|62. Yamamoto Shunkyo (1871-1933) & Kiyomizu Rokubei V (1875-1959) |
Kashibashi, bowl for sweets: Mangetsu - Full moonSigned: Shunkyo
Technique: grey gohonde Kyôyaki, with a white and dark brown, tetsu-e, iron oxide, underglaze decoaration under translucent grey crackled glaze Ø 24 x 8,5
Box: signed by both potter and painter
Condition: except for a tiny backing flaw in fine
Shunkyo was born in Shiga prefecture. After he studied with Nomura Bunkyo (1854-1911) he became a pupil of Mori Kansai (1814-1894) In 1885. Together with Tsuji Kakô (# 38-40), he worked for the Takashimaya department store, creating designs for export textiles, but at the same time studied photography and yoga, Western-style oil painting. After 1900 he became one of the most successful Nihonga artists in Kyoto and his juku (private teachg school) was as popular as the one of Takeuchi Seihô (# 64). When the Bunten, the annual governmental exhibition, began in 1907 Shunkyo was appointed jury member.
next to a number of monographs
Roberts p. 196
Aburai p. 412
Berry & Morioka ‘99 pp. 126-127
Conant pp. 330-331
Rokubei V was the second son of Kiyomizu Rokubei IV (# 61). He studied Shijô painting with Kôno Bairei; Kikuchi Hôbun (1862-1918), Taniguchi Kôkyô (1864-1915), Takeuchi Seihô (#64) and Tsuji Kakô (# 38-40) were his classmates. He also at the Kyoto Prefectural School of Painting. After graduation he studied ceramic techniques with his father.
His career as a ceramic artist began when he won a prize at the Fourth Domestic Industrial Exposition in 1895. He studied glazing techniques at the Kyoto Municipal Ceramic Laboratory established in 1896 and organized the Promoting Society for Craft Workers (Shokkô Shôrei-kai) with designer Kikuchi Sokû at the Laboratory in 1899. He actively worked on the study and research of new glazing techniques and (Western) designs. When Rokubei IV retired, he inherited the title and became Rokubei V in 1913. He exhibited at the Nôten, the Design and Applied Artworks Exhibition sponsored by the Ministry of Agriculture and Commerce and the Teiten, the Imperial Art Academy Exhibition. He also became a member of the Imperial Art Academy and played an important role as a leading figure of the craft world. In 1945 he retired and took the artist’s name Rokuwa.
Kyoto ‘03, ’Sekka’ p. 326 ff.
Availability: On Request