The Kura - Japanese Art Treasures

Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
In accordance with the requests of local authorities our Kyoto gallery will be closed to visitors from April 14th until further notice.
Kiyomizu Rokubei IV Taisho p. Raku-yaki Monkey Brazier

Kiyomizu Rokubei IV Taisho p. Raku-yaki Monkey Brazier

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Directory: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1920: Item # 1451591

Please refer to our stock # TCR3063 when inquiring.
The Kura
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817-2 Kannonji Monzen-cho
Kamigyo-ku Kyoto 602-8385
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A large and unusual Raku hand warmer (Shuro) in the shape of a monkey Charm (sarubobo) by representative Kyoto artist Kiyomizu Rokube IV (Rokuko, 1847-1920) dating circa 1920 enclosed in the original signed wooden box. The Sarubobo is a Mingei Monkey Charm from the Gifu area, here recreated in the low-fired Raku pottery tradition of Kyoto and seated on the original silk pillow. The walls of this unusual piece of Raku ware are more than 1/2 inch (1.5 cm) thick, making it quite sturdy. It is roughly 10 inches (25 cm) tall, 9 inches (23 cm) diameter and weighs 9 pounds minus ash (4.5 kg). Although not broken in half, the lid on the monkeys back cracked during firing, the glaze appears to be sealing over the crack. Otherwise it is in excellent condition. Engraved in the back is the signature A 73 year old Rokube, followed by his six sided seal. Inside the box is written Made by the 73 year old man Rokuko, endorsed by his successor Rokube V (Rokuwa). Written on back of the piece in ink is Rokube Raku Yaki, Sarubobo Shuro Number II. This would indicate there were originally two of these made as a set as is typical in Japan, however only one has survived.
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. He supplied the kiln for pottery genius Kawai Kanjiro, for which the world of ceramics owes him a very great debt.