time, Yamanouchi Tadayoshi, a potter named Kuno Seihaku was invited from Osaka to open a kiln in Odo (present-day Kozu Town), located north of Kochi Castle. This marked the beginning of the production of "Oniwayaki" (a general term for pottery made at kilns established by feudal lords or castle lords who had an interest in pottery). At that time, the clay used was transported from Nojiyama, where high-quality clay could be found. In 1820 (the 3rd year of the Bunsei era), the kiln was moved to Nojiyama, and for about 50 years, until the Meiji period, porcelain was also produced. After the Meiji period, the kilns were privatized, and several kilns were opened around the Nojiyama area.
In 1653, under the order of Tosa Domain's lord at the time, Yamanouchi Tadayoshi, a potter named Kuno Seihaku was invited from Osaka to open a kiln in Odo (present-day Kozu Town), located north of Kochi Castle. This marked the beginning of the production of "Oniwayaki" (a general term for pottery made at kilns established by feudal lords or castle lords who had an interest in pottery). At that time, the clay used was transported from Nojiyama, where high-quality clay could be found. In 1820 (the 3rd year of the Bunsei era), the kiln was moved to Nojiyama, and for about 50 years, until the Meiji period, porcelain was also produced. After the Meiji period, the kilns were privatized, and several kilns were opened around the Nojiyama area.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495618
(stock #NA)
The Kura
SOLD
SOLD
A sake cup stand (Haidai) in sometsuke blue and white pottery decorated with festive lobsters stamped on the base Momoen-zo and enclosed in an older wooden collectors box. It is 9 cm square, 6.8 cm tall and in perfect condition, dating from the later 19th century.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Sculpture : Pre 1960
item #1495562
(stock #K148)
The Kura
sold
sold
A devil dressed in priest robes hunches down, prayer beads clutched in one gnarled claw, an incense burner held up to his sleepy visage, a humorous image carved from a single block of wood by Hirata Masaya (1900-1980) enclosed in the original signed wooden box dated Showa 35 (1960) and titled Sui-ko (Drunk on Incense). It is 25 x 20 x 26.5 cm and is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1800
item #1495123
(stock #NA)
The Kura
sold
sold
A shallow bowl in the Mishima style from Izumo named Meigetsu (Bright Moon) by the famous priest Takeda Mokurai dating from the mid to later Edo period enclosed in a fine kiri-wood collectors box titled Izumo Mishima Chawan. Perfect for summer Usu-cha, it is 13.2 cm (5-1/2 inches) diameter, 4.5 cm just less than 2 inches) tall and in excellent condition.
The origin of Izumo-yaki lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.
Takeda Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addiss and Audrey Yoshiko Seo.
The origin of Izumo-yaki lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.
Takeda Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addiss and Audrey Yoshiko Seo.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1495122
(stock #K408)
The Kura
$2,800.00
$2,800.00
A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495010
(stock #NA)
The Kura
$350.00
$350.00
A beautiful 19th century Mishima style Hakeme-chawan inlaid with designs in white slip from the Rakuzan kilns of Shimane prefecture. It comes in a silk lined cloth pouch enclosed in an old kiri-wood box titled Rakuzan Yaki Chawan. Inside the lid is a poem accompanied by a painting of a soaring bird. It is 13.6 cm (5-1/2 inches) diameter, 6 cm (2-1/2 inches) tall and in excellent condition.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1494925
(stock #NA)
The Kura
$450.00
$450.00
An aka-Raku Chawan decorated with a phoenix by Kikko Jusoken sealed on bottom with what appears to read “the 7th Kyoto Gosho Hakurankai enclosed in the original signed wooden box. It is 12 cm ( just less than 5 inches) diameter, 89 cm (3-1/8 inches) tall and is in excellent condition.
Kikko Jihei (the firs Jusoken, 1784-1861) was born in Kaminada Village, Iyo country (mod. Ōzu City, Ehime Prefecture), as the eldest son of Todara Genbei, a retainer of the domain. Before establishing his own kiln, Jihei learned various pottery techniques at kilns in Kyoto. He studied under some of Kyoto's foremost masters, including the first Takahashi Dōhachi and the first Kiyomizu Rokubei. After receiving guidance from these emblematic potters of the era, he decided to set up his kiln in Jūso Village, Osaka, for its high visibility. In 1817 at the age of 33 he was commissioned by Mizuno Tadakuni, who later became the Lord of Osaka Castle, to present works to the 11th Shogun, Tokugawa Ienari. These works included a food container (jikirō) adorned with cranes and turtles and a goldfish bowl. As a result, Tadakuni bestowed upon Jihei the kiln name "Kikkō" along with a gold and silver seal. From 1819, at the age of 37, Jihei adopted the surname Kikko. In 1827, he took on the name Kikko Jusoken. Kikko Jusoken worked on his creations at kilns from Osaka to Edo. The first Kikko Jusoken had no children. However, he passed on his kiln in Jūso Village, Osaka, to his niece's son, Kameji, who became the second-generation Kikko, and his own sister's son, Yoemon, who became the third-generation Kikko. The first four generations died within a short time span of each other, all by 1863, and this is likely the work of the fifth generation, who held the reins until 1891.
Kikko Jihei (the firs Jusoken, 1784-1861) was born in Kaminada Village, Iyo country (mod. Ōzu City, Ehime Prefecture), as the eldest son of Todara Genbei, a retainer of the domain. Before establishing his own kiln, Jihei learned various pottery techniques at kilns in Kyoto. He studied under some of Kyoto's foremost masters, including the first Takahashi Dōhachi and the first Kiyomizu Rokubei. After receiving guidance from these emblematic potters of the era, he decided to set up his kiln in Jūso Village, Osaka, for its high visibility. In 1817 at the age of 33 he was commissioned by Mizuno Tadakuni, who later became the Lord of Osaka Castle, to present works to the 11th Shogun, Tokugawa Ienari. These works included a food container (jikirō) adorned with cranes and turtles and a goldfish bowl. As a result, Tadakuni bestowed upon Jihei the kiln name "Kikkō" along with a gold and silver seal. From 1819, at the age of 37, Jihei adopted the surname Kikko. In 1827, he took on the name Kikko Jusoken. Kikko Jusoken worked on his creations at kilns from Osaka to Edo. The first Kikko Jusoken had no children. However, he passed on his kiln in Jūso Village, Osaka, to his niece's son, Kameji, who became the second-generation Kikko, and his own sister's son, Yoemon, who became the third-generation Kikko. The first four generations died within a short time span of each other, all by 1863, and this is likely the work of the fifth generation, who held the reins until 1891.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1920
item #1494924
(stock #NA)
The Kura
$300.00
$300.00
An austere wide low Chawan tea bowl from the Asahi kilns of Nara prefecture emblazoned with Daibutsuden (Great Buddhist Hall). This was made to fund the rebuilding of the Great Buddhist Hall at Todaiji Temple during the late Meiji period. It is 15 cm (6 inches) diameter, 6 cm (2-1/4 inches) tall. There is a single gleaming gold repair to a chip in the rim.
Tōdai-ji in Nara, Japan, was founded in the 8th century by Emperor Shōmu as the head temple of all provincial Buddhist temples. It houses the Great Buddha (Daibutsu), one of the largest bronze statues in the world. Over the centuries, Tōdai-ji suffered multiple fires and earthquakes, leading to several reconstructions. The current Great Buddha Hall, rebuilt in the 17th century, is the world's largest wooden structure. Major restorations were conducted in the early 20th century, incorporating modern techniques to preserve its historical significance. In 1906 (Meiji 39), dismantling and repairs began, incorporating new methods such as reinforcing the interior with steel frames. The restoration was completed in 1912 (Meiji 45).
Tōdai-ji in Nara, Japan, was founded in the 8th century by Emperor Shōmu as the head temple of all provincial Buddhist temples. It houses the Great Buddha (Daibutsu), one of the largest bronze statues in the world. Over the centuries, Tōdai-ji suffered multiple fires and earthquakes, leading to several reconstructions. The current Great Buddha Hall, rebuilt in the 17th century, is the world's largest wooden structure. Major restorations were conducted in the early 20th century, incorporating modern techniques to preserve its historical significance. In 1906 (Meiji 39), dismantling and repairs began, incorporating new methods such as reinforcing the interior with steel frames. The restoration was completed in 1912 (Meiji 45).
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1494847
(stock #NA)
The Kura
$395.00
$395.00
A very rare 19th century tea bowl by Ohashi Shuji enclosed in the original wooden box signed by both the artist and a tea aficionado named Horinouchi Fusensai. It is 10 cm (4 inches) diameter, 12 cm (just less than 5 inches) tall and in excellent condition.
Ohashi Shuji (1795-1857) studied medicine before coming to pottery at the age of 37. A practitioner of the Hisada School of tea, he studied in Kyoto under Ogata Shuhei, and was adept at many styles. <br> Horinouchi Fusensai (1889 – 1945) was the 10th head of the Horinouchi school of tea.
Ohashi Shuji (1795-1857) studied medicine before coming to pottery at the age of 37. A practitioner of the Hisada School of tea, he studied in Kyoto under Ogata Shuhei, and was adept at many styles. <br> Horinouchi Fusensai (1889 – 1945) was the 10th head of the Horinouchi school of tea.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1930
item #1494845
(stock #NA)
The Kura
sold, thank you
sold, thank you
A pale glazed deep Tsutsu-gata chawan tea bowl by the first generation Kuze Kyuho decorated with dried lotus leaves by famed painter Hirai Baisen enclosed in the original wooden box signed by both artists. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (roughly 4 inches) tall and in excellent condition.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.