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7.1 Nakajima Raishô (1796-1871) with Eiraku Hozen XI (1795-1854)
Chawan, tea bowl - Yabakochi, small Nanten
Signed: Raishô ga
Seals: Kahin Shiriyu
Technique: Wheel-turned grey gohonde kyôyaki with an underglaze decoration in blue and brown Ø 13 x 7
Box: Inscribed
Condition: With 2 gold lacquer restored stress cracks, otherwise fine

Raishô was born in Ôtsu and he was a pupil of the influential Nangaku and later of Maruyama Ôzui (1766-1829). He was an important painter, who attracted equally important students like Konô Bairei (1844-1895) and Kawabata Gyokushô (1842-1913). On January 17th 1868 the art organization the Joun-sha was founded, with Raishô as their oldest core member.

With Yokoyama Kazan (1784-1837), Shiokawa Bunrin (1801-1877) and Kishi Renzan (1805-1859), Raishô was considered one of the four great masters of Kyoto at the end of the Edo period.

Roberts p. 127
Araki p. 1203
Kyoto '98 p. 288
Hillier pp. 332-335

Eiraku Hozen XI (Nishimura Zengorō XI / Kahin Shiriyu / Konan Hozen) is classed as one of the foremost potters in the records of Kyoto wares, together with Aoki Mokubei (1767-1833) and Nin’ami Dôhachi (1783-1855).

At the age of 13 Hozen was adopted by Nishimura (Eiraku) Ryozen, the tenth-generation head of a family making doburo (earthenware braziers) for the tea ceremony, and took the name Nishimura Zengorō XI. With Ryozen in Kyoto he learned to produce sometsuke (blue-and-white) and kinrande (gold-and-enamel) wares, but was also skilled in other techniques, and became a major influence on later Kyoto potters for his use of coloured glazes.

He passed the family headship on to his son, Wazen (1823-1896), in 1849 and travelled to Edo. Hozen spent his final years at a new kiln in Miidera, Shiga prefecture, producing what came to be known as Konan (‘south of the lake’) ware, and later, at another kiln, Nagarayama ware.

Roberts p. 50

Availability: On Request