Vase Gourd Shape Somestuke Sansui Landscape | The first-generation head of the Shinemon Kiln [146165]
Vase Gourd Shape Somestuke Sansui Landscape | The first-generation head of the Shinemon Kiln
[146165]
Price: 220,000JPY
Weight: 2000g
Sold out
[size]
Width: 18 cm / Height: 19.2 cm
Width: 7.1 in / Height: 7.6 in
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Works by the late Sh inichiro Baba, the first-generation Sh inemon and predecessor of the Sh inemon Kiln, a representative kiln of Arita ware. It is a small, auspicious gourd-shaped vase adorned with a Sansui landscape pa int ing.
The current Sh inemon Kiln is a lead ing authority in the Yohen technique, which skillfully manipulates glazes. However, this piece is not created us ing the Yohen technique but is pa inted with "sometsuke" (blue and white porcela in). This is because this large vase was created by the first-generation Sh inemon, the late Sh inichiro Baba, who founded the Sh inemon Kiln. While he was explor ing the Yohen technique throughout his career, he crafted this piece us ing the skills he had mastered up to that po int. It is a work in which he fully demonstrated his skill us ing sometsuke, a basic pa int ing technique of Arita ware. S ince Sometsuke works are rarely produced at the current Sh inemon Kiln, this piece is now considered highly rare and valuable.
Firstly, it has a unique shape known as "Hisago-gata," which is modeled after a gourd. S ince ancient times, gourds have been considered symbols of "abundance and prosperity" as well as "harmony and stability," mak ing them a representative form of auspicious shapes. The round shape of the gourd symbolizes abundance and prosperity, which is why it represents "wealth and prosperity." The widened lower part signifies "hold ing many th ings," symboliz ing an increase in wealth and happ iness. Additionally, the gourd's shape is considered a symbol of "harmony and stability" due to its balanced proportions. It is favored as an auspicious object, wish ing for harmony in family and human relationships.
The depicted "Sansui" refers to landscape pa int ings that primarily feature natural scenery such as mounta ins, rivers, lakes, trees, and rocks, with little emphasis on human presence. When humans or build ings are depicted, they are portrayed small, emphasiz ing the vastness of nature. Sansui pa int ings are heavily influenced by Daoism, Confucianism, and Zen Buddhism from Ch ina. These philosophies emphasize respect for nature and the pursuit of harmony with the natural world. Sansui pa int ings reflect this philosophical and religious background, express ing human spiritual harmony through nature. Besides ceramics, Sansui is often depicted in ink wash pa int ings on hang ing scrolls, mak ing it a classic subject in the world of traditional art.
From the perspective of production techniques, this piece is created us ing the sometsuke (blue and white porcela in) technique. Sometsuke is a pa int ing technique where the designs are drawn on the bisque-fired pottery before apply ing the glaze. The unique brushwork and touch of the sometsuke technique allow for a more delicate expression of the Sansui landscape. Sometsuke involves pa int ing on the bisque-fired pottery, which is absorbent, mak ing it impossible to make corrections. in other words, it is completed with a s ingle, decisive brushstroke. It is a masterpiece completed with perseverance, concentration, and compositional skill.
[Potter Profile]
Sh inichiro Baba (deceased)
The first-generation head of the Sh inemon Kiln
Member of Nitten / Full Member of the Japan Contemporary Arts and Crafts Association / Member of the Saga Prefecture Ceramic Association / Member of the Arita Ceramic Association
Sh inichiro Baba's career is as follows :
Born in 1924 in Arita, Saga Prefecture
1972: Founded the Sh inemon Kiln in Arita.
1979: Selected for the Prefecture Exhibition with "Hexagonal Celadon Bowl."
1981: Selected for the Nitten exhibition with "Oil Spot Tenmoku Large Bowl," subsequently selected 21 times.
1989: Appo inted as an art exhibition judge.
2000: Exhibited "Saiun-99" and "Sai-99" at the British Museum in London (Saga Prefecture Ceramic Exhibition).
2004: Exhibited "Saikei" and "Saimon" at the Arita Pottery Exhibition in Germany.
[Ma in Awards]
1983: Won the First Place Bijutsu Kyokai Prize at the Bijutsu Kyokai Exhibition for "C innabar Flower Vase."
1986: Received the Grand Prize and the Contemporary Craft President's Prize at the Contemporary Crafts Kyushu Exhibition.
1996: Awarded the Contemporary Craft Prize at the Contemporary Craft Exhibition for "Akebono no Nagisa."
2000: Received the Full Member Prize at the Contemporary Craft Exhibition for "Rensaku・Sai."
Width: 18 cm / Height: 19.2 cm
Width: 7.1 in / Height: 7.6 in
-----------------------
Works by the late Sh inichiro Baba, the first-generation Sh inemon and predecessor of the Sh inemon Kiln, a representative kiln of Arita ware. It is a small, auspicious gourd-shaped vase adorned with a Sansui landscape pa int ing.
The current Sh inemon Kiln is a lead ing authority in the Yohen technique, which skillfully manipulates glazes. However, this piece is not created us ing the Yohen technique but is pa inted with "sometsuke" (blue and white porcela in). This is because this large vase was created by the first-generation Sh inemon, the late Sh inichiro Baba, who founded the Sh inemon Kiln. While he was explor ing the Yohen technique throughout his career, he crafted this piece us ing the skills he had mastered up to that po int. It is a work in which he fully demonstrated his skill us ing sometsuke, a basic pa int ing technique of Arita ware. S ince Sometsuke works are rarely produced at the current Sh inemon Kiln, this piece is now considered highly rare and valuable.
Firstly, it has a unique shape known as "Hisago-gata," which is modeled after a gourd. S ince ancient times, gourds have been considered symbols of "abundance and prosperity" as well as "harmony and stability," mak ing them a representative form of auspicious shapes. The round shape of the gourd symbolizes abundance and prosperity, which is why it represents "wealth and prosperity." The widened lower part signifies "hold ing many th ings," symboliz ing an increase in wealth and happ iness. Additionally, the gourd's shape is considered a symbol of "harmony and stability" due to its balanced proportions. It is favored as an auspicious object, wish ing for harmony in family and human relationships.
The depicted "Sansui" refers to landscape pa int ings that primarily feature natural scenery such as mounta ins, rivers, lakes, trees, and rocks, with little emphasis on human presence. When humans or build ings are depicted, they are portrayed small, emphasiz ing the vastness of nature. Sansui pa int ings are heavily influenced by Daoism, Confucianism, and Zen Buddhism from Ch ina. These philosophies emphasize respect for nature and the pursuit of harmony with the natural world. Sansui pa int ings reflect this philosophical and religious background, express ing human spiritual harmony through nature. Besides ceramics, Sansui is often depicted in ink wash pa int ings on hang ing scrolls, mak ing it a classic subject in the world of traditional art.
From the perspective of production techniques, this piece is created us ing the sometsuke (blue and white porcela in) technique. Sometsuke is a pa int ing technique where the designs are drawn on the bisque-fired pottery before apply ing the glaze. The unique brushwork and touch of the sometsuke technique allow for a more delicate expression of the Sansui landscape. Sometsuke involves pa int ing on the bisque-fired pottery, which is absorbent, mak ing it impossible to make corrections. in other words, it is completed with a s ingle, decisive brushstroke. It is a masterpiece completed with perseverance, concentration, and compositional skill.
[Potter Profile]
Sh inichiro Baba (deceased)
The first-generation head of the Sh inemon Kiln
Member of Nitten / Full Member of the Japan Contemporary Arts and Crafts Association / Member of the Saga Prefecture Ceramic Association / Member of the Arita Ceramic Association
Sh inichiro Baba's career is as follows :
Born in 1924 in Arita, Saga Prefecture
1972: Founded the Sh inemon Kiln in Arita.
1979: Selected for the Prefecture Exhibition with "Hexagonal Celadon Bowl."
1981: Selected for the Nitten exhibition with "Oil Spot Tenmoku Large Bowl," subsequently selected 21 times.
1989: Appo inted as an art exhibition judge.
2000: Exhibited "Saiun-99" and "Sai-99" at the British Museum in London (Saga Prefecture Ceramic Exhibition).
2004: Exhibited "Saikei" and "Saimon" at the Arita Pottery Exhibition in Germany.
[Ma in Awards]
1983: Won the First Place Bijutsu Kyokai Prize at the Bijutsu Kyokai Exhibition for "C innabar Flower Vase."
1986: Received the Grand Prize and the Contemporary Craft President's Prize at the Contemporary Crafts Kyushu Exhibition.
1996: Awarded the Contemporary Craft Prize at the Contemporary Craft Exhibition for "Akebono no Nagisa."
2000: Received the Full Member Prize at the Contemporary Craft Exhibition for "Rensaku・Sai."
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 Porcelain production started in Japan in the 17th century after kaorin stone was discovered in Arita. From the middle 17th century, large amounts of Arita ceramics, which captivated the European royalty and nobility, were exported to Europe, through the Dutch trading post on Dejima Island in Nagasaki. Augustus the Strong, Elector of Saxony, was so fond of Arita ceramics that he ordered porcelain resembling Arita ceramics to be made in his electorate. In Arita, the tradition and techniques of Arita ceramics have been preserved for over 400 years, while young potters and workshops take on the callenge of producing ambitious new works. |
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