Each piece in this collection has a delicate design of plum branches with a low-relief texture, along with intersecting lines resembling cracked ice on a frozen body of water. These items are signed in gold pigment at the base. While Yohei II created many beautiful underglaze blue pieces, similar to those made by Kiyomizu Shichibei, he also produced works in different styles later in his career starting from the early 1870s. In 1873, he was appointed as a supplier to the Industrial Center of Kyoto Prefecture, which was part of Kyoto's efforts 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 with flowers resembling Japanese textile patterns, reminiscent of Yohei II's pair of vases with plum blossoms at the Victoria and Albert Museum. In this domestic setting, the elaborate trees created for formal public exhibitions have been transformed into the more approachable blossoms of a genteel environment.
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 →A weapons statute that contains the most important art registry in the country. Article 2 defines a sword by measurement: a blade of fifteen centimetres or more for a sword, spear or naginata, five and a half for a dagger. Article 14 then carves out an exception. The prefectural board of education registers old firearms of value as art or antiques, and swords of value as art, on the basis of an appraisal by registration examiners appointed for their scholarly knowledge.
The cool part. A Japanese sword is lawful to own because it has been certified as art. Not because it was disarmed, not because it was licensed as a weapon. The judgement is made by the board of education, and Article 14 then requires the board to notify the prefectural public safety commission of what it has decided. The culture side rules, and the police are informed afterwards. Fail the appraisal and the same object becomes contraband.
Verify at e-Gov 法令検索 →Use it The border is the idea. Use it as an edge treatment and leave the centre empty.
Description source: museum curator text, translated — not generated