Catalog: Archives: Regional Art: Asian (643)

A large vase by Takahashi Dohachi and decorated by Hashimoto Dokuzan enclosed in the original wooden box signed by both artists. Also, stored in a separate compartment is a wooden stand which appears to have once been part of a temple or altar. The vase is covered in a typical crackled Kyo-yaki glaze, and decorated in cobalt with two figures in a watery landscape, one fishing, the other on top of a stone playing the flute. Judging by the style it is likely an allusion to the famous friends Kanzan and Jitoku. The vase is 12 inches (31 cm) tall, 9 inches (23 cm) diameter and in fine condition.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Nigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under Tomioka Tessai. At the age of 20 he entered Tenryuji under　Gazan. He received Inka from　Ryuen. In 1910 he moved to Shokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Shokokuji, both important Zen temples in Kyoto.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles.

A noborigama (multiple chamber climbing kiln) ascends the right side of this wildly brushed Autumnal Nihonga screen signed Takuji, which dates from the late 1920s or 1930s. Drastically contorted thatched buildings are shaded by a massive leafless tree which dominates the center of the scene. A few remaining leaves dangling after winters first frosts, shine with gold about the edges. The back ground is a milieu of rich blues and blacks, shaded with the ghosts of winter trees, the whole awash with mica, giving it an ethereal glow. In the foreground smoke drifts from where unglazed pots are being fired in a small subterranean kiln in the garden, and others are drying under the thatched annex on the left, while the craftsmen carry pots and wood to the kiln in preparation for firing. Nothing is within scale, yet the artist has managed to balance the extreme manga style work with the two dimensional charm which epitomizes traditional Japanese painting. The screen measures 68 by 74-1/2 inches (173 x 189 cm) and retains the original silk backing which is in fine condition. This is one of the most interesting screens we have ever owned. The eye is constantly pulled to a new aspect or view, and although it has been standing here in the office for almost two months (unprecedented) I have yet to tire of its interest. It is likely the screen is an early work by Koide Takuji (1904-1978) as, were one to take the radical brushwork of his Youga sketches and give them a Nihonga flair, the result would be something which looks very much like this. It was after all, in the 1930s, that the Japanese government took the ideology that Nihonga was the only true art in Japan, and a great many young artists practiced the genre.

A spectacular black lacquered wooden sign carved with bold characters over a gold gilded carp swimming through a torrent of waves dating from the late 19th to early 20th century. It is in fine condition, with only minor marks typical of age. It measures 4 feet (121 cm) long, 14 inches (35 cm) wide and is 1-1/2 inches (3.5 cm) thick at the frame edge.
Due to size the cost of shipping will be accrued separately for this item.

Three black rabbits huddle together to form this black-raku Shuro hand warmer enclosed in an old wooden box titled Kuro Mitsu Usuagi Shuro (Black 3 Rabbits Hand Warmer). They are 7 x 5-1/2 x 4 inches (18 x 14 x 10 cm) and in fine condition.

A moon rises behind the silhouette of a ragged tree by Kimura Hyakuboku enclosed in the original signed wooden box dated 1934 and titled Rokagami. Bordered in soft gray silk with dark wood rollers suiting the scene. It is 21-1/2 x 69 inches (54.5 x 175 cm) Kimura Hyakuboku (Shunzo) was born in Tokyo in 1884. While attending Kyoto University, he found himself attracted to Zen, and left the prestigious School to travel the Buddhist path. He was well known for his sumi-e ink paintings, especially fondly for those of trees.

A Karatsu style shuhai sake cup with cream glaze decorated inside and out by the Zen Priest Nakahara Nantenbo, a priest who was instrumental in reviving the Zen tradition in the beginning of the 20th century. Circling the circumference is a seven character inscription, the first six reading Kaisei Fugetsu O Kan, the last we have not been able to read. Written inside is an image of the priests infamous staff from which he derived his name, and in large characters NANTENBO, written by a 65 Year Old Man Toju (rokujugo okina Toju). Toju was his official Zen name, but his wild nature and propensity for using his long staff earned him the name Nantenbo. The central character Ten (heavens) has been playfully abbreviated to a single line pointing up like an arrow. The priests name-sake staff was cut from a 200 year old Nandina tree the priest found in a garden. After beseeching the owner he was allowed to cut down the tree and fashion it into his walking staff. The Nandina in Japanese is Nanten, and a walking stick is called a Bo, thus the name Nantenbo. It is known Nantenbo, like many priests of his time, was fond of Sake, Japanese rice wine. The piece is 1-5/8 inches (4.3 cm) tall, 2-1/2 inches (6.5 cm) diameter; slightly large for a sake cup of the time. It is in perfect condition but for a small old chip in the Mikatsuki kodai (foot). We could say this piece is very rare; in fact I have never seen nor heard of another. It was purchased in Kobe, home of Kaiseiji, the long time residence of this notorious priest. It comes enclosed in a custom kiri-wood box.

Gnarled plums cover the unusual rich blue ground of this antique tsubo vase from the Arita kilns dating from the early 20th century. It is 14-1/2 inches (37 cm) tall and in fine condition, signed on the base. The decoration is performed entirely in overglaze enamels with a gold rim,and is both vivid and fresh. One of the more unusual pieces I have seen from this region. It is signed on the base in Red Arita sei Miyuki Gama

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.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

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.

Blood red lips curl back from jagged teeth; the genuine Japanese Hannya-men from traditional Noh drama is carved of wood, signed on back and comes enclosed in a brocade bag and kiri-wood box signed Nakajima Senun. The surface is covered in a hard, gofun like substance with gold eyes and gold horns. It measures 8-1/4 inches (21cm) long and was made to be worn, and would appear to be from the later half of the 20th Century. .

An absolutely breathtaking set of two carved and gilded three tiered wooden stands in the form of blossoming lotus enclosed in the original kiri-wood box dating from the Meiji period. They stand 14 inches (35.5 cm) to the top flower, with each red-lacquered tier over three inches ((8 cm) in diameter. 13 individual fronds rise up to blossoms and leaves, each exquisitely carved and covered in gold lacquer over black. Despite the delicate appearance the stands are very stable. A truly unique set. There is some worm damage to the box along the lower edge, yet the stands are in excellent, well preserved condition.