Rare Rakuzanyaki Sanzaru Futaoki by Nagaoka Kuumi
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Directory: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1930: Item # 1491102
Directory: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1930: Item # 1491102
Please refer to our stock # K010 when inquiring.
The Kura
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23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
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23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
sold, thank you
sold, thank you
A diminutive image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the later 19th to early 20th centuries by Nagaoka Kuumi enclosed in the original signed wooden box. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What passes in the tea room stays in the tea room. The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the artists seal.
Nagaoka Kuumi (1874-1960) was the son of Kunyu, and was the 9th generation successor to Rakuzan ware. He took the reins during a period of revival in the Tea world and was inspired by the famous tea ceremony equipment exhibited at the 100th anniversary of the death of Tea Master and Daimyo of Izumo Matsudaira Fumaiko (1751-1818).
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 (Fumai 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.
A diminutive image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the later 19th to early 20th centuries by Nagaoka Kuumi enclosed in the original signed wooden box. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What passes in the tea room stays in the tea room. The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the artists seal.
Nagaoka Kuumi (1874-1960) was the son of Kunyu, and was the 9th generation successor to Rakuzan ware. He took the reins during a period of revival in the Tea world and was inspired by the famous tea ceremony equipment exhibited at the 100th anniversary of the death of Tea Master and Daimyo of Izumo Matsudaira Fumaiko (1751-1818).
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 (Fumai 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.
