Each piece in this collection has a delicate design of low-relief plum branches with intersecting lines resembling cracked ice, signed in gold on the base. Yohei II created many underglaze blue pieces similar to Kiyomizu Shichibei's works but later in his career produced pieces in different styles. In 1873, he became a purveyor to Kyoto Prefecture's Industrial Center, marking Kyoto's attempts to reach an international market through Kobe's port. From 1875 until his death, he was involved in national projects showcasing Japanese ceramics worldwide. During this time, Yohei III apprenticed under Yohei II, and this set might be an early example of Yohei III's work, signed with his teacher's name. The flowers resemble Japanese textile motifs, reminiscent of Yohei II's pair of plum blossom vases in the Victoria and Albert Museum. The formal exhibition tree designs have been transformed into the simpler blossoms for a domestic setting. Although the designs are consistent, each handmade raised flower petal, pistil, and incised ice line makes each cup, bowl, and dish unique. The bottoms of two boxes are included in the collection.
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