Catalog: Archives: Regional Art: Asian (643)

A refined set of 5 later Edo Sake cups in a hybrid E-gorai style from the Kosobe kiln of Igarashi Shinbei decorated with pale blue designs (gnarled plum trees?) under thick cream colored glaze on very thinly potted clay blended with shiseki for great effect. This is likely the work of the second or third generation Shinbei, both known for their Korai-Utsushi (Korean style) wares. Each cup is 2-1/2 inches (6.5 cm) diameter. They are in surprisingly good condition, with no cracks. There are a few losses to glaze at the rims typical of sake cups (Kampai!) and one has a chip in the foot visible when the cup is upside down. Finding such a delicate set in such good condition from the Edo period is exceedingly rare.
The Kosobe kiln was established in Takatsuki, along the route between Osaka and Kyoto by Igarashi Shinbei sometime around 1790, The first generation (1750-1829) was known for Raku wares, Tea Utensils and Utsushi wares among more common household items. The second generations (Shinzo, 1791-1851) is remembered for Takatori, Karatsu, Korai and other continental styles. Shingoro, the third-generation head of the family (1833-1882) continued in that line, but secured a route to use Shigaraki clay and blended that with his local clays. He was known for Mishima and E-gorai styles. Into the Meiji period, the 4th generation head Yasojiro (1851-1918) saw the kiln close due to health problems of his successor Shinbei V, (Eitaro) in the late Meiji or early Taisho period.

A table of turned wood from the folk industry of Korea dating from the 19th century. This is a rare find, even in Korea, where very little remained after years of warfare and rebuilding. Traditionally with four joined legs called a soban, this type turned from a roundel is quite unusual. It is 35 cm (14 inches) diameter. There are some minor insect damages.

A Boro Futon cover textile of sewn together bits of worn out indigo dyed fabric 160 x 204 cm (63 x 80 inches ). Go-haba (five widths)

A serving tray made of Kozai (Jap. old material) from Todaiji Temple in Nara branded with the marks of the 7 great temples of Nara and enclosed in the original wooden storage box dated 1925. It is turned from keyaki, a hardwood in the elm family famed for durability and beautiful wood grain. On the bottom of the tray is a seal which reads Daibutsuden Kozai (Old Material from the great Hall). The tray is 33 cm (13 inches) diameter and in excellent condition. In order to fund temple repairs, often wooden objects such as trays, Robuchi (hearth frames) Haidai (cup stands) among others were made from the original parts of a temple, and given as gifts to those who supported reconstruction or as a way to thank parishioners for donations. The Todaiji temple complex underwent extensive restorations in the early 20th century, and these trays were made at that time from the old posts or beams replaced in the repairs. They have been branded (yaki-in) with marks from the seven great temples of Nara (Nanto Shichi Daiji) Todaiji, Saidaiji, Daianji, Horyuji, Kofukuji Gangoji and Yakushiji temples respectively. On the box lid is written the title: Nanto Shichi Daiji Yaki-in Maru-bon (Round tray branded by the 7 great temples of the Southern Capitol). Inside the lid is written: Made from the old material of the Great Buddha Hall of Todaiji Temple, at the bequest of the Nihon Bijutsuin (Japan Art Institute). A handwritten epitaph inside the box states it was received as a gift from the politician and business magnate Oya Shichibei (1865-1929) of Osaka after completion of repairs to the great hall on an auspicious day in May of 1925 as attested to by Hirai Kinjiro (sp?) followed by five red seals.

A pair of red lacquered sake cups with chrysanthemum and pampas grass (respectively) on ornate stands decorated with golden landscapes enclosed in the original compartmentalized wooden box titled Sansui Maki-e Hai-ki ittsui (One Set of Sake Stands with Lacquer Landscapes). They are 4-1/4 inches (11 cm) square at the feet, and in excellent condition dating from the early 20th century.

An antique Guardian mask used to ward off evil hand carved from a rough slab of hardwood. It is 14-1/2 inches (37 cm) tall and in fine condition. Usually hung under the eaves of a house, it shows weathering typical of age. Late 19th to early 20th century.

A pair of red and silver iron lotus flowers with long handles serving as Buddhist candle-stands, the light rising from within the sacred flower. Overall raw iron, the coloration of the flower petals is from silver and red lacquer. Each is 26.5 cm (10-1/2 inches) long and in excellent condition.

Antique Japanese Mingei Flat Pounding Board An exquisite patina covers this heavy pounding board from Northern Japan used for working rice into dough. It is 53.5 x 31 x 9 cm (21 x 12 x 3-1/2 inches) and is in excellent condition.

A rare set of five tiny Gosu cups for drinking Gyokuro steaped tea from the Shidehara kiln of Sanda in Hyogo prefecture dating from mid to later 19th century (Late Edo to Meiji). Fish circle the cups as they swim among water plants. Each cup is 2 inches (5 cm) diameter and in great condition.
Shidehara was a kiln established in the Sanda district of Hyogo prefecture in the mid 18th century. They created works based on continental styles of Gosu, Sometsuke, aka-e and later celadon. It is from this kiln that Sanda-yaki was born, to become a major production area for celadons and other pottery styles starting in the late 18th century.

A serene image of the Goddess of Mercy Kannon found in a natural black stone from the Seta River inset into a hand carved hard-wood base and enclosed in a kiri-wood collectors box titled simply Setagawa-ishi (Seta River Stone). 19.5 cm (7-3/4 inches) tall and in excellent condition.

Ame-yu graces the rough textured clay of this large Mingei platter from Aizu in the Northern reaches of Japan on the border between Fukushima and Yamagata. Often mistakenly identified as Tamba due to the similarity in the coloring of this particular glaze, the underlying granular white clay gives it away. About the rim is a ring of fire-colored tendrils trapped in a groove, an interesting added feature. It is 31.5 cm (12-1/2 inches) diameter and dates from the later 19th century. There are some old chips in the rim darkened with age, typical of use for a utilitarian piece like this, otherwise it is in fine condition.
The development of the Aizu Hongo pottery tradition dates back to the Sengoku period (1428-1573), when tiles were locally fired for the roof of Aizuwakamatsu castle. But it was during the Edo period when Lord of the Aizu clan Hoshina Masayuki oversaw the promote and patronize pottery production of what became Aizu Hongo Yaki ware, and it flourished under the supervision of the clan. This subsequently led to the making of everyday pieces of pottery for use by people at large by the closing years of the Shogunete. Fighting during the Meiji Restoration in 1868 and a devastating fire in the Taisho period (1912-1926) caused significant disruptions however; the industry recovered and is still thriving today. It has the distinction of being the oldest area where white porcelain is produced in the whole of northeastern Japan.

Vivid florals patterns decorate and pierce the surface of this exquisite bowl by Kiyomizu Rokubei VI. It is 12.5 cm (5 inches) diameter and in excellent condition, enclosed in a modern wooden box.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A pair of Kinsai Tokkuri on red ground by Eiraku Zengoro from his Kutani kiln dating from the late 19th or early 20th centuries enclosed in the original signed wooden box. Complete with lids, they are 5 inches (13 cm) tall each and in excellent condition.

A bronze vase dating from the mid Showa period by Ono Tsuneo of Takaoka enclosed in the original signed wooden box. It is 26 cm (10 inches) tall and in perfect condition.

An exquisite sake cup from the Asakiri kiln of Akashi decorated with a verse and spray of bamboo enclosed in a period wooden box signed by Yamada Takeshi (descendant of Yamada Kikutaro, Edo period founder of the kiln). It is 5 cm (2 inches) diameter and in excellent condition, likely dating from the Meiji period.

A bronze bell dated Kanbun 10 (1670) which would have been suspended in front of a Shinto shrine worship hall, and struck with a knotted rope to awaken the gods to listen to one’s prayers. Inscribed in the surface around dials of lotus flowers is: An auspicious day in the 7th month of Kanbun 10, followed by the names Honda Yasutoki Ko and Hiramoto Sukeyuki opposite a dedication to the god of water the Hachidairyu-jin followed by a place name near Awazu in modern day Shiga prefecture. The Hachidairyu-O or eight headed dragon king (god) is a creature who controls water and is enshrined in the sacred place of Takachiho, in Kyushu, with branch shrines throughout Japan. Roughly 26 cm (10-1/2 inches) diameter and weighs 3.4 kg (7.5 pounds). There is a scratch in the backside, (see close-up photos) otherwise it is in excellent original condition with two casting flaws which have become pin holes in the upper back. The combination of Buddhist and Shinto Iconography is certainly a point of interest with Japanese religious ideology.

Ink on paper in a fine brocade border with ivory rollers and enclosed in the original signed double wood box (nijubako). It is 26 x 56 inches (66 x 143 cm) and is in overall fine condition. The rollers will be changed in event it is being shipped overseas.
Born in Yamanashi Prefecture, Kondo Koichiro (1884-1962) studied at the Tokyo school of Fine Arts and started his career as a Western-style painter. After graduation, he took a position as a cartoonist at the Yomiuri Newspaper for a living. Gradually moving his work towards Japanese-style painting, his works started entering the exhibitions of the Japan Art Institute (Inten) from 1919 until 1936. After he traveled to Europe and China in 1922, he became increasingly aware of being Japanese, which affected his works thereafter. The artist's works are in the collection of the Yamanashi Prefectural Museum of Art and the National Museum of Modern Art, Tokyo among others.

Ink on paper image of a skull befitting one of the most well known and outspoken Samurai/swordsmen of the 19th century, Yamaoka Tesshu, remounted in an olive grey border patterned with vines with wood rollers. The scroll measures 15 x 75 inches (37.5 x 190 cm) and is in fine condition but for some minor staining below the signature.
Yamaoka Tesshu (1836-1889) was a student of military arts and famous calligrapher. Born into a samurai family, Tesshu began studying swordsmanship from a very young age. He took the name Yamaoka upon marrying the daughter of a spear school, continuing the family name in their place. An avid devotee to Zen training, he attained enlightenment at 45. A compatriot of the infamous Zen priest Nakahara Nantenbo, the two established a Zen training center together. He was a bodyguard and teacher to the young Meiji emperor, Zen teacher, poet, swordsman and artist, a giant of a man containing all of these personalities (or perhaps none?) He died of stomach cancer at the age of 54, his last poem reading Tightening my stomach against the pain, The cry of a morning crow…