Echizen Hosui 2, or, The Difference Between a Copy, and Homage, and a Forgery

Today we’ll take a second look at the work of Echizen Hosui, and take a look at the subtle difference between a Copy, a Forgery, and an Homage. For our first look at Hosui, you can look back here:
Echizen Hosui
Echizen Hosui was born Zenzo Yoshida in Fukui prefecture in 1936, and began making bonsai containers in 1974. It’s quite clear from his work that idolizes many of the greatest artists of Bonsai pottery, including Tofukuji, Yusen, and Aiso. Today we’re going to take a look at some containers that are marked as Hosui, and some that were made by Hosui, but marked as the work of Tofukuji. I don’t think these containers were meant to be forgeries, as enough clues were left for the discerning eye to distinguish them as copies. However, every pottery collector should be aware that such copies exist, and be able to distinguish between them and the real thing.
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First up, from my collection, this small blue glazed round, riveted drum pot with cut feet. At a glance, I’d say this was real. The patina is excellent, the clay looks kosher, the style is spot on, the glaze is one Tofukuji used extensively, and there’s even a little excess clay on the underside where the drainage holes were cut. All the salient details one looks for are there….
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Except for the stamp. Having gotten all the major markers correct in creating this copy, it my contention that Hosui deliberately left the stamp pretty far from the mark, to avoid this being sold as the real deal. Let’s look next to a couple of real stamps:

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The middle stamp is Hosui. The scale of the letters in relation to the leaf is all wrong, the right side doesn’t show any serration, the serration on the other sides is over exaggerated, there’s a gap at the petiole, and the tip of the leaf is rounded, as opposed to pointed. Additionally, the kanji are much coarser than the original. Everything about the stamp is deliberately off, and, from first glance at the gap at the top, intended to mark this as a copy.

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An authentic Tofukuji Drum in this style.

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Two other marked Echizen Hosui for comparison. Hosui loved this style of Tofukuji, and made many, most marked as his own work.

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Two other Hosui pots that are copies of Tofukujis. Like the blue drum above, these were both marked with the same off Kaede leaf Tofukuji stamp.

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Here we have another Hosui, marked as a Tofukuji. Again, the details are all spot on…style, glaze, clay…all good. Stamp? Not so much. Once again, the stamp is deliberately shoddy, marking this as a copy.

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The second is the Hosui. It’s too square, the style of the Kanji all wrong and too angular, and the spacing between the Kanji and the border is off.

So, what’s the difference between a Copy and a Forgery, and a Copy and an Homage? A copy leaves plenty of clues in the pot or stamp for one to tell it is not real, while a Forgery deliberately tries to avoid those clues so the item can be sold as authentic. An homage is a stylistic copy, or work that is intentionally stylistically similar to the work of another artist, but marked as the work of the artist creating the piece, while a copy will often be marked as the work of the original artist. It’s clear that Hosui greatly respected Tofukuji’s work, and also clear that he intended these pieces not to be confused as authentic.
More Hosui
In addition to Tofukuji style Homages, and copies, Hosui’s range is broad, and includes some very nice painted containers and odd accent pots.

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First up, a blue Sometsuke porcelain piece. We’ll take a look at this one first because it’s perhaps the most obvious Yusen homage pot. From the style of the pot to the painting, this piece screams “Yusen Homage.”

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Two pots from Tsukunowa Yusen for comparison.

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Three sides of a geometric painted pot with go-sai panels from Hosui. The five color paintings are detailed and very nice, if a bit cartoonish.

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And for comparison, an akae Yusen pot. Note the two figures on the cliff, a common Yusen characteristic that is also seen in many Hosui.

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Another 5 color Hosui. In my opinion, Hosui was most skilled in 5 color painting. This piece is detailed and very beautifully rendered.

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And….another Yusen. Note the stylistic similarities between this Yusen and the last Hosui image.

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An Akae painted landscape pot from Hosui. Very detailed and lovely landscape work, with excellent negative space.

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Three views of a sometsuke painted cascade pot by Hosui. Again, very beautiful details and very Yusen-esque.

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Another Hosui 5-color pot. This one is a little busier than the above 5-color, but still shows great detail and excellent depth.

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Two interesting accent pots from Hosui. In addition to these rather modern styles, which are common, Hosui also made many Kurama stone style slabs and scoops.

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And we’ll finish up our look today at Echizen Hosui with this interesting accent in a very modern Hosui rolled container. Very nice; very avant garde.

Thanks for reading!

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About japanesepots

I've been collecting Japanese Bonsai pots for a few years, and feel that the famous, and some of the lesser known but great Japanese pot artists could do with a little more writing and exposure in English. Additionally, this blog will feature My own And others bonsai for discussion. The purpose of this blog is to further knowledge of Japanese pottery and Japanese style bonsai. If you have any questions about Japanese bonsai pottery, or would like to acquire pots by some of the potters presented in the blog, feel free to email me at gastrognome@aol.com
This entry was posted in Famous and Antique Potters, Modern Potters, My Personal Collection. Bookmark the permalink.

4 Responses to Echizen Hosui 2, or, The Difference Between a Copy, and Homage, and a Forgery

  1. Shah says:

    Great post and beautiful pots

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