Kiyomizu Hiroshi (清水洋), Japanese (1922–2006)

A Jar with Maple Decoration (楓文壷)

Shōwa Era (1926–1989)

About the work

A rounded ceramic jar bearing the name Kiyomizu Hiroshi, decorated with an intricate arrangement of maple leaves and intersecting lines. The restrained brown and charcoal palette gives the vessel a composed appearance, while the decoration introduces a lively contrast of shapes and directions.

The broad body curves inward towards a short neck and open mouth. Its smooth shoulder and rounded lower section create a continuous silhouette, with little interruption from applied ornament. A warm reddish-brown finish around the neck and base frames the darker decorative field across the body.

Within that field, pale angular lines cross and overlap, creating a loose, branch-like network. Maple-leaf silhouettes appear between them, their recognisable pointed forms contrasting with the linear pattern. Variations in tone allow some leaves to emerge clearly while others recede into the ground.

The relationship between the rounded form and crisp decoration gives the jar a distinctive presence. It offers an understated interpretation of a familiar seasonal subject, suited to independent display or a simple arrangement. Accompanied by its original wooden box, wrapping cloth and leaflet.

Dimensions

16.5cm(h) x 18cm(w)

Footnote

Kiyomizu Hiroshi (清水洋, 1922–2006) was born in Nagoya and studied crafts and metal casting at the Tokyo School of Fine Arts after returning from military service. Adopted into the Kiyomizu family in 1951, he established his reputation as a ceramic artist under the name Hiroshi, receiving the Japan Ceramic Society Award and special recognition at the Nitten exhibition during the 1950s. In 1968, he turned from ceramics to sculpture, working as Kiyomizu Kyūbei (清水九兵衞) and favouring aluminium for its responsiveness to his intended forms. Following the death of the sixth Rokubei in 1980, he assumed the title of seventh-generation Kiyomizu Rokubei (清水六兵衞), pursuing ceramics alongside sculpture. His monumental vermilion aluminium works became prominent features of public spaces across Japan. After passing the Rokubei title to his eldest son in 2000, he continued exploring combinations of clay, aluminium, crystal glass and Japanese paper until his death in 2006, sustaining a lifelong interest in form and the expressive qualities of materials.