Each piece in this collection has a delicate low-relief design of plum branches with a fragile ice-like surface, created by overlapping lines. These items bear a gold signature on their base. Although Yohei II created many beautiful underglaze blue pieces, similar to those made by Kiyomizu Shichibei, he also produced works in different styles towards the end of his career, starting from around 1873. In 1873, Yohei II was appointed as a supplier to the Industrial Center of Kyoto Prefecture, a position linked to Kyoto's attempts to reach an international market through the port of Kobe. From 1875 until his death, he was involved in national initiatives to showcase Japanese ceramics around the world. During this phase, Yohei III was an apprentice to Yohei II, and it is speculated that this set might be an early illustration of Yohei III's work, which he signed with his master's name. The collection features designs inspired by Japanese textile patterns, reminiscent of Yohei II's pair of vases with plum blossoms in the Victoria and Albert Museum. In this domestic setting, the formal trees created for public exhibitions are transformed into the more inviting blossoms of a gentle home environment. Although the designs remain consistent throughout the pieces, each raised flower petal and pistil, as well as each incised ice line, was crafted 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 3 tells libraries what to gather, and the list is wider than books: local materials, local administrative records, works of art, records and film. Article 3 also requires interlibrary lending, travelling collections and mobile libraries, so that the holdings move toward the reader rather than waiting.
The cool part. Article 17 is one sentence and admits nothing. A public library may not collect an admission fee, or any consideration whatsoever, for the use of library materials. Free is not a policy that a budget round can revisit, it is the statute. Article 26 is stranger still: the state and local authorities must not interfere in the work of a private library, and must not give it a subsidy. Independence is protected by withholding the money.
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