Page 11 - Bonhams Japanese art nov 7 2024

decorative motifs and bold patterns designed to appeal to The profound significance of nature within Japanese culture can
European markets fascinated by the exoticism of an imagined be evidenced by the centrality of seasonal themes in traditional art
Orient (lot 200). Later, after the ending of the sakoku period and forms such as poetry and painting, which often draw upon natural
the recommencement of widespread trade and diplomatic relations motifs to reflect on the emotions associated with specific times of
with Europe, wealthy adventurers travelled to Japan hoping to the year. Take, for example, the pair of kakejiku by Watanabe Seitei
experience this faraway fantasy-land for themselves. The wares (lot 295) whose diptych format positions the pair of swallows,
they enthusiastically acquired with seemingly boundless appetite soaring over springtime surges and forget-me-nots alongside the
along the way were highly decorative, with the flamboyant designs lone sparrow, stationary upon a gnarled branch of maple amongst
of Satsuma ware, rendered in gold and bright enamels proving falling leaves. Plum, too, is a common choice, its crooked and
particularly popular. In their new settings on the mantelpieces and sparse branches frequently appearing in paintings on a winter
side-tables of European country houses, opulent designs were theme (lots 290, 296). In the midst of the dark and cold, beauty
intended to amaze and intrigue, as in the case of a captivating springs forth from its twisted form; as the first tree to blossom
Satsuma baluster vase embellished with gold and emblazoned every year the plum is a sign of hope; a reminder of warmer days
rather unusually with hordes of warring skeleton armies (lot 209). to come. It is frequently combined with other motifs, the most
Though such wares were almost exclusively produced for overseas common iteration being plum, pine and bamboo, the resilient and
markets, a small Satsuma flask (lot 204), intricately painted with hardy ‘three friends of winter’ (shochikubai) (lots 39, 43, 69, 84).
scenes taken from Hiroshige’s famous print series ‘53 Stations But winter, too, holds its own magical charm...
of the Tokaido Road’ celebrates a popular pastime which
fascinated Japanese artists and globe-trotting Europeans alike: Last but not least, we are particularly proud to have been
travel and the thrill of the open road. entrusted with the sale of rare and early edition designs by
Kawase Hasui a towering figure in Japan’s Shin Hanga tradition,
Another favourite of adventurous travellers, cloisonné-enamels from the Twinight Collection (lots 312-327). In traditional scroll
delighted with their vibrancy and jewel-like splendour: ‘in enamels’, painting, gofun, a white powder made from ground shells,
B.H. Chamberlain enthuses of Japanese artists, ‘- especially in was frequently employed with stunning visual effect to suggest
what is known as cloisonné – they are beyond all praise’ (B.H. the depth and texture of snow (lot 288). Hasui developed his
Chamberlain, Things Japanese, Being Notes on Various Subjects own techniques to capture the stillness and serenity of winter
Connected with Japan, for the Use of Travellers and Others, landscapes. His delicate manipulation of subtle gradation (bokashi)
London, Kegan Paul, 1939, p.343). Included in our selection to capture the interplay of light and shadow, when combined
of cloisonné-enamels are several pieces from an important private with his unconventional perspectives (lots 332, 335, 344) instil
collection, showcasing a breathtaking command of the moriage these works with a poignant, ephemeral quality which invites us
technique, whereby further layers of enamel are carefully applied to engage in a moment of quiet introspection. This sense also
to the surface of a design to create areas of lustrous depth and pervades the landscapes of Hiroshi Yoshida offered in our sale
texture. Here, they are employed in the rendering of delicate stems (lots 348-356), some of which feature the same design as
of edamame (lot 225), ripe and vibrant gingko (lot 216) examples currently on display at the Yoshida: Three Generations
and magnificent heads of morning glory, ghostly pale against of Japanese Printmaking exhibition at Dulwich Picture Gallery.
a shaded, olive-green ground (lot 245). The latter design belongs The white-capped peak of Fuji and the blanket of snow over a
to a magnificent vase produced in the early twentieth century shrine approach will melt away, but the ability of these artists to
by renowned master of the medium Hattori Tadasaburo, whose convey a momentary stillness reminds us that though
flawless designs earned him great international acclaim during his the world is only ever frozen temporarily, beauty can endure.
lifetime and continue to be celebrated today for their exceptional
craftsmanship and sense of serene elegance. That through the snow so white
I pressed on, forging,
A keepsake is
The tears upon my sleeves,
All frozen.
—Anonymous, a waka poem from Kanpyo no ontoki kisai
no miya uta-awase (The Poem Contest Held by the Empress
in the Kanpyo era, circa 889).

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