The Kura
sold, thank you
sold, thank you
A beautifully sculpted wooden tray covered in black lacquer carved in the Kamakura Bori tradition from the Hakkodo Studio enclosed in the original signed wooden box titled Kamakura Bori Kashi Bachi Hana Karakusa (Kamakura Carved Vessel with Scrolling Flower Design). It is 36.5 x 26.5 x 5.5 cm (14-1/2 x 10-1/2 x 2 inches) and is in excellent condition.
In the 12th-13th centuries, when Kamakura prospered as the samurai capital, Zen Buddhism was introduced from China, and many Zen temples were built, including Kamakura Gozan. The architectural style of these temples was modeled after the Tang style of China and he interior decoration, furniture, and Buddhist altar fittings were similarly Tang style. Along with Zen. celadons, bronze vases, Tsuishu and other cultural objects were brought from China. Tsuishu is a vessel formed only with layers of lacquer, and a pattern is carved on the surface. A very time-consuming process, these usually small articles were highly valued. Wood-carved lacquered incense cases imitating this were made by carving a vessel of wood and applying lacquer to finish it. This is believed to be the beginning of Kamakura-bori, and it is accepted that it was made by a Buddhist sculptors for temples. In the Momoyama period, the design and carving became dynamic and deep moving away from imitation to an art form of its own. In the Edo period, we can see a growth in production, with even everyday items such as tea utensils and braziers being produced, as well as larger secular works such as trays and even small furnishings. Around this time, the name 'Kamakura-bori' began to appear in books dealing with tea utensils. The Goto family, the current head of Hakkodo, descended from the Kei school of Buddhist sculptors who came from Nara to create Buddhist statues for Zen Buddhist temples. Due to the Meiji government's edict to abolish Buddhism, they moved to revive and reinvent the Meiji Kamakura-bori. From the Meiji through the Taisho and into the Showa era, new techniques were developed and established as a field of crafts. After the war, Kamayama Mitsuhashi and Shuntaro Goto formed an association, and in 1977, Kamakura Bori was designated a traditional craft.
In the 12th-13th centuries, when Kamakura prospered as the samurai capital, Zen Buddhism was introduced from China, and many Zen temples were built, including Kamakura Gozan. The architectural style of these temples was modeled after the Tang style of China and he interior decoration, furniture, and Buddhist altar fittings were similarly Tang style. Along with Zen. celadons, bronze vases, Tsuishu and other cultural objects were brought from China. Tsuishu is a vessel formed only with layers of lacquer, and a pattern is carved on the surface. A very time-consuming process, these usually small articles were highly valued. Wood-carved lacquered incense cases imitating this were made by carving a vessel of wood and applying lacquer to finish it. This is believed to be the beginning of Kamakura-bori, and it is accepted that it was made by a Buddhist sculptors for temples. In the Momoyama period, the design and carving became dynamic and deep moving away from imitation to an art form of its own. In the Edo period, we can see a growth in production, with even everyday items such as tea utensils and braziers being produced, as well as larger secular works such as trays and even small furnishings. Around this time, the name 'Kamakura-bori' began to appear in books dealing with tea utensils. The Goto family, the current head of Hakkodo, descended from the Kei school of Buddhist sculptors who came from Nara to create Buddhist statues for Zen Buddhist temples. Due to the Meiji government's edict to abolish Buddhism, they moved to revive and reinvent the Meiji Kamakura-bori. From the Meiji through the Taisho and into the Showa era, new techniques were developed and established as a field of crafts. After the war, Kamayama Mitsuhashi and Shuntaro Goto formed an association, and in 1977, Kamakura Bori was designated a traditional craft.
The Kura
sold, thank you
sold, thank you
A wide flaring bowl of delicate celadon with raised floral motifs by Imperail Artist Suwa Sozan I enclosed in the original signed wooden box titled Seiji Chawan and bearing the Teishitsu Gigei-in seal of the Imperial Art Academy. It is 16 cm (6-1/4 inches) diameter and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.