In the world of Japanese ceramics, Tamamizu-ware has an almost mythical standing. A branch of the main Raku line, at one time the two kilns held equal prominence, both being endorsed by the major tea schools of Kyoto and both being favored by the Imperial household. The first in the line was an illegitimate son of Kichizaemon Ichinyu (Yahē) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho). Though he is the first potter of the Tamamizu branch, he is usually referred to as Tamamizu VI (denoting his descendance from the Raku line). After establishing the kiln, Yahē took the artist’s name “Ichigen” and proceeded to fashion extremely high-quality tea bowls and other implements in the style of the earliest Raku potters.

Sumi on paper. This hanging scroll depicting a waterfall was featured in a recent exhibition at the Nomura Art Museum (Kyoto) and is displayed on pp. 43 of the associated art book: Ōtagaki Rengetsu: Poetry and Artworks from a Rustic Hut. The poem reads: Summer flows into the world, unfurling everywhere… I am alone and cool, beside the mountain’s, downstream waters. [Sold]

This rare and interesting ceramic work was done by one of the most renowned and loved waka poets of the 19th century, Ōtagaki Rengetsu (1791-1875). In fact, if you look closely at the attached images, you will see her finger imprints clearly preserved in the molded clay.[Sold]

Seated in meditation with open and compassionate heart, this bodhisattva is on a spiritual journey, postponing his own salvation in order to remain on earth to help others achieve enlightenment. In contrast to some images of the Japanese Bodhisattva (Bosatsu), often depicted as austere and inward looking, here, Kimura depicts the Bodhisattva as playful, carefree, and decidedly ornate. The inverted image of white contrast dye on black silk also makes for a striking composition.