Catalog: Archives: Regional Art: Asian (599)

An early snow covers the branches of a ragged pine, the clutches of autumn still evident in the red tinged leaves of ivy clinging tremulously to the limbs. This is a spectacular large Kyo-yaki work signed on the base Seifu and enclosed in a period wooden box. Dating from the late 19th to early 20th century, it is nearly 10 inches (25 cm) diameter, 5-1/2 inches (14 cm) to the top of the lid and in excellent condition. This is the work of Seifu Yohei I.

The red walls of a mountain monastery appear between the precipitous crags on this large scale painting by Komura Suiun enclosed in the original signed wooden box c. 1920. The composition escalates, guiding ones vision past the lone occupant of the mountain monastery to the quatrain in the top corner. The mature technique of a master painter; it is performed with ink and light color on silk in a fine silk border with large, solid ivory rollers. The scroll measures 26 x 79 inches (65 x 201 cm) and is in excellent condition. Suiun (1874-1945) was born in Gunma prefecture, and studied the Nanga style under Tazaki Soun. He exhibited with the Nihon Bijutsu Kyokai and Bunten, and served as a juror for the later. He was instrumental in the foundation of the Nihon Nanga-in and was appointed a member of the Imperial Art Academy. His works are held in the collection of the National Museum of Modern Art, Tokyo among many others.

One of the most interesting vases I have seen by this potter, quite striking in appearance, with brick colored dashes struck briskly through the dark molasses of the vase. Under the glaze we can see the artists signature Jomon rope impressions pressed into the clay. The Jomon pattern (the Jomon were ancient peoples of Japan whose pottery was typified by rope impressions) is what Tatsuzo is most famous for. The vase stands 10-3/4 inches (27.3 cm) tall, and is 4-1/4 inches (11 cm) across the shoulder and comes enclosed in the original signed wooden box. After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, (his father was a rope maker) Tatsuzo set out to create a style unique to himself. In 1996 he was designated a Ningenkokuho (Living National Treasure). Quite often more subdued, this piece seems to bridge the gap between the shapes and textures of Tatsuzo, and the bold colors of his sensei Hamada Shoji.

A 19th century (Edo to Meiji periods) gilded bronze branch bearing three golden fruits, each of which opens to reveal a small compartment. It is 19 cm (7-1/2 inches) long, 6 cm (2-1/2 inches) tall and comes enclosed in an age darkened kiri-wood box. Certainly of Buddhist connotations, it likely held some small sweets or incense.

A male peacock struts proudly before a gorgeous plume of color on this mid 20th century hand painted screen signed and stamped Yushin. The colors are slightly muted, in a typical Japanese way, the background awash in mottled silver-gray, presenting the brilliant greens and blues of the birds fabulous attraction. It is bordered in a wooden frame covered in Negoro lacquer, unusual green over red, matching the painting perfectly. Each panel measures 32 inches by five feet (82 x 152.5 cm) and is in excellent condition, even retaining the original backing cloth.

Feeling frisky that day, perhaps a wry self portrait by this most famous of Nuns, Otagaki Rengetsu with a poem brushed above in her unique script.
Hito hakaru The trickster
Sagano no harano In the Fields of Sagano
Yufumagure At Twilight
Onoka obana ya Tail in the Pampas grass
Sode to misuran Will it seem a sleeve
There is something very human about this depiction, perhaps the nose…The Hakuzosu (Fox spirit) is a popular theme surrounding the superstition that foxes transform themselves into human form to bewitch the unwary, particularly at twilight. Perhaps the final reference to a sleeve is that of the beguiler, the sleeve of a kimono draped for the seduction of a passing man. Performed with ink on paper in a silk border, the scroll is 10-1/4 x 65-1/2 inches (26 x 166.5 cm) and in overall fine condition. The word obana, written with characters meaning "tail-flower," is classic poetic diction for susuki autumn grass signifying Sagano, a place name often used in poetry as a pun on saga, "one's nature." For a similar image with this poem see the Metropolitan Museum of Art New York (Gift of Donald Keene).
Much has been written about the life and work of poet/artist Otagaki Rengetsu. 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.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

An ominous row of black crows in silhouette cry in unison from the stormy insides of this gassaku bowl made by Kiyomizu Rokubei IV and decorated by Kikuchi Hobun, enclosed in the original signed wooden box. Color has infused the glaze, evidence of age and use and lending to the malefic atmosphere. It is 20.5 cm (8 inches) diameter and in fine condition, stamped on the base Rokubei and signed on the side Hobun.
Kiyomizu Rokubei IV (1848-1920) was first born son of Rokubei III, and took over the family business in 1883 upon the death of his father. Not restricted to pottery, he studied painting with Shiokawa Bunrin and worked with many famous Kyoto painters. He also worked to promote Japanese pottery in the tumultuous Meiji period, when the capitol was moved to Tokyo, helping to establish the Yutoen Ceramics organization and Kamikai with Kamisaka Sekka. Held in many collections, a lantern by him stands in the garden of the Tokyo National Museum.
Kikuchi Hobun (1862-1918) was born into a family of Hyogu-shi (professional mounter of paper and paintings) in Osaka during the waning years of the Tokugawa government. He was adopted into the Kikuchi family and moved to Kyoto where he studied under Kanō Hōen, and later with the Shijo master Kōno Bairei along with Takeuchi Seihō, Taniguchi Kōkyō and Tsuji Kakō. He frequently exhibited at and was much lauded with the Bunten/Teiten National Exhibitions. He taught at the Kyoto Municipal School of Fine Arts and Crafts where his influence on following generations was much felt. Works by the artist are held in the V&A, Museum of Fine Arts, Boston, National Museums of Modern Art, Tokyo and Kyoto and British Museum among others. For more see Modern Masters of Kyoto (Paul Berry and Michiyo Morioka)

Three tough looking toads work together to support the base ring of this unusual leaf-shaped bronze Usubata flower basin enclosed in an antique wooden box. It is signed on the base simply “Oka”. Roughly 11 inches (27 cm) diameter, 8 inches (20 cm) tall.

The tanuki rests, energy spent, among fallen bamboo leaves lit by the crescent moon, only those yellow eyes alert and watchful. A beautiful pigment on silk painting signed Seiei enclosed in the original signed wooden box. It is bordered in patterned green silk and features bone rollers. The scroll is 21-1/2 x 76-1/2 inches (55 x 194 cm) and in overall fine condition.

A blossoming plum rises majestically on the simulated matt-metal finish of this cloisonné vase by the Ando studio marked on the base. The interior is a rich dark blue, the exterior flat orange peel textured metal gray with the flower laden branches rising up in moriage. It is 30.5 cm (12 inches) tall, 18.5 cm (7 inches) diameter and in fine condition, enclosed in a wooden box.

A dramatic pair of large trays　decorated with silver characters for sun and moon on dynamic black and red surfaces. Each comes in the original wooden box made by craftsmen at the Yabashi Studio in Gifu prefecture. They are 47 cm square and in fine condition.

A pair of unique three part tokkuri by Taniguchi Chojiro consisting of a top, which turned upside down forms the cup, a central ring on which the cup rests, and the bottle, which, when assembled, make the form of a temple bell. These are made after the infamous bell of Hokoji Temple which provided (a rather lame) excuse for Tokugawa Ieyasu to crush the Toyotomi family and claim the country for his own, therefore beginning the Tokugawa Dynasty which ruled Japan for over 250 years. This is seen in both the name Toyotomi on the bell, and the date Keicho 19 (1614), which was the year the bell of Hokoji was completed, and the first battle of Osaka. The Tokkuri are roughly 5-1/2 inches (14 cm) tall, 3 inches (7 cm) diameter and in fine condition.
A bit complicated, the story goes like this: Toyotomi Hideyoshi, the first general of Nobunaga and the man who had completed the unification of Japan, died in 1598 leaving a child heir. Hideyori, this heir, was a mere five years old. Tokugawa Ieyasu was one of the strongest of the generals under Hideyoshi, and in order to maintain peace, was appointed the head of a council of elders who would rule until Hideyori came of age. Of course, this spelled disaster, and just five short years later was the battle of Sekigahara, in which Tokugawa troops defeated the Toyotomi Western allies (on the pretext of protecting Hideyori as the rightful heir). Already advanced in age, Tokugawa needed to claim the throne or lose the chance, perhaps forever. As Hideyori grew, living in residence with his mother at Osaka Castle, the most powerful castle in all the country, he was subordinated to Daimyo status under Tokugawa Ieyasu, however remained very wealthy and influential among lords still loyal to the Toyotomi faction. They also were avid builders, and Hideyori instituted the rebuilding and expansion of many great monuments, including Hokoji Temple. Here they made a bell, completed in 1614 upon which was the inscription Kokka Antai (Peace in the country as one family). Here the characters for Ieyasu (also read Ka and Tai respectively) were divided by the character for peace. Tokugawa took this as a curse of dismemberment on his family, and used this as a pretext to go to war against the Toyotomi, finally defeating him after the summer battle of 1615 in which Hideyori was killed. He also later had Hideyori’s 8 year old son beheaded, and wiped the Toyotomi clan from the face of the earth forever, establishing Tokugawa rue which would last for 250 years.

An antique cast bronze waniguchi bell or gong, the type used to hang in front of places of prayer and under temple eaves dated 1710. Often these can be found hanging over saisen-bako where the bell is rung by clanging a dangling rope with wooden corbel against the bell to awaken the gods; coins are tossed and a prayer given. Anyone who has been to a Japanese Temple or Shrine may have noticed one. A much thinner cast than the later bell we are offering

Waves lap at the dark shore crowded with cranes on this elegant 18th century paper screen embellished with clouds of gold flake signed Hokkyo Shunboku (O-oka Shunboku, 1680-1763). A bramble of dried bamboo hides one sleeping form, the others strut about oblivious to the frigid winter air. Turgid blue water rolls slowly behind, waves licking at the near shore. A fine example of the mid-Edo aesthetic; the screen is 67-1/2 by 148 inches (172 x 376 cm) and is in excellent condition, recently fully re-mounted. It is bordered in green silk with a black lacquered wooden frame reflecting the original, backed with dark blue paper embellished with black crests. As might be expected there is loss to the white gofun coating on the birds, and some repairs performed during restoration. This screen was bought personally by us in Kagoshima from the house of a former high level retainer of the Satsuma Fief. It was likely purchased or commissioned during the procession from Edo to Satsuma performed every three years by the Daimyo of that powerful fief. O-oka Shunboku was born in the merchant city of Osaka. He was a largely self taught artist, initially mastering the rules of the Kano school, then moving into Chinese style painting of the Yuan period. A talented painter, he was equally well known for his mild personality and mastery of the cultured doctrines of Tea Ceremony, Incense Testing, Dance, Song and Poetry. He was popular from a young age, and patrons fought for their place in line at his studio door (according to Araki) He is very well known for his reproductions of Chinese painting manuals and the large number of art books he published. He eventually rose to the level of Hogen, very rare for an artist with no lineage behind him. He died at the age of 84, and is buried in Komyoji Temple. He was survived by an adopted son, and is accredited with being an early influence on Ito Jakuchu (according to Daiten Kenjo) with his emphasis on Yuan painting, as well as Katsushika Hokusai with his colorful publications. A set of painted doors in the Mie prefectural Museum of Art, formerly in the Nagashima household, featuring a cow at rest, were painted by Soga Shohaku in a style based on Shunbokus 1740 six volume compendium of Kano techniques, Gako Senran (An Exploration into the Techniques of Paintings). His paintings adorn the doors of Myoshinji, one of the most famous temples in Kyoto, as well as Myokoji in Osaka among others. He also helps fill the collections of the Fukuoka Prefectural Museum of Art, Seattle Art Museum and British Museum in London.

A raw earthen bottle hand formed for sake and engraved with a poem by Otagaki Rengetsu. It is 5-1/4 inches (13.5 cm) tall and in fine condition. The poem reads:
Fuyubata no On the Daikon Leaves
Oone no kuki ni In a winter field
Shimo Sae Te Frost gleams
Asatode Samushi Going out in the morning I feel cold
Okazaki no sato Here in Okazaki village
Much has been written about the life and work of poet/artist Otagaki Rengetsu. 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.

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

A pair of rare Koto-yaki sake flasks decorated with florals and dating from the 19th century. Written on the side is the kiln name Koto (East Lake). Each piece is roughly 6 inches (15 cm) tall and in fine condition but for a chip on the inside of the foot ring of one.
Koto ware is one of those rare and highly prized ceramics of low production, once the official kiln of the Ii clan in Hikone on the Eastern Shores of Lake Biwa, its production rand from the early to late 19th century. Under Ii Naosuke, the famous Bakumatsu Statesman, the kiln was expanded both in size and repertoire, and he brought in potters from all over Japan to teach the ways of various styles. With the assassination of Naosuke and the fall of the Shogunate in 1867 the kiln was privatized. It closed about 1895, and was known for superb quality and craftsmanship covering Sometsuke, Aka-e,Kinsai, Celadon and Ninsei.

An interesting comment on the circle of life, the huge cicada, with only a three day (above ground) life, is dissected and carried away by a line of tiny ants, birth and death, the mighty and the tiny, and the cycle of life continues. This image is by Ishikawa Chikuson and comes enclosed in the original signed wooden box. It is performed with ink and light color on handmade paper, mounted in a field of soft-blue silk extended with beige. The scroll is 22 x 48-1/2 inches (55 x 123 cm) and is in overall fine condition. Ishikawa Chikuson (1884-1952) was born in Tokyoand was given his mothers name. At the age of 18 he apprenticed under Matsumoto Fuko and Suzuki Kason. Much lauded at the time, he moved to Nagoua after the Great Kanto Earthquake in 1923 destroyed his studio, establishing a studio and a following in his new home, but was again, later in life, displaced by war and the allied bombing of Nagoya. He took refuge in rural Mie prefecture. After the signing of peace terms, he returned to the barren Nagoya where he took a job as a postal worker while rebuilding his studio.

A bakumatsu era (mid 19th century) Shishi Koro of dark red clay covered in a rich green glaze from the Banko kilns in Mie. It is 14 x 24 x 8 cm (9 x 5-1/2 x 3 inches) and is in fine condition but for one clawed toe which has been chipped. This squat style of facial expression was popular from the declining years of the Edo period into the early Meiji, and fits the date of this piece perfectly.

A conical Jingasa battle hat 6-1/2 inches (16.5 cm) high, 14-1/2 inches (37 cm) diameter entirely gilded outside with genuine gold. Inside is lacquered black and retains the tie holds for the liner. There is some writing within, and a maru-ichi crest. There is damage to the peak and edges, but is quite impressive looking, and was likely used by the immediate vanguard of the Daimyo. One of two variations we have, they are from Omi province, just outside of Kyoto in old Japan.

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 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.

Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.

A very unusual Meiji period Suzuri Bako with cherry blossoms in black on black outside, a crescent silver moon rising beyond crashing gold waves within. The box is so subtle outside, that until very close, and at the correct angle, it simply looks black. Then one sees the cherry blossoms covering the entire outside, in the slightest texture only. Inside the moon is a long crescent of inlayed silver rising like a sake cup waiting to be filled with Taka-maki-e waves spraying foam across its regal form. It is in excellent condition, wrapped in padded cloth and contained in an ancient and somewhat worm eaten kiri-wood box. The Suzuri-bako is 10 x 9-1/4 x 1-1/2 inches (25.5 x 24 x 4 cm) and is in fine condition. It has already been professionally polished.

A very unusual Katana held in a saya (scabbard) made to look like a gnarled branch cut into a poor man’s cane. When pulled a spring-loaded mechanism releases two iron flanges creating a very effective tsuba hand guard. The blade is unsigned, measuring Nishaku nissun nibu {26-1/2 inches (67.3 cm)}. The remnants of a piece of paper remain glued to the saya with the name Masaaki Noma (?) written in cursive Roman letters, followed by UZUMASA, an area in Kyoto city. The end is capped in metal, and in fact, the Koiguchi and Fuchi (at the mouth of the scabbard and handle) are also metal, which blend perfectly with the carved wood.

Silver canines gleam menacingly in the corners of the mouth of this terrifying Edo period sabiji-nuri iron Menpo face mask. It has a three lame nodokake also with sabiji-nuri, laced with tight blue chord. The mustache is a bit ragged and there are typical chips around the edges from use.

The turret of a lonely outpost rises from the mountain peak formed by this small Japanese scholar rock set into a hand carved wooden base and enclosed in a wooden box titled Ko jinkaku (Small Armored Tower). The stone is 7 inches (18 cm) tall, 5 x 3 inches (13 x 8 cm). It likely was put together in the early 20th century.

On the 9th day of the 6th month of 1775, 3 artists, Reisen Uno (Motoaki/Gensho, a songwriter, poet and calligrapher), Keiho Takada (Kano Chikuin, a Kano trained painter of budhist images and calligrapher) and the master of the Chikudo, Teiun held a songwriting party. This scroll is a recording of the scene, with the subsequent song written along the top, followed by a poem by Chikuin and Reisen, recorded by Teiun. This is a truly fine scroll, recently restored from its worn Edo mountings. It is set in a quiet olive brocade with dark wooden rollers and measures 27 1/2 by 77 inches. This is truly a phenomenal work in both scale and condition.

A pair of brightly colored Mandarin ducks nestle down under cover of dried lotus in this

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.

An oil on canvas by Ono Sue titled “Inaka no Kyokai, Paris” or Rustic Church in Paris set into a double wood frame. The canvas is 15-1/2 x 18 inches (40 x 45 cm), the frame 24 x 27 inches (61 x 69 cm) and all is in excellent condition.
Ono Sue (1910-1985) was born in Niigata prefecture, and after serving as a school teacher for one year, moved to Kyoto in 1934 to pursue a career in oil painting under Yasui Sotaro. He began exhibiting with the Issuikai in 1938, garnering a number of awards there over the next 15 years starting with the Issui-kai Prize in 1943. In 1955 he would go on the first of his travels, returning in 1958, and in 1959 he would help to found the Kokusai Gushoha Kyokai. The next year would find him abroad again for an extended journey. He travelled extensively, documenting his travels in oil and canvas, Egypt, Mexico, Europe, South East Asia, all of these would become subjects for his method. In 1963 he returned to Japan. He was purchased by the Imperial Household Agency that same year. He would be honored with several exhibitions in major Japanese museums, including the Tokyo Central Museum, Umeda Museum of Modern Art, and his home of Niigata with the Niigata Art Museum. In 1982 he would receive the Geijutsu Sensho Award for the arts from the Minister of Cultural Affairs. Work by him is held in the Museum of Modern Art in Niigata, Museum of Modern Art in Toyama, Okawa Museum, Sakuma Municipal Museum of Modern Art and Kita-Kyushu Municipal Museum of Art among others.

A brilliantly textured Oni-Hagi bowl dating from the early 20th century by Deika (Sakata Deika XII, died 1934), the radically fissured surface ruptured by exploding inclusions; the scars connected by cracks in the glaze giving the appearance of constellations written into a yellow sky. Outside the bowl is an earthy beige, mostly eclipsed by pale white. Inside the basin is the same earthy color, while all the walls are like salt foam. Surrounding all of the scars is a gray mist, accenting and drawing ones attention to each in turn. On the white side is a sketch of the married rocks at Ise in dark gray. The artists stamp is clearly visible impressed into the clay beside the notched foot ring and the base has been much worn. The bowl comes inside a wooden box labeled Hagi Wan and annotated (not by the artist). It measures 4-5/8 inches (11.5 cm) diameter, 3-1/2 inches (8.7 cm) tall. It has a very natural feel, and tucks firmly and comfortably into the palm. Mori Terumoto, Lord of Hagi brought two Korean potters to Japan and had them found this kiln, and the line has continued unbroken to today. The current Deika is the 14th generation.

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

A very tall footed chawan by Kawai Kanjiro enclosed in a fine Kiri-wood box endorsed by his daughter Koha, head of the Kawai Kanjiro Museum. The piece is very much in this potters unique style. The pale rough clay is covered in ash colored glaze with a wide band of soft green, within which are two floral scribbles in red and blue. The bowl is 6 inches (15 cm) diameter, 3-3/4 inches (9 cm) tall and is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A bronze Tanuki dressed in robes and holding a Nyoi (priest scepter) sits yelping into the air, as if surprised at being discovered for his true nature. Dating from the Meiji or possibly Taisho period, it is 10 x 8 x 9-1/2 inches (25 x 21 x 23 cm) and on the base has written in red “4th year” followed by a series of letters to which I have yet to discern a meaning. Likely Meiji 4 (1871).

A Chawan tea bowl by Goho with calligraphy work by Yamada Mumon enclosed in the original signed wooden box. The calligraphy reads Mi-Do, The Way of Taste, followed by Mumons artistic signature (Ka-o). The bowl is 4-1/2 inches (11 cm) diameter, 3 inches (8 cm) tall and in perfect condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.