Each piece in this collection has a delicate low-relief design of flowering plum branches over intersecting lines resembling cracked ice on a frozen body of water. The signature on the base is in gold pigment. Yohei II created many pieces with underglaze blue designs similar to those of Kiyomizu Shichibei. However, he also produced works in different styles later in his career, starting from around 1873. In that year, he was appointed purveyor to the Industrial Center of Kyoto Prefecture, a position connected to Kyoto's attempts to reach an international market through the port of Kobe. From 1875 until his death, he was involved in national projects to showcase Japanese ceramics worldwide. During this period, Yohei III was apprenticed to Yohei II. It is suggested that this set might be an early piece of Yohei III's work, which he signed with his teacher's name. The collection features designs inspired by Japanese textile motifs, reminiscent of Yohei II's pair of vases with plum blossoms at the Victoria and Albert Museum. In this domestic setting, the elaborate trees intended for formal public exhibitions are transformed into the approachable blossoms of a genteel home environment. Although the designs are consistent across the pieces, each raised flower petal and pistil, as well as each incised line in the ice, was done by hand.
Each item in this set has a delicate low-relief design of flowering plum branches over scattered, intersecting lines meant to resemble the cracked-ice surface of a frozen body of water and is signed on the base in gold pigment. While Yohei II produced many fine works in underglaze blue, like those produced by Kiyomizu Shichibei, he also made works in quite different styles later in his career, from the early 1870 s. In 1873, he was appointed purveyor to the Industrial Center of Kyoto Prefecture, a designation associated with Kyoto’s efforts to reach an international market through the port of Kobe; and from 1875 until his death, he was involved in national-level projects to present Japanese ceramics across the world. It was during this period that Yohei III was apprenticed to Yohei II, and it has been suggested that this set may in fact be an early example of Yohei III’s work, which he signed with his teacher’s name. Decorated with flowers resembling Japanese textile motifs, the set calls to mind the design of Yohei II’s pair of vases with plum blossoms in the Victoria and Albert Museum. Here, the elaborate trees created for a formal public exhibition setting have been translated into the approachable blossoms of the genteel domestic environment. While the designs are consistent across the pieces, each raised flower petal and pistil and each incised line in the ice was done by hand, so the cups, bowls, and dishes are similar yet unique.
View the original at Cleveland Museum of Art →Article 1 gives three grounds for regulating a sign: forming good landscape, maintaining scenic character, and preventing danger to the public. Article 3 then lets a prefecture prohibit outdoor advertising outright, by ordinance, in named categories of place.
The cool part. Read the list in Article 3 and it stops being an advertising law. The places where signage can be banned include landscape districts, scenic districts, preservation districts for groups of traditional buildings, the surroundings of designated Important Cultural Properties, and historic sites, places of scenic beauty and natural monuments. The statute protects the view by removing the sentences written across it.
Verify at e-Gov 法令検索 →Use it Take the ratio, not the picture. It sets a page better than a grid does.
Description source: museum curator text, translated — not generated