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Tanomura Chokunyû (1814-1907) & Takahashi Dôhachi V (1869-1914)
Kyoyaki
Hôhin, handless tea pot: Willow and fisherman
Signed: Chokunyû dôjin and Dôhachi
Seals: Chokunyû
Technique: Kyoyaki sometsuke (Seikaji) - Translucent blue and white porcelain with a hand painted cobalt blue underglaze decoration. Ø 7,2 x 5,2 (6)
Condition: used, very good

Hôhin, handless teapot for Gyokuro cha,’jade dew’ tea (the highest grade of green leaf tea in Japan).

The image of a fishing scholar is known as “The hope of the duke” (Japanese: Taikôbô, Chinese: Taigongwang). The name given to Lu Shang, a misunderstood strategist who had fled the world en spent his days fishing at the River Wei. Eventually the duke of Zhou (11th. before Christ) recognized his talent and designed with his assistance the inferior Shang dynasty and good order in the world. Later on the term was used for fishing literati in general.

Chokunyû was born in Ôita Takeda in Bungo province. His master Tanomura Chikuden (1777-1835) came from the same area. Chokunyû became his pupil when he was in his 9th year. Chikuden recognized his talents and adopted him, upon which Chokunyû gave up his own family name of Mitsumiya. Apart from his painting activities he also immersed himself in Chinese studies. He was, moreover, a pivotal figure in sencha-loving circles in Kyoto and Osaka. As the number of devotees augmented, he founded a sencha society in Osaka in order to preserve and consolidate the work of earlier sencha enthusiasts like Rai San’yô (1781-1832). It became known as the Seiwan Chakai, Blue Bay Tea Society. As its originator and promoter Chokunyû achieved tremendous fame. Early in the Meiji era he became involved in the founding of Kyoto’s Prefectural Art School and in due course became its first director. He also helped to establish the Japanese Nanga Society. He was a prolific artist not only drawn to landscape and flowers, trees and grasses, but also to birds, animals and human figures. With Tomioka Tessai (1836-1924) he was a leading figure in the sencha world of the Meiji era.

Reference:
Roberts p. 174
Araki pp. 1080-1081
Graham p. 171 ff.
Berry & Morioka ‘99 p. 92-95 (# 12)
Berry & Morioka ‘08 p. 303-05 (# 42-43, 79)

Takahashi Dohachi V is descended from one of the three most famous Kyoto potter families. The fifth generation took control of the kiln in 1897.

Availability: On Request