Page 28 - BSAM 2018 Q2

Top left; Figure 12 – Late Edo period, Kutani Yaki, Saiko- Kutani from the former Kaga Province, from 1804 onwards. Yoshidaya commemorative style respecting the five original colors of old Kutani ware: gold, blue, green, red and purple. Round drained pot with hand drawn images of the Edo Period, 27cm diameter x 18.5cm high.
Top right; Figure 13 – Edo period, Ko Kutani in the Ai-Kakiemon tradition of blue and white ware from the former Hizen Province, Japan from 1616. Round drained pot with hand drawn garden decoration inset in panels, 25.5cm diameter x 19.5cm high. Note this is an old piece with typical Japanese garden scenes, not intended for export to China or the West.
Middle; Figure 14 – Heian Tofukji Senior 1890-1970, Japan. Exceptionally rare, large hand formed oval drained bonsai pot 55.5 wide x 37cm deep x 7.5 cm high. Note due to the use of wood fired, hill climbing kiln with space limitations, large bespoke pieces by Tofukuji Senior were likely only commission pieces and very few exist. Inset also by Tofukuji and typically small sized at 10cm wide x 8.5cm deep x 3.5cm high.
disregard of the object as not being specifically used for bonsai trees in periods past, as they historically were certainly used in this manner.
As for the suitability of brightly colored or extrava- gantly decorative pots incorporating weirdly shaped designs being used to plant a bonsai tree or landscape design from centuries past, it must not be judged by contemporary fashion trends. The historical reality is conclusive that when compared directly to the recorded pictorial history of Japanese bonsai since the 17th century, antique Japanese flower pots were definitely included for use with early bonsai trees. (Figure 12 and Figure 13)
Myth Three: The most collectable, highly esteemed and valuable bonsai pots from Japanese potters today are typically from the kilns and hands of “The big three,” Heian Tofukuji, Tsukinowa Yusen, and Heian Kouzan
The contemporary focus for serious non-Japanese based bonsai pot collectors is often to follow the historical trail of acknowledged Japanese Masters of this craft. However, the end of Feudal Japan in 1868
and the restoration of Imperial Rule during the Meiji Period until 1912 created the necessary freedom for artistic expression, and more importantly, the employment opportunities required for unique bonsai focused potters to emerge in Japan for the very first time.
Most commonly, the esteemed names of Tofukuji, Yusen and the Kouzan family are commended for their pioneering and outstanding achievements in creating bonsai pottery—and rightly so. However, with the exception of a rare few, like the Inoue Ryosai Family and Harata Takemoto (himself of the former samurai class before the Meiji Restoration), there are very few factually known personal historical links, between Edo Period potters and their exceptional wares. (Figure 14 and Figure 15.)
This should not inhibit their importance or collect- ability today.
During the Edo Period, potters were virtually enslaved to the ruling class and also their wealthy patrons. The opportunity to explore creative, alter- native ceramic production for use by early bonsai enthusiasts, would have been almost non-existent; however, it is likely that rare pieces were created at
26 | BCI | April/May/June 2018