|77. Imao Keinen (1845-1924) & Kiyomizu Rokubei V (1875-1959)|
Shijô / Kyôyaki
Set of four dishesSigned: Keinen and kaô
Technique: grey glazed gohonde Kyôyaki with brown testu-e, iron oxide underglaze paintings Ø 15,6 x 2,3
Box: Authorised in 1947 (Shôwa 22) by Rokubei V and Imao Keishô (1902-1993), adopted son and pupil.
Condition: One dish with kintsugi, gold restoration, otherwise very good
- House in the snow with haiku. [signed:] Keinen with kaô
我一つ、一つ道ある、雪の里. Ware hitotsu hitotsu michi aru yuki no sato.
Just me, on my own / On the only path / Through the village in the snow. (HK)
- Rape seed with haiku. [signed:] Keinen with kaôand kintsugi.
そよ風に、菜の花匂ふ、野道かな. Soyokaze ni na no hana niou nomichi kana.
A gentle breeze / The scent of rapeseed / In the country lane! (HK)
- Pine branch and moon, kaô on reverse
- Lobster, ebi, with kaô
Imao Keinen studied under Suzuki Hyakunen (1825-1891). During the uprisings marking the end of the Tokugawa regime the Imao house was destroyed. Released from his family's business he was able to devote all his time to art and he established his own studio in 1868 where he trained many students. In 1888 he started teaching at the Kyôto Art Academy. He was a dedicated teacher, who always took much effort and who was greatly concerned with the progress of his pupils.
Morioka & Berry ‘99 pp. 122-125 (# 22)
Morioka & Berry ‘08 p. (# 11)
Aburai p. 47-48
Roberts p. 53
Rokubei V (Shôrei) (1875-1959) was the second son of Kiyomizu Rokubei IV.
Rokubei V studied Shijô painting with Kôno Bairei (1844-1895). His artist name Go: Shôrei. Kikuchi Hôbun (1862-1918), Taniguchi Kôkyô (1864-1915), Takeuchi Seihô (1864-1942) and Tsuji Kakô (1870-1931) were his classmates. He also studied at the Kyoto Prefectural School of Painting, and studied ceramic techniques with his father after graduation. 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.