Drunken Oni Devil, Bowl by Kiyomizu Roikubei V & Nakajima Kaho
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Directory: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1930: Item # 1496812
Directory: Antiques: Regional Art: Asian: Japanese: Stoneware: Pre 1930: Item # 1496812
Please refer to our stock # K484 when inquiring.
The Kura
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23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
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View Seller Profile
23 Murasakino Monzen-cho
Kita-ward Kyoto 603-8216
tel.81-75-201-3497
Guest Book
$500.00
A devil plays the shamisen, a cup and bottle of sake at his knee, on this wide low bowl by Kiyomizu Rokubei V decorated by Nakajima Kaho with a poem scrawled about the outside enclosed in the original signed wooden box titled Kaho-gajin hitsu Kashi-zara. It is 21.5 cm (8-1/2 inches) diameter 6 cm (2-1/4 inches) tall and in perfect condition. The box retains the original wrapping cloth stamped by Rokubei.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Nakajima Kaho (1866 - 1939) studied painting under Mori Kansai (1814-1892) and calligraphy under famed artist Tomioka Tessai (1836-1924), later marrying his eldest daughter and this family relationship is believed to have been the basis of Kahô's lifelong friendship with the famous painter, who was 30 years his senior. In his early years Kahô was a competent painter in the Maruyama-Shijô tradition, but at the end of the 1910s he started studying 18th century painters from the Kansai district, e.g. Nagasawa Rosetsu, Itô Jakuchû and especially Yosa Buson, whose style served as his model from then on. Apart from making paintings, Kahô also made prints, lacquer paintings and pottery.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Nakajima Kaho (1866 - 1939) studied painting under Mori Kansai (1814-1892) and calligraphy under famed artist Tomioka Tessai (1836-1924), later marrying his eldest daughter and this family relationship is believed to have been the basis of Kahô's lifelong friendship with the famous painter, who was 30 years his senior. In his early years Kahô was a competent painter in the Maruyama-Shijô tradition, but at the end of the 1910s he started studying 18th century painters from the Kansai district, e.g. Nagasawa Rosetsu, Itô Jakuchû and especially Yosa Buson, whose style served as his model from then on. Apart from making paintings, Kahô also made prints, lacquer paintings and pottery.
