Catalog: Antiques: Regional Art: Asian: Japanese (183)

An E-karatsu Yobitsugi bowl made of various shards attached with wide bands of gold to a discarded base: the pieces dating from the Momoyama to early Edo periods. It is 22 x 20 x 6 cm 8-1/2 x 8 x 2-1/4 inches) and comes enclosed in a modern kiri-wood collectors box titled E-Karatsu Hachi.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. 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 startling find! A Horned Demon mask dating from the Nanboku-cho to earlier Muromachi eras (14th to 15th centuries) carved from a single block of wood and enclosed in an ancient kiri-wood box. The visage would have once sported a lower jaw, likely suspended by chord, which is no longer extant. It is 21 x 15 x 9 cm (8-1/4 x 6 x 3-13/4 inches) and is in overall fine condition, exuding a great sense of age.
Oni Masks: Oni are a type of horned demon or ogre in Japanese folklore. They are often depicted with fierce expressions, sharp teeth, and horns on their foreheads. Oni masks were commonly used in various traditional Japanese performing arts, including Noh theater, Kyogen (a comedic theater form), and festivals. In Noh and Kyogen plays, Oni characters represented malevolent supernatural beings or disruptive forces. Oni masks were crafted with variations in color and design to represent different types of Oni with distinct personalities and roles in performances.
Horned demons and monstrous beings have been a recurring theme in various art forms and folklore throughout Japanese history. The Hannya mask, with its distinctive design and association with the Noh theater, is one of the most iconic representations of a horned demon in Japanese culture. However, it is just one of the many examples of horned demon imagery that has been present in Japanese artistry throughout history.
The term "Hannya" refers to a vengeful female spirit or demon, often depicted as a hideous and tormented being with sharp fangs and a horned, demonic visage. The character of the Hannya is prevalent in Noh theater, a traditional form of Japanese drama that dates back to the 14th century. Hannya is often portrayed as a woman who transforms into a demon due to overwhelming jealousy, rage, or sorrow. The transformation occurs after experiencing intense emotional pain, particularly from unrequited love or betrayal. As a result, the Hannya's soul becomes consumed by negative emotions, leading to her metamorphosis into a malevolent, otherworldly creature. The Hannya mask is a distinctive and iconic representation of this character. It features a fearsome expression with bulging, angry eyes, a long nose, sharp fangs, and two sharp, upward-curving horns on the forehead. The mask is crafted to express a complex range of emotions, capturing the Hannya's torment, grief, and anger.

A spectacular collapsed pottery jar from the Karatsu tradition with a purpose-warped wooden lid covered in powdered silver enclosed in a top quality ancient red-lacquered kiri-wood box lined with wave-patterned colored-paper. The ancient box has silver lacquer writing on the top reading Kodai Karatsu Tsubo, Kamakura Ki, Mizusashi (Ancient Karatsu Tsubo, Kamakura Period, Mizusashi). The pot is 17 cm (7 inches) diameter, 15 cm (6 inches) tall and in overall excellent condition.

A yobitsugi Jar made up of various excavated kiln shards of central Japan dating from the Heian period (794–1185). It is roughly 32 cm diameter, the same height. Looking at the volume of debris and encrustations, it is likely that the upper most part of this tsubo, which is one piece, was buried in a kiln collapse, earth and stone fusing to the molten ash. During the Heian period, hole kilns were dug into hillsides, with a chimney bored down into the back. Sometimes during firing, or after repeated use, the earth above would weaken and collapse upon the contents, burying all. Unusable, the site would be abandoned and another hole kiln dug alongside or at the next available site, leaving the shattered contents to be excavated a millennia later. Assembling these parts into Wabi-sabi jars or bowls became popular from the mid Edo period in a style known as Yobitsugi (literally called together and attached). To the contemporary viewer it is an example of the simple beauty of random effects produced by a wood-fired kiln as well as a unique view into the Japanese mindset of serenity found in the accidental and ephemeral.

A lovely chawan made of three separate excavated shards connected by lines of gold dating from the Kamakura to early Muromachi periods (13th to 14th centuries). It is 15.7 cm diameter, 7 cm tall and in excellent condition, enclosed in an old wooden box.

Thick molten ash drivels over the shoulder of this fabulous 17th century Shigaraki Tsubo storage jar showing all the great attributes of Shigaraki ware. It has a large open ware (pronounced wa-ray) crack down the front, which does not go through to the inside, and the fire blasted front surface is shot with fine heat cracks. A large Kutsuki to the lower let shows where it adhered to something else in the kiln during the firing. Natural ash glaze in yellow and green slides down over the surface forming shiny green drips opposite raw earth burnt red studded with Shiseke feldspathic stones. On the foot are two supporting Geta. It is 31 cm tall, nd in overall excellent condition, with one colored repair to the mouth (see photos).

A fabulous example exploring the various traits of traditional Shigaraki pottery with a thick swath of glaze covering one side, telltale feldspathic inclusions bursting from the raw clay opposite. This is a classic example of 16th century Shigaraki pottery. It is 29 x 31 x 35 cm (11-1/2 x 12 x 14 inches) and in overall excellent condition. The history of Shigaraki traces its origins to around the 12th century with the discovery of exceptional clay deposits rich in iron and other minerals which contribute to its distinct rustic charm. The clay's natural tones, ranging from warm browns to deep russet, evoke the earth's organic essence. The subtle imperfections and irregularities of the forms and glazes mimic the irregularities found in nature, embodying the concept of wabi-sabi. Shigaraki ware captures the essence of simplicity, modesty, and reverence for the natural world, reflecting the philosophical ideals deeply rooted in Japanese culture. During the Muromachi and Momoyama periods (1336-1603), the popularity of Shigaraki pottery soared due to changes in the aesthetic of the tea ceremony, which came to emphasize the importance of humility. Shigaraki pieces, with their earthy tones, and rough natural textures, perfectly embodied the idea, making them highly sought-after by connoisseurs. In the Momoyama period (1573-1603), the introduction of anagama kilns that foster the spontaneous and unpredictable nature of the firing process, further enhanced the uniqueness of Shigaraki ceramics leaving beautiful variations in glaze and color based on, among other factors, kiln placement, fuel, firing time, convection, temperature, oxidation, and atmospheric conditions. Shigaraki celebrates the natural properties of the clay it is made from with the idea of Tsuchi-aji (literally Clay Flavor). Tsuchi-aji refers to the “visual taste” of the clay and is highly prized by connoisseurs. The surface often displays fascinating natural effects, including "hi-iro" (fire coloration), "koge" (scorch marks), Shizen-yu (natural ash glaze) and various "Yohen" (alterations). They contribute to the distinctive and organic aesthetic of Shigaraki pottery. Each piece tells a story of its journey through the firing process, reflecting the harmonious relationship between the artist, the kiln, and the natural elements. The interplay of clay, fire, and ash creates a captivating visual narrative, making Shigaraki pottery a testament to the beauty of the moment, the ephemeral and the accidental.

A Kintsugi gold repair provides a flash of gold on the much-used richly color-stained glaze of this Early Edo Takahara Yaki Chawan Tea bowl enclosed in an age darkened kiri-wood box titled Takahara Yaki Hira Chawan. The box is annotated inside followed by a Ka-o stylized signature. There is also a separate Kiwame letter enclosed. The bowl is 15.3 cm (6 inches) diameter and in excellent condition. Takahara Yaki began with Takahara Tobei (Fujihei) who hailed from Higo in modern day Kumamoto prefecture, and later Takahara Heizaburo. Tobei established a kiln near Shitennoji in Osaka specializing in tea ware during the Keicho era (1596-1615) especially known for Korai Korean and Raku wares. Later a second kiln was opened in Omi (modern day Shiga) which specialized in pottery of the Awata tradition. In 1653, On the recommendation of Katagiri Sekishu, the family split, and under orders of the Edo shogunate Heizaburo opened a kiln in front of Asakusa in Tokyo. So in fact there are three lines of Takahara Yaki, Osaka, Shiga and Tokyo. This is likely from the original Osaka kiln and dates from the 17th century.

An early Edo period Ki-Seto sake cup repurposed with a silver lid pierced with a chrysanthemum to function as an incense burner enclosed in a custom made silk pouch and bamboo case dating the transformation to New Years of Kae-7 (1854). Without the lid it is 5.5 cm (roughly 2 inches) diameter and in excellent condition.

A small circular table likely made as a stand for an incense burner or suiban basin dating from the Muromachi era (late 14th to 16th century ) covered in black lacquer over which has been applied vermillion in the style known as Negoro. About the center a ring of wood grain is typical of the era. It is supported by three curling feet extending from a billowing diaper. The lacquer, originally black, has oxidized to a mellow chocolate color beneath. It is 29 cm (11-1/2 inches) diameter, 14.5 cm (5-3/4 inches) tall. As one may imagine there are some losses and much wear to the edges typical of age. One leg has been broken and repaired. Surprisingly good condition for something over 500 years old.
According to the National Gallery of Victoria: Negoro refers to simple and elegant red lacquer objects that were produced during Japan’s medieval period, between the twelfth and seventeenth centuries. Embodying the ancient sense of Japanese beauty, the minimalistic forms of Negoro lacquer ware were primarily made to be functional objects and are void of elaborate decoration. The supple shapes and naturally worn patina of red and black lacquered layers give Negoro an ambience of antiquity and elegance which has made them treasured objects throughout the ages. Since the early twentieth century Negoro wares have become highly appreciated by connoisseurs as objects of outstanding design that pursue a certain utilitarian beauty. Negoro lacquer derived its name from the Buddhist temple of Negoro-ji, located in the mountains of present-day Wakayama Prefecture, just south of Osaka. Established in 1243 as a temple of esoteric Buddhist practice, Negoro-ji thrived during the Kamakura, Muromachi and Azuchi-Momoyama periods. In period depictions of monastery life and aristocratic villas Negoro utensils are clearly shown as favoured and cherished objects, alluding to demand for their production in large numbers. Square and circular trays, bowls of various sizes and large spouted ewers were used at daily meals. Lobed cup stands, offering trays and sake bottles with foliate lids featured in temple rituals and clearly display lotus flower–inspired motifs common to Buddhist art. Stem tables were frequently used as offering stands and placed in altars of Buddhist temples and Shinto shrines. Circular wash basins with legs were used in monastery ceremonies to catch water poured over the hands of monks in an act of purification. Large hot water pots or spouted ewers were often used as practical kitchen and serving utensils, and are still used to this day in Zen monastery dining halls. The true essence of Negoro is found in its antiquity and the generations of affectionate use that imbues these objects with the esoteric Japanese spirit wabi (the aesthetic of beauty found in imperfection), and sabi (an affection for the old and faded). With regular use the wearing and reduction of the outer red coating gradually reveals the black lacquer beneath, creating an ever-changing beauty that can only result from continual use and the passage of time. Cracks, wear, damage, splits, texturing and irregularities all enhance the harmonious sophistication of a Negoro object’s surface. This natural evolution of beauty, similar to the maturing of the human spirit with age, epitomises the Japanese spirit and stems from the belief that the respectful use of an object for its proper function enhances its appearance and status.

Wide gold bands mend the broken walls of this unearthed pottery bowl dating from the Kamakura period covered in earthy green glaze from the Seto region from around modern day Nagoya. It is 16.3 (almost 6-1/2 inches) diameter and ready to use. It comes enclosed in a modern collectors wooden box titled Horinote Hirachawan (Excavated Wide Tea Bowl).
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 quintessential 16th century design in worn gold covers all the dark surfaces of this lacquered wooden box dating from the Momoyama period. Here auspicious cranes and turtles, reported to live a thousand years, laze among pines. About the lid boaters enjoy leisure seas. Ichimonji checkerboard patterns rising diagonally up the sides alternate with garden trees, the ends decorated with wisteria and ivy. The box retains the original inner tray in festive red decorated with garden grasses. It is worn with age and use, but stands testament to the durability of lacquer and evidences the functionality of the coating. The box is 35 x 26.5 x 28 cm (13-1/2 x 10-1/2 x 11 inches). A rare opportunity to acquire such an ancient lacquer work.

A rare Seto Heishi (also read Heiji) bottle dating from the Kamakura period (1192-1333) wrapped in a custom made silk pouch with age darkened Kiri-wood box. Streaks of an unusual blue shidare glaze are visible on one side, Unlike the vast majority of Heishi bottles, this piece is no unearthed or excavated but has been passed down from generation to generation (as evidenced by the lack of inclusions or calcification). It is 24 cm tall and in overall excellent condition, with only minor chips about the rim. Included is a printed image of the piece titled Seto Haiyu Heishi, Kamakura period. This appears to have been cut from an exhibition catalog, and one can guess it has been exhibited.

A classic Nanban style Japanese lacquer tray decorated with mother of pearl inlay featuring four panels of birds among floral patterns separated by bands and frets dating from the 17th century later Momoyama to early Edo era. It is 43 × 28.5 x 2cm (17 x 11 x 1 inches). It has been fully restored, with repairs to the original lacquer and inlay, and the underside has been re-lacquered. It comes in a custom fitted Chinese style cloth bound box lined with red silk.
According to the Met: The Portuguese and Spanish who visited Japan during the Momoyama period were fascinated by the beauty and exotic appearance of luxurious gold-decorated lacquerwares associated with the taste of warlord Toyotomi Hideyoshi (1537–1598). As a result, lacquers commissioned for the European market typically adopted this flamboyant style (Kōdaiji maki-e). Such pieces—among the earliest trade goods exported from Japan—are known collectively as “Nanban,” or “Southern Barbarian,” the Japanese appellation for foreigners who arrived “from the south.” Highly prized by the great families of Europe as luxurious exotica, they helped to define a “Japan aesthetic” for the Continent for more than three centuries. The decorative patterns depict Japanese subjects, among others, including maple, mandarin orange, and cherry trees, camellia flowers, wisteria branches, and birds. The decorative bands of the borders are embellished with geometric designs. One of the characteristic features of the Nanban lacquers is the rich application of mother-of-pearl inlays.

From the Shoguns table to yours…why not? This is a lacquer tray elevated on scrolling legs decorated with squirreling tendrils and Mitsuba-Hidari Aoi Domoe (Left Swirling Triple Hollyhock) crests from the Shogun family. The flat surface is festive red with chirashi-mon design (scattered crests) duplicating that on the outside. The table is 38 cm (15 inch4s) square, 20 cm (8 inches) tall and in fairly good condition considering its age. There are chips to the edges and other mars typical of use.
It is said that the reason Tokugawa Ieyasu adopted the Aoi, which was originally the crest of Kamigamo Shrine, as a family crest, was that he wanted to prove the dignity of the origin of his samurai family as parishioners of Kamigamo-jinja Shrine, which descended from the Nitta-Genji clan. There are many versions of the Mitsuba Aoi crest of the Edo Shogunate, those in use by the government, and those in use by branch families and tributaries, however the left swirling crest (as seen here) was restricted for the use of the direct lineage of the Shogun. It is, in fact, quite a rarity.

A shard has been grafted into the side of this large misshapen Shino bottle dating from the Momoyama to early Edo period, the repair lined with gold. Gold also circle the neck where the discarded misfire was repaired, and gleams on the lip. It is 22 cm (9 inches) tall and in excellent condition. It comes in an age darkened wooden box titled Ko-Shino Tokkuri, Shoki no Kama (Old Shino Tokkuri, early Kiln era)
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

An exceptional web of gold interspersed with nishiki-cloth patterned designs on gold lacquer fuses this once broken 16th-17th century Koro with ami-me net patterned solid silver lid. This was likely originally made as a tea cup, considering that the entire interior is glazed. Broken and reassembled using the Kintsugi gold technique and placing unusual patterns on the missing portions, this is an exceptional work of art. The silver lid was likely made when it was repaired and repurposed as an incense burner. It is 8 cm diameter, 7 cm tall (roughly 3 inches) and is in excellent condition. It comes in an antique cloth pouch with solid silver lid enclosed in a compartmentalized age-darkened kiri-wood box.

A bucolic scene of temples and rugged seaside hills dotted with pagodas in silver and gold wraps around the black surface of this deep tray dating from the Momoyama to early Edo period (16th-17th century). It is 27 cm (10-1/2 inches) diameter, 8.5 cm (3-3/8 inches) tall. The bottom has been re-lacquered at some time in the past. There is wear and cracks to the inside typical of age and use, and the rim has been re-done in gin-dame powdered tarnished-silver, which blends well with the ancient feeling of the piece.

A crusty wood fired Bizen dish with looping handle, one hemisphere rounded, the other pinched as if for pouring, dating from the Edo period enclosed in an ancient custom fit lacquered Kiri-wood box. It is 23.5 x 22cm x 12.5 cm (roughly 9 inches diameter, 5 inches tall) and is in surprisingly excellent overall condition, with a few nicks to the edge of the foot consistent with age. Evidencing the centuries, there is a loss near the handle to some thicker glaze encrustation. This only happens with Bizen after a great deal of time. A dish like this would have been used for serving sweets in a tea room, or perhaps some skewered grilled fish in a traditional meal. The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The firing process allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Simplicity of form enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

An unusual Edo period Oribe serving bowl, the color filled crackled glaze decorated with scrolling lines in iron and splashes of copper green. Both inside and out hash mars denote a bamboo fence with blossoms in the fore. A handle and raised architectural elements around the rim and rising to the mouth echo some western influence, possibly indicating original Christian use. It comes resting on a silk pillow in a age-blackened wooden box titled Oribe Katakuchi. The piece measure 24.5 x 13.5 x 10 cm (10 x 5-1/4 x 4 inches) and is in overall excellent condition.
On a little historical note, a toned paper label on one side denotes the piece was once placed under hold by the Himeji Courthouse as part of a property with a lean against it, indicating the piece was considered to be of significant value even a century ago.

Startled to enlightenment, this is a large Edo period figure of a Rakan (Sanskrit: Arhat), a Buddhist saint kozutsucarved in the Yosegi-zaiku method of joined blocks of wood. Originally covered in polychrome colors, much has grayed and flaked away with time, a fitting aspect of the image. He has glass eyes which seem to burn violently with realization. The image is 43 x 36 x 51 cm (17 x 14 x 20 inches) and is in solid condition. The head is removable, slotted into the body at the collar. For additional images please inquire. In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art. According to the Met: Rakan are ascetics who guard and proclaim Buddhist law on earth in the period between the death of Shakyamuni, the historical Buddha, and the coming of Maitreya, the Buddha of the Future. They have inspired some of the freest and most lively depictions of the human figure in Japanese art. Age and the struggle for salvation have left their mark, but in the figures’ gnarled faces and bodies is a strong expression of the uniqueness of each individual. Because Rakan achieved enlightenment through rigorous individual effort and meditation, they appealed to practitioners of Zen Buddhism and became a popular icon in medieval Japan. They are conventionally portrayed in groups of sixteen…

An incredible Mishima Chawan dating from the Edo period with a wide repair to the rim in dark lacquer decorated with golden grasses in gold maki-e lacquer designs. It comes in an ancient dilapidated silk pouch with cotton buffer enclosed in an age darkened kiri-wood box titled Mishima Chawan. The bowl is 5.5 cm (2 inches) tall, 12.5 -13.5 cm (5-1/2 -6 inches) diameter and in fine condition. Mishima ware refers to different types of imported and adopted Japanese pottery. Mishima originally refers to the shimamono pottery imported from the islands of Taiwan, Luzon, and "Amakawa" (Macau). They were characterized by being roughly-made and often uneven, thus epitomizing the Japanese aesthetic of wabi-sabi. HOwever the term overall came to refer to impressed and slip-inlayed ceramics in the Korean style like this bowl.

Grapes cluster on the vine under drying leaves on this painting by Tenryu-dojin performed with ink on paper in a light cloth mounting with pale blue piping and wood rollers. Painted when the artist was 77 years old (1794 by the Japanese count). The scroll is 42.5 x 162.5 cm (16-3/4 x 64 inches) and has been remounted sometime in teh 20th century, in a style reflecting the literati mounting style popular from the later Edo period.
Tenryu Dojin (1718-1810) was born as an illegitimate child of the Hizen Kashima Domain, but was raised as the son of a chief retainer. At the age of 14 his family was involved in a scandal and the artist was made a Ronin, or masterless Samurai. Around the age of 15, he entered the Buddhist priesthood under the priest Taitake of Hizen Ankoku-ji Temple, and later went to Nagasaki to study medicine and painting under Kumashiro Kumai. Around the age of 19, he went to Kyoto where he was adopted by Manri-koji Shufusa, calling himself Zenmyo-in, and served the Cloistered Imperial Prince. He fell into the circle of Imperial loyalist Takenouchi Shikibu, and joined the movement to overthrow the shogunate and restore the monarchy operating under various pseudonyms. After a failed coup at the age 41, many of his loyalist friends were exiled, but this did not deter the patriot, and he was again involved in a plot at age 50 known as the Daini Jiken. The leadership of this plot were put to death, and Tenryu-Dojin escaped to mountainous Shinsu region in central Japan. He changed his name and hid himself in this area for the res of his life. He is remembered for paintings of hawks and grapes.
An exhibition of his work was held in 1960 at the Nezu Museum.

A set of 5 rare Dutch glass cups imported to Japan in the Edo period and formerly owned by the Confucian scholar Nakai Riken (1732-1817). They are enclosed in a custom made double sided wooden box with drop in doors titled on the side Yoi-O-Gozui (Five fortuitous ways to be drunken) with a long verse carved into each door. Of course, the meaning of the title goes much deeper, and the Gozui is also a Confucian concept. The emperor of China distributed five jade treasures to the five feudal lords, and they were named. The scholar has named each of the cups after one of these jade objects, Ko, Yu, Haku, Shi and Dan. The Osaka University Professor Ueda Minoru researched Riken, and mentions the treasured set of five glass cups, the smallest with a golden rim, in his research of the scholars life and belongings, claiming them to be one of his most treasured items. The largest cup is 15 cm tall, the smallest 7.5 cm. There are some chips and fractures in the corners of the seven-sided foot of the smallest cup, otherwise all is in overall excellent condition.
Nakai Riken (1732-1817) was a Confucian scholar of the later Edo period. He studied Neo-Confucianism under Goi Ranshu, and together with his older brother Nakai Chikuzan, supported Kaitokudo, a school of learning in Osaka, leaving behind the greatest academic achievements of the Kaitokudo school. the rational and modern academic style that is characteristic of Kaitokudo literati was established mainly by Riken. As a scholar he commented on the classics and wrote books such as " Nanakyo Kadai," and "Shichikyo Kadai Ryaku." These were compiled into a total of thirty-three volumesara. He was well versed not only in economics but also in natural sciences such as astronomy. Goryu Asada, who had studied Western astronomy in earnest, stayed with. He wrote an overview of the ming period book "Tenkyo Arumon," by Yushiroku, and created a celestial map. In addition to astronomy, he also left a natural history map "Sakura Cho", an anatomical chart "Etsuryofutsu", and a microscope observation record "Microscopic Record". In addition, he wrote "Kashokoku Monogatari" (The Tale of Kashokoku), in which the protagonist was the king of a fictitious ideal nation, 'Kashokoku,' and discussed how the nation should be governed. A prolific writer, he left a vast body of contextual research for subsequent generations.

A pair of bottle-shaped heishi vases made for tribute to the gods emblazoned with the characters Dai-Kichi (Great Fortune) by Imamura Joen (1635-1717) signed on the base and enclosed in a wooden collectors box. They are 20.5 cm (8 inches) tall each and in excellent condition.

A smokey yellow bowl impressed with various floral images dating from the Edo period made up of various ancient kiln shards put together with lacquer and silver in the Kintsugi technique. The bowl is 11.5 cm (4-1/2 inches) diameter, 8 cm (3-1/4 inches) tall and comes wrapped in a contemporary silk pouch in an age darkened kiri-wood box.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

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.

An Edo period incense burner of wood cut in a squash shape known as an Akoda-koro covered in black lacquer with designs of aogai-shell laid onto the surface under a solid silver dome-lid. It is 11 cm (4-1/2 inches) diameter and enclosed in modern custom wooden storage box. There are losses to the raden design revealing the underlying tonoko on which it is laid.

A beautiful 2 Stage lacquered container covered in black lacquer decorated with flowering vines. The domed lid opens to reveal a circular tray removable to open a deep container. It is 8.5 cm (3-1/4 inches) diameter, 11 cm (4-1/4 inches) tall and in excellent condition.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon 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 Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

An unprecedented 19th century ceramic sculpture of a tumble of Shishi lions in a playful fight covered in unusual green-blue glaze. The Banko mark is impressed into the white clay of the base. It is very unusual to find large sculptures or works in Banko ware. This is 30 × 25 x 26.5 cm (12 x 10 x 10-1/2 inches) and in excellent condition. It comes in a box titled Okimono Banko-yaki Gyoku (Jade?) Shishi, with an inscription inside stating it was named a famous piece of the Shrine in July of 1920.
Banko ware began in the mid Edo period with the establishment of a small kiln in Kuwanocho, Mie prefecture, by the merchant, potter and Tea aficionado Nunami Rozan who stamped his works with his store name Banko. He studied in Kyoto and other regional kilns and created a name for himself in tea circles. The pottery died with Rozan, however was revived in the late Edo period specializing in Sencha tea ware and earthenware eating utensils.

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.

An Inuyama style pottery dish covered in black lacquer; the two pinched areas of the rim decorated with slight gold designs of fortuitous symbols from the Toyoraku kiln of Nagoya. Inside the dish features crackled glaze decorated with young pine and bamboo shoots with splashes of Oribe green. The Toyoraku stamp is visible to the left of the design. The dish is roughly 17.5 cm (7 inches) diameter and in excellent condition.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A rare stacking Bento (picnic) box in the shape of a tea leaf storage jar decorated in a realistic fashion with black, silver and gold maki-e lacquer. It consists of four pieces, stacked they are 28 cm (11 inches) tall, and all are in excellent condition.

Plums blossom red on the dark surface of this traditionally shaped Mizusashi bearing the rare Ubagamochi Stamp impressed into the clay of the base. It is 18 cm diameter, 15 cm tall, and comes in an old custom made collectors kiri-wood box labeled Ubagamochi Mimitsuki Mizusashi. It retains the original ceramic lid, as well as two lacquered lids, one a tsukuibuta lid in austere black, the other redish brown outside, gold within, featuring a raised image of a dragon flying through billowing clouds circling mount Fuji.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.

A set of seven nesting cups in pale glaze, each piece bearing the seal of Aoki Mokubei. The largest cup is 7 cm (2-1/2 inches) diameter, 6 cm (5-1/4 inches) tall and all are in excellent condition. They come wrapped in a silk pouch enclosed in ag darkened kiri-wood box bound by deer leather and later titled and annotated by Kiyomizu Rokubei, dated the third month of the year 2600 (1940).
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Aoki Mokubei (Sahei ,1767-1833) was born in central Kyoto. He reportedly studied calligraphy during his youth; however, chose pottery as his profession and opened a studio in Awataguchi when he was 30. In 1805 he was ordered to serve at Awata Palace. The next year, he was invited to create pottery by the Maeda Family of the Kaga Domain in Kanazawa. After a brief sojourn in Kyoto he returned to Kanazawa in 1807, where he established the Kasuga-yama kiln. Later he returned permanently to Kyoto where he continued his pottery development and research. He researched many different styles of ceramic art such as European, Cochin ware, Chinese, Korean, blue and white pottery, aka-e (enamel decoration on porcelain), Dehua pottery, and Mishima ware. He is credited mainly with tea utensils, focusing mainly on kettles, and those creations became the foundation for modern Japanese tea utensils, referred to today as “Mokubei style”. In addition to pottery, he excelled in painting and Chinese Studies, and moved in intellectual.

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.

A striking soft-glazed six-sided incense burner by Maki Hokusai decorated with white flower blossoms on soft flesh colored glaze surmounted by a silver lid pierced with the character Kotobuki (Fortune) by Hata Zoroku. The pot itself is 10 cm tall, plus the sliver lid. It comes in an ancient wooden box signed by Zoroku.
Hata Zoroku I (1823-1890) learned metalwork techniques in the studio of Ryubundo in Kyoto. Hata produced works for the Imperial Household and it is known that he made the gold Imperial seal and national seal by order of the Imperial Household in 1873. He was under consideration as Artist to the Imperial Household (Teishitsu Gigeiin). He died several days before the announcement of these designations in 1890. For bronze works by Zoroku in the collection of the Imperial Household, see The Era of Meiji Bijutsu-kai and Nihon Kinko Kyokai, in Meiji bijutsu saiken I (Reappraisal of Meiji Art I) (Tokyo: Museum of the Imperial Collections, Sannomaru Shozokan, 1995), pp. 40-41.
Maki Hokusai (Bunshichi, 1782-1857) established a pottery workshop in the West district of Nagoya city during the Bunka era (1804-18). Hokusai was a master at sculpture and studied painting technique under Gekkoku. He decorated with bright colors and vivid detailed landscapes. Known as a master craftsman for making tea utensils, sake utensils, ornaments, etc., he worked for the 12th lord of the Owari clan, Tokugawa Naritaka, and produced works in the Hagiyama Niwa-yaki kiln of the Feudal lord. The kiln continued for three generations, but due to the expansion of Nagoya Station, the kiln was abandoned around 1923.

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.

Unusual Pottery sweets dish in soft green glaze by the 11th generation head of the Raku Family Keinyu, enclosed in the original signed wooden box titled Chagata Kobachi. Covered in crackled pale green glaze, it is 11.5 cm diameter, 8 cm tall and in excellent condition.
The 11th generation head of the Raku family, Keinyu, was born a second son of Ogawa Naohachi, a sake brewer from Tanba, the present Kameoka city in Kyoto, he was adopted in the Raku family as Tannyû's son-in-law, assuming the name of Keinyû. He succeeded as the 11th generation in 1845. He retired in 1871. The period he lived through was an age of transmission from the feudalism of the Tokugawa Shogunate to the modernization of the Meiji government introducing the modern cultural prospects from the West. At the same time he saw the collapse of traditional culture including the tea culture. Over a long production of ceramics under such unfavourable circumstances, Keinyû, however, vigorously made a variety of ceramics, not only tea bowls but other tea utensils as well as decorative objects, considered as the most versatile among all the Raku generations. His work is endowed with a high quality of artifice as well as a poetic sensibility.

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 fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

Lavender and aquamarine coat the surface of this vase from the Kairakuen Kilns of the Ki branch of the Tokugawa family dating from the 19th century. The circular window between floral scrolls is made in the shape of the archaic character Kotobuki. The vase is 18 cm (7 inches) tall and in excellent condition, and bears the Kairakuen seal impressed into the base. It comes enclosed in an old kiri-wood collectors box titled Kairakuen-ki Juji Moyo Kabin (Kairakuen Vessel decorated with Character of fortune).
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 sagar or kiln shelf support covered in running green and iron glaze from the Edo period kilns of Tamba. The super-heated clay has sloughed off on one side, where it is likely the kiln shelf may have collapsed allowing it to cool in this unusual way. It stands on three legs of soft clay which are affixed to the bottom to keep it from sticking to the shelf below. The owners kiln mark is in the side, and it is very possible this was from an Edo period communal kiln firing, where each potter would have needed to identify their own tools and products. The vessel stands 28.5 cm (11-1/4 inches) tall and is an excellent example of the Japanese aesthetic of valuing the flaws and making good out of misfortune. In this case, a collapsed shelf would have meant loss of much work, however from the ashes one recovers something which speaks in effervescent tones of the ephemeral nature of our lives. A perfect compliment for the tea room.

A Fushina (Fujina) yaki image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the Edo period. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What happens in the tea room, stays in the tea room! The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the Rakuzan seal. It comes in an antique woven thread pouch.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. 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.

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.

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.

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.

Crabs clamber through the tangled bamboo leaves decorating the rim of this crushed fluted pottery bowl from the kiln of Wake Kitei (also read Waki) dating from the 19th century. This piece shows a great influence from the southern Island of Kyushu and Korean ware, not only in the literati style depiction of crabs, but in the glaze itself which is very much in the vein of Karatsu and or Gohon ware, as well as in the swirling whirlpool inside the footring. The bowl is 28 x 18 x 12 cm (11 x 7 x 5 inches) and is in overall excellent condition, enclosed in an age darkened and somewhat dilapidated wooden box.
Kitei Yaki was begun in the mid 18th century in the environs of Kyoto by Kameya Kitei, a 3rd generation craftsman specializing in Dobin and Earthenware Braziers (Kama). He adopted the name Kitei. The second (some say 3rd) generation Kitei went to Kyushu to study Imari wares, developing the family line to include sencha and maccha tea ware as well as regular dishware. This is likely from the 4th generation (1826-1902), a potter representing Kyoto ware in the Meiji period. The 4th generation Kitei was born in Kyoto as the eldest son of the 3rd generation Kameya Heikichiro. In 1862, he inherited the family estate and called himself Kameya Heikichi. In the first year of the Meiji era, he took Wake as his surname. In 1873, he became a purveyor to the Kyoto Prefectural Government's industrial sector. After that, he participated in domestic expositions and exhibitions, where he was awarded including the Philadelphia World's Fair in 1876, the Paris World's Fair in 1878, and the Sydney World's Fair in 1879. Work by him is held in the British Museum

A Tea Pot by Otagaki Rengetsu with a handle like bamboo root inscribed with a poem which reads: Ko no kimi wa
medetaki fushi wo
kasane tsutsu
sue no yo nagaki
tameshi nari keri.
This translates as:
Our young bamboo
piling up happy knots
year upon year—
its tips reaching high
a paragon to us.
It is roughly 10 cm (4 inches) diameter. And comes enclosed in a wooden box annotated by Koen of Jinkoin temple, where Rengetsu lived. On the side of the box is written what appears to be Kae-ichinen san-gatsu (3rd month of 1848), Otagaki Rengetsu Ni Waka iri Dobin (Pot engraved with Poem by Nun Otagaki Rengetsu). It appears the handle has been broken and repaired twice, and there is a tiny chip in the rim of the lid (see pictures).
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.

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.

A beautiful set of ten small shallow dishes, each uniquely decorated with a poem and image from the Edo period Sasashima Kiln of central Nagoya. The box, titled Sasashima Yaki Teshio Jumai (10 Sasashima Salt Dishes) is dated inside to the Tenpo era, (1830-1844). Each dish is 9 cm (3-1/2 inches) diameter and all are in excellent condition. Salt dishes were small plates used to hold salt, pickles or other condiments in a traditional Japanese meal. Finding a complete set like this in good condition is exceedingly rare.
The kiln producing Sasashima ware was opened by Makibokusai in the Bunka era in central Nagoya. Sasashima ware is characterized by its bright colors, and it is said that Makibokusai was also good at carving. The kiln, which continued for three generations after Makibokusai, is said to have disappeared around 1923 (Taisho 12) due to the expansion work of Nagoya Station.

A radical Bizen Mizusashi with two lacquered wooden lids enclosed in a black lacquered wooden box with gold lacquer writing titled Samidare which is in turn enclosed in a kiri-wood storage box by the same title compartmentalized to allow the lids to be stored safely. Samidare is a poetic reading for Rain of the Fifth Month (June in the traditional calendar). It has a seal of overlapping rings impressed into the earth of the base, and dates from the Edo period. The lids are for differing events, one black lacquered, the other covered with gorgeous gold and silver maki-e clouds with a soaring nightingale in gold, inside the ghost of a crescent moon. The Vessel itself is crusted with ash and dribbles of ocher with kutsuki on the side where something adhered to it in the firing. Inside the trials of the artist fingers are clearly visible. The receptacle is 23 x 20 x 15 cm (9 x 8 x 6 inches) ad is in overall excellent original condition. A very impressive presentation. Inside the Kiri box is written that the piece was viewed by The honorable Mr. Inoue upon his visit in Meiji 45 (1912). Inside the black lacquered lid is a paper tablet which reads Matsue-jo Nushi Fumaiko Hakogaki (Box written by Fumaiko of Matsue Castle).
Among the successive lords of the Matsue domain was the 7th lord of the Matsudaira family, famous tea master and Zen acolyte Harusato Matsudaira (1751-1818). He is known by many people simply as Fumai, the name he took after shaving his head in retirement in 1806. At the age of 17 he became the lord of the fief; the domain was in dire financial trouble. Harusato appointed Goho Asahi Tanba as chief retainer and promoted a fiscal reconstruction plan. While making great efforts to reduce expenditures, such as reducing debts within the domain and reviewing the domain's personnel structure, they also sought to increase income through industrial promotion measures such as the cultivation of medicinal ginseng and wax. He succeeded in restoring the domain's prosperity. After rebuilding the domain's finances, he focused his efforts on collecting tea utensils that had been scattered one after another from feudal lords of the time. The collected items were later called ``Unshu specialties,'' and are highly valued by lovers of tea ceremony and art. Harusato's great achievement in the history of the tea ceremony was his 18-volume book, in which he further classified famous tea utensils. He also promoted arts and crafts within the Matsue domain, supporting many craftsmen in the worlds of pottery, lacquer, and woodwork.

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 Edo period incense burner, the fine red clay covered in running bamboo glaze from the kilns of Takatori on the southern Island of Kyushu wrapped in a silk pouch and enclosed in a period Kiri-wood box. The lid is solid silver pierced with roiling fronds. It is 7.5 cm diameter, 7 cm tall excluding the silver lid, and in excellent condition.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.

A long verse is incised into the side of this tea bowl by Otagaki Rengetsu. The poem reads:
Yorozuyo mo 10,000 ages
tae nu nagare to enduring the surge
shimetsu ran so well
sono kame no o no From Turtle Tail Mountain
yama no shitamizu. The water flows
The bowl is 12.2 cm (5 inches) diameter and in perfect condition. It comes wrapped in a silk cloth pouch, enclosed in an old box with original lid inside of which is a long verse. It has been appraised by the head priest of Jinkoin Tokuda Koen on a separate newer lid titled Rengetsu Ro-ni saku Chawan.
Otagaki Rengetsu 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.

Scrolling characters are inscribed into the side of this hand formed elongated basin by Otagaki Rengetsu enclosed in the original signed wooden box titled Hissen Chawan (Brush washer shaped Tea bowl). The poem reads:
Shigayama ya On Mount Shiga...
hana no shirayuki flowers like white snow
harahara to flutter down
furuki miyako no in the ancient capital
haru zo kure yuku. Spring is fading
The bowl is 17 x 12 x 7 cm (6-1/2 x 4-3/4 x 2-3/4 inches) and is in excellent condition.
Otagaki Rengetsu 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.

Dragons charge the sides of this large water urn covered in crackled pale glaze emblazoned with a panel which specifies: Water for the 11 Faced Kannon (Quanyin). Inside is lined with iron glaze. Outside key frets surround the rim leading to a nearly flat shoulder upon which blossom five petaled plum flowers. Below this the dragons vie in the tempest, with the base drawing precipitously covered in Shipppo designs (7 treasures). It is 38 cm (15 inches) tall, 34 cm (13-1/2 inches) diameter. There are glaze losses to the rim, and a repair to a firing crack inside the rim (see close-up photos), otherwise is in excellent condition dating from the 19th century.

A classic bun-shaped Koro incense burner by Miyagawa Chozo pierced with Incense-clock-patterns enclosed in the rare original signed wooden box. It is 8.8 cm diameter, 7.5cm tall and is in excellent condition. The box contains a hand written note in old Japanese describing the origins of Makuzu-ware.
Miyagawa Chozo (1797-1860), also known as Chobei was born a direct descendant of Chokansai and would be the father to Miyagawa (Makuzu) Kozan I (1842-1916). 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 this, the tenth-generation head of the Kyoto pottery family, In 1832 at the age of thirty-five, he became apprentice to Aoki Mokubei (1767-1833) and by 35 had established his reputation as a preeminent independent potter. Differing from his master Mokubei (who was most renowned for Sencha ware) Chozo produced almost exclusively ceramics for use with Maccha (Japanese powdered tea ceremony) wares. Many say his most representative works were his Ninsei items, incense containers being particularly renowned. For more on this artist see Master Potter of Meiji Japan, Makuzu Kozan. 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. 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 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 light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
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, particularly in relation to tea ceremonies: 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.