Each piece in this collection has a delicate design of plum branches with a low-relief texture, overlapped by intersecting lines that mimic the cracked ice surface of frozen water. These items are signed in gold pigment at the base. Yohei II created many beautiful underglaze blue pieces, similar to those made by Kiyomizu Shichibei. However, later in his career, starting from around 1873, he also produced works in different styles. In that year, 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 an apprentice to Yohei II. It is suggested that this collection might be one of Yohei III's early works, which he signed with his teacher's name. The decoration features flowers resembling Japanese textile patterns. These designs recall Yohei II's pair of vases with plum blossoms at the Victoria and Albert Museum. In this collection, the formal trees created for public exhibitions have been transformed into the simple blossoms suitable for a private home setting. The designs are consistent throughout the pieces, but each raised flower petal and pistil, as well as each incised line in the ice, were made 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 Palette for a single-colour run: one ink, heavy stock, nothing else on the sheet.
Description source: museum curator text, translated — not generated