Esumi.68: Rikitake No.119 Shoko
In the world of Japanese yakimono (ceramics), the signature is often more than a name—it is a map of heritage, technique, and artistic philosophy. Among the most coveted yet enigmatic marks in modern collecting circles is the inscription found on a specific series of works: Rikitake No.119 Shoko Esumi.68. For the uninitiated, this string of characters looks like a catalog code. For the seasoned collector, it represents a pivotal moment in post-war Japanese studio pottery.
This article provides a deep dive into the history, craftsmanship, and market value of pieces bearing the Rikitake No.119 Shoko Esumi.68 mark, offering a comprehensive guide to understanding why this particular kiln and artist signature has garnered such quiet reverence.
The "No.119" design is the holy grail for Rikitake collectors. Based on surviving examples (visible in Japanese auction catalogs from the 1990s), Model 119 is defined by three specific traits:
If you find a piece claiming to be Rikitake No.119 Shoko Esumi.68, check the kutsu (heel) of the vase. Authentic pieces show goma (sesame seed) spots—small charcoal dots from the pine-ash firing.
Several possibilities:
If "Rikitake No.119 Shoko Esumi.68" refers to a historical document or a piece of art:
Introduction: Introduce the significance of the Rikitake collection and the relevance of item No.119. Provide background on Shoko Esumi.
Body: Discuss the details of the document or artwork, its historical context, and its significance. If applicable, include analysis or interpretation.
Conclusion: Summarize the findings and reflect on the importance of such items in the broader context of history or art. Rikitake No.119 Shoko Esumi.68
Without more specific information, it's challenging to provide a detailed paper. However, this approach should help guide you in developing a paper based on the given reference.
Given the Rikitake dynamo, the most plausible domain is geophysics or nonlinear dynamics.
Hypothetical scenario:
In 1968, a researcher named Shoko Esumi worked at the Rikitake Laboratory (or Earthquake Research Institute, University of Tokyo). They produced Report No.119 titled "Shoko Esumi" (perhaps a mistranslation – could be "Evidence of Dynamo Oscillations") and version .68 of the draft.
Alternatively, "Shoko Esumi" might be a data series name – e.g., SHOKO_ESUMI_68 as a parameter set in a Fortran program on punch cards. A surviving printout bears the handwritten label: Rikitake No.119 Shoko Esumi.68.
If you provide the object's type (ceramic, print, photograph, book), photographs, dimensions, and any visible marks or provenance, I will produce a customized, item-specific handbook entry with detailed identification, condition language you can use in listings, and a suggested market value range.
Rikitake No. 119, featuring Shoko Esumi, represents a significant entry in the extensive Rikitake filmography, a series renowned for its meticulous focus on the "shibari" aesthetic and the celebration of the female form. Released in the late 1990s, this specific volume serves as a masterclass in the technical and artistic standards that defined the Rikitake label during its peak influence.
The production is characterized by high technical standards, utilizing sophisticated lighting and well-composed, static shots. This stylistic choice leans toward a portraiture-like quality, emphasizing visual symmetry and the interplay between light and shadow. Shoko Esumi, the central figure, maintains a composed presence that complements the deliberate pacing of the cinematography.
A primary focus of the work is the documentation of "kinbaku," or traditional Japanese rope art. The patterns shown are intricate, highlighting a deep understanding of geometric forms and the anatomical contours of the human body. The visual narrative emphasizes the craftsmanship and the process of the "bind," presenting it as a disciplined technical exercise. This focus on the "art of the bind" attempts to elevate the subject matter through rigorous execution and a specific artistic vision. Keep digital backup (secure storage), and printed hard
Furthermore, this entry reflects a broader interest in the intersection of traditional practices and modern visual media. By using minimalist sets, the production strips away external distractions to focus entirely on the technical interaction between the subject and the medium. The work serves as a reference point for those studying the adaptation of traditional Japanese aesthetic practices within the late 20th-century cinematic landscape, prioritizing formal composition and technical precision over more mainstream, rapid-fire editing styles.
Based on the structure of the phrase, we can break down its likely meaning:
Rikitake: This likely refers to Yasushi Rikitake (or occasionally Takuya Rikitake), a well-known Japanese photographer celebrated for his extensive collections of photo books.
No.119: This follows the standard format for indexing a specific volume, set, or entry within a larger photographic series or archive.
Shoko Esumi: This is a Japanese name. In this context, it likely refers to the model or subject featured in the specific collection or volume.
".68": This is often a suffix used in digital file naming, sometimes indicating a specific version, a file extension derivative, or a part of a numbering system in online databases. Context and Significance
This specific identifier is frequently found on sites dedicated to archiving Japanese gravure or portrait photography. In these circles, "Rikitake" is synonymous with high-volume, professional portraiture of Japanese models.
Because this is a specific archival entry rather than a narrative or academic topic, a "full essay" in the traditional sense does not exist for it. It functions as a catalog reference for collectors and enthusiasts of Japanese photography. Yasushi Rikitake Photo Books Zip Repack In the world of Japanese yakimono (ceramics), the
It seems you’re referencing a specific identifier, possibly for a mineral, fossil, or museum specimen.
“Rikitake No.119 Shoko Esumi.68” could be a catalog number from a Japanese collection.
If you need a guide to interpret or locate this:
Possible contexts – It could be a mineral specimen from the “Rikitake collection” or a petrological sample (Rikitake is a known surname in earth science, e.g., geophysicist Tsuneji Rikitake).
Ask specialists – If this is for academic or hobbyist research, contact a Japanese earth science museum or a mineralogy forum.
Would you like help with a specific type of specimen (mineral, fossil, rock) or guidance on how to search Japanese collection catalogs?
The year 1968 is crucial. Globally, it was a year of protests, but in Japan specifically:
If Shoko Esumi was a student or young researcher in 1968, they would have been part of this turbulent era. Their name attached to “Rikitake No.119” suggests a bridge between hard science and cultural documentation.
