Catalog: Antiques: Regional Art: Asian: Japanese (181)

A sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

A very rare early work by Shirakura Niho dating from the mid Taisho period clearly showing his early watercolor training under Ishii Hakutei signed with his first art name, Kinro. Light color on silk framed in patterned silk extended with classic beige and terminating in red lacquered wooden rollers. It is 45.5 x 107.5 cm (18 x 42-1/2 inches) and is in overall excellent original condition, enclosed in a modern wooden storage 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.

A ghost rises from the darkness pulling on her hair, a wry grin as she looks sideways at the viewer on this antique painting by Moriwaki Unkei. Ink on paper completely cleaned and remounted in vine patterned blue silk with dark wood rollers. There are old age stains on the paper, which appear much stronger in the photos than in life. It is 40 x 200 cm (15-3/4 x 78-3/4 inches) and in excellent condition.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.

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

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

A magnificent stand of root wood writhing upward to a flattened cluster, a perfect example of the Japanese esteem for things natural enclosed in a period custom made wooden storage box. It is 48 cm (19 inches) tall and in overall excellent condition. Perfect for elevating a koro incense burner or tiny bonsai.
The aesthetic of the scholar studio is embodied in an acute appreciation for representations of the natural world in any form; from the subject of a painting in the alcove to the texture of the wood on the desk and the colors or deformities in the bamboo brush hanging from a piece of natural wood.
A profound influence from China, through the practice of Chinese style steeped tea (Sencha) and glorification of the Literati ideal of the Ming is part of the dual basis of Japans Scholar tradition. Equally important is an understanding and appreciation of natural degradation and the fleeting nature of existence espoused in the ideal of wabi-sabi and the world of Japanese Powdered Tea (Maccha). Behind both these concepts lies a basis in Zen (Chan) Buddhist precepts and Taoist/Confucianist Philosophy.
Stone. Wood. Earth. Grain. Texture. Form. All natural, imperfect, transient and unique.

A beautifully crafted cast, carved, and parcel gilt bronze image of a samurai pulling back, arrow nocked, ready to let fly, signed in a metal cartouche on back Shunko-saku (made by Shunko). It is roughly 27.5 cm (11 inches) to the top of his hat, 25 cm (10 inches) from forefinger to elbow. The warrior is calm, determined, with a look of deep concentration in his inlaid eyes. He wears an eboshi, a formal type of hat, and is dressed in sumptuous, loose fitting robes with leggings and braces to protect his arms and legs. A short sword juts from his waist. The warrior's robes and pants feature large wagon wheel mon, known as genji guruma. The signed box identifies the figure as Minamoto no Tametomo (1139 - 1170) was a celebrated historical samurai of the Heian Period. Known for his impressive archery skills, he features as one of the epic warriors of the Hogen Rebellion, a precursor to the Genpei War. It is in excellent condition.

A white bronze sculpture of crashing waves supporting three glass orbs; an elegant form carrying good fortune from old Japan. It is 49 cm (19-1/4 inches) long and in overall excellent condition. Set it in the window and watch the orbs blow colorful prisms across the room.

A hand formed silver vase with lacquered insert attached to a wooden base dating from the Art-deco era. It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in overall excellent condition. There is a small impression in the wood base, roughly 1 cm long, on one side. An accompanying card from the Nakano Zenkuro shop of Osaka has a simple 4 digit telephone number. Japan's influence on Art Deco was profound, shaping the movement's aesthetic vocabulary and contributing to its evolution as a global design phenomenon. Conversely, Art Deco left its mark on Japan, inspiring Japanese artists and designers to create innovative works that blended Western modernity with traditional Japanese craftsmanship, resulting in the distinctive style of Japanese Art Deco. The Japonisme movement of the late 19th century had already sparked Western fascination with Japanese art, culture, and design, paving the way for Japanese motifs and aesthetics to permeate international artistic trends, including Art Deco. One of the key influences on Art Deco was the emphasis on simplicity, asymmetry, and geometric patterns. Japanese woodblock prints, showcased bold graphic compositions and stylized representations of nature, which resonated with Art Deco's penchant for streamlined forms and dynamic imagery. Furthermore, the Japanese concept of "ma" or negative space, which emphasizes the importance of empty space in composition, had an impact on Art Deco's approach to spatial arrangement and balance.
Conversely, Art Deco also influenced Japanese art and design, particularly during the Taisho period (1912-1926) and the early Showa period (1926-1945). As Japan embraced modernization and Westernization, Art Deco became fashionable among Japanese artists, architects, and designers who sought to merge Western aesthetics with traditional Japanese sensibilities. Architects like Sakakura Yasui and designers like Shima Seien embraced Art Deco principles in their works, incorporating sleek lines, geometric patterns, and luxurious materials into their designs for buildings, furniture, textiles, and decorative objects. Moreover, the international exhibitions of the Art Deco era provided Japanese artists and designers with opportunities to showcase their work on the global stage, further disseminating Japanese Art Deco influences worldwide. Japanese lacquer-ware, ceramics, textiles, and metalwork adorned with Art Deco motifs became highly sought after by collectors and aficionados around the world.

A beautiful dark wood tray in the shape of an upturned Reishii mushroom, the underside taking advantage of the natural texture and grain of the wood. It is 26 x 21 x 4cm and in excellent condition dating from the later 19th to early 20th centuries.
The Reishi (Chinese Lingzhi), is the ancient "mushroom of immortality", revered for over 2,000 years. In the poetry of Ban Gu of the 1st century CE is an ode dedicated to Lingzhi. Taoist temples were called "the abode of mushrooms" and according to their mystical teachings, the use of a concentrated decoction of spirits mushroom gave followers the opportunity to see spirits or become spirits themselves by receiving the magical energy of the immortals who lived in the heavenly "mushroom fields". The Divine Farmer's Classic of Pharmaceutics of the 3rd century CE classifies zhi into six categories, each of which is believed to benefit the qi, or "life force", in a different part of the body. It has long been a popular motif in Literati art.

An exquisite slightly fluted porcelain bowl with a dragon parading though tendrils of cloud in raised relief by Mokusen enclosed in the original signed wooden box. It is 18.3 cm (7 inches) diameter, 9cm tall (3-1/2 inches) tall and in excellent condition. Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware.

Fish and water plants in blue with a crab in black decorate this vase by master of the subject Ono Bakufu enclosed in the original Tomobako wooden box from the Sosen Gama titled Sometsuke Kabin signed and sealed inside by Bakufu. The vase is 27 cm (roughly 11 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition. Born in Tokyo, Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

A beautifully carved tray of overlapping leaves interspersed with clustered grapes by Ichikawa Shudo signed on back in a circular cartouche. In one corner an odd round tail leads us to a squirrel head popping through the leaves, as if one were looking up through the vines toward the sky. It is 46 x 35 x 3 cm (roughly 18 x 14 x 1 inches) and is in overall fine condition, There is a slight warp to the bottom of the tray, but it is still bery usable and there is no damage to the carving. Ichikawa Shudo (1868-1933), also known as Shochikusai, brought unique characteristics to Himeji's wood crafts, leaving behind many elegant Sencha-style trays with his outstanding technique.

A porcelain bowl made by Mokusen of Kyoto decorated in blue with waterbirds taking flight from a reed-dotted shore followed by a four character verse by Oyabu Shunko enclosed in the original wooden box signed by both artists dating from the early 20th century. It is 18 cm (7 inches) diameter, 9 cm 3-1/2 inches) tall and in excellent condition.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.

Reaching for his hat, the boatman leans out arms extended toward the prow, protected from the elements under a woven reed roof. This beautiful incense burner comes enclosed in the original signed wooden box. It is 24 x 8 x 10 cm (9-1/2 x 3-1/4 x 4 inches) and is 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 classic vessel reflecting the grace of Song-Yuan period aesthetics by master of the genre Suwa Sozan II (Torako) enclosed in the original signed wooden box. It is 13 cm (5 inches) diameter, 25 cm (10 inches) tall and in excellent condition. A prime example of this early female Japanese potters work.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan II (Torako) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A pair of covered ceremonial Sake-Tsubo called Heiji decorated with the three auspicious winter plants, Sho-chiku-bai (Pine, bamboo and plum) by Ito Tozan II enclosed in the original wooden box Plum pine and bamboo rise up in a riot of color on the thinly crackled pale glaze covering the surface. Inside the box is dated Showa 11 (1936) 8th month, 9th day. Each is roughly 22 cm (9 inches) tall and in excellent condition, each uniquely stamped on the base with the artist seal.
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 nd 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 prizd 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.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.