Masterpieces of Asian Art from the Okada Museum of Art

Masterpieces of Asian Art from the Okada Museum of Art

View full screen - View 1 of Lot 1030. A large Aode Kutani dish, Fuku mark, Arita ware, Hizen, Edo period, circa 1640-50 | 色絵竹虎文大皿　肥前　有田窯　古九谷様式　江戸時代　17世紀中期.

A large Aode Kutani dish, Fuku mark, Arita ware, Hizen, Edo period, circa 1640-50 | 色絵竹虎文大皿　肥前　有田窯　古九谷様式　江戸時代　17世紀中期

Session begins in

November 22, 02:00 AM GMT

Estimate

600,000 - 800,000 HKD

Lot Details

Description

the large circular dish on raised foot ring, decorated in green, yellow, black and aubergine enamels on a dense green and black lozenge ground, with a tiger in a bamboo grove and large ivy leaves, brown iron oxide rim, the reverse with large stylised chrysanthemums among foliate scrolls, Japanese double wood box

 

46.7 cm. diam.

Rosanjin Kitaoji (1883-1959)

Kitaoji ke shozo kotoji tenkan zuroku [The Ceramics Collection of the Kitaoji Family], Matsuzakaya (Ueno), Tokyo, 1934, cat. no. 305.

Kokutani x Kakiemon x Nabeshima, Okada Museum of Art, Hakone, 2016, no. 30.

Kobayashi Tadashi ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, p. 81, no. 62.

A ferocious tiger emerges from within a bamboo grove overgrown with ivy. The planar treatment of the composition against the undulating lozenge ground creates a disorientating effect. With no sense of fore, mid and background, the subjects seem entirely abstracted, but the viewer can discern the subject and intention of the artist through the conventional pairing of tigers and bamboo. The flowing brushwork of the lozenge ground playfully echoes the tiger’s stripes, as well as suggesting the dark corner of the forest the creature inhabits. This style of Ko-Kutani decoration, eschewing reds and championing yellows and green, is known as ao-de, or green type Kutani ware. 


來源

北大路魯山人（1883 - 1959年）


展覽

《北大路家所蔵古陶磁展観図録》，松坂屋，東京，1934年，編號305

《古九谷X柿右衛門X鍋島 あなたのメインディッシュはどれですか？》，岡田美術館，箱根，2016年，展覽編號30（沒載圖）


出版

小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號62


一隻凶猛的老虎自蔓藤叢生的竹林中浮現。平面處理的構圖與波動的菱形背景相結合，營造出迷離恍惚的視效。由於缺乏前景、中景與背景的區分，主題看似完全抽象化，但觀者仍能透過老虎與竹子的經典配對，辨識藝術家的主題與意圖。菱形背景的流暢筆觸，既戲謔地呼應虎斑紋理，亦暗喻此獸棲居的森林暗角。此古九谷裝飾風格，摒棄紅色而推崇黃色與綠色，即為「青手」，或稱綠色類型九谷燒。

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