explanation of the work
It seems to be a work that were created with motifs from some works of gosai-de style ko-kutani (a style painted using green, yellow, purple, ultramarine, and red). Based on gosai-de that Mitsui Tamekichi learned from the first Tokuda Yasokichi, Tamekichi was able to create vivid paints. It is believed that such techniques also are used for this work, and in addition, he got a lot of motifs from ko-kutani and finished it as a platter that can be mistaken for a large flat bowl of ko-kutani in gosai-de.
size: diameter about 27 cm, height about 3.8-3.5 cm (due to distortion)
The stone pavement patterns, the quince flower patterns layered on these, and the Tang figures are like all patterns and designs that come out of ko-kutani in gosai-de. What characterizes this work is the scene that Tang people are standing under the two trees with flowers, talking something. This scene is reminiscent of the Chinese poem and design book that became the motif of ko-kutani. It is a work just like ko-kutani.
This plate spreads so that it warps toward the rim, and further warps at the rim with a width of about 2 cm. This shape is similar to the two-stage bowl in ko-kutani.
The back name is written as “kutani / Tamekichi” in the double square, and “longing for ko-kutani / decorative plate” and “Tamekichi” are written on the lid of the original box. Probably, because he would wish to entrust his longing for ko-kutani to this work. It is thought that Tamekichi imitated the form of the back name of “fortune (福)” in the double-square which often can be seen in ko-kutani.
This format of the back name can be seen in the first work, and the second inherited it, but the third changed to only “tame” (為) which was written in the double square.
creator of the work
About the creator of the work, please search for “Mitsui Tamekich, his works and history”.
|date of exhibition||September 26.2019|