Kiyomizu Rokubei IV Meiji Period Vase
browse these categories for related items...
Directory: Archives: Regional Art: Asian: Japanese: Pre 1920: Item # 1378232
Directory: Archives: Regional Art: Asian: Japanese: Pre 1920: Item # 1378232
Please refer to our stock # TCR6738 when inquiring.
The Kura
View Seller Profile
23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
View Seller Profile
23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
sold, thank you
sold, thank you
Young pines, a symbol of celebration, strength, fertility and longevity, decorate this large baluster form vessel by Kiyomizu Rokubei IV. It is 12 inches (31 cm) tall. There is a slight firing flaw in the rim. This is from the Kiyomizu Family Estate. There is no box.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamizaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
Young pines, a symbol of celebration, strength, fertility and longevity, decorate this large baluster form vessel by Kiyomizu Rokubei IV. It is 12 inches (31 cm) tall. There is a slight firing flaw in the rim. This is from the Kiyomizu Family Estate. There is no box.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamizaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.