{"product_id":"293","title":"Masterpiece Kutani Ware Guinomi Sake Cup \"Red Plum Blossoms\" by Master Bunji Shiohara, Realm-Transcending Artist Mastering Both Oil Painting and Ceramics, Final Years' Legacy #293","description":"\u003cp data-path-to-node=\"20\"\u003eThis is a Kutani ware Guinomi (sake cup) created by Bunji Shiohara, an extraordinary realm-transcending artist who was elected a member of both the Western Painting and Ceramics divisions of Itsui-kai, pursuing peak aesthetic expression in both oil painting and Kutani ceramics. Mr. Bunji Shiohara (1907–1978) was born in Komatsu City, Ishikawa Prefecture, and studied overglaze decoration on porcelain and stoneware at the workshop of first-generation Tokuda Yasokichi (Kaisei), a giant of Kutani ware. From 1950 onward, he accomplished the extraordinary feat of simultaneous selection in both Western painting and ceramics divisions at the Nitten and Itsui-kai exhibitions. Building upon the prestigious traditional Kutani overglaze techniques stemming from the first-generation Yasokichi, he fused them with the skilled brushwork and refined color sensibility of an oil painter, establishing a uniquely evaluated stance in modern Japanese craft history.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis work features a refined red plum blossom design painted on a gently textured vessel surface beautifully covered with fine crackles (kannyu). The crowning highlight of the piece lies in its depiction of red plum blossoms: while utilizing traditional Kutani Japanese mineral pigments, it renders them with three-dimensional depth and gradation reminiscent of oil paint layered on canvas. Shading and depth are imparted to the vivid vermilion-red petals, while white, yellow, and striking blue and purple are delicately applied to the stamens and calyxes, expressing the vibrant vitality of the petals through the painter's keen eye and solid draftsmanship. Beside the foot ring, the artist’s own seal \"Bunji\" is carved, creating a contrast between the robust clay texture and the delicate overglaze enamel that enhances the dignity of the piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eWe propose this historically valuable work as a supreme Japanese Kogei sake vessel for savoring aged sake or premium whisky matured through the years, gracefully adapting it to a refined modern lifestyle. The substantial form that rests comfortably in the hand and the colors of the red plum blossoms reflecting beautifully against the amber liquid elevate a daily evening drink into a special hour of engaging with peak art. Because Bunji Shiohara created at an exceptionally high level in both Western painting and ceramics, the absolute number of his ceramic works is extremely scarce. It is remarkably rare for a piece to appear on the market complete with its original wooden box (Tomobako)—bearing the calligraphic title \"Red Plum Blossoms,\" the artist's ink signature, and seal—along with the explanatory leaflet from that era. This is a one-of-a-kind craft piece embodying the lifelong passion of a master who endlessly pursued beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e\u003cstrong\u003e* Bunji Shiohara (1907–1978)\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e:\u0026nbsp;Born in 1907 and passing away in 1978, Bunji Shiohara was a rare artist who was elected to membership by top-tier art associations in both completely distinct fields of expression—Western oil painting and ceramics—fully blooming his talent in both simultaneously. He was an unrepeatable realm-transcending artist embodying the \"two-sword style\" in the art world, whose footprint was forged by two passionate \"paths.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e\u003cstrong\u003e* The Path of Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e:\u0026nbsp;Awareness of Oil Painting and Rise in Itsui-kai The beginning of Shiohara's art was the path of oil painting, which he resumed \"as if remembering what had been forgotten\" after once stepping away. Encouraged by those around him, he submitted an oil painting to the Itsui-kai Exhibition in the autumn of 1950 and gained his first selection, followed by consecutive selections in Nitten starting in 1951. Since then, he maintained uninterrupted annual selections in both exhibitions, deeply savoring his self-awareness toward painting under the enthusiastic guidance of seniors and mentors in Itsui-kai. Recognized for his solid expression and firm painterly spirit, he was elected an Itsui-kai member in 1957. Taking the change in Nitten sponsorship in 1958 as an occasion for reflection, he subsequently ceased submitting to Nitten, pouring his full energy solely into the stage of the Itsui-kai Exhibition to pursue his unique beauty of oil painting.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e\u003cstrong\u003e* The Path of Ceramics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e:\u0026nbsp;Encounter with Tokuda Yasokichi (Kaisei) and Full-Fledged Pursuit What awakened Shiohara's other outstanding talent was a fortunate interaction with the renowned ceramic artist Tokuda Yasokichi during the time he called himself \"Kaisei,\" casually enjoying painting overglaze enamels at his studio out of easy friendship. In August 1950, receiving a sudden proposal from Kaisei, \"Shall we try submitting your work to Nitten?\", he unexpectedly felt inclined and crafted \"Vase with Butterfly Design,\" making a brilliant first selection at Nitten. Taking this as a turning point, he crafted Nitten submission pieces at the studio for three years, making a sensational debut as a ceramic artist with three consecutive years of Nitten selections. In the autumn of 1953, after consulting with Kaisei and aspiring to undertake full-fledged research in ceramics, Shiohara immersed himself in thorough production research starting from forming (clay body making). Whenever a piece was completed, he eagerly submitted it to exhibitions such as the Ceramic Art Exhibition sponsored by Osaka Asahi, gaining recognition for his overwhelming skill and color sense. In the autumn of 1960, he accomplished the extraordinary feat of being elected an \"Itsui-kai Ceramics Division Member\" in addition to his Western Painting Division membership. Furthermore, in 1975, he joined the Ceramics Division of the Sozo Bijutsu Exhibition and was elected a member, establishing his position at the pinnacle of the ceramic world in both name and reality. The \"Path of Painting\" facing the canvas, and the \"Path of Ceramics\" challenging clay and fire. The works of Bunji Shiohara, a genius who spent his life mastering two specialized fields without compromise, are miraculous crystals harboring a unique aesthetic transcending genres and a firm passion.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003e\u003cstrong\u003e* Information from the Work's Leaflet:\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe Path of Painting Resumed painting as if remembering what had been forgotten, and encouraged by someone, submitted an oil painting to the Itsui-kai Exhibition in autumn 1950 and gained first selection. From 1951, submitted and was selected for Nitten, continuing annual submissions and selections for both exhibitions thereafter. Savoring self-awareness toward painting under the guidance of Itsui-kai seniors and mentors, elected an Itsui-kai member in 1957. In 1958, taking the change in Nitten sponsorship as an occasion for reflection, ceased Nitten submissions and submitted exclusively to Itsui-kai Exhibitions up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThe Path of Ceramics When Mr. Tokuda Yasokichi called himself Kaisei, enjoyed painting overglaze enamels at his studio out of easy friendship. In August 1950, Mr. Kaisei suddenly said, \"Shall we try submitting your work to Nitten?\" Unexpectedly inclined, crafted a vase with butterfly design and gained first selection upon submission. Created Nitten pieces at his studio for three years thereafter with three consecutive selections. In autumn 1953, after consulting with him, aspired to full-fledged research in ceramics, starting production research from the clay body itself. Submitted completed works to Ceramic Art Exhibitions sponsored by Osaka Asahi, and in autumn 1960 was elected member of Itsui-kai Ceramics Division in addition to Western Painting. In 1975 joined Sozo Bijutsu Exhibition Ceramics Division and was elected member up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\" style=\"text-align: right;\"\u003eBunji Shiohara\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Bunji Shiohara (1907–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eArtist's Representative Activity:\u003c\/strong\u003e [1950] First selected for the Itsui-kai Exhibition (Oil Painting) and Nitten (Ceramics, \"Vase with Butterfly Design\"), [1951–1952] Simultaneously selected in both Western Painting and Ceramics divisions at Nitten, [1957] Elected member of Itsui-kai (Western Painting Division), [1960] Awarded the Itsui-kai Prize at the 22nd Itsui-kai Exhibition and elected member of the Itsui-kai Ceramics Division, [1975] Elected member of the Sozo Bijutsu Exhibition Ceramics Division\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eWorks in Collection: \u003c\/strong\u003eIshikawa Prefectural Museum of Art, Komatsu City Nishikigama Exhibition Hall, Komatsu City Museum, Wayo Women's University Cultural Materials Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1976–1978 (Leaflet history recorded up to 1976, Final Period of Life)\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box (Tomobako) with \"Guinomi Red Plum Blossoms\" inscribed on the lid and \"Bunji Shiohara\" in ink with a seal on the lower left; explanatory leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (Kutani ware, overglaze enamels, crackle glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.5 cm, Mouth diameter approx. 5.5 cm, Base diameter approx. 3.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194217147,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9438_result.jpg?v=1784547479","url":"https:\/\/antiqueliquor1926.com\/en\/products\/293","provider":"Antique Liquor","version":"1.0","type":"link"}