Lot Essay
The inscription may be translated: 'Beside a river I pause for a while with my sleeves hanging down around my hands. I stand idly in a field and have not yet released the hawk. Behind the roof of a boat are the Western Mountains, the way back is short. Waiting for someone I stand in front of the Grass Hall.'
Signed: 'The Master of the Bamboo Forest.'
Seal: Zhulin, 'Bamboo Forest'.
This object derives somewhat from the late Ming, Tianqi period ko-sometsuke tea ceremony wares. Their relatively heavy potting and free decoration were much appreciated by the Japanese, and this piece harks back to the tea ceremony wares of this period. The use of spurs for this class of wares is widespread, probably because they lent support to the often cumbersome shapes in the kiln.
Compare the Tianqi-marked dish illustrated in Transitional Wares for the Japanese and Domestic Market, Marchant and Son, 1989, Catalogue, no.18, and see the discussion on p.3; and also the unmarked trays of differing shapes illustrated by M.Kawahara in Ko-sometsuke, (colour section) nos.70,73,74.
Signed: 'The Master of the Bamboo Forest.'
Seal: Zhulin, 'Bamboo Forest'.
This object derives somewhat from the late Ming, Tianqi period ko-sometsuke tea ceremony wares. Their relatively heavy potting and free decoration were much appreciated by the Japanese, and this piece harks back to the tea ceremony wares of this period. The use of spurs for this class of wares is widespread, probably because they lent support to the often cumbersome shapes in the kiln.
Compare the Tianqi-marked dish illustrated in Transitional Wares for the Japanese and Domestic Market, Marchant and Son, 1989, Catalogue, no.18, and see the discussion on p.3; and also the unmarked trays of differing shapes illustrated by M.Kawahara in Ko-sometsuke, (colour section) nos.70,73,74.