Daimeibutsu
Accessories: Inner box, black lacquer with gold-leaf lettering, accompanied by a certificate
Accompanying letter written by Eiji Asabuki
Listed in Kokin Meibutsu Ruiju
Dimensions
Height: 25.5 cm, Mouth Diameter: 6.4 cm, Body Diameter: 13.0 cm, Base Diameter: 9.0 cm, Weight: 1360 g
This flower vase was unearthed by Eiji Asabuki (Shibian), a businessman and disciple of Yukichi Fukuzawa, from the shopfront of the tea utensil dealer Manzo Saito in Ikebata, Tokyo, and recognized as a “Daimeibutsu.” This remarkable discovery by Shibuan is recorded in works such as Takahashi Hōan’s Tōto Chakai-ki (Records of Tea Gatherings in the Eastern Capital), and the vase was a sensation during the Meiji era. For an overview, please refer to the accompanying letter written by Eiji Asabuki below.
*Toy Meibutsu Ki, Volume 12, Flower Vase Section: Iroha Mito-style. As recorded in *Meibutsu Ruishu*, a gold-inlaid piece with a Seigaiha (Blue Waves) design. From the Mito-style, records of tea ceremonies at various households. On the 10th day of the 8th month of the Year of the Snake (1630), Lord Mito, Lord Fusa, accompanied the Shogun on his procession, along with Lord Suruga Tadanaga, Lord Todo Takatora, Tachibana Muneshige, Hanging Scroll: Calligraphy by Chūin; Shō Tea Caddy; Gourd Tea Bowl; Bamboo Tube Vase; Old Matsubara Flower Vase; Inscription: “Newly Empty” on the Hundred-Eyed Nikuki-uchi Design
According to the “Old Records of Moriyama” and the “Denzo-roku,” this flower vase, a Chinese-style Seigaiha design, was originally bequeathed to Lord Gen’i by Lord Ueki, then presented by Lord Gen’i to Lord Gyobu, and has since been passed down through the generations as a treasured heirloom.
“Gongen” refers to Ieyasu; “Gen’i” is Yorifusa, the founder of the Mito Domain; and ‘Gyobu’ is Yorimoto, Yorifusa’s son and the founder of the Moriyama Domain in Oshu, a branch of the Mito clan. The Moriyama Domain is commonly known as “Daigaku-sama” (omitted)
Acquired on August 12, 1899, through the mediation of Mr. Manzo Saito of Nakacho, Shitaya, from Viscount Matsudaira Yorihira, former lord of the Moriyama Domain.
Includes a portion of the old records of Moriyama, the deed of transfer from Matsudaira Yorihira, and an antique pouch by Donshu.
August 1899, in Tokyo
Eiji Asabuki
Later, when Don’ō Masuda expressed a desire for this item, Shian Asabuki agreed to part with it; at the end of the letter sent at that time, he appended a poem of his own composition.
Though her marriage is a joyous occasion, a parent’s heart
is both happy and sad
At first glance, this flower vase is a superb piece of unparalleled craftsmanship, with a golden luster to its bronze. The engraved patterns on the handles, neck, and base are distinct, and the overall form is dignified and ruggedly masculine, evoking the image of a warrior clad in armor.
In my personal opinion, it seems to be the work of an armor smith like Meiju Baichu (a metalworker from the era of Ashikaga Yoshiaki who also served Toyotomi Hideyoshi). While Chinese-style bronze is generally thought to be exclusively of Chinese origin, might there not be works by Japanese master craftsmen hidden among them? This is because many of the owners of Chinese-style bronze flower vases were the Shogunate or major daimyo families, so some of these pieces are likely the work of their own court artisans.
