5th Dec, 2025 10:00
Fine Japanese Art
240
A KENZAN CHAWAN (TEA BOWL)
Sold for €1,950
including Buyer's Premium
Signed Kenzan
Japan, first half of the 19th century, late Edo period (1615-1868)
Dexterously hand-modeled, the earthenware body supported on a short, drop-shaped foot, with deep sides gently tapering towards a broad mouth, finely covered overall in an unctuous and slightly textured black glaze with reserves depicting stylized maple leaves in the Tatsuta River (Tatsutagawa), signed KENZAN above the foot.
With the original wood tomobako (storage box), inscribed: Fushikisai, Mei, Momiji to go su, Fushikisai [the title Maple Leaves (Momiji), Fushikisai] with kakihan (cursive monogram).
DIAMETER 8.8 cm
Condition: Excellent condition.
Fushikisai (1780–1854), also known as Horiuchi Sokan, was the fifth-generation head tea master of the Horiuchi family School of Tea. He was the eldest son of the fourth-generation master Soshin (Horiuchi Soshin). From an early age, he mastered the art of tea and, following in the footsteps of his father, served as tea master to the Nagai family, lords of the Takatsuki domain in Settsu Province. Renowned not only for his refinement in the tea ceremony but also for his talent in poetry and calligraphy, he was recognized as the restorer of the Horiuchi family tradition.
The Tatsuta River has long been celebrated for its maple trees, which were planted during the Edo period under the guidance of Shusei Fujimon, a scholar of classical Japanese literature, with the support of Chugu-ji Temple. In classical Japanese poetry and painting, the Tatsuta River was immortalized as a place of exquisite autumnal beauty, symbolizing the transience of life. One of the most renowned poems about the Tatsuta River was composed by Ariwara no Narihira (825–880) during the Heian period: Unheard of / even in the legendary age / of the awesome gods: / Tatsuta River in scarlet / and the water flowing under it.
Museum comparison:
Compare a closely related black-glazed Raku ware tea bowl (chawan) with design of maple leaves in the style of Ogata Kenzan, Edo to Meiji period, 19th century, 14.4 cm diameter, in Smithsonian National Museum of Asian Art, accession number F1899.96.
Auction comparison:
Compare a related stoneware serving bowl (mokozuke) with ivy, signed Kenzan, Edo period, early 19th century, 8.6 cm diameter, at Christie’s, Japanese Art and Design including Lacquer and Works of Art, 12 November 2003, London, lot 79 (sold for GBP 3,107 or approx. EUR 8,000 converted and adjusted at the time of writing). Compare a related stoneware tea bowl (chawan) with egrets among reeds, signed Kenzan, Edo period, 19th century, 10.5 cm diameter, at Sotheby’s, Japanese Works of Art from Private Collections, 28 September 2023, London, lot 85 (estimated at GBP 3,000 or approx. EUR 3,500 converted and adjusted at the time of writing).
Signed Kenzan
Japan, first half of the 19th century, late Edo period (1615-1868)
Dexterously hand-modeled, the earthenware body supported on a short, drop-shaped foot, with deep sides gently tapering towards a broad mouth, finely covered overall in an unctuous and slightly textured black glaze with reserves depicting stylized maple leaves in the Tatsuta River (Tatsutagawa), signed KENZAN above the foot.
With the original wood tomobako (storage box), inscribed: Fushikisai, Mei, Momiji to go su, Fushikisai [the title Maple Leaves (Momiji), Fushikisai] with kakihan (cursive monogram).
DIAMETER 8.8 cm
Condition: Excellent condition.
Fushikisai (1780–1854), also known as Horiuchi Sokan, was the fifth-generation head tea master of the Horiuchi family School of Tea. He was the eldest son of the fourth-generation master Soshin (Horiuchi Soshin). From an early age, he mastered the art of tea and, following in the footsteps of his father, served as tea master to the Nagai family, lords of the Takatsuki domain in Settsu Province. Renowned not only for his refinement in the tea ceremony but also for his talent in poetry and calligraphy, he was recognized as the restorer of the Horiuchi family tradition.
The Tatsuta River has long been celebrated for its maple trees, which were planted during the Edo period under the guidance of Shusei Fujimon, a scholar of classical Japanese literature, with the support of Chugu-ji Temple. In classical Japanese poetry and painting, the Tatsuta River was immortalized as a place of exquisite autumnal beauty, symbolizing the transience of life. One of the most renowned poems about the Tatsuta River was composed by Ariwara no Narihira (825–880) during the Heian period: Unheard of / even in the legendary age / of the awesome gods: / Tatsuta River in scarlet / and the water flowing under it.
Museum comparison:
Compare a closely related black-glazed Raku ware tea bowl (chawan) with design of maple leaves in the style of Ogata Kenzan, Edo to Meiji period, 19th century, 14.4 cm diameter, in Smithsonian National Museum of Asian Art, accession number F1899.96.
Auction comparison:
Compare a related stoneware serving bowl (mokozuke) with ivy, signed Kenzan, Edo period, early 19th century, 8.6 cm diameter, at Christie’s, Japanese Art and Design including Lacquer and Works of Art, 12 November 2003, London, lot 79 (sold for GBP 3,107 or approx. EUR 8,000 converted and adjusted at the time of writing). Compare a related stoneware tea bowl (chawan) with egrets among reeds, signed Kenzan, Edo period, 19th century, 10.5 cm diameter, at Sotheby’s, Japanese Works of Art from Private Collections, 28 September 2023, London, lot 85 (estimated at GBP 3,000 or approx. EUR 3,500 converted and adjusted at the time of writing).
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