Catalog: Archives: Regional Art: Asian (611)

A quaint hand-carved image of Minogame (a sea turtle) supports this antique bamboo pipe tap dating from the second half of the 19th century, the rich dark wood highly polished from a century of fond handling glows like satin. The turtle is a symbol of longevity in Japan, and often is depicted in celebratory situations. Here the creature has been chiseled out of a solid chunk of wood, head raised over the top of its shell. From a flattened are on its back rises the goma-kasu speckled bamboo tube which is capped with a turned piece of rosewood. It appears to have been treated with something (perhaps persimmon oil) leaving only the eyes a lighter color. A wonderfully decorative bit of Mingei, it measures7-1/2 inches (19 cm) long, 6-1/2 inches (16.5 cm) tall. Mingei is a term combining the character for people and craft, or folk craft.

A surreal ink on cloth landscape by Kyoto artist Nakanishi Koseki (1807-1884) bordered in rich blue patterned silk and featuring radical flaring rosewood rollers. Soft ink tones and heavy washes of gray clash with the brisk strokes and jagged lines of the painting, creating a vivacious scene. The stamps on this match those on the next listing, a second scroll by Koseki. This scroll measures 19-3/4 by 76 inches (50.5 x 194 cm). There is one hard crease crossing the scroll above the large lower tree, and several minor wrinkles to be noted. Koseki was born in Osaka and studied under the great artist Oda Kaisen in Kyoto, where he established himself as a top rated artist. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

A set of stacking brass coasters in the shape of a cannon shell complete with dial settings on the warhead made for the Shobido company in the 1930s or 40s and enclosed in the original signed wooden box. Stacked it is 10 inches (25 cm) tall, 3 inches (7.5 c) diameter and in excellent condition.
Shobido has been commissioning works with first rate artists and craftsmen for its own facilities and top Department stores since 1900. Founded by Eto Eikichiro at the height of the salon era, it served as a focal point for art, and they scoured the country for artists and craftsmen in all fields. During the strict war years their business suffered under the laws against excess, and finally the studio was completely destroyed in the bombing of Osaka in 1945. The second generation took over in 1946, working to re-establish the company and connecting with Hanshin Department Store, slowly growing while promoting the cultural heritage of Japan. They are now in the 113th year.

A fantastic large tsubo vase by ceramic artist Teramoto Mamoru (1949-present) enclosed in the original signed wooden box. In spite of its size (almost 15 inches (37cm) tall), it is surprisingly light, and the colors are phenomenal. The slightly grooved surface is scored with primitive lines arching upward, filled with slip before firing. The artists signature is on the base of the piece, which is about 15 years old. Mamoru was a student of Matsumoto Saichi of Kutani, and has received numerous prizes throughout his career.

A ghoulish character from the Otsu-e pantheon, the Oni no Nenbutsu, a devil in priests robes, stands grinning, hammer in one hand to bang his bell and a ledger in the other in which are noted all the peoples sins. This figure is carved of wood and covered in lacquer and mineral paints. Dating from the 19th century (Later Edo period) it is 13 inches (33 cm) tall. There are some losses to the pigments accentuating the antique feel.

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)

Golden eyes gaze at the full moon rising over dried autumn grass and wilted flowers on this fine scroll signed Shuso (Hotta Shuso). Pigment and light color on silk in a patterned silk mounting with bone rollers. The scroll measures 19 x 78 inches (47.5 x 192.5 cm) and is in overall fine condition.
Hotta Shuso (1894-1954) was born in Nagano prefecture and studied under Ikegami Shuho, settling in Tokyo. One of his best students, Shuso later became leader of Shuho's Denshindo atelier. He was displayed at the Teiten/Nitten National Exhibtions beginning in 1924. A specialist in images of animals and flowers, see item number 1111841 for another fox by Shuso.

A collection of huts glow softly huddled in the protection of towering rocks in this lovely winter landscape by Akamatsu Unrei (1893-1958) enclosed in the original signed wooden box dated 1928, which itself is in turn enclosed in a protective red lacquered wooden box (nijubako). A true master of the genre, Unrei was born in Osaka, and apprenticed under Koyama and later the famous Nanga-ka Himejima Chikugai. At a relatively young age he exceeded the talents of his forbearers, finding a new way of looking at Nanga all his own. His paintings were often submitted at the Bunten/Teiten national exhibitions. This is a truly wonderful painting, and my usual litany of words fails me. He has set the stage with a dark wash of gray across the horizon, the empty paddies, separated by snow covered paths, reflecting the dark sky. Brown leafless trees stretch out from the white ground interrupted by massive crags of stone, and tucked away in the shelter of all this is the soft pink warm walls of a village idling away the winter months in comfort. The delicate use of light color throughout the scene provides a much richer, deeper perspective than is normal. The scene is mounted in rich brocade embellished with vines, extended in beige brocade of similar pattern, and features solid ivory rollers. It measures 22 by 55 inches (56 x 140 cm) and is in perfect condition but for a small pale spot like a fingerprint in the mountain below the signature.

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 very fine early 20th century screen hand-painted simply and exquisitely with the mixing branches of a blossoming cherry and both fresh green and red maple. The painstaking detail in each individual leaf and flower is breathtaking. The awesome scene is triple bordered inside a frame of green brocade, red and black silk and gold. We have had the screen re-backed with original style forest green paper and replaced the black wooden frame. It measures 31-1/2 by 66-1/2 inches (80 by 169 cm).

A very rare painting of a skull and scattered bones lost to autumns dead grasses by important 20th century Zen priest Takeda Mokurai. Ink on paper bordered in brown cloth with gray extensions; dark wood rollers. The scroll is 16 by 68 cm (40.5 x 172.5 cm) in fine condition.
Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

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

Offered here an ink landscape on paper by the eccentric and highly sought Japanese artist Fukuda Kodojin (1865-1944) dated 1919. Birds fly over the stubble of harvested rice fields, while odd thatch-roofed huts sprouting from wind beat grass focus our attention on the dark forested left of the scene. The vigorous brushwork and complexity of the scene belie the typical scenes of cold winter death, and seems to intimate a hidden energy busy at the task of Preparing for spring. It is set in an unusual border of olive brocade patterned with manjirushi (symbols of eternity) and flower dials. The scroll measures 14-1/4 x 61 inches (36 x 155 cm), and comes enclosed in a period wooden box. Kodojins status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government, he lived through the westernization of the Meiji, Taisho Democracy, and rise to Imperialism and defeat of the Showa era. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. Taking the time just before his death to destroy the large portion of his remaining own work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. His work also was recently presented for exhibition at the New Orleans Museum of Art, and is part of the Hakutakuan collection among many others.

An amazing bit of weaving has been performed on this modern bamboo basket made in the shape of a gardener’s vegetable collecting basket. The long body has tall sides, open at one end, and is signed underneath Tosho. It has been formed of two shades of thinly cut bamboo, susutake and aged yellow take. Susutake is taken from the roofs of traditional houses, highly prized as it takes many years to color, being stained slowely by smoke and soot from the hearth fire. The basket is 10-1/2 by 26 by 9 inches (66 x 26.5 x 23 cm) and is in perfect condition.

A massive evocative painting exhibited at the first Bunten National Exhibition in 1908 by Ito Koun enclosed in a large period wooden box and pblished in the Nitten-shi series volume I. It is performed with pigment on silk, and shows that soft, almost mystical touch typical of late Meiji Rekishi-ga historical imagery. The samurai crouches at the gate, letting fly arrows at his overwhelming opponents. Metal tipped shafts pierce the thick wood of the gate before him and broken arrows lay scattered among the fallen leaves at his feet; a poignant reminder of the fleeting life of the warrior. The scroll is 120 x 149 cm (47 x 98 inches) and is in overall fine condition; a museum class painting.
Ito Koun, (1879-1939) was born in Tokyo with the name Ito Tsunetatsu in July of 1879. He studied under Murata Tanryo, and exhibited with the Bunten National Exhibition to which he was named a committee member after 1925. He specialized in Rekishi-ga and historical scenes.

White cranes soar from the black water of a lake tucked in the shadow of orange hills on this lovely mid 20th century scroll enclosed in the original signed and stamped wooden box by Takazaki Ko (b. 1910). Extremely delicate yellow trees reflect off the dark surface of the lake, contrasting with the thick ranks of orange marching up the hillside. Painted in the audacious style of Banka, the painting retains a quiet charm in the singular movement of the graceful birds. It measures 19-1/4 by 78-1/2 inches (49 x 199 cm) and is in excellent condition. Oki apprenticed twice, both under Nakamura gakuryo (1890-1969) and Maeda Seison

Gazing at the back of the traditional Maiko apprentice, pins and combs hold her coiffure perfect, our eyes travel down to the neck revealed as it joins the white painted shoulders, the luxurious kimono with its signature high and draping sash: She has the two of hearts! A very unusual painting reflecting the oddities of western influence at the opening of the 20th century by Matsumoto Ichiyo (1893-1952). It is truly a sketch, very possibly made from life while the young apprentice artist watched his teacher being entertained by the young apprentice geisha. It is performed with light color on silk, bordered in the Taisho manner with horizontal stripes of a softly charred blue, ivory and orange. The Ichimonji and integral Futai are streaked with true gold thread. It measures 40 x 195 cm (15-1/2 x 77 inches) and is in overall very nice condition, with yellowing of the silk to attest to age. There is some loss to the white Gofun clouds on the obi (sash), and it appears that red at the back of the collar may have been re-painted, possibly when it was mounted (which appears to be slightly later than it was painted).
Matsumoto Ichiyo was born in Kyoto, midway through the tumultuous Meiji period, and attended the city art primer before entering the Municipal School of Painting (Later Kyoto University of Art) where he jointly studied under the private tutelage of Yamamoto Shunkyo at his studio. While at school his first painting was accepted into the 9th Bunten (1915) National Exhibition. With a great emphasis on the revitalization of Yamoto-e tradition, he remained active on the National level, being consistently exhibited and prized, and later serving as professor at his Alma Matter. After the Second World War he served as a juror for the Nitten, and continued research and resurrection of Yamato-e until his death in 1952.

7 twisted gold pines shroud a seedling on the roiro ground of this fine togidashi suzuri bako writing box dated 1931 by Moriya Shotei enclosed in the original signed wooden box. The writing box contains the original suzuri ink stone and water-dropper. Inside the lid is the large character Kotobuki (fortune) followed by an inscription reading 88 year old man Bajo Kasho. The piece is signed Design by Hakuho and dated the fifth month of 1931, the box dated the following year, 1932, titled 8 pine trees and signed Shotei (Moriya Shotei) followed by a studio stamp reading Sansho-An no In. It is 8-1/2 by 6-1/2 inches (22.5 x 16.5 cm) and in fine condition, and will be professionally cleaned before shipping. There is a small chip in the gold on the edge of the ink stone. If desired this can be repaired with gold, at cost. Togidashi is one of the most difficult styles of lacquering; where the design is created, then entirely covered over with the background color and ground down to reveal it, leaving the surface mirror smooth. Moriya Shotei was born in 1890, a period defined by the revival of lacquer arts in the later Meiji. He apprenticed to Shirayama SHosai (1853-1923) and a joint work by these two artists is held in the MOA museum collection. His work was consistently exhibited at the Bunten, Teiten and Nitten National Exhibitions. He died in 1972.

A free-form watercolor on silk image of a dancer by Nishimura Goun inside a Kurogaki (black persimmon) frame with patterned brocade border. Who could not fall in love with this unusual expression of early twentieth century Japanese Art. She speaks of an era when a new freedom was growing in Japan, the growth of Democracy and rise of women’s rights. She dances free of care and self-consciousness, a blue ribbon tying her hair. Signed and stamped in the upper left corner, the painting is 42 x 37 cm (16-1/2 x 14-1/2 inches) The frame is 56.5 x 52 x 5 cm (22 x 20-1/2 x 2 inches). Both are in fine condition.
Nishimura Goun (1877-1938) was a prominent Pupil of Kishi Chikudo and Takeuchi Seiho. He showed at the Nihon Bijutsu Kyokai (Japan Art Association) and then with the Zenkoku Kaiga Kyoshinkai (National Competitive Painting Exhibition). He was awarded at the first Bunten National Exhibition (1907) and later served as a judge at that prestigious event. Later in life he would be named a member of the Imperial Art Academy. Works by him are held in many private collections as well as the Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, Yamane Museum and the Gotoh Museum among many others.

A superbly detailed story Ranma carving, likely from an altar, in which five figures reside among golden maple and cherry blossoms. On the left a colorful figure dips water from the cascading blue waters of a steep fall, a man in priests robes behind him. Three other gentlemen in white robes watch from close at hand, a bundle of sticks, perhaps for making tea, perched in the foreground. Each figure is meticulously carved and painted, the entire scene gilded in gold. The carving comes enclosed in a vintage wooden box, and dates from the Meiji period (1868-1912). The piece, which has been fully cleaned and restored to new condition, measures 21-1/2 inches (54

A large Kiji porcelain vase with florals (stylized millet?) in raised relief by Miyanaga Tozan enclosed in the original signed wooden box. The architecture and infinite care shown in the carving on the surface proves this to be a superb piece deserving of the name of one of Kyotos top porcelain artists. The vase is 10-1/2 inches (27 cm) tall, 11-1/2 inches (30 cm) diameter and in excellent condition. 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. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

A pair of Wooden doors dating from the later Meiji to Taisho period of fine clear grained panels hand-painted with butterflies, birds, and floral dials in brilliant color by Maruyama Oyo in red lacquered wooden frames retaining the original brass hardware. They are made for an opening 141.5 x 180 cm (55-3/4 x 71 inches). They are in overall fine condition. These were acquired from a large estate along the Kamiyagawa River in Kyoto’s posh Kinugasa district.
Maruyama Oyo (1868-1923) was the adopted son of Maruyama Obun and became the sixth generation head of the Maruyama School of painting in Kyoto. You will find works by this famous artist in the British Museum and the Brooklyn Museum among others.

Hand formed copper vase with waves in annealed silver signed on the side and enclosed in the original signed wooden box dating from the 1950s. It is 20 x 15 x 21 cm (8 x 6 x 8 inches) and in excellent condition.

A dragon wraps around the trumpeting form of this brilliant yellow vase by Makuzu Kozan II (Hanzan) enclosed in the original signed wooden box. A vibrant contrast between the yellow and blue is enhanced by the artists care and minute detail. The vase is 8-1/2 inches (21 cm) tall, 6-1/4 inches (16 cm) diameter and in perfect 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, as in the case of this piece, which is stamped Makuzu with the box signed Kozan. 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 set of five Porcelain Tea Cups decorated by 5 individual artists from the early 20th century; Tomioka Tessai, Tajika Chikuson, Kamisaka Sekka, Imao Keinen and another as yet unidentfied artist, stamped on the base by the kiln. Each cup is uniquely hand painted by the artist; all stamped on the base by the potter, and come enclosed in a quality custom-made period wooden box. Each is roughly 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter and all are in fine condition. A similar set by these artists can be found in the Honolulu Museum of Art.
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 Nouveao 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.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Imao Keinen (1845-1924) was born in Kyoto, and initially schooled in the Ukiyoe style before becoming a pupil of Suzuki Hyakunen, from whom he received his name. Master of many styles, he was a member of the Imperial Art Committee and Imperial Art Academy, and served as Juror for the Bunten as well as teaching at the Kyoto School of painting. A very influential painter known for his detailed Kacho-ga. He is held in the collections of the Ashmolean, Metropolitan Museum NY and Museum of Fine Arts, Boston among others.
Tajika Chikuson (Also Tachika, 1864-1922) was born in Takeda (modern Oita) and initially studied painting with Fuchino Keisen before moving to Kyoto where he apprenticed under another Kyushu born Nanga artist Tanomura Chokunyu, placing him in the direct lineage of the great 19th century literatus Chikuden. Along with Ikeda Keisen and Yamada Kaido, he helped to establish the Nihon Nanga-In. He was repeatedly awarded at the Bunten National Exhibition, and left a lasting impression on the world of Japanese Nanga with his many students.
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A porcelain Koro by Mashimizu Zoroku II and decorated with a tiger by Tomita Keisen and enclosed in the original wooden box signed by both artists. It is 12 cm (5 inches) diameter, the same height with a solid silver hoya of woven net weave by signed by Koju.
Mashimizu Zoroku II (1861-1936) inherited the pottery tradition of his father, Zoroku I and grandfather Wake Kitei III in the Gojo zaka district of Kyoto. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition.
Tomita Keisen (1879 - 1936) was born in Fukuoka on the southern Island of Kyushu, and went to Kyoto to study painting under Tsuji Kako as well as the Nanga Style and traditional Buddhist painting styles. He exhibited with the Bunten/Teiten National Exhibitions as well as many others. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. 24 works by this artist are held in the National Mueums of Modern Art in Tokyo and Kyoto as well as any number of other public and private collections including the Museum of Fine Arts in Boston, Rijksmuseum, Minneapolis Institute of Art, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others.

A gentleman standing in courtly robes takes advantage of a warm spring night to get in some reading. Standing on the balcony he puts light to a hanging lantern, illuminating cherry blossoms wrapped in evenings misty veil beyond the rail. This is an excellent example of Meiji period Yamato-e signed Saiho which has been fully re-mounted in quality patterned brocade, and retaining the original bone rollers. The watercolor and pigment on silk scroll measures 18-1/4 by 76-1/2 inches (51.5 x 194 cm), and comes enclosed in a period kiri-wood box. The patterns in his kimono are produced using a stencil and gofun (powdered shell), and the straight lines of the sudare (reed curtains) partially obscuring the scene are a testament to the artists great skill. There are light scattered marks typical of age, but do not detract from this great work.

Perfectly formed characters eschew the virtues of the scholar life and way of tea through the Gyokusen Chaka (Song of Tea) decorating this masterpiece of calligraphy and design by Miura Chikusen enclosed in the original signed wooden box. Books have been written upon the subject of this poem centering on the experience of a Tang dynasty recluse reaching Daoist enlightenment through the drinking of seven cups of tea. The bowl is 17 cm (7 inches) diameter, 10 cm (4 inches) tall and in fine condition.
The Tang dynasty poet Lú Tóng, wrote " Thanks to Mèng Jiànyì for Sending New Tea." Which has come to be simply called The Tea Song (of Yuchuan). Much too long to offer fully here, I offer the first few lines (A full translation will be provided):
The sun already high in the sky,
An envoy wrapping on the door called me from sleep.
The imperial censor Meng had sent a letter,
wrapped in white silk with three seals.
Inside, it was as if I could see the face of Meng
In the 300 blocks of "round moon" tea…
Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.

Exceptional Edo p. Japanese Screen, Demon War An exceedingly rare set of four dramatic paintings divided into segments depicting a variety of battle scenes and supernatural phenomena, each heavy pigment on paper canvas mounted on one of four panels of a gold screen bordered in mulberry. The scenes appear to comprise a fragment of the tale of Daikozan (Oeyama), a Kyoto tale where in a powerful demon was lured to drink, then cut to pieces in his stupor. The screen itself is 20th century; however the paintings would date from the mid Edo. On the far right sword bearing men, priests and women run from monsters with giant heads while a cloud roiling with demonic figures bears down on the scene. A tanuki with the head of a woman can also be found here. Below women perform dance on the balcony of a palace for a long nosed tengu attracting a crowd of onlookers. The second panel is divided into four scenes of women reading a hand scroll to the same tengu from the first panel hidden behind a bamboo fence. Below we see him again seated outside a room awaiting audience with divine figures. Below this he is throttling a sword bearing soldier, a ghostly lute player on the left, and a raucous battle on the steps. On panel three the battle rages. Men hack away at each other while a head is presented indoors, and a man and demon appear ready to draw swords over the decapitated corpse. Below gory warfare rages, samurai and demon fighting indiscriminately. In the last scene a flock of birds attack one fellow, while heads topple hither and yon. The paintings were likely originally part of a larger screen, which have been cut down over time from re-mounting. The fantastic screen measures 107 inches by five feet (272 x 153 cm). There is some loss of paint; and the paintings, due to great age, are somewhat delicate.

What a pleasure it would be to drink from this haunting 17th century (Momoyama to early Edo) Karatsu Guinomi Sake cup with gold lacquer repairs. It is 2-1/2 inches (6.5 cm) dimeter, 1-3/4 inches (4.5 cm) tall. There are 2 tiny gold repairs gleaming softly on the rim like a yellow moon peering through clouds on a dark night. .

A superb Sajigawa stone of deep olive patina, completely natural, on a carved rosewood base and enclosed in a fine old straight grain wood box. Notice the entirely natural arch growing between the two spires. This is incredibly rare and a fine prize. This would be considered a house shaped stone, reminiscent of a farm-house and its adjoining out-building, a covered passage between. Saji stones come from the Saji river in Tottori prefecture. This is 3 x 4-1/2 x 3-1/2 inches (8 x 12 x 9.5 cm) and is in excellent condition, the base signed by the carver.

A beautifully decorated lacquer box dating from the 1930s or 1940s enclosed in a signed wooden box. Inside silver flake on shiny black, outside what appears almost a matt finish, of dark soft orange-peel texture with brilliant designs in raised gold and silver maki-e wrapping around the edges. The artists signature can be discerned in the nashiji beneath. The storage box originally bore the title and signature in ink, which was later covered over with silver Maki-e (the original ink signature is still visible beneath). We have had it professionaly cleaned inside and out. It is roughly 8 x 10 x 5 inches (21 x 25 x 13 cm) and is in superb condition. Shimada Shunko (1910-1986) was active throughout the early to mid 20th century, and was displayed at the Nitten National Exhibition among others.

A rare yari-no-saya of course bristles blossoming tuft-like from a 7 inch black lacquered wooden sheath bound with strips of bamboo resting on a four legged hardwood stand. The Edo period piece is in excellent condition, with only minor damage to the wooden ring about the bottom of the tuft. It is made to take a spear head over 8 inches long.

A large bronze vase on rosewood stand featuring a dragon rising into three dimensional form from the murky surface; signed on the base Shinsui. The fearsome creature appears like a wraith, points of its armored body writhing through the dark patina. The stand itself is a work of art, exquisitely carved with four cut through diapers, on each corner of which is a squat leg, a large floral dial carved through in the center. The vase is over 9 inches (23 cm) tall, 10 inches (25.5 cm) in diameter and in excellent condition. In Buddhism the dragon is considered as the guardian of faith and the protector of sacred places. Because one could never grasp its whole personality, the dragon is usually not shown in its entirety but half hidden in swirling clouds and stormy waves.

A pimpled toad looks to the sky exhaling a clouded spirit, a truly superb version of this theme in deep caramel bronze dating from the Meiji period. It is an interesting theme, the ugly creature elevated to the status of saint. Judging by color and quality, we attribute this as the work of Kanaya Gorosaburo (1836-1890), a bronze artist of Kyoto fond of this color and known for his superb modeling and detail. Not always signed, Gorosabutro was often known to sign only the box. This piece is unsigned. It is 7-1/4 inches (18 cm) tall, with the basin 5 inches (12.5 cm) diameter.

An unusual Ryoku Odoshi Ni-Mai-Do Gusoku armor of pleated horizontal plates and Armadillo scale mae-ate reminiscent of the leather covers on the front of older O-yoroi with an inscription inside the box lid attesting the armor to the property of Prince Arisugawa Taruhito. It features a black lacquered 62 plate suji kabuto with simple brass Tehen Kanamono and 6 lame shikoro with arisugawa crest on the fukigaeshi and genuine armadillo tail maedate. The mask is a Me-No-Shita Ho with prominent moustache and removable nose piece and featuring a Kiritsuke Kozane Nodokake throat defense. The Do consists of rows of pleated iron bands riveted together, with upper and lower plates of smooth iron covered in black tataki-nuri lacquer. The Armadillo scale chest piece is removable. From the waist hang 6 rows of five iron scales. The Sangu are all matching in cloth and style to the armor, with 2 piece hinged Bishamon Kote attached to the Shino sleeves. The Arisugawa Crest is prominent in gold on the black field of the Kawara Haidate. The armor retains the original ukezutsu flag holder and comes in a simple red lacquered wooden box. Quite striking with the exotic animal scales, it must have made quite an impression. However the underling armor is very simple and might allow an Imperial Prince to escape in the milieu without scrutiny in the event of a failed uprising. There is a chip to the lowermost lame of the shikoro, as well as some chips to the lower rows of the nodokake and black lacquer about the arm and neck openings in the Do. The Tortoise shell toggles securing the sleeves have become dilapidated (although all of the chord is strong) and most of the original bear fur on the lowermost Kusazuri has fallen. As noticeable in the photographs it does present a powerful display.

A set of Nesting Shino Sake Cups with Dice. They are stamped on the base, and come in three sizes, the accompanying dice imprinted with the various sizes on each side, so a roll of the dice decides your fate in the drinking game. Very unusual and in excellent condition, they are (stacked) 2 x 2 x 1-1/4 inches (5 x 5 x 3 cm).

A monkey reaches toward the moon, arms outstretched from the gnarled trunk of an ancient blossoming plum on the side of this large pottery bowl by Kiyomizu Rokubei IV and decorated by a young Takeuchi Seiho. It is 23 cm (9 inches) diameter, 9.5 cm (4 inches) tall and is in excellent condition, and comes enclosed in a fine custom made kiri-wood box.
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. Takeuchi Seiho (1864-1943) will be a subject of any discussion of 20th century Japanese art. He learned painting from the famous Shijo school artist Kono Bairei and traveled to Europe, where he solidified his own unique style. One of the most influential of early 20th century painters, he served as a teacher at the Kyoto Municipal School of Arts and Crafts, a member of the Imperial Art Academy and was a member of the Bunten from its establishment, serving on the selection committee. He is hailed as one of the founders of the modern Kyoto School, and received innumerable awards including the order of Cultural Merit.

A wily fox stands, head cocked to one side wrapped in the robes of a nun, something to be wary of this ceramic Okimono by Takahashi Dohachi enclosed in the original wooden box titled outside Dohachi Zo Hakuzoso, and signed within Kachutei Dohachi Zo followed by the artists stamp. It is 8 inches (21 cm) tall and in fine condition. This dates from the later Edo or first half of the Meiji period (mid 19th century), a time spanning two generations of Dohachi when both ceramic sculptures and imagery of the supernatural were both popular.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production 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.
Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I in Kyoto. He opened a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. 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 working to expand the family reputation within tea circles, along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. He is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among others.
The third generation (1811-1879) was known as Kachutei Dohachi and continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the anals of Kyoto ceramics well into the Meiji period.

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.

Two Meiji period Ostrich eggs hollowed and decorated with rich lacquered Maki-e designs of Uminosachi (treasures of the sea) on one, and Royal Crests among scrolling vines on the other. They come in a custom collectors compartmentalized kiri-wood box, one with the original Meiji period stand, the other with a more modern brass wire stand. They are roughly 6 inches tall each (16 cm). The Tai fish has cracks in the thick lacquer, but it is stable, and features a glass eye. More photos availableuponrequest.

The character Kotobuki followed by a playful verse crying Watashiya kyujukyu made (Longevity, I live to 99). Ink on paper enclosed in a subtle cloth border befitting Zen art. It is stamped Taishitsu (his art name) and enclosed in the original signed wooden box with the same inscription on the lid. The scroll measures 10 by 73 inches (26.5 x 185 cm). There is some cupping in the scroll, otherwise in fine 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.

An haunting 17th century sumi-e image of a goose at twilight by Kano Toun (1624-1694) in the original Edo silver threaded brocade border patterned with clouds, upper and lower extensions of heavy coffee colored cloth ending in ivory rollers. The almost complete dominance of white seems to convey a passage through space, from clarity into obscurity, leaving the viewer with a slight sense of loss echoing in ones memory. Kano Toun, (born Masanobu, 3rd son of Goto Mitsuyori) first learned painting under Hogan, then became the pupil of Kano Tanyu (1602-1675). The influence of Tanyu on the painter is obvious. This is one of the finest scrolls we have owned. It measures 10 1/2 inches by 56 inches and is in fine condition.

A hand carved antique wooden mask of Tenko or the nine-tailed Kuuko, heavenly White Fox (kitsune) which do good, wrapped in a modern silk bag and enclosed in an antique black lacquered wooden box. The mask is roughly 21-1/2 x 17 x 20 cm (8-1/2 x 7 x 8 inches) and in excellent condition. A cartouche bearing the artists signature can be seen inside the black lacquer within. The Fox has many roles in Japanese Folklore. First it is a symbol of fortune and bounty, and guards Shinto Shrines as Inari-san. That is all good but it also has a devious side, with the ability to shape-shift, turning itself into a woman in order to lure victims to their doom. The Kitsune mask is used for the old fox in Fox Trapping (Tsurigitsune), the highest-ranking Kyogen play in which an old fox who has lost all of his relatives to a hunter's trap assumes human form to try to convince the hunter to stop killing.

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…

A saintly recluse dozes restfully, his pole dipping to the waves below the rocky outcrop upon which he sits; a fine bronze figure dating to the Meiji period and signed on the reverse. The figure with the rock is 32 x 22 x 30.5 cm (11 x 9 x 12 inches) and is in fine condition.

A stunning painting of Mt Fuji viewed from a misty sea by Yukansai (Kano Arinobu, 1605-1677) painted in 1672 at the age of 67 on silk. The image of Fuji, broken by clouds, dominates the scene, with rolling hills and sailing vessels visible in the foreground. It is mounted in a field of copper brocade extended above and below in beige silk and measures 26 by 49 inches.

A set of two gilded and lacquered wooden Imperial memorial tablets dating from the Taisho period (1911-1925) on elaborate 3 piece stands; one etched with the name of the Meiji Emperor, the other noting the current emperor (at that time). The mirror, one of the three Imperial signs, is represented floating in a sea of stylized clouds on the cornice cap, separated from the ornately carved plaque by a red and black lacquered slab. The scrolled center section is adorned with Imperial chrysanthemum dials in a field of blue, originally decorated with (now faded) vine tendrils. In the Gold center of one is written Meiji Tenno Songi, in memory of the Meiji Emperor. This tablet appears to have lost some of the gold lacquer, revealing a smooth, darkened silver underneath. On the other is Kon jo ko tei fuku ki ei koku bou ka mu kyu, A prayer to the present (at that time) emperor for long life, and to bring hope and prosperity to the country. The two epitaphs rest on square gilded slabs carved with folding flower petals, which in turn rest on a black and red lacquered, two-footed wooden base. This whole package is set on a sloping raw cedar stand, which is in turn on a small gold base, in turn set on a large gold stand. This lower section was so blackened with age I did not know it was gilded until we started cleaning it. Each piece in this puzzle features a panel of vertically striated wood set in to the front. The entire structure is 50 inches (127 cm) tall, with a base footprint of 10 by 15-1/2 inches (25.5 by 39.5 cm). The tablet itself measures 21 inches (53 cm) tall. On the black lacquered back of one are written the birth and death records of recent Emperors on two pieces of overlapping paper. It would seem the original paper was written at the beginning of the Taisho, and later amended with information on the Showa Emperor.

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

What a fantastic expression worn by this Edo p. Seto Hand warmer (hibachi or properly Shuro/ Te-abure). The dark shiny Seto glaze suits well the beast portrayed. Coals would have been burned inside, heating the surrounding pottery walls, and the piece would have been placed on a step leading into the house for guests to warm their hands on or used within the house in a more formal room. It is 13 inches (33 cm) long and is in fine condition overall. It appears as if when potted the craftsman had allowed for a hole near the top of the opening for storing the hibachi tongs, however had second thoughts and filled that hole with a biscuit before glazing. A hairline stress crack has formed along the left side of that patch of clay; otherwise it is in excellent condition. Rabbits and Daruma are often seen, but the bull is an uncommon theme for this particular implement.

Festive red paper lanterns parade in a sea of mist across this elegant 20th century scroll by Hayashi Bunto (1886-1966) enclosed in the original signed and stamped wooden box. A wonderful summer-time scene reminding one of all the matsuri-festivals dominating the nights of this season. The silk scene is bordered in blue ending with bone rollers trimmed with gold. The scroll is 22 by 52 inches (56 x 132 cm) and is in fine condition. Bunto studied painting under Yamamoto Shunkyo, and became a preeminent Shijo school artist of the early 20th Century. He is held in the collection of, among others, the Museum of Modern Art, Kyoto, as well as many private collections.

A superbly rendered image of a golden-eyed monkey with prehensile tail curling upward in a fine mounting of golden striped brocade by Ota Issai. The scroll is 34 x 59 inches (86 x 150 cm) and is in excellent condition, completely remounted using quality materials without overpainting. Ota Issai (1892-1979) was born in Nishio city, Aichi prefecture near modern day Nagoya. He graduated the Kyoto E-ga Senmon Gakko (future Kyoto U of A) where he studied under Kawai Gyokudo, specializing in animal imagery.

A Fine bronze by the modern master of the Japanese bronze tradition, world renowned Hasuda Shugoro, enclosed in the original signed wooden box. The modern form is belted in geometric patterns with a mottled olive and red patination, signed on the base Shu. It is 6 x 7 x 9-1/2 inches (17 x 15.5 x 23.5 cm) and weighs approximately 5.5 kg (12 lbs) in excellent condition.
Hasuda Shugoro was born in Kanazawa City in 1915. After graduating the Ishikawa Prefectural Industrial School he moved to the Tokyo School of Art. Much lauded his first award was at the 5th Nitten in 1949 and he received the Hokuto-sho there in 1953 among many further prizes. He participated in the founding of the Creative Crafts Association in 1961 and founded the Japan Metal Sculpture Institute in 1976. Decorated with the Order of Cultural Merit in 1991, Hasuda Shugoro stands as one of the leading modernist artists working in bronze during the Post-War Period. A vase by the artist sold at Christies in 2012 for 2,500 pounds (roughly 4,000 dollars). For more on this artist see Hasuda Shugoro Kinzoku Zokei (1981).

An unusual image of a towering stone among pines by Yasuda Hanpo enclosed in the original signed wooden box dated 1935. It is titled Sosui Manken (In the shade of Towering Trees. Light pigment and ink on paper in a cloud-patterned satin border with large bone rollers. 46.5 x 207 cm (18-1/2 x 82 inches) and is in exceptional condition.
Yasuda Hanpo (1889-1947) was a Nanga artist studied under Mizuta Chikuho and Himejima Chikugai. He was first accepted into the Bunten in Taisho 6 (1918) and was steadily accepted throughout his life. From 1922 he also participated in the Nihon Nanga-In Exhibition. Held in the National Museum of Modern Art Tokyo among others.

Nita A ring of skulls playfully sojourn on the front of this rather unusual deep Edo Karatsu Chawan. On back another pair tumble helplessly over the thick speckled glaze. The base is bare earth, dark and shiny with age and handling. The skulls are not just resist painted on, but are actually incised, the eyes and nostrils set deep into the southern clay. The bowl is 3-1/2 inches (8.5 cm) tall, roughly 4 inches (10.5 cm) diameter and is in excellent condition, enclosed in a wooden box.

Lidded crystal eyes gaze serenely down from the Rakans purchase high on the lofty temple walls. The face is expertly crafted, with a distinct Chinese air reflecting the fact the Rakan (Arahat) were all from the Continent. The robes of green, white and red are patterned with scrolling vines and dials. A dedication on back Appears to be Made for/by Konoike-mura Hachiuemon and is dated Ho-Ei 7 (1710). The new wooden base on which it stands states the piece was restored in 1993. One of likely 16 images which would have been set high in the interior of the temple, gazing down on the faithful as they pray and chant to the main deity. The figure is roughly 20 inches (50 cm) tall and in fine condition, with only minor losses to the colored robes to attest to its great age.
Rakan (Sanskrit Arhat also pronounced and written Arahat, Arhan, Rahat, etc.) is translated the worthy one"; one who has attained the highest level in the Theravada school; the fruition of arhatship is nirvana. He is thus a perfected Arya, one exempt from reincarnation; "deserving Divine honours." This was the name first given to the Jain, and subsequently to the Buddhist holy men initiated into the esoteric mysteries. The Arhat is one who has entered the last and highest path, and is thus emancipated from rebirth. The degrees of Arhatship, called respectively Srotapatti, Sakridagamin, Anagamin, and Arhat, or the four classes of Aryas, correspond to the four paths and truths.

A lacquered and iron bound round lidded box called a kubi-oke made to carry the head of a man taken in battle or that of a man after committing ritual suicide for offering to the lord. It is 13 inches (33 cm) diameter, 11-1/2 inches (29 cm) tall with large handles from which it could be carried on a pole. There is mouse damage on one part of the bottom, but has not eaten through to the inside.

A beautiful Meiji period basin of light weight metal gilded with genuine gold leaf with each individual petal rising to form the fluted rim. Much worn from handling, the bowl measures 25 cm (10 inches) diameter and is 12 cm (5 inches) tall.

Sennin, Daoist immortals, relax, Gamma with his three legged toad looking shocked upon his shoulder, Tekkai sending his spirit forth, the essential equipment of the Daoist life scattered about them. The painting is dated 1912 and signed Kodo. The artist has chosen a very humorous stance from which to depict his subjects. The silk image is mounted on a panel of applied gold flake and framed in striped Ebony,. The frame is 142 x 48 cm (58 x 19 inches). There are some minor abrasions to the surrounding gold paper. As the traditional Japanese home was made with earthen walls, which could not support weight, hengaku frames of this manner were made to be suspended from the edge of the ceiling, and supported over the transom (Kamui) which ran the entire way around a traditional Japanese room at door height.
According to the MIA, The Daoist immortals, Gama Sennin (Chin. Liu Hai) and Tekkai Sennin (Chin. Li Tieguai) “were often paired in Japanese and Chinese art because of their corresponding supernatural powers. Depicted on the right is Gama Sennin, known literally as the ‘toad hermit,’ a character based on the historical civil servant and alchemist Liu Hai of 10th century China. Various accounts associate Gama with a large, three-legged toad by which he can be identified. Gama was thought to be able to release his spirit from his body, metamorphose, and fly with the aid of his magical companion. Tekkai Sennin is the Japanese adaptation of one of the Eight Immortals (Baxian), an assemblage of Daoist and/or folk deities. He was thought to be capable of leaving his body, sometimes traveling for extended periods. On one occasion, he asked a disciple to watch over his body and instructed him to burn it if his spirit did not return in seven days. On the sixth day, however, the disciple’s mother died, so he burned his master’s body and went home. Returning on the seventh day, Tekkai’s spirit found his body gone, leaving him no choice but to adopt the corpse of an emaciated beggar that he found beside the road. Like Gama Sennin, he is associated with medicine, and is traditionally represented with a gourd that signifies his ability to transcend the body and to offer healing.”
Due to size the cost of shipping will be accrued separately.

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).