Catalog: Archives: Regional Art: Asian (599)

A large Ukibori vase covered in iron with yellow slip raised imagery of birds in a pomegranate tree by Ito Tozan I enclosed in the original signed wooden box dated 1917. It is 16 inches (40 cm) tall 10-1/2 inches (26 cm) diameter and in fine condition.
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).

Waves thrash about in a playful frenzy below the calm watchful eye of a full moon partly blanketed by dark clouds in this extraordinary painting signed Kagyo dating from the later 19th century. It is bordered in ivory colored brocade embellished with clouds extended in golden brown silk and features ivory rollers. The scroll is 21-1/2 by 79 inches 855 x 200 cm) and, aside from minor bands of yellowing of the silk expected of age, is in fine condition. It comes enclosed in a period wooden box.

Children gathering Sansai mountain vegetables, a stunning Taisho period silk painting by Nishikubo Kunko. Three young girls wear indigo dyed country kimono, their forearms and shins protected from the grass and brush and heads covered in white scarves, straw sandals on their feet. They carry voluminous bamboo baskets as they move along the reed covered water’s edge, perhaps in search of fuki (Butterbur). The scene is performed with heavy pigment on silk, in completely original condition. It retains the original backing paper upon which is an exhibition label bearing the character Miyako (the Kyo in Kyoto) in a circle. Each screen is 69-1/2 x 150-1/2 inches (382 x 176 cm) and in very fine condition. Nishikubo Kunko is known to have been a painter of bijin beauties, and exhibited at the first National Painting Exhibition among others.

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

A hermitage lost in the early blossoms of the plum forest, ink and light color inside a wide gold border and mulberry frame typical of the Taisho era. Gold powder has been liberally applied intimating a shimmering mist throughout, creating an ethereal quality. Signed in the upper left corner, it is 68 x 149 inches (172.5 x 378 cm) and in overall fine condition. Akashi Shoun was born in Osaka on March 12, 1867, the first year of the Meiji era and a time of great change in Japan. He was fond of these hermetic scenes of rural seclusion, perhaps a reaction to the swift changes sweeping Japan at that time, and heavily influenced by the Sencha Literati scene which sought refuge from the world in the Literati ideal of ancient China. Shoun himself left the big city of Osaka to settle in the provincial castle town of Akashi on the Seto Inland Sea where he took the name.

Ryugu-jo Castle is depicted in gold couched thread on the blue silk field of this superb Fukusa gift cloth dating from the turn of the 19th century. Frothing white waves surround the mythical palace, and the four corners of the cloth are secured by long-tailed minogame turtles, befitting the scene. It measures 25 x 32 inches (64 x 82 cm) and is in excellent condition but for some wear on one side of the red silk-crepe backing (see close-up photo).
Ryugu-jo was the underwater palace to which was taken the young fisherman Urashima Taro in the Japanese version of the Rip van Winkle character. After rescuing a small turtle from being persecuted by children, he is taken on the back of a giant turtle to the palace of the Sea Dragon (Ryugu-jo) where he finds that the turtle he has saved is a beautiful princess. After some time, he becomes homesick and asks to be returned to his home. He is given a parting gift, a charm in a mysterious box which will protect him but he is warned he must not open it. Back on land he finds eans have passed in his few days in the magical kingdom, and in a state of depression opens the box, instantly becoming his true age of hundreds of years.

A colorful and impressive scroll featuring a bushy tailed neko-tora, or cat tiger from the late Edo period. The neko-tora is a by-product of the Japanese closed border policy, rigorously enforced during the Edo period, which eliminated outside trade and influence. Therefore, Japanese artists were forced to come up with their own ideas of what a fearsome tiger looked like based upon older paintings and skins. This is one of the most imaginative and detailed I have yet seen, with each standing hair individually painted. The cat, stopping to drink from a stream, stands before a crooked pine, caught at the moment it sights an enemy, its bulbous green eyes staring past twitching whiskers, ears flattened against its head. The sinewy creature is well depicted as is the Kano style lines in the background plants trees and waterfall. The scene is framed in dark, purple silk embellished with fan shapes, and ebony rollers. Despite some creasing, the scroll is still very presentable and would be an eye-catching hanging. It measures 29-3/4 by 69-1/4 inches (75.5 by 176 cm)

A whimsical tiger exhales incense smoke, his body glimmering with gold on black ripples; an antique oki-koro incense burner enclosed in the original Kikko signed wooden box. The tiger bears the Kikko mark on his butt. The piece is 15 x 10 x 13 cm (6 x 4 x 5 inches) and is in excellent condition. The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

An 18th-early 19th century Literati landscape featuring a scholars gathering in a forest of pines on one side, a pair of boats pulling up to a hermitage on the other. These are published in the book Jidai Byobu Shuei (pre-restoration, pages 76 and 77). They have been completely restored maintaining the original cloth border and are in superb condition. Each screen measures 70-1/2 x 150-1/2 inches (179 x 382 cm).
So Gessen (1741-1809) was an artist initially trained in Edo under Sakurai Sekkan, and later in Kyoto under Maruyama Okyo. A known associate of Yosa Buson, he was a prominent figure in the literati scene of that time. He lived a quiet life in his later years at Jakushoji Temple in Ise and his style was helped to shape the Literati style of the 19th century. The second stamp bears the temple name, Jakusho shuujin A similar composition is held in the Mie Prefectural Museum.

A radical Iga vase by unconventional artist Kishimoto Kennin (b. 1934) enclosed in the original signed and stamped wooden box. The free form Terracotta image is covered in lichen-like pale green ash glaze. The vase is 10 inches (25 cm) tall, 5 inches (12.5 cm) wide and in perfect condition. Possibly better known today for celadon, Kennin went through a radical period some 15 years ago working on pieces like this unusually formed Iga ware. An artist who has tried many styles, he has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Traditional Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

An incredibly detailed mid to late 19th century Izushi-yaki Hakuji (white porcelain) image of a samurai and his lover enjoying a moment together; the robes, accessories and musculature being extremely well shaped. The pair are made of solid white clay, sculpted in the style and with the attention to detail typical of Hirado ware however the glaze is more textured than work expected of that region, indicative of Izushi. There are several chips: the mans left foot, tobacco pouch and right fingers and the womans hair, as well as a repair to the back fold in the womans loose kimono. The couple measure approximately 4 inches (10.5 cm) tall, 5-3/4 inches (15 cm) wide. They are enclosed in an ancient wooden box inscribed with the date 1930, and stating the piece was acquired or received in April by Sakuragawa Umetoshi. The sculpture pre-dates the box by many years.

A superb bronze vase with silver plate design enclosed in the original wooden box and stamped on the base by the artsit. The vessel is 11-1/2 inches (30 cm) tall and in excellent condition

A bridge and weeping-cherry (shidare sakura) draped over swirling eddies on this silver lidded Meiji period Koro incense burner on its original matching table. On the table a waterwheel is visible downstream from the same scene, tiny silver beads floating on the crests of the ripples. The incense burner has a silver lid and removable liner, with a nashiji gold-flaked bottom. It is 4-1/2 inches (11.5 cm) diameter and in fine condition. The table is 14-1/2 x 7 x 2-1/2 inches (37 x 17.5 x 6 cm) and is also in overall fine condition. There were originally many more silver flecks on the waves, which have been lost to time. Both come inclosed in period Kiri-wood boxes.

Variously colored momiji leaves in enamel blow past the under-glazed cobalt lattice of manjirushi on this large bowl by Takahashi Dohachi dating from the first half of the 20th century. The bowl is 21 cm (8-1/2 inches) diameter, 9.5 cm (4 inches) tall and in perfect condition, enclosed in a fine custom made kiri-wood box.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.'

An unusual decorative wooden sword (tea room sword) carved of hardwood in the shape of a dried fish signed on the belly pierced and wrapped with a faded silk chord. An excellent example of the genre it is 13-1/2 inches (34 cm) long and in fine condition.
It is said that these wooden swords were produced from the mid to late Edo period, in lieu of swords for those not allowed to carry weapons (all but samurai). During the Edo it is true that commoners wore them to ward off evildoers at night, generally heavier versions which would double as a truncheon, and later as statements of fashion akin to other sagemono. We have found however that their production lasted through the opening years of the 20th century, as long accustomed ornaments of fashion in the tea room (where even samurai were not allowed bladed weapons). To the repertoire of bokuto and doctors sword, we thus add the name Chato, or tea sword, as they were commonly referred to in Kyoto. As with other members of the sagemono group, they were most often made by carvers of Netsuke.

A pair of superb Tokkuri by Raku Kichizaemon enclosed in the original signed wooden box, each stamped on the base, each unique with one in dark Raku glaze, the other swiped with ash leaving large areas of raw clay exposed. Each one is 16 cm (6 inches) tall and in fine condition. These are by the Kichizaemon X, according to the book Sado Bijutsu Teccho, it is the earliest of his four known stamps.
The Kichizaemon family of potters was established in Kyoto by Chojiro during the Momoyama period (16th century). The 10th generation head of the family (Tanyu, 1795-1854) was born the second son of the 9th generation Kichizaemon. Along with Yoyosai assisted in the establishment of a kiln for the Kishu branch of the Tokugawa family, and soon followed that up with others around the country. This gave him tremendous experience throughout the world of Japanese ceramics with different clays and glazes, expanding the family repertoire into Oribe, Iga and Seto ware in addition to the traditional Kyoto wares. Works by him are held in the Metropolitan Museum of Art among many others.

A black-tailed white crane braves tempestuous seas before the massive orb of a blood red rising sun in this sensational late Edo period Kano style scroll. From the right a sinewy tree loaded with exaggerated fruits hangs precariously from the green face of a sheer cliff, its wild branches running helter-skelter through the dark sphere. Mist retreats beyond the horizon, regrouping for another night. A very unorthodox scene, each wave scratched out with soft gray, foam flying from the bird and waking in troughs on the undulating surface of the sea. The powerful scene is bordered in tea green brocade patterned with vertical waves, and features massive ivory rollers. It is 2 feet (61 cm) wide, 76-1/2 inches (194.5 cm) long. There is some creasing in the heavy red paint of the sun, and although white underneath and not noticeable, there is loss to the thick gofun which originally covered the large peaches. These minor defects fail to mitigate the tyrannical presence of this extraordinary painting.

A suit of Edo period armor featuring a Kebiki Ni Mai Do Gusoku, a 2 piece hinged armor of 8 closely knit rows of scale plates. 7 rows of 5 kusazuri hang from the do. It has a 32 plate Suji Kabuto with a tehen Kanamono vent in the shape of a stylized chrysanthemum and prominent Fukigaeshi, with 5 Hineno Jikoro cascading down the back. The helmet has typical chipping to the edges of the lacquer. The bowl retains 90 percent of the original liner and sweatband with the original ties. There is a me no shita no ho mask with 4 lame yodarekake, lacquered inside with red, outside in black and featuring a thick horsehair mustache, again, typical chipping. It also features Osode with brass ornaments and backed with leather; shino gote, haidate and suneate, and comes with an armor box. The armor is laced with orange and white thread, which is all in quite good condition except for the top row on the front of the do. The do and mail were also lacquered in gold. In an unusual note, the armor is still in the hemp bags designed to protect it during storage, marked with the date Ansei ni nen (1855), meaning it was probably repaired or restored at that time.