Catalog: Archives: Regional Art: Asian: Japanese (591)

An elephant with pagoda on its back forms this three-piece koro incense burner from the Kairakuen Feudal kiln of the Tokugawa family stamped on the belly with the Kairakuen seal. It is magnificently sculpted, standing 31 cm (12 inches) tall and in excellent condition. It comes in a wooden collector’s box. Inside the lid is a long verse detailing the origins of Kairakuen pottery written and attested to by important Meiji to Taisho period pottery legend Miyagawa (Makuzu) Kozan I.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

A perfect example of the Early Edo Tea aesthetic in this Chatsubo dating from the first half of the Edo period, a splash of black over rust with a white glazed waste from the Seto region around modern day Nagoya. It comes with an ancient wooden bung and wrapping cloth. The pot is roughly 27 cm (11 inches) tall and in overall excellent condition, with typical wear around the foot. No cracks or repairs. Called Koshijiro (White wasted) this style became popular in the end of the 16th century, and were produced in both the Seto region, and a similar style in Kyushu.

Early Edo Myochin Signed Nimai Do with Nanban influence featuring gilded kusazuri and sode laced with blue chord dated Genwa 3 (1620). There are rows of Prominent rivets all about with nobori-kiri crests on the top of the munaita. Comes with an old wrapping cloth dyed with the same crest. The Hon-kozane Kusazuri are removable, attached to two leather belts suspended from iron tongs about the waist. The takahimo shoulder straps are wrapped in leather. The shaped horn clasps are extant but one is broken, the other delicate. The signature and date along with another illegible cartouche are inside the Do exposed through squares cut through the gilded leather lining. Made for an adult, it comes with a set of gilded Sode shoulder guards laced with the same indigo chord.

A ceramic cover for a tea room brazier in the shape of a devil dressed in priests robes dated and annotated within. Dating from the Ansei era, inside it is annotated by Daiko Sogen (1772-1860), 435th head of Daitokuji. Well known for his poetry and mastery of the Tea Ceremony, he taught Zen to Eiraku Hozen, and was compatriot to Gengensai. It is 34.5 x 34.5 x 30 cm (13-1/2 x 13-1/2 x 12 inches) and is in fine condition.

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

A mid Edo period (16th to 17th century) five plate cuirass (go-mai-do) of heavy iron emblazoned on front with a sun and moon in inlayed silver over the fierce god Fudomyo with protective sanskjrit characters in silver damascene on the sides and a five character phrase (The Gotoku or five precepts of Confucianism, also espoused in the book of five rings) on back, also in silver. It is lacquered red inside, and about the waste hang rows of black lacquered scales laced in blue with color fleckedwhite mimi-ito. The lacquer is in rough condition.
The Sode are made of plate iron lacquered black within, also laced in blue with white mimi-ito. The Sode are signed Koshu-nushi Myochin-Ki Nobunawa and dated an auspicious day in the 8th month of Tensho 2 (1574). Perhaps these were heirlooms passed down through the family that were incorporated into a suit of armor in the mid Edo period. It comes with papers from the Japanese Armor Society. A jizai butterfly with the same signature is held in the Musuem 50 in Kaohsiung Taiwan.
The Takahimo and Aibiki Himo (the tie chords connecting the front and back of the do on the right side and at the shoulder) are weak and need restoring, and one of the plates covering the Kohaze on the right shoulder (front) has been replaced. I am offering it in original condition to allow the collector the right to choose the level of restoration desired.
The five precepts of Confucianism espoused on back are not easily defined, but could be:
Nin: Think of others
Gi: Duty, justice, selfless
Rei: The actuation of “Nin”
Chi: Knowledge, wisdom
Shin: Friendship, loyalty, trust

Gold glimmers on the rim against pale concrete tones on this rare mid-Edo period tea bowl from the Utsutsugawa kiln in Nagasaki prefecture, late 17th to early 18th century. Waves of brush strokes decorate the outside, while the white slip cascades from the rim in withering streaks within. A kutsuki on the side testifies to some event which happened during the firing, where another piece of pottery collapsed against the side, fusing and causing the bowl to deform. This force created a crack where the bowl bent, which has now been enhanced with gold. It comes enclosed in a custom made modern wooden collectors box titled Utsutsugawa Kama Kutsu-Gata Chawan. The bowl is 8.5 x 14 x 7 cm (3-1/2 x 6 x 3 inches. Originally a kiln flaw, possibly once discarded, it was rescued and repaired with a sumptuous design of gold powder on lacquer.
Utsutsugawa-yaki (also Utsutsukawa) originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon (Soetsu) opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the later Meiji period, when there was an attempted revival, but that too failed to last due to pressures of modernization. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A fine wakizashi in saya of crushed aogai shell in lacquer with engraved silver fittings adorned with a family crest wrapped with matching Kozuka. Kyoto license number 59007 Heisei 9.
blade length: 38.9 cm
sori:0.7 cm
motohaba:2.4 cm
motokasane: 0.6 cm It is in excellent condition.

An Edo period sumi-e painting stamped Shundo-no-in on very rough silk depicting Daruma heir Kensu Osho, an eccentric Chinese beggar-monk who lived on shrimp and clams. The painting is certainly no less eccentric than its subject, unique among paintings I have seen from the Edo era. It retains the original faded border of dragon dials and lucky symbols extended with beige and features bone rollers. The scroll measures 14 1/2 x 56 inches (37 x 142 cm) and is in original condition, with some wear to the border extensions. The box is titled:Kensu Osho Ink Painting, From the Ihotei Collection. The Hakogaki refers to the life of Kensu as one who exists unmoored and inscrutable, living freely beyond rules and regulations, and although the behavior of those like him may appear profane, it is actually sacred. The writing could refer to the rare stance of the artist as well, in a society where mediocrity was enforced from above, what artist dared to stray so far from accepted norms? Some eclectic monk himself, seeking to understand the daruma through his own art? A most intriguing work.

An exquisite vessel by Seifu Yohei IV decorated in slight relief under pale green glaze. It is 8-1/4 inches (21 cm) tall and in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946), the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

Festive red paper lanterns parade in a sea of mist across this elegant 20th century scroll by Hayashi Bunto (1886-1966) enclosed in the original signed and stamped wooden box. A wonderful summer-time scene reminding one of all the matsuri-festivals dominating the nights of this season. The silk scene is bordered in blue ending with bone rollers trimmed with gold. The scroll is 22 by 52 inches (56 x 132 cm) and is in fine condition. Bunto studied painting under Yamamoto Shunkyo, and became a preeminent Shijo school artist of the early 20th Century. He is held in the collection of, among others, the Museum of Modern Art, Kyoto, as well as many private collections.

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

An incredibly detailed mid to late 19th century Izushi-yaki Hakuji (white porcelain) image of a samurai and his lover enjoying a moment together; the robes, accessories and musculature being extremely well shaped. The pair are made of solid white clay, sculpted in the style and with the attention to detail typical of Hirado ware however the glaze is more textured than work expected of that region, indicative of Izushi. There are several chips: the mans left foot, tobacco pouch and right fingers and the womans hair, as well as a repair to the back fold in the womans loose kimono. The couple measure approximately 4 inches (10.5 cm) tall, 5-3/4 inches (15 cm) wide. They are enclosed in an ancient wooden box inscribed with the date 1930, and stating the piece was acquired or received in April by Sakuragawa Umetoshi. The sculpture pre-dates the box by many years.

The seven gods of fortune are depicted in rich gold, vibrant colors and textures on this exceptional set of Kutani Sake Cups from the Kaburagi Studio enclosed in the original compartmentalized wooden box. Each cup is unique, measuring roughly 5.5 cm (2 inches) diameter, 3 cm (1 inch) tall and all are in excellent condition. The Kaburagi studio produced some of the finest wares in Kutani. Founded in 1822, it survives to this day under the same family, now in the 8th generation. These date from the very early 20th century. The Seven Gods, or Shichifukujin as they are called in Japanese, are:
Benzaiten, Goddess of the arts, including music often seen with a lute.
Bishamonten, God of warriors.
Daikokuten, (or just Daikoku) God of wealth and commerce with his magic hammer pounding out gold.
Ebisu.God of Merchants and Fisherman, often depicted with a fishing pole and Tai (sea bream) whose name is a homonym for celebration.
Fukurokuju, God of Longevity associated with deer.
Hotei,God of Abundance and Health usually pictured with his large sack of treasure.
And Jurōjin, Also a god of Longevity usually seen with a crane

Exceptional Edo p. Japanese Screen, Demon War An exceedingly rare set of four dramatic paintings divided into segments depicting a variety of battle scenes and supernatural phenomena, each heavy pigment on paper canvas mounted on one of four panels of a gold screen bordered in mulberry. The scenes appear to comprise a fragment of the tale of Daikozan (Oeyama), a Kyoto tale where in a powerful demon was lured to drink, then cut to pieces in his stupor. The screen itself is 20th century; however the paintings would date from the mid Edo. On the far right sword bearing men, priests and women run from monsters with giant heads while a cloud roiling with demonic figures bears down on the scene. A tanuki with the head of a woman can also be found here. Below women perform dance on the balcony of a palace for a long nosed tengu attracting a crowd of onlookers. The second panel is divided into four scenes of women reading a hand scroll to the same tengu from the first panel hidden behind a bamboo fence. Below we see him again seated outside a room awaiting audience with divine figures. Below this he is throttling a sword bearing soldier, a ghostly lute player on the left, and a raucous battle on the steps. On panel three the battle rages. Men hack away at each other while a head is presented indoors, and a man and demon appear ready to draw swords over the decapitated corpse. Below gory warfare rages, samurai and demon fighting indiscriminately. In the last scene a flock of birds attack one fellow, while heads topple hither and yon. The paintings were likely originally part of a larger screen, which have been cut down over time from re-mounting. The fantastic screen measures 107 inches by five feet (272 x 153 cm). There is some loss of paint; and the paintings, due to great age, are somewhat delicate.

The richest blue bamboo rises majestically against the bright yellow ground of this exceptional vessel by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kiyu Seika Takenozu Kabin (Vase with Blue Bamboo Design on Yellow Ground). It is 33 cm tall (12-1/2 inches) tall, 23 cm (9 inches) diameter and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A very rare work by Suda Seika featuring a long armed monkey climbing over the rim in raw terracotta clay, contrasting brilliantly against the blue splashed white porcelain. It is 17.5 x 20 x 10.5 cm (7 x 8 x 4 inches) and comes enclosed in a period kiri-wood box. The first generation Suda Seika (1862-1927) was born the son of a merchant in Kanazawa, then part of the Kaga fief. He graduated the Ishikawa prefectural Industrial Ceramic Research Center in 1880 specializing in decoration, and moved to Kyoto the same year. In 1883 he entered the Kutani Ceramics Company, and was elevated to head of decoration two years later. In 1891, he established the Nishiki kiln in Yamashiro Onsen (Hotsprings) of Kaga city, and in 1906 opened a second climbing kiln which bore the name Seika. In 1915 he served as a mentor to the young upstart who would later become known as Kitaoji Rosanjin (1883-1959). The second generation took the reins in the mid 1920s, passing them onto the third generation around 1970.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.