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Nakajima Kahô (1866-1939) & Kiyomizu Rokubei IV (1847-1920)
Nihonga / Kyôyaki
Chawan, Tea bowl - Kiku, Chrysanthemum
Signed: Kahô sha, nanjûsô Rokkyo saku
Seals: Kenshô, Kiyo
Technique: grey and pink gohonde with a tetsu-e underglaze painting and incized signature by Rokubei Ø 11,5 x 7,2
Date: 1916
Condition: fine

Poem, a haiku by Chiyô ni, reads: 幾度もお手にっかかりし菊の花 千代作
ikutabi mo / oteni kakarishi / kiku no hana Chiyo ([ni] saku
Again and again take care of the chrysathemum flowers (HK)

Kahô was born in Kyôto, son of the painter Nakajima Kayô (?-1877), a pupil of Yokoyama Kazan (1784-1837). Kahô studied painting under Mori Kansai (1814-92) and calligraphy with his brother-in-law Tomioka Tessai (1836-1924), who was married to his sister Tatsu. He studied haiga works by Kikaku, Buson and Gekkei, but developed his own distinctive style.
. He participated in a lot of exhibitions, including the World Exhibition in Chicago in 1893.

Reference:
Oranda Jin 2012
Araki p. 2030
Berry & Morioka ‘08 p. 285 (# 81)
Haiku & Haiga p. 195 ( # 72-73)
Berry '01 pp. 176-177 (# 89)

Rokubei IV (Shôrin) was the first son of Rokubei III (Shôun). He studied painting with Shiokawa Bunrin (1801-1877). After his father’s death he inherited the family title in 1883. He was a close friend of Tomioka Tessai (1836-1924) and of Kôno Bairei (1844-1895). He was a great promoter of Kyôyaki and already in 1884 he established the Ceramics Commercial and Industrial Association. He actively studied design and participated in the Yûtôen, organized by Asai Chû (1856-1907) and in the Kabikai, presided over by Kamisaka Sekka (1866-1942).

In 1913 he retired due to poor health, transferring the title of the family to his second son Kuritarô, who became Rokubei V (Shôrei) (1875-1959). He then took the artist’s name Rokkyo. The style of Rokubei IV is quiet and elegant, reflecting his own refined character. His works are considered the best among all the works of the succeeding Rokubei generations.

Reference:
Sekka, Kyoto 2003 p. 326

Availability: On Request