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85. Shiokawa Bunrin (1801-1877) & Kiyomizu Shichibei (1818-1891)
Kyôyaki
Iwai no matsu e, Pine on a rock - Tsutsuwan, deep bowl
Signed: Bunrin sha & Shichibei zô
Seals: Gosho-Nai Dai-Hakurankai shoku rakutô tôkôzô oite
Technique: orange brown handshaped raku Kyôyaki with a black tetsu-e underglaze painting and incised signature by Shichibei, Ø 14.7 / 13.0 x 11.3
Date: 1871
Box: signed by Shichibei
Condition: very good

Bottom seal: Gosho-Nai Dai-Hakurankai shoku rakutô (Exposition of pottery in the Imperial Palace, Eastern Kyoto) tôkôzô oite

Bunrin explored the boundaries of the Maruyama-Shijô style and searched for new interpretations in the Nanga style. He also experimented with new painting methods. Through Kôno Bairei (1844-95), his major pupil, his influence reached well into the twentieth century. Bunrin became the createor of Nihonga.

Bunrin’s father was in the service of the Takatsukase family. When in 1820 both his parents died he was sent to Kyoto to study painting. The head of the Takatsukase family arranged a place in Toyohiko’s studio (together with a lifetime allowance of rice).

Bunrin’s connection with the Takatsukase family, which was connected with the imperial court, might have had consequences if he had not moved to a rural village in Shiga from where he travelled and visited temples to study their collections of Ming paintings. Meanwhile he remained in contact with some of the imprisoned key figures of the loyalist groups.


Reference:
Berry & Morioka ‘99 pp. 58-62
Berry & Morioka ‘08 # 66
Conant p. 321
Hillier pp. 335-338
Roberts p. 11
Araki pp. 689-90
Kyoto '98 p. 280


Shichibei (Rokubei III) was the eldest son of Rokubei II (1790-1860). In 1843 he started his own Shichibei kiln.


Price: EUR 1,700 / USD 2,006