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

Flowers blossom all about this soft pink vase by Miyagawa (Makuzu) Kozan I published in the book Miyagawa Kozan Yukasai (2018), page 32 figure 25. A copy of the book will be included. It comes in a modern wooden storage box. According to the book it was made circa 1902. The vase is 18.5 cm (7-1/4 inches) diameter, 22.5 cm (9 inches) tall 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 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.

A breathtaking box covered entirely in gold with geese taking flight beyond blossoming plum trees overhanging the waters edge. The flowers are in red and silver, the rest of the surface is powdered gold with kirigane inlay of cut squares of gold intimating lichen and shadow on the stones. The themes are repeated on all sides of the box. Inside fans emblazoned with seasonal flowers and pine boughs decorate the Nashiji surface. The box is 29 x 24 x 16 cm (just less than 12 x 10 x 6 inches) and is in excellent condition, enclosed in a lacquered wooden storage box, dating from the later Meiji to Taisho era.

An elegant vase by Miyagawa (Makuzu) Kozan retaining the original wooden base enclosed in the original signed wooden box titled Seika Take-no-Zu Kabin. It is 16.5 cm (6-1/2 inches) diameter, 14 cm (5-1/2 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.

Polished layered-lacquer lozenges are inlayed into the surface of this fabulous Art-Deco era vase by important Japanese Bronze artist Yamamoto Junmin. The lacquered pieces have been cut and polished from variously colored layered lacquer. The vase is signed on the base Junmin, and measures 27.5 cm (11 inches) diameter, 18.5 cm (7-1/4 inches) tall. It is in excellent condition.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

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

A set of five lacquer lined covered bowls made from natural gourds enclosed in an age darkened wooden box titled Hyo Suimono Wan indicating they are for serving thin soup to cleanse the palate between courses. In Japanese cuisine, presentation is everything. Texture and color may in fact be more important than flavor. The dishes used as well, should be a feast for the eyes, and you will find every aspect of the traditional meal is presented in its own unique setting. These bowls are 7 to 8.5 cm (roughly 3 inches plus) diameter, 7 cm tall (roughly 3 inches) and all are in excellent condition. According to Arigatojapan, Suimono, literally meaning 'dish to sip,' is a refreshing type of clear soup that is meant to cleanse the palate in between dishes. Often very light and slightly umami in taste, it is one of the oldest and most traditional foods in Japanese cuisine.

A late 19th to early 20th century bottle, properly titled, I would say, Inbe Ito-me Heso Tokkuri or Bizen Thread textured Dimpled Bottle. A seal impressed into the base is partly illegible, but the characters Bizen-Inbe are clearly visible on the right, with the character tokoro (Place) bottom center and a name ending in Ro on the left. The vessel is 27 cm tall and in excellent condition. That size would make an excellent vase.
Also known as Ningyo Tokkuri, this type of bottle is usually dimpled on three sides with an image of one of the lucky gods, Ebisu, Daikoku, Hotei or Jurojin in one of the dimples. They have been popular since at least the 17th century.

A fabulous large porcelain vase by Daimaru Hokuho (Hoppoo) complete with a rosewood base enclosed in the original signed and compartmentalized wooden box titled Konko-yu Semi Monkizami Kabin (Golden Yellow Glazed Vase inscribed with Cicada Patterns). The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The baluster form rises to frets in the shape of stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 21 cm (just more than 8 inches) diameter 36.5 cm (14-3/4 inches) tall plus the base and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

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

An image of the white robed Kannon (Quanyin), Goddess of Mercy, by Mashimizu Zoroku dating from the early 20th century. Exquisitely crafted, The figure is 14.5 x 12 x 21.5 cm (5-3/4 x 4-3/4 x 8-1/2 inches) and is in excellent condition.
Kannon, also known as Guan-yin in Chinese or Avalokitasvara is a Bodhisattva, (one who has prolonged their own eternal enlightenment to stay behind to alleviate the suffering of others in this ephemeral world. Generally shown as feminine or androgynous, she is one of the most popular deities in the Japanese Buddhist Pantheon.
Mashimizu Zoroku I ((Shimizu Tasaburo, 1822-1877) studied under his uncle Wake Kite and established his independent studio in 1843, taking the name Mashimizu Zoroku. He became independent in 1843 working along with Sen Soshitsu XI. His work was exhibited at the Vienna international exposition in 1873 and Philadelphia in 1876. Zoroku II (Jutaro,1861-1936) was born in the Gojo-zaka Pottery district of Kyoto and inherited the pottery tradition of his father, and, after his early death, continued under the guidance of his mother Chika, taking the name Zoroku in 1882. He was awarded at the Kyoto Kangyo Hakurankai Exposition. He colluded with some of the greatest artist of the day in reviving lost Japanese traditions such as Koyama Fujio and Arakawa Toyozo as well as being heavily involved in research into continental styles. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition,

A small Shigaraki pottery urn of very rough clay dating from the 16th century covered in thin natural ash glaze. The squat form known as Uzukumaru is very popular for its simplicity in Japanese Tea Aesthetics. About the shoulder is a lattice fence design engraved into the earth, otherwise it is unadorned and very humble. It is 14 cm (5-1/2 inches) diameter, roughly the same height enclosed in an ancient wooden storage box. There is an old age-darkened chip to the rim, otherwise is in surprisingly condition,
Appreciation of ancient Shigaraki pottery encapsulates a profound appreciation for imperfection, transience, and simplicity. Wabi-sabi cherishes the beauty found in the imperfect, the weathered, and the natural, fostering a sense of humility and acceptance. This philosophy values authenticity over artificial perfection, encouraging a deeper connection with nature and the passage of time. Similarly, the Japanese tea aesthetic, rooted in the tea ceremony's ritualistic practices, emphasizes harmony, respect, and tranquility. Together, they invite individuals to embrace the fleeting moments of life, finding solace and serenity in the subtle beauty of the everyday.

A large figure of the Daruma in celadon glaze by Teishitsu Gigei-in Suwa Sozan I set on to a rosewood stand and enclosed in the original signed wooden box. The beautifully carved face and feet are in raw, burnt clay, the rest is entirely robed in pale green. It is 18.5 x 16.5 x 36cm (7-1/4 x 6-1/2 x 14 inches) plus the stand and is in excellent condition, signed inside with his koban shaped oval seal.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A pair of masks representing the two variations of Tengu, the long nosed Tengu and the Karasu (Crow) Tengu mounted on a wooden placard dating from the Meiji period. Each mask is of carved and lacquered wood with inset glass eyes. The placard is 38cm (15 inches) wide 22.5 cm (9 inches) tall and the masks are roughly 11 cm (4 inches plus) in depth. It looks as if the Karasu Tengu mask has had the eyes repaired, and they appear cloudy by comparison to those of the the long nosed partner.
The long-nosed and or Beaked Tengu is a mythical creature from Japanese folklore. Tengu are believed to be supernatural beings often depicted with human and bird-like features. They're known for their long noses, which can vary in length depending on the depiction. Tengu are often associated with mountain forests and are considered protectors of the mountains. They are known for their mischievous nature, martial arts prowess, and sometimes for teaching humans valuable lessons or skills. In Japanese culture, Tengu are a fascinating blend of reverence and fear, embodying both the spiritual and the natural worlds.

The bird-faced Kami (god) Doryo Daigongen strikes a powerful pose astride the back of a mischievous white fox. Doryo is purported to have been an ascetic monk who turned himself into a Tengu when he vowed on his deathbed to protect the Mountain Temple Complex of Daiyuzen in modern day Kanagawa prefecture. This legend inspired a cult which rose to great prominence in the Edo period. To this cult the figure was the ward of Budo (martial arts). Originally this figure would have had feathered wings, which have been lost to time, and it is likely the soot encrusted figure was also once adorned in color and the fox was white, but that too has been all buried beneath centuries of soot from incense smoke. It is 34 cm (13-1/2 inches) tall. There is some damage to his right hand, tip of the beak and foxes tail.
Tengu are mountain and forest goblins with both Shinto and Buddhist attributes. The patron of martial arts, the bird-like Tengu is a skilled warrior and mischief maker, especially prone to playing tricks on arrogant and vainglorious men, and to punishing those who willfully misuse knowledge and authority to gain fame or position. In Buddhist lore they came to be protectors of temples and defenders of the Dharma (Buddhist Law).

A beautifully formed earthen flask from the Bizen region, the fire-buffed side still gleaming softly while opposite it has absorbed time into the porous clay. It comes enclosed in a box titled Ko Bizen Kaijo Ko-Tokkuri, inside the lid is annotated the dimensions and the dating Momoyama Jidai no Saku (Made in the Momoyama period) signed by the great Bizen connoisseur Katsura Matasaburo. It is 6.5 cm (2-1/2 inches) diameter, 13.5 cm (5-1/4 inches) tall and in overall fine condition.
Bizen boasts a rich cultural heritage as one of the Rokkoyo (six ancient kilns), originating in Okayama Prefecture, with a history spanning over a thousand years. Its traditional wood-fired kiln process imparts unique characteristics, resulting in earthy tones, rough textures, and distinctive natural ash glazes, prized for their rustic beauty and individuality. Moreover, Bizen ware embodies the ethos of wabi-sabi, celebrating imperfections and simplicity, resonating with collectors who appreciate the aesthetic of rustic charm and natural authenticity. Its timeless elegance and connection to Japanese tea ceremony culture further enhance its allure among pottery enthusiasts, making Bizen pottery a coveted addition to any collection.

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

A set of three spouted nesting bowls decorated in the traditional Mugiwara pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. The larger bowl is 9.5 cm (just under 4 inches) diameter, 5.5 cm (2 inches) tall. The smallest is roughly 7.5 diameter, 4.5 cm tall and all 3 are in excellent condition, enclosed in an old kiri-wood box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.

A set of 8 small dishes dating from the later 19th century known as Mame-zara (bean plates) covered in cream colored crackled glaze decorated in the traditional Mugiwarade pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. Each plate is roughly 8.5 diameter and all are in excellent condition, enclosed in a modern, black-lacquered wooden box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.