Flaming jewels were traditional symbols of Buddhist enlightenment and became a popular subject in Japanese ink painting. Although there are only five cups in this set, some have multiple jewels, resulting in nine total (nine being an auspicious number in Buddhism). Shōnen was a professor at the Kyoto Prefecture Painting School (later Kyoto School of Arts and Crafts), as well as a famous painter from a well-established traditional family lineage.

Shōnen probably only painted the designs on the cups; their shaping, glazing, firing, etc. were done by an unknown ceramic specialist. Kyoto ceramics are well known for their brightly colored glazes, a tradition dating back to the Edo period (1615–1868). At the same time, before the modern period only stoneware was made in Kyoto, and porcelain such as this was a new development.

Kawakita Kaho (1875–1940), Prince Ōtōnomiya Escaping to Kumano, Japan, c. 1900–1912. Hanging scroll; ink and color on silk. Gift of Terry Welch, 2021 (2021-03-023). The Honolulu Museum of Art.

Historical subjects played an important role in the canon of modern Japanese painting, following precedents of other national styles in Europe, and a long tradition of historical painting narratives in Japan. Historical subjects featured prominently in the annual national exhibition, in which Kaho thrived, eventually being appointed a juror.

Prince Ōtōnomiya (1308–1335), seen here traveling deep in the mountains with a military cadre, was a key figure in the fall of the Kamakura shogunate (1185–1333). Ōtōnomiya was the head abbot of an influential Buddhist temple. When his father, the emperor Go-Daigo (1288–1339), challenged the shogunate, Ōtōnomiya left the temple and made his way to Kumano—the scene shown here—where he raised troops to support his father. Eventually, they convinced the powerful warlord Ashikaga Takauji (1305–1358) to join them, and for a brief period Go-Daigo was restored to power.

However, when Go-Daigo overlooked Takauji in favor of Ōtōnomiya and the other princes, Takauji fabricated charges against Ōtōnomiya and had him beheaded; Ōtōnomiya was only twenty-seven years old. Takauji would go on to establish the Ashikaga shogunate (1336–1573), and it would not be until 1868 that an emperor was once again restored to power.

Honda Tenjō (1867–1946), Seven Sages of the Bamboo Grove, Japan, c. 1910s–1920s. Hanging scroll; ink on paper. Gift of Terry Welch, 2021 (2021-03-101). The Honolulu Museum of Art.

The Seven Sages of the Bamboo Grove were a group of historical figures who lived in China during the 3rd century CE. The political climate was especially dangerous at the time, and they became known for their avoidance of government service and their pursuit instead of leisurely reclusion, writing poetry, playing music, and especially drinking alcohol together in a bamboo grove near one of their homes. They were one of the prototypes of the lofty scholar who practices self–cultivation and moral integrity instead of serving a corrupt ruler. They were celebrated in early literature, and within two centuries of their lifetimes they were already depicted in the arts.

Honda Tenjō was a key figure in the Tokyo art world during the early 20th century. He was one of the most prominent students of Kanō Hōgai (1828–1888), who played an important role in the early modernization of traditional Japanese painting. Following his teacher, Tenjō’s work has its foundation in traditional Kanō School brush techniques, such as the “axe-cut” strokes that texture the rocks and the deftly executed bamboo leaves, but these are dramatically transformed through an emphasis on contrasting light that conveys a sense of volume inspired by Western drawing.