Catalog: Antiques: Regional Art: Asian: Japanese (168)

A masterpiece painting by Shirakura Niho showing every aspect of his pre-war fame, lurid washes of color, wispy figures, a dreamlike allure, and hints at continental scenery. Here the foreground is dominated by a thatched hut, beyond which we see a single hazy figure twisting up in a narrow doorway beside twisting trees all like smoke rising to the sky. It is performed with ink and pigment on silk bordered in brass colored satin with rosewood rollers. It is 49.5 x 200 cm (19-1/2 x 79 inches) and is in excellent condition, enclosed in a modern wooden collectors box.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

Gold dragons prance about the vermillion surface of this exquisite vessel by important Meiji potter Eiraku Zengoro XIV (Tokuzen) enclosed in the original signed wooden box which is in turn enclosed in an outer box also annotated by a later generation Eiraku. Remembered specifically for his mastery of Aka-e Kinsai ware, this is a museum worthy example of this important potters work. It is 43 cm (17 inches) tall and in excellent condition.
Eiraku Tokuzen (Eiraku Zengoro XIV, 1853-1909) was born the first son of the 12th generation Eiraku Wazen He was named the 14th Zengoro at the age of 18 in 1871. This was only a couple years after the Fall of the Shogunate and restoration of the Meiji emperor, a hard time for potters specializing in Tea ware, which was experiencing a backlash as did many things associated with what had been traditional societal ranking and privilege. However Tokuzen worked hard to both maintain ties with the tea world, while making efforts to embrace a global audience. In 1873 Eiraku wares were exhibited at the Vienna World Exposition, and in 1876, Philadelphia, then Paris in 1878. At the same time new approaches to pottery pioneered by Eiraku were exhibited at the 1875 Kyoto Hakurankai in the cultural heartland of Japan. In 1882 he opened in a new Kiln in the Eastern hills called the Kikutani Kiln (Valley of Chrysanthemum) specializing in high end tea ware for both Maccha and Sencha teas, while expanding into daily wares for the growing middle class.

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 carved wooden mask dating from Edo period Japan, likely made as a talisman to ward off evil and bad spirits. It is of thickly carved wood, larger than life, and beautifully modeled. Originally the mask was covered in lacquer and the eyes were silver., remnants of color still visible in the folds and crevices. It is 31 x 25 cm (12 x 10 inches) and is in overall fine condition.

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 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.

A very large mask of heavily carved wood covered in black lacquer with golden eyes dating from the mid Edo period (18th century). There are minor losses to the lacquer on the cheeks and along the edges typical of age. It is 37.5 x 30 cm (14-1/2 x 12 inches) and is in overall fine condition.

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).

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

An Edo period coat (haubergeon) and “kote” (mitons) of linked chain over layers of indigo dyed blue cloth decorated with family crests in gold. The chain, Kikko collar, outer layers of cloth and leather piping are all in overall excellent condition, the original pale blue lining is much worn away. This is made for an adult.
In Japan, mail is called kusari which means chain. When the word kusari is used in conjunction with an armored item it usually means that mail makes up the majority of the armor composition. Kusari jackets, hoods, gloves, vests, shin guards, shoulder guards, thigh guards, and other armored clothing were produced, even kusari socks. Kusari gusoku or chain armor was commonly used during the Edo period 1603 to 1868 as a stand-alone defense. According to George Cameron Stone: Entire suits of mail kusari gusoku were worn on occasions, sometimes under the ordinary clothing. In his book Arms and Armor of the Samurai: The History of Weaponry in Ancient Japan, Ian Bottomley shows a picture of a kusari armor and mentions kusari katabira (chain jackets) with detachable arms being worn by samurai police officials during the Edo period. The end of the samurai era in the 1860s, along with the 1876 ban on wearing swords in public, marked the end of any practical use for mail and other armor in Japan. Japan turned to a conscription army and uniforms replaced armor.

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 small vase sculpted in the shape of a cluster of roses covered in cockscomb red by Kiyomizu Rokubei V enclosed in the original signed wooden box. The vase shows the influence of Art-Nouveau, and Rokubei was one of the leading proponents of blending Western and Eastern ideals in clay art. The vase is 6.5cm (2-1/2 inches) diameter, 18.5cm (7-1/2 inches) tall and in perfect condition. It comes wrapped in the original artist stamped cloth complete with the original black wood stand.
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.

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.

A Kenzan style Chawan Tea Bowl decorated with blossoming plum bending over a golden rim by Miyagawa (Makuzu) Kozan enclosed in the original wooden box signed inside on the box floor by the aritst with an annotation inside the lid by Omotosenkei Iemoto Tea Master Seisai (1863-1937) reading Makuzu Yaki Chawan Ume-no-ga Ari (Makuzu Pottery Tea Bowl Decorated with Plum). It is 12.5 cm (5 inches) diameter, 7cm (3 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.

Bats, symbol of good fortune, flit over the sunset surface of this Ki-seto vase by Kato Sakusuke enclosed in the original signed wooden box titled Kiseto Kabin. An inscription inside begins Fukuju ? Zu (Lucky ? Image) and appears to be dated 1919 in the 60 year cyclical Zodiac calendar (possibly 1859). This is followed by the signature of a painter who also signed and dated the vase, indicating Sakusuke made the vase, while another artist provided the decoration. It is 31 cm (12 inches) tall and in excellent condition, retaining the original cloth pouch.
Kato Sakusuke I (Sakube, 1808-1893) was born into a family of potters in Owari (mod. Aichi Prefecture). He took over the family business as Kato Kagekiyo and was known for producing both Japanese and Western ceramics for daily use such as sake sets and tea sets. He took the name Sakusuke in his later years. He was succeeded by his son. Kato Sakusuke II (Keizaburo, 1844-1923). He was an avid collector of ancient pottery and devoted himself to researching its shape and techniques. At first he fired porcelain, but later he turned to his main occupation and skillfully copied old pottery such as Furu-seto (old seto ware), Kizeto, Oribe, Shino, Ofukai, and Mishima. He became a master craftsman of the Meiji era with a technique as good as that of his father Kagekiyo.

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 rare Edo period porcelain covered dish attributable to the Nanki Otokoyama porcelain tradition of the Southern Kii peninsula (modern day Wakayama) under the patronage of the Kii branch of the Tokugawa family. Outside the dish is expertly modeled in the shape of a sea bream, a fish known as Tai (or Madai) in Japanese. The fish is associated with celebration, not only because of its festive red color, but also as the name Tai is a homonym for festivity. Cranes soar inside both the lid and base with the mark Nanki Otokoyama brushed in among the imagery. The dish is 29 x 19 x 18.5 cm and is in excellent condition, enclosed in a period compartmentalized kiri-wood box titled Otokoyama Tai Futamono (Otokoyama Sea Bream Lidded Dish).
Nanki-Otokoyama ware was established in 1827 under the patronage of the Tokukgawa clan of the Kishu Domain by Sakiyama Rihe after he learned the art of blue and white porcelain in Takamatsu. The kiln remained open until 1878, and the then craftsmen moved to Work at the Tozan Kiln of Himeji. At the height of its prosperity, together with Kairakuen-ware, they were highly esteemed ceramics to be presented as a gifts from the Daimyo feudal lord. Works for the Nani Otokoyama Kiln are held in the collections of the Metropolitan Museum of art New York, the British Museum and the Smithsonian among others.

An exceptional Oki-goro Incense Burner in the shape of a dark glazed Catfish by Suwa Sozan I enclosed in the original signed wooden box titled Namazu Koro dated the 6th month of Taisho 10 (1921). This would have been placed over a dish in which a burning incense cone would have been placed. It is 48 cm (18-1/2 inches) long, 23 cm (9 inches) tall and appears in excellent condition. A blacklight reveals a color repair at the base of the tail and at the position where the dorsal fin rises from the back. A similar figure can be seen in the rare 1923 book Sozan no Toki.
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.