Catalog: Antiques: Regional Art: Asian: Japanese (190)

An Edo period Kogo incense case of pale earth tones decorated with geometric shapes and green copper glaze in the oribe style with a scrawling streak of kintsugi gold extending down two sides. Kintsugi is the art of repairing using lacquer and powdered gold. Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture. The piece is roughly 7 cm (3 inches) diameter and comes wrapped in an antique padded silk wrapping cloth in an age darkened kiri-wood box with deer leather ties. The box is annotated Ko-Oribe Ume-gata Kogo (Old Oribe Plum-shaped Incense Container) by Seisai, (1863-1937), the 12th head of the Omotesenkei School of Tea. Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

This is a breathtaking work of art, a cherubic figure forms the finial of this later Edo period ceramic incense burner. Atop the lid strides a youth in purple robes wearing a lotus leaf as a hat and blowing a flue, a staff lays at his feet. About the square box of the ash pot are exquisite-colored designs lined with gold like precious jewels dangling from the edge. Two beast heads protrude from the sides and the entire is elevated on a square foot. The koro is 8 x 11 x 17 cm (3-1/4 x 4-1/2 x 7 inches) and is in excellent condition. It comes enclosed in an age darkened Kiri-wood box with chamfered edges titled Ninsei Fue-buki Jizo Koro annotated inside the lid Zuiichi (Superlative) followed by a Kao signature traditionally used by Tea Masters, Literati and important figures such as samurai and (Edo period) court figures.

The surface of this black glazed bowl signed on the base Dohachi has been impressed all over with seals in a style known as In-chirashi. It comes in an ancient wooden box with ebony rim titled inside Dohachi Saku (Chirashi-in) Chawan, while outside a much-worn paper label reads In-chirashi Dohachi Saku Chawan. The original silk pouch, much deteriorated, is included, but no longer strong enough to hold the bowl. Without a box signed and sealed specifically by the artist, it is difficult to attribute to an individual Dohachi, but likely this is the second Ninnami Dohachi generation. The gourd shaped seal impressed into the side strongly resembles the gourd shaped Momoyama Seal of Ninnami Dohachi II. The bowl is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and is in excellent condition.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.

A pair of vases in the shape of old wooden well buckets (tsurube) in white glaze upon which is scrawled in beautiful grass scrip a poem by Otagaki Rengetsu. The poem reads: Yamazato wa
matsu no koe nomi
kiki nare te
kaze fuka nu hi wa
sabishikari keri
Which translates as:
Living deep in the mountains
I’ve grown fond
of the soughing pines
On days when the wind is still
how lonely it is
Each is roughly 15 cm (just under 6 inches) square 18.5 cm (7-1/4 inches) tall and both are in excellent condition. ).
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A hand painted cloth banner decorated with imagery by various artists including the Nanga School literati artists Tanomura Chokunyu (1814-1907) and Nakanishi Koseki (1807-1884) as well as Tanaka Koha of the Kagetsuan School of Sencha and Confucian scholar Goto Shoin (1797-1864) and Hirose Kyokuso (1807-1863) who were two of the most important followers of Rai Sanyo. The date Konoe-saru (year of the monkey in metal) is visible in both the central leaf and the lower left gourd image. Judging then by the 60 year cyclical zodiac calendar it dates from the fifth month of 1860. The title, signed Shochiku-Rojin (the old man Shochiku), reads Betsu-yu-ten-chi-hi-jin-kan, a poetic phrase meaning there are other worlds aside from that of the human plane, specifically alluding to a world without human desire. Perhaps when these learned gentlemen gathered for tea beyond this curtain, they felt that they had experienced one of these other worlds. The cloth is 91 x 160 cm (36 x 63 inches) including a pouch through which a bamboo stave would have been run for hanging. Toned somewhat with age, the fibers are strong.

A skeleton sits among the dried grasses, alone and forgotten, perhaps reflecting on his life in this earie painting by Buddhist priest Higuchi Ryuon dated Meiji 6 (1873). Ink on paper, it is 41.5 x 179.5 cm (16-1/4 x 70-1/2 inches) and is in fine condition; completely remounted in a border of two subtle shades of black with colorful piping and features black lacquered rollers with mother of pearl flakes. It comes in a kiri-wood box.
Higuchi Ryuon (1800－1885) was a priest of the Jodo sect of Buddhism active from the later Edo through the Meiji periods. Born in Aizu (modern day Fukushima) he studied at the Higashi Honganji Takakura Gakuryo and served at Onjoji in Omi (modern day Shiga Prefecture) as well as Chishakkuin in Kyoto before becoming head priest of Enkoji Temple in Kyoto. He has recently come to attention when it was discovered he had a copy of the Bible in his personal effects.

A lacquered writing box in the shape of a kimono sleeve (sode) covered in soaring silver and gold geese among autumn reeds and Togidashi clouds with a secondary (inner) sleeve shape covered in Karakusa vine tendrils on black enclosed in an age darkened kiri wood box. The inside is covered entirely in nashiji gold powder, and contains a grinding stone, and a water dropper of copper inset into the tray. Also enclosed are a bamboo brush and gilded ink stick decorated with a squirrel on a grapevine made by Koundo. The box is 22 x 15 x 3.5cm (8-1/2 x 6 x 1-1/2 inches) and is in overall excellent condition.

A quintessential Iga vase dating from the Edo period, the rough clay covered in thick ash glaze. It is viciously charred, testament to the tempest in the kiln, with molten ash flowing freely over the surface. This is a perfect complement to a Japanese chashitsu tea room or traditional flower display. It is 24.5 cm (9-1/2 inches) tall and in excellent condition. In a Japanese tea ceremony room, historically vases were made to match the ambiance of the humble setting. Although I did not write it: Starting in the Momoyama period (16th century), Mimitsuki Iga ware vases with characteristic "ear" lugs appeared. and thus became the popular norm. Since then the ears have become a mark of not only Iga flower vessels but also Mizusashi water jars. They were used as Japanese tea utensils under master Sen no Rikkyu and others. Old Iga ware, which is known as Ko-Iga, generally reflects Wabi-Sabi aesthetics with a rustic appearance and purposefully deformed shapes, given extra character by the addition of "ear" lugs and intentional gouges and dents.

A Bairin Yaki Suiteki water dropper in the shape of an eggplant and bowl covered in that quintessential Bairin purple and green glaze flowing into the water bowl. It is 10.5 x 6 x 4.5 cm (4 x 2-1/4 x 2 inches and is in overall nice condition, with miniscule chips repaired on the rim. Suiteki are used to provide water for grinding ink on an ink stone.
Bairin Yaki was a resurrection of the ancient Omi style of ceramic called Zeze favored by Kobori Enshu and Honami Koetsu. Zeze Yaki died out in the mid 1600s, but was reestablished by Odawara Ihe-e sometime during the Tenmei Era (1781-1789), with brighter colors. It was, however not long lived, and appears to have died out again sometime in the 1840s. It was again revitalized in the Late Edo and Meiji eras under the name Seta-yaki, and again the lineage died in the Taisho period. An unusual opportunity for the collector of Japanese ceramics.

A small carved Zushi in the form of a cave housing a red stone in the shape of the Daruma, progenitor of Zen Buddhism in Japan. It is 6 x 4.2 x 8.3 cm (2-1/2 x 1-3/4 x 3-1/4 inches) and is in overall excellent condition, dating from the This would have been made as a talisman to ward off evil spirits. later Edo period.

This child with a pleasant face happily rides his toy horse, the horse looking just as pleased. The entirety is a porcelain sake server from the Saga region on the southern Island of Kyushu, home to Imari, Hirado and other porcelain ware. A bung of black persimmon wood has been added as a lid in the shape of a Chinese hat. It is 21 x 12 x 21 cm (8 x 4-3/4 x 8 inches) and in overall fine, original condition, dating from the 19th century.

Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.

A very unusual lacquered Jubako stacking box in the shape of a water cauldron made for serving food at events and celebrations. It is finshed with metallic textured silver-black lacquer simulating old iron. The lid and base are shiny black lacquer, the interior coated in festive red. Cranes and turtles, symbols of longevity, populate the inside in gold. It is 20.5 cm (8 inches) diameter and comes enclosed in an age darkened period wood box titled Kamagata Kashiki. There are two repairs to the red lacquer of the interior trays and marks consistent with use, but overall in fine condition.

A fabulous porcelain incense burner in the shape of a boy playing the flute astride a large ox dating from the 19th century. The box identifies the work as Hirado ware. The quality is certainly of that level. It is 23.5 x 12 x 19 and is in perfect condition, enclosed in a period red-lacquered wooden box.
In Zen, an oxherd searching for his lost ox has served as a parable for a practitioner’s pursuit of enlightenment since this Buddhist sect’s early history in China. In the eleventh century, the Song-dynasty Zen master Guoan Shiyuan codified the parable into ten verses. The parable proceeds from the herd boy losing his ox and following its tracks to recover the animal to transcending this world. This piece represents the sixth step in enlightenment, riding the bull home. This is the point where one has attained understanding. The ancient verse associated with this image reads:
Mounting the bull, slowly
I return homeward.
The voice of my flute intones
through the evening.
Measuring with hand-beats
the pulsating harmony,
I direct the endless rhythm.
Whoever hears this melody
will join me.

A hawk rests on an elaborate perch, the feathers fluffed up, each uniquely carved on this rare okimono from the Mushiake kilns of Okayama prefecture. It comes in an ancient kiri-wood box. The notation on the side of the box states it was received in late Meiji 27 (1894) from the former Head of the Okayama fief Ikeda Mochimasa. The name of the recipient has been redacted, as is often the case when things change hands in Japan. It is 24 x 7.4 x 29 cm (9 x 3 x 11-1/2 inches). A ringlet on one side and a hook under the bar, both made of wire-thin clay, have been broken off, otherwise it is in excellent condition. A work like this from Mushiake is unprecedented, a true rarity.
Mushiake ware is pottery made in modern day Setouchi City, Okayama Prefecture. Legend states it was begun as the Niwa-yaki (a private samurai residence kiln) by the Igi Family, chief retainer of the Okayama Domain. The kiln origin is unknown, but possible originated with the 6th head of the Igi family, and was certainly active in the Bunka/Bunsei eras at the opening of the 19th century. It is said the third generation Dohachi fired work there. The kiln was shut down in 1842, but five years later revitalized by the 14th-generation head of the Igi family, Igi Tadazumi (Sanensai, 1818–1886,), who was a well-known tea master. He invited Seifu Yohei (1803–1861) who came to the kiln and taught blue and white pottery techniques, Korean and other traditions popular in the capitol at the time. At the end of the Edo period (Bunkyu era) Mori Kakutaro took over operations at the kiln. In the early Meiji era Miyagawa Kozan came to work at the kiln, and it is said Kakutaro’s son Hikoichiro took the character Ko from Kozan for his own pseudonym Mori Koshu. Once again, during the Meiji era, the kiln shut down temporarily, and Hikoichiro (now known as Koshu) went to Yokohama to learn new pottery techniques from Kozan. The kiln enjoyed some success during this era, but was again shut down eventually, and revived in 1932. It is still in existence today.

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.

A large porcelain vase by) Daimaru Hokuho (Hoppo) enclosed in the original signed wooden box titled Yellow Porcelain Lightning Pattern Vase. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises to a row of alternating concentric lines known as Lightning pattern. It is 21 cm (8-1/2 inches) diameter 25 cm (10 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A diminutive image of Hotei (Putai) the lucky god of fortune from the Edo period kilns of the Matsudaira clan of Matsue in their distinct golden color. It is 4.5 x 3.3 x 4 cm tall and is in excellent condition. Fushina-yaki was the Goyogama clan kiln of the Matsudaira of Matsue Han in modern day Izumo, established around 1764. It fell strongly under the aesthetic taste of Matsudaira Harusato (1751-1818) Daimyo of the province and one of the most influential Tea Masters of the later Edo period. His style of ceremony continues to this day as the Fumai-ryu style of tea.
Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.