.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
Katsura Mitsuharu, born into a venerable Tokugawa bakufu retainer family in 1871 Tokyo, emerged as a luminary artist in Japan's transformative epochs. Apprenticed to Toyokawa Mitsunaga II (1851-1923), he gained independence in 1897, earning accolades for his exceptional mastery displayed at international exhibitions representing Japan and earning a collection of esteemed awards. Thriving from late Meiji to early Showa period, Mitsuharu's creative output waned during WWII, with only a few works until his 1962 passing.
While our understanding of Mitsuharu is constrained by the limited historical record, it is apparent that he primarily embraced the traditional Meiji aesthetic. Nevertheless, the present lot defies these expectations, exuding a distinct style that evokes the ornamental floral motifs adorning Chinese sancai dishes from the Tang Dynasty. This departure could be attributed to the Neoclassical School of craft, a movement that flourished between the 1910s and 1920s. Artists aligned with this school drew inspiration from the classical motifs of ancient Japanese and Chinese artifacts, thus forging an artistic sensibility that diverged from the conventional works of the Meiji period. This aesthetic inclination is thought to echo the Pan-Asianism ideals that took root during that era.
In 1925, Mitsuharu took a significant step by co-founding the Kogei Saisai Kai (Comprehensive Craft Society) alongside sixteen other prominent craft artists of the time, including Itaya Hazan, Uematsu Hobi, Akatsuka Jitoku, and Unno Kiyoshi. Their collective vision aimed to synthesize elements from both the Western and Eastern worlds, aspiring to shape a cohesive future civilization. Regrettably, the records concerning this organization are scant, leaving us with a mere glimpse into Mitsuharu's ambitious pursuit of artistic diversity and cultural fusion.
While our understanding of Mitsuharu is constrained by the limited historical record, it is apparent that he primarily embraced the traditional Meiji aesthetic. Nevertheless, the present lot defies these expectations, exuding a distinct style that evokes the ornamental floral motifs adorning Chinese sancai dishes from the Tang Dynasty. This departure could be attributed to the Neoclassical School of craft, a movement that flourished between the 1910s and 1920s. Artists aligned with this school drew inspiration from the classical motifs of ancient Japanese and Chinese artifacts, thus forging an artistic sensibility that diverged from the conventional works of the Meiji period. This aesthetic inclination is thought to echo the Pan-Asianism ideals that took root during that era.
In 1925, Mitsuharu took a significant step by co-founding the Kogei Saisai Kai (Comprehensive Craft Society) alongside sixteen other prominent craft artists of the time, including Itaya Hazan, Uematsu Hobi, Akatsuka Jitoku, and Unno Kiyoshi. Their collective vision aimed to synthesize elements from both the Western and Eastern worlds, aspiring to shape a cohesive future civilization. Regrettably, the records concerning this organization are scant, leaving us with a mere glimpse into Mitsuharu's ambitious pursuit of artistic diversity and cultural fusion.