Catalog: Archives: Regional Art: Asian: Japanese (581)

A very rare painting of a skull and scattered bones lost to autumns dead grasses by important 20th century Zen priest Takeda Mokurai. Ink on paper bordered in brown cloth with gray extensions; dark wood rollers. The scroll is 16 by 68 cm (40.5 x 172.5 cm) in fine condition.
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 Addis and Audrey Yoshiko Seo.

A quintessential Taisho style painting of a boy in a mystical forest of flowers, pigment on silk by Hoson Reisui (b. 1897). The ethereal image seems not so much to be drawn on the silk, but to eminate from it. The boy too seems as if a sprite living in some fantastical reality. There is a minor water streak opposing on the bottom outside of both panels (near the signature) and some loss to the white gofun petals. Each panel is 34 x 59 inches (86.5 x 149.5 cm) and is in overall fine condition. Reisui studied in Tokyo under Hashimoto Seisui, placing him in the lineage of Gaho and Taikan. He later changed his name to Hoson Ryosaku.

A suit of Edo period armor featuring a Kebiki Ni Mai Do Gusoku, a 2 piece hinged armor of 8 closely knit rows of scale plates. 7 rows of 5 kusazuri hang from the do. It has a 32 plate Suji Kabuto with a tehen Kanamono vent in the shape of a stylized chrysanthemum and prominent Fukigaeshi, with 5 Hineno Jikoro cascading down the back. The helmet has typical chipping to the edges of the lacquer. The bowl retains 90 percent of the original liner and sweatband with the original ties. There is a me no shita no ho mask with 4 lame yodarekake, lacquered inside with red, outside in black and featuring a thick horsehair mustache, again, typical chipping. It also features Osode with brass ornaments and backed with leather; shino gote, haidate and suneate, and comes with an armor box. The armor is laced with orange and white thread, which is all in quite good condition except for the top row on the front of the do. The do and mail were also lacquered in gold. In an unusual note, the armor is still in the hemp bags designed to protect it during storage, marked with the date Ansei ni nen (1855), meaning it was probably repaired or restored at that time.

An exquisite pair of gofun covered fox on black and gold lacquered stands protected by copper wire cages, dating from the second half of the Edo period. They wear a shrewd look, eyes narrowed to slits, enhancing their mischievous image. The mystical carvings are covered in white gofun, stained a soft gray from age with highlights still white from eons of careful cleaning. Around the pair of ethereal creatures are removable cages of copper wire to protect the sacred images, the gofun coating made from powdered shell a tasty source of calcium for foraging rodents. The fox alone are roughly 6-1/2 inches (17 cm) tall, with stand together roughly 8-1/2 inches (21 cm) tall. The back paw of one of the animals is missing, but the copper cages have born the brunt of damage and otherwise all is in fine condition. The fox is a magical being, believed a shape shifter and protector of Shinto Shrines. They are also the kami (a term meaning divinity) of business. Every January the Fox Shrine, Fushimi Inari in Kyoto, is inundated at New Year with entrepreneurs, business people and the self employed praying for a successful year.

First we hear the clang of the hammer striking the bell, then the steadily approaching clop of his wooden shoes before the horrifying creature dressed in the robes of an itinerant priest appears; a ledger in one hand noting our sins. Hanging from a chord around his shoulders is an umbrella, testifying to his constant state of movement. A spectacular carving of an Oni-no-Nenbutsu praying Demon taken from burled cedar. This is a powerful image, the face expertly carved to strike fear into the hearts of men and women. With base it is over 2 feet (64 cm) tall and is in fine condition but for the lower handle of the hammer, which appears to have been replaced.
The Oni no Nenbutsu is one of the more popular figures from Otsu-e; a folk painting tradition from the town on the outskirts of Kyoto; the first or last stop coming to or leaving the capitol on the old Tokaido road. A pantheon of almost 200 characters, one of the most popular was the goblin, which came into vogue in the 18th century. Although the western goblin is a symbol of evil in religious iconography, in the Otsu-e tradition the symbol was used to satirize human folly and to remind people of the consequences of their actions. Other goblin images present remonstrations against arrogance, hypocrisy and carelessness. Utagawa Kuniyoshi created a woodblock print depicting the Otsu-e figures coming to life.

A set of 12 uniquely crafted masks of devils dating from the Meiji period enclosed in a period custom made kiri-wood box titled Kodai-men Hina-gata Juni-ko (12 miniature ancient masks). They are created from clay covered in gofun and mineral pigments with inset eyes of glass and ivory teeth and horns. Each mask is roughly 9 x 8 x 5 cm (3-1/2 x 3-1/4 x 2 inches). There are some minor losses to the coloration but otherwise all are in fine condition. The box has served its purpose well, protecting the collection from obvious ravages of time.

A fine ivory colored celadon by the first generation Kato Keizan enclosed in the original signed wooden box and containing the original exhibition pamphlet in which the vase is featured from the 1956 Takashimaya Department Store Exhibition marking his 50th year of working with clay. This vase was chosen by the artist for his exhibition pamphlet, making it, at least in the eyes of the artist, one of the more important pieces he had made at that time. The large vase is 12 inches (31 cm) tall, 7 inches (17 cm) diameter.
Kato Keizan (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

A set of stacking brass coasters in the shape of a cannon shell complete with dial settings on the warhead made for the Shobido company in the 1930s or 40s and enclosed in the original signed wooden box. Stacked it is 10 inches (25 cm) tall, 3 inches (7.5 c) diameter and in excellent condition.
Shobido has been commissioning works with first rate artists and craftsmen for its own facilities and top Department stores since 1900. Founded by Eto Eikichiro at the height of the salon era, it served as a focal point for art, and they scoured the country for artists and craftsmen in all fields. During the strict war years their business suffered under the laws against excess, and finally the studio was completely destroyed in the bombing of Osaka in 1945. The second generation took over in 1946, working to re-establish the company and connecting with Hanshin Department Store, slowly growing while promoting the cultural heritage of Japan. They are now in the 113th year.

Something I have never seen before, a set of pillows for one couple from Shimabara, one of the oldest pleasure districts of Kyoto, enclosed in the original Kiri-wood storage box. The man’s pillow is a simple roundel of soft leather. The woman’s, made for a geisha and her elaborate coiffure, is a small tapering black lacquered box with a drawer for a hair pin, to the top of which is secured a brocade pillow with a silk chord. The box itself is a work of art, with copper handles on the sides, and an inlaid tab in the sliding lid made of ebony. The pillows are housed within on a sliding stand. The prestige placed upon these specific pillows shows them to be much more than ordinary. actually ceremonial. The box is 50.5 x 27.5 x 25.5 cm (20 x 11 x 10 inches). The man’s pillow is 14 cm (5-1/2 inches) diameter, the woman’s 21.5 x 11 x 18 cm (8-1/2 x 4-1/2 x 7 inches). They are in an excellent state of preservation.

A pair of brightly colored Mandarin ducks nestle down under cover of dried lotus in this

An 18th-early 19th century Literati landscape featuring a scholars gathering in a forest of pines on one side, a pair of boats pulling up to a hermitage on the other. These are published in the book Jidai Byobu Shuei (pre-restoration, pages 76 and 77). They have been completely restored maintaining the original cloth border and are in superb condition. Each screen measures 70-1/2 x 150-1/2 inches (179 x 382 cm).
So Gessen (1741-1809) was an artist initially trained in Edo under Sakurai Sekkan, and later in Kyoto under Maruyama Okyo. A known associate of Yosa Buson, he was a prominent figure in the literati scene of that time. He lived a quiet life in his later years at Jakushoji Temple in Ise and his style was helped to shape the Literati style of the 19th century. The second stamp bears the temple name, Jakusho shuujin A similar composition is held in the Mie Prefectural Museum.

A demure image of grace and youth; this is a fine full sized Bunraku theater puppet dating from the first half of the 20th century; one of two from a private collection we are currently offering. The eyes open and close, but are stiff, hands are flexible and fully operational. She wears a period red brocade kimono with kiku chrysanthemum patterns and a black obi featuring dragons and phoenix. A white silk lining and silver crown of flowers complete her outfit. The puppet dates from the first half of the 20th century, and stands roughly 40 inches (102 cm) tall. She is in excellent condition.

A very unusual Katana held in a saya (scabbard) made to look like a gnarled branch cut into a poor man’s cane. When pulled a spring-loaded mechanism releases two iron flanges creating a very effective tsuba hand guard. The blade is unsigned, measuring Nishaku nissun nibu {26-1/2 inches (67.3 cm)}. The remnants of a piece of paper remain glued to the saya with the name Masaaki Noma (?) written in cursive Roman letters, followed by UZUMASA, an area in Kyoto city. The end is capped in metal, and in fact, the Koiguchi and Fuchi (at the mouth of the scabbard and handle) are also metal, which blend perfectly with the carved wood.

A celadon vase inlayed with Chrysanthemum designs by Teishitsu Gigei-In Suwa Sozan I enclosed in the original signed wooden box featuring the Imperial Art Academy Seal and titled Kiku-Zogan Hana-Ire. Tendrils of blossoming chrysanthemum climb up the sides in dark inlay on the slightly pitted celadon sueface, a perfect rendition of Korean style wares from an earlier era with the addition of the Japanese design motif. It is 10-1/4 inches (26 cm) tall and in excellent condition. Artists mark on base.
The box notes this as having come from “Rai-gamaâ€, a Korean style or perhaps Korean Kiln. It is possible that Sozan fired this on a study trip to Korea, as I have never seen another box bearing this kiln dedication. An extremely rare work certainly worthy of a museum collection.
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.

A black-tailed white crane braves tempestuous seas before the massive orb of a blood red rising sun in this sensational late Edo period Kano style scroll. From the right a sinewy tree loaded with exaggerated fruits hangs precariously from the green face of a sheer cliff, its wild branches running helter-skelter through the dark sphere. Mist retreats beyond the horizon, regrouping for another night. A very unorthodox scene, each wave scratched out with soft gray, foam flying from the bird and waking in troughs on the undulating surface of the sea. The powerful scene is bordered in tea green brocade patterned with vertical waves, and features massive ivory rollers. It is 2 feet (61 cm) wide, 76-1/2 inches (194.5 cm) long. There is some creasing in the heavy red paint of the sun, and although white underneath and not noticeable, there is loss to the thick gofun which originally covered the large peaches. These minor defects fail to mitigate the tyrannical presence of this extraordinary painting.

Edo period Kimono hang from a lacquered frame on this gorgeous two panel silver screen dating from the turn of the 19th century. Dyed on the shoulder of the Chirimen silk lavender mans kimono is the Mitsuba-Aoi, official crest of the Tokugawa Shognate indicating the original kimono was property of the family which ruled Japan for 250 years. Below is chrysanthemum flowers (symbols of Imperial Power) embroidered over patterned Rinzu Satin. The other is completely embroidered with flower carts over patterned silk. Both are magnificent over the age tarnished silver. Each panel measures 27 inches by 5 feet (68 x 152 cm). There is some wear to the cloth at the inside hinge. It is backed with faded blue cloth in a polished mulberry frame

Finely crackled which glaze covers this late Meiji Chinese inspired form clearly stamped inside the footring Tozan Ito Tozan. There is an incredible sense of mastery in the concise lines and perfectly sculpted form. It is 13 inches (33 cm) tall, 10 inches (26 cm) diameter and in excellent condition, enclosed in an older custom made wooden box.

A Gyokusendo hand formed copper vase decorated with dragonflies enclosed in the original signed wooden box dating from the 1950s. It is 8 inches (20 cm) tall, 9 inches (22 cm) diameter and in excellent condition.

The bowl is 5 inches (13 cm) diameter2-1/2 inches (6 cm) tall and in fine condition. Oku yama no, Hana no Shirayuki, Nagare-kite, Haru no sue kumu, Kawazura no Sato (From Deep in the mountains, fallen petals white as snow, Flow past the village, like the last vestige of Spring). Much has been written about the life and work of poet/artist Otagaki Rengetsu. Born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

Variously colored momiji leaves in enamel blow past the under-glazed cobalt lattice of manjirushi on this large bowl by Takahashi Dohachi dating from the first half of the 20th century. The bowl is 21 cm (8-1/2 inches) diameter, 9.5 cm (4 inches) tall and in perfect condition, enclosed in a fine custom made kiri-wood box.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.'

Jurojin getting an earful; a humorous image by Suzuki Shonen showing the elderly god having his ear cleaned by his companion, the long lived crane. It comes enclosed in a double wooden box annotated by Konishi Fukunen (1887-1959) and bears a label from the Daimaru Department Store. Fukunen was one of Shonens most famous pupils. The ink and light color on paper image is bordered in a superb brocade mounting with solid ivory rollers. It measures 64 x 149 cm (25 x 59 inches) and is in fine condition.
Suzuki Shonen (1849-1918) studied under his father Suzuki Hyakunen and served as a professor at the Kyoto Municipal School of Painting. Born in Kyoto, he lived through the tumultuous early years of change in the Meiji era, when Japan was opened to outside influence for the first time in 3 centuries. Reflecting the times, he established his own unique style of painting which blended aspects of Nanga and the Shijo School, with influences from Otsu-e and Western Perspective. Much lauded in his lifetime, he was awarded a silver medal at the Paris World Exhibition in 1900. He is well known as the teacher of Uemura Shoen, one of the most important artists of the era. Works by this artist are held in the collection of the Victoria Albert Museum, British Museum, Ashmolean, Kyoto Municipal Museum of Modern Art, Metropolitan Museum of Art, Seattle Art Museum among many many other important private and public collections.

An early snow covers the branches of a ragged pine, the clutches of autumn still evident in the red tinged leaves of ivy clinging tremulously to the limbs. This is a spectacular large Kyo-yaki work signed on the base Seifu and enclosed in a period wooden box. Dating from the late 19th to early 20th century, it is nearly 10 inches (25 cm) diameter, 5-1/2 inches (14 cm) to the top of the lid and in excellent condition. This is the work of Seifu Yohei I.

An Art-Deco Revival vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Homan Kabin dated 1959. It is 8-1/2 inches (22 cm) tall and in fine condition.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1959.

Mother of pearl is inset into the silver powder dusted lattice set between red lacquered pillars forming this art-deco era lacquer vase enclosed in the original signed wooden box by Iwamura Sadao (1912-1944). A brass insert which rests perfectly between the four corners allows for flowers. The strong geometric patterning embodies the Art Deco style so popular in Japan in the 1930s. It is 6-1/4 inches (16cm) square, 15-1/2 inches (39.5 cm) tall and in overall fine condition. The design is similar in theme to the cabinet by this artist in the Spencer Art Museum.

A spectacular black lacquered wooden sign carved with bold characters over a gold gilded carp swimming through a torrent of waves dating from the late 19th to early 20th century. It is in fine condition, with only minor marks typical of age. It measures 4 feet (121 cm) long, 14 inches (35 cm) wide and is 1-1/2 inches (3.5 cm) thick at the frame edge.
Due to size the cost of shipping will be accrued separately for this item.

Cranes cut on the frosted surface rise from ice blue, their necks curling out as handles as they preen. A quintessentially Japanese subject executed with impeccable Japanese craftsmanship. The vase is 11 inches (28 cm) tall, 6-1/2 inches (16.5 cm) diameter and in perfect condition; enclosed in a covered wooden box.

A radical Iga vase by unconventional artist Kishimoto Kennin (b. 1934) enclosed in the original signed and stamped wooden box. The free form Terracotta image is covered in lichen-like pale green ash glaze. The vase is 10 inches (25 cm) tall, 5 inches (12.5 cm) wide and in perfect condition. Possibly better known today for celadon, Kennin went through a radical period some 15 years ago working on pieces like this unusually formed Iga ware. An artist who has tried many styles, he has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Traditional Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

A Nihonga Scene mounted on a two panel screen of a thatched house in the winter forest, blossoms just opening on the garden trees by Takahashi Shiko (1897-1970). The scene has been created over a complete wash of white, making the crisp early spring morning real and sharp. The screen measures 74-1/2 x 67-1/2 inches (189 x 172 cm) and is in excellent condition bordered in a red lacquer frame typical of the 1920s and 30s and retains the original backing paper. A superb example of the early Showa style.
Shiko, born in Kyoto, studied under Kikuchi Keigetsu. He was active from the Taisho period during which time was exhibited at the Teiten National Exhibition 6 times. A pair of screens by the artist created in 1922 are held in the National Museum of Modern Art, Kyoto. He is best remembered for these whimsical and architectural landscapes.

A later Meiji period two panel screen, Pigment on silk, signed Hosen (Usui Hosen) dating 1900-1910. Shunkei lacquer frame with cloth backing. Quintessential for the era, the scene is brushed in an abbreviated style, allowing the viewer to participate by completing the details. Muted colors and the lack of hard lines lend the screen an ethereal quality, as if recalled from a distant memory. The screen is 56 inches x 5 feet (142 x 152 cm) and is in fine condition but for some stress in the silk in the lower portion of the womans garments. Usui Hosen (b 1881, Kyoto) graduated the Kyoto School of Art and apprenticed under Yamamoto Shunkyo before establishing himself as a known Nihonga artist in early 20th century Kyoto the cultural heart of Japan.

Oribe Green runs in a curtain over the pale yellow glaze of this Edo period andon-zara oil dish. It is unglazed on bottom, measuring 8 inches (20 cm) diameter and in excellent condition, enclosed in a custom kiri-wood box.

An unusual image of a towering stone among pines by Yasuda Hanpo enclosed in the original signed wooden box dated 1935. It is titled Sosui Manken (In the shade of Towering Trees. Light pigment and ink on paper in a cloud-patterned satin border with large bone rollers. 46.5 x 207 cm (18-1/2 x 82 inches) and is in exceptional condition.
Yasuda Hanpo (1889-1947) was a Nanga artist studied under Mizuta Chikuho and Himejima Chikugai. He was first accepted into the Bunten in Taisho 6 (1918) and was steadily accepted throughout his life. From 1922 he also participated in the Nihon Nanga-In Exhibition. Held in the National Museum of Modern Art Tokyo among others.

A beautiful Suiseki mounted on rich red carved wood base enclosed in a custom made kiri-wood display box. There is a sublime balance between the ragged peaks and deep clefts in the stone, and excellent example of the Renzan (Range) type of stone. The stone is 37 x 10 x 12 cm (15 x 4 x 5 inches) and is in excellent condition. There is one very small nick in the wooden base (1/8th of an inch or 3 mm in size). Together the stone and box weight 3.5 kilograms (roughly 8 pounds). The chip in the wooden base will be filled before shipping unless otherwise preferred.

This is a genuine theater puppet kashira representing the character Osome. It is not a souvenir. As you can see it is quite clean, however there are three faint vertical cracks in the gofun covering, beside the nose and up the right cheek. The gofun is stable. She wears her hair in an immaculate coiffure held with one unpretentious comb and a ribbon of chirimen silk. Two silver ornaments accent the very simple and attractive figure. The head comes with the bamboo stand shown, as well as the wooden tablet upon which is written Osome. There is a toggle on the neck for raising and lowering her chin. On the stand as pictured, the presentation is 18 inches (46 cm) high. The actual head is about 8 inches (22 cm) tall. Bunraku, or Japanese puppet theater, is probably the most highly developed form of puppetry in the world.

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.

A long “Hengaku” framed painting meant to sit above the transom by Yoshimura Horyu featuring monkeys riding on the back of a deer. One has fallen and is being dragged along like a water-skier by vines tangled in the deers horns. A very humorous scene by this rare Osaka artist. Pigment and ink on silk mounted on gold with a carved rosewood frame. The frame is 154.5 x 50 cm (61 x 20 inches) and is in fine condition, with toning to the silk typical of age.
Yoshimura Horyu (1874-1936) was born in Osaka and studied under Mori Niho (1818-1891), excelling at paintings of animals in the Shijo style of observation from life. Due to size the cost of shipping will be accrued separately.

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.