Catalog: Antiques: Regional Art: Asian: Japanese (185)

A set of five Mokko-gata (elongated-lobed) kashi-zara wood dishes, each uniquely decorated with seasonal flora in raised lacquer with mother of pearl and lead inlay enclosed in an older wooden storage box. The artist has made excellent use of the natural wood grain, allowing it to fomr a backdrop like bushes and garden stones for the subdued tones of gold, silver and shimmering mother of pearl. Each dish is 18.5 x 14 cm (7-1/4 x 5-3/4 inches) and all are in excellent condition, dating from the early 20th century.

Layer upon layer of lacquer has been carved with scrolling designs revealing the depth of the surface in a style known as Guri by Suwa Sozan I enclosed in a wooden box titled Guri Kobon. It is 23 x 33 cm (9 x 13 inches) and in excellent condition, the artist seal inlayed in mother of pearl beneath. The box is annotated by his adopted daughter and heir Torako (Suwa Sozan II).
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A carved lacquer box which pays homage to Chinese literary taste while presenting itself clearly in a modern, Japanese way (for turn of the century lacquerware at least) by 2nd generation lacquer artist Ishii Yusuke enclosed in the original signed wooden box. The tsuishu lacquer technique requires applying layer upon layer of lacquer which is then carved through and polished, a painstaking process. This piece is exquisitely crafted, carved and polished revealing the many layers of lacquer, it is 13.5 x 10.5 x 5.5 cm (5-1/2 x 4 x 2 inches) and is in excellent condition. On bottom in a bell-shaped gold cartouche are the characters Yusuke. According to the box it was held in the collection of the Kuriyama Sodo, home of Ishizaka Sennosuke who was a member of the governing assembly of Toyama prefecture.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

A handle surmounts the peak of this beautifully rendered vase by Myagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seiji-yu Sometsuke Te-oke-gata Kabin (Celadon Handled Bucket Shaped Vase with Blue and White Design). It is 16 cm (6 inches) diameter, 32.5 cm (13 inches) tall and in excellent condition.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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 bronze crane in dark almond colored patina of superb craftsmanship dating from the late 19th to early 20th century (Meiji period). It is quite large at 48.5 cm tall (19 inches) and is in excellent condition.

A fabulous set of five wooden Kashizra sweets dishes cut from worm eaten hardwood, enclosed in an age darkened wooden box titled Keyaki Meme Chinmoku Kashiki. The title identifies the wood as Keyaki, or Zelkova, a member of the elm family. It is a highly prized hardwood in Japan and has a beautiful undulating grain.. Each dish is 13.5 cm (5-1\4 inches) diameter and all are in excellent condition. One plate has a water ring, as they were likely used as tea cup saucers for sencha steeped tea.

One of the most unusual pieces I have ever seen from this innovative artist, an octopus shaped Koro by Suwa Sozan I enclosed in the original signed wooden box bearing the Teishitsu Gigei-in seal of the Imperial Art Academy. The bulbous top of the head is removable along a line as if the creature were wearing a hachimaki head band, revealing the incense chamber within. It is 26.5 cm (10-1/2 inches) tall, 19.5 cm (roughly 8 inches) diameter and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

The title does not lie, this is one against which all others might be measured. A celebratory sake set consisting of three cups and a stand enclosed in their original lacquered wooden boxes. The cups are over the top, decorated with plum pine and bamboo in taka-maki-e gold over red replete with bits of kirigane gold and ke-uchi details. The cups are equally gorgeous on top and bottom, the design extending even inside the foot ring. Roundels of the same designs are built up in gold and lacquer maki-e on the black lacquered stand, the inside of which is covered in Togidashi Nashiji. Along the edge of the stand are carefully placed bits of gold in a technique known as oki-hirame. The stand is 17 x 17 x 14.2 cm (6-3/4 x 6-3/4 x 5-1/2 inches). The cups are 9.8 cm (4 inches) 11.2 cm (4-1/2 inches) and 12.7 cm (5 inches) diameter respectively, and all are in excellent condition.

Suwa Sozan I enclosed in the original wooden box titled Kagyu-tsuki Take Kake-hana-ire (Bamboo Hanging Vase with Snail) bearing the Teishitsu Gigei-in Seal of the Imperial Art Academy signed inside “Sozan, with Amateur Skill” followed by the artists seal in red. It is 49 cm long and in excellent condition. The only other I have ever seen in this style is published in the rare 1971 book Suwa Sozan Sakuhin Shu page 59.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A set of three Chin puppies by Miyagwa (Makuzu) Kozan II published in the book Miyagawa Kozan and the World of Makuzu Ware (Yokohama Museum of Art, 2001) page 144, figure 174. They are roughly 5 x 10 cm (2 x 4 inches) and in excellent condition. They come enclosed in the original signed wooden box.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.

Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).

An amazing small wooden figure covered in with glass eyes made in the hyper-real likeness of a Rakugo-shi Comic storyteller, dressed I traditional Hakama trousers and seated on a large cushion clutching a fan in his right hand. It is 19 cm (7-1/2 inches) tall, while the cushion upon which he sits is 19.5 x 15.5 cm (just under 8 x 6 inches) and the figure is in excellent condition. There is what appears to be a signature on the bottom; Ta?Saku. This caring is very much in the audacious style of early works by artist Hirakushi Denchu, (b. 1872) and likely dates from the first quarter of the 20th century, although could go back into the final years of the 19th.
According to Wikipedia: Rakugo (literally 'story with a fall) is a form of Japanese verbal entertainment, traditionally performed in small theatres. The lone storyteller sits on a raised platform, a kōza using only a paper fan and a small cloth as props, and without standing up from the seiza sitting position, the rakugo artist depicts a long and complicated comical (or sometimes sentimental) story. The story always involves the dialogue of two or more characters. The difference between the characters is depicted only through change in pitch, tone, and a slight turn of the head.

An ornate porcelain image of a horse draped in full regalia by Miyanaga Tozan I enclosed in the original signed wooden box. The detail about the head is fabulous, and the artist has done an excellent job capturing the musculature of the creature while allowing something ethereal. In Japan horses (and cows and foxes and deer and lots of other creatures) are often enshrined as messengers or embodiments of the gods in Shinto. This is 21 x 9 x 23.5 cm (9-1/4 inches) tall and in excellent condition.
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.

First we hear the clang of the hammer striking the bell, then the steadily approaching clop of his wooden shoes before the horrifying creature dressed in the robes of an itinerant priest appears; a ledger in one hand noting our sins. This is a very rare ceramic figurine by Suwa Sozan I enclosed in the original signed wooden box titled Nenbutsu Oni and bearing the seal of the imperial Art Academy. It is 30 cm (12 inches) tall and in excellent condition. He would have originally held a hammer, no longer extant. This summer, among other works by this artist, one of these sculptures, a one-eyed goblin, was on display at the Kyoto Kyocera Museum; part of their Imperial Art Academy Exhibition.
The Oni no Nenbutsu is one of the more popular figures from Otsu-e; a folk painting tradition from the town on the outskirts of Kyoto; the first or last stop coming to or leaving the capitol on the old Tokaido road. A pantheon of almost 200 characters, one of the most popular was the goblin, which came into vogue in the 18th century. Although the western goblin is a symbol of evil in religious iconography, in the Otsu-e tradition the symbol was used to satirize human folly and to remind people of the consequences of their actions. Other goblin images present remonstrations against arrogance, hypocrisy and carelessness. Utagawa Kuniyoshi created a woodblock print depicting the Otsu-e figures coming to life.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A beautiful black Raku bowl with golden lightning splitting across the surface like an eruption of light in the night sky. It is roughly 12 cm (4-3/4 inches) diameter and in excellent condition. An exquisite repair.
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.

A very large porcelain basin decorated with gold and red fish among green, gold and red flora by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Gosu-Aka-e Sakana no Zu Hira Bachi. Inside the box bears the Teishitsu Gigein seal, followed by an annotation denoting the artist age at 75 years old. After a long verse which also appears to be by the hand of Kozan it is dated 5th day, 5th month of Taisho 6 (1917). It is 38 cm (15 inches) diameter and in excellent condition.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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 sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.

Pink and blue iris blossom among the green promise of Spring promised on this elegant vase by Miyagawa (Makuzu) Kozan enclosed in a wooden box annotated by the current head of the Makuzu Family in Kyoto, Makuzu Kosai. It is titled Yukasai Shobu no zu Kabin. It is 30.7 cm (12 inches) tall and in excellent condition.
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.