Page 104 - Edo: Art in Japan, 1615–1868

49 50
Nin'ami Dóhachi (1783 -1855) Eiraku Hozen (1795 -1854)
Handled bowl with snow on bamboo Water jar with carp and waues design
design
Early eighteenth century
c. 18405-18505 Stoneware with colored glaze,
Stoneware with underglaze iron oxide lacquer, and gold foil
and white slip Height 15.7 (6Vs)
3
Diameter 23.9 (9 /s) Agency for Cultural Affairs, Tokyo
Agency for Cultural Affairs, Tokyo
Illustrated page 64
• Nin'ami Dóhachi was the second son • Eiraku Hozen was from the eleventh
of a second-generation family of pot- generation of a Kyoto family of potters
ters. His father moved to Kyoto, where 103
he established a kiln at Awataguchi that specialized in making earthen-
ware braziers for the sencha
tea cere-
and died in 1804. Nin'ami studied with mony. Along with Aoki Mokubei and
Okuda Eisen and, unlike his contem-
poraries Aoki Mokubei (cat. 48) and Nin'ami Dóhachi, he was one of the
finest
later Edo
of the
Kyoto potters
Eiraku Hozen (cat. 50), focused on period.
Japanese-style wares, particularly
those of the Kyoto art potters Ninsei, Hozen traveled with his father, Ryózen,
Kóetsu, and Kenzan. to the Kii domain and created a type
of ceramic called Kairakuen ware for
This piece is modeled after an original
by Kenzan that Dóhachi must have the Tokugawa family, imitating south-
ern
Chinese ceramics. He worked in a
seen. In fact three similar bowls were great variety of styles, both in stone-
made by Dóhachi, all in the manner
of Kenzan. Only the handle differs. ware and in porcelain, and made
ceremony.
pieces
for both
types of tea
Here an innovative bamboo-strap
design adds to the feeling of winter This fresh water jar is made in the
established in the main motif: bamboo Kóchi style of south Chinese Ming
leaves painted in an iron oxide under- dynasty ware, borrowing not only the
glaze over which white slip has been classic coloring but the motif as well.
placed to give the impression of snow. The carp jumping from the waves
The motif continues on the interior had appeared on Japanese Hizen ware
and exterior of the bowl. This type of destined for export to southeast
vessel could have been used in a tea Asia beginning in the 16405. But it was
ceremony, for either whisked tea or Hozen who revived the motif in the
steeped tea, probably during the winter. later Edo period.
Three five-sided feet are attached The water jar is decorated with two
to the unglazed base, where the carp, one on either side. They are nat-
impressed seal "Momoyama" appears, uralistically depicted springing out
used by Dóhachi near the end of his of the waves on their backs and facing
life. NCR different directions. The contours of
the waves and the fish are delineated
with raised lines of slip. The fish were
covered with gold leaf and a layer
of lacquer in a process called byaku-
dannuri. The rest of the exterior of
the vessel, including the entire base,
is covered with a bright copper green
glaze. The interior is half green and
half white. In the middle of the base
there is a seal reading "Eiraku." The
vessel would have been covered with
a black lacquer top. NCR