A finely potted stoneware beaker with a rounded bottom and a lightly incised, freely drawn leaf scroll spreading across the widest part of the body, flanked by incised double horizontal lines, all covered evenly with an yellow green glaze. Four spur markes inside.
A finely potted deep stoneware beaker with a rounded bottom and a mottled, dark green glaze. The attractive glaze effect is achieved by applying small dots of a wax over the entire surface of the vessel, and then pouring the glaze from the top down. Unglazed ring interior is the result from a clay ring to separate one pot from another in firing.
A rounded bowl, its lower two-thirds carved as a lotus blossom centered on the foot of the bowl, with two bands of double incised lines around the rim area. The pale yellow-brown glaze is worn in some areas. Five spur marks inside.
A nearly flat, large, shallow stoneware dish, the interior with a delicately incised floral scroll pattern, and the upturmed rim adorned with robustly modelled lotus petals, all on a broad and secure foot.
The lotus petals that adorn the rim of this broad, flat plate are symbolic in Buddhism of purity, suggesting that the plate may have been used in Buddhist rituals. The dominant religion in Vietnam for much of its history has been Theravada Buddhism.
A small container made by inverting a wheel-thrown jar with a rounded bottom, cutting out a circle in the new 'shoulder' of the jar, and attaching a flat bottom. The handle, which is simply attached at both ends, takes the form of an areca fruit. The vessel as a whole has a pale straw-colored glaze, with a rich green iron glaze dripped over the handle and the upper part of the pot.
A small pot for holding powdered lime (calcium oxide), an ingredient mixed with betel nuts and spices to make a popular stimulant used extensively in Vietnam and other parts of South and Southeast Asia.
Three figures stand in the bottom left corner. The image is mostly tan and light blue except very dark in the center. The blue horizon line is in the top third of the image stretching from a cityscape on the left side to a sweeping hill on the right side. There is a small moon in the middle at the very top of the image.
An atmospheric landscape with figures in the foreground and a full moon over the city of Lausanne in the distance.
The top third of the landscape image is the sky with two tower-structures silhouetted on the far right side. There is a structure in the middle of the image with a bridge connecting the cliffs. The bottom right corner of the image is darker and more blue than the rest.
Landscape of the gorge that traverses the ciry of Luxembourg surrounded by building structures along the cliffs and a city in the distance. He filled 30 pages of sketches of the dramatic setting in his sketchbooks and made numerous atmospheric guache and watercolor paintings, including this one.
Idaten is depicted here, fierce, standing on clouds. His garments blow in the breeze, and a halo showing his power and godliness encircles his head.
The deity depicted here, Idaten, is a Buddhist adaptation of Skanda, a Hindu warrior god who was the son of Shiva. According to the Sutra of Golden Light, a demon stole the Buddha’s ashes, and it was Idaten who chased him to the summit of Mount Meru to retrieve the sacred relics. Idaten is thus associated with extraordinary speed and came to be regarded as a protector of monasteries and monks, as well as warding off fire and theft. Hironari himself lived a monk-like existence in the western suburbs of Kyoto, and this work may have had personal significance for him.
Yueshan Daozong, a native of Fujian province in southeast China, immigrated to Japan and Muan Xingtao, who was by then the second-highest ranking prelate in the new Ôbaku Zen temple of Manpukuji. Considered Muan’s foremost disciple, he eventually rose to become the seventh abbot of the monastery. Known in Japan as Etsuzan (the Japanese pronunciation of his name), Yueshan was renowned in his day as a fine calligrapher in both running (seen here) and block script.