F2 Japanese Art Miura Chikuken, Kenzan design Bamboo Water Jar, Tea Ceremony

bamboo basket Material: Bamboo Size: 270~310(W) x 330/550(H) mm A bamboo basket with an attractive wild weave. Famous as one of Japan's traditional crafts, bamboo crafts An ambitiou...

Weaving a star-shaped bamboo flower basket Materials are bamboo, rattan, wooden branches, etc. φ430× 180 (main body)/430 (total length) [mm] An irregularly shaped flower basket Made...

φ125/180 (W/W including ears) x 350 (H) mm, box size: 170 (W) x 180 (H) x 500 (D) [mm], 1.5 kg In good condition with almost no signs of use The bamboo is split into small pieces t...

φ360× 105(H) [mm] Box size:Box size: φ370×140mm 2kg The Oita Prefectural Art Museum also has similar collections of woven baskets by Kosai. The unique design makes it immediately re...

A spectacularly designed and beautifully made Chawan tea bowl dating back to the Edo period. This work is attributed to Ogata Kenzan (1663-1743) who is wi...

A Japanese ceramic shallow dish in square form with rounded corners from Meiji period in the style of Ogata Kenzan. The dish features a cream color crackl...

A wonderfully designed and beautifully hand painted tea ceremony tray/plate by esteemed Japanese artist and master potter Ogata Kenzan (1663-1743). Kenzan is widely considered to be...

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...