{"product_id":"503","title":"Iron-Painted Sankirai Tea Bowl \/ Japanese-Style Rocks Glass by Takeda Toshio, Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #503","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a tea bowl by Takeda Toshio (b. 1932). He is a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture, who from 1964 continued to make ceramics at his kiln in Mashiko, Tochigi Prefecture. Takeda’s work was accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Traditional Kogei Exhibition and the Japan Ceramic Art Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and was then purchased by The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece is a matcha tea bowl inscribed “Sankirai Chawan” (Sankirai Tea Bowl) on its tomobako (the original box inscribed by the artist). Drawing on its generous rim and the rounded form that sits comfortably in the hand, we propose it as a Japanese-style rocks glass (drinking vessel) for enjoying old whisky on the rocks over a large piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to the accompanying leaflet, “Takeda Toshio: Ceramic Career,” Takeda graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under Yonezawa Soho, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist Kitade Tojiro. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. His subsequent path continued with acceptance into the Japan Traditional Kogei Exhibition in 1969 (Showa 44). In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. His entry to that exhibition was selected for a touring exhibition in Canada and the United States and was purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAmong Takeda’s representative techniques is tetsu-dosai, as seen in his “Bowl with Grape Design in Iron and Copper Decoration,” accepted into the 37th Japan Traditional Kogei Exhibition in 1990. Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. In this piece, leaves and vines painted in blackish-brown iron contrast with berries that have fired to a crimson red within a single composition. The composition adds a second color to the deep tones of iron to bring variation to the picture, and in this Takeda’s style is clearly expressed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSankirai, the subject of this piece, is a name long familiar in Japan for sarutori-ibara, a climbing plant that bears red berries in autumn. Around the body, large rounded leaves, each painted in a single sweep of a broad brush, run in a row along the lower body. Within the leaves remain variations in tone left by the movement of the brush, along with fine lines left unpainted like leaf veins. From between the leaves, vines built up from short, dotted brushstrokes rise smoothly, and small berries are painted in clusters at their tips. The berries carry a pale crimson tint. Their dark outlines and partial metallic sheen convey the texture of ripe fruit. The painting is placed toward one side of the bowl, while the other side leaves the grayish-green ground almost untouched. Because of this contrast between painted area and empty space, turning the bowl shifts the scene from wild plants to a quiet expanse. The iron brush lines sink beneath the glaze, and their outlines blur slightly, creating a soft quality reminiscent of ink painting.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe grayish-green glaze covering the entire bowl has a moist, calm sheen. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) runs in a network from the exterior to the interior (mikomi). Another highlight is the way its expression changes with the light, from bluish gray to pale green. The bowl has a generous, rounded form, and the rim rises almost straight. At the very edge of the rim the glaze is thin, framing it in a lighter tone. The lower body has gentle vertical undulations that give the fingers a comfortable hold. The foot ring is low and compact, and the tatami-tsuki (the part of the base that touches the surface) is unglazed, revealing reddish-brown clay. Near the foot, a potter’s seal is impressed in a square area where the glaze has been scraped away. A little glaze has pooled in the center of the interior, holding a quiet sheen.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe wide mouth, approx. 13.4 cm in diameter, easily accommodates a large piece of ice, and the amber of aged spirits stands out beautifully against the grayish-green interior. This is a one-of-a-kind piece that passed through the artist’s own hands at every stage, from throwing on the wheel to painting, glazing and firing. No other piece has the same brushwork or glaze expression. Very little information on Takeda Toshio’s work circulates outside Japan. Opportunities to acquire an iron-painted vessel that carries on his teacher’s lineage, by an artist whose work is held in a national museum collection, are limited. The tomobako bears the artist’s handwritten inscription “Sankirai Chawan,” his signature “Toshio” and a red seal. A shiori, a leaflet recording the artist’s ceramic career, and a wrapping cloth are also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, selected for the touring exhibition in Canada and the United States, purchased by The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1990 (Heisei 2) to early 1990s (estimated, as the career history in the accompanying leaflet ends with the tenth solo exhibition at Nihombashi Takashimaya in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks; the crazing is an aesthetic feature of the glaze)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (inscribed “Sankirai Chawan,” signed, with red seal), shiori (leaflet recording the artist’s ceramic career), wrapping cloth\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eRim diameter approx. 13.4 cm, height approx. 9.2 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404890811,"sku":null,"price":60000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5676_result.jpg?v=1792903138","url":"https:\/\/antiqueliquor1926.com\/en\/products\/503","provider":"Antique Liquor","version":"1.0","type":"link"}