Catalog: Archives: Regional Art: Asian (611)

A mandala from the Main Kyoto Nichiren Sect Buddhist Temple Honnoji cut from a hardwood slab used in the rebuilding of the great hall in the Taisho period. Written on back is “Given in Taisho 14 (1925) to the temple supporter’s representative as a prayer for good fortune upon the occasion of the ceremonial raising of the roof beam of the main temple structure (Honden), the plackard cut from wood used in the rebuilding”. It is signed Nichijo-gan. Nichijo was the 62nd head of Honnoji Temple, and supervised the rebuilding of the temple in the first quarter of the 20th century. The temple was completed in 1928, the same year Nichijo passed the reins to the 63rd head of the temple Niccho Jojin. The disc, of prized Keyaki, is 12 inches (30 cm) diameter, and in perfect condition, slightly darkened with age.
Honnō-ji is most famous for the Honnō-ji incident. Oda Nobunaga lodged there before his invasion of the west. However, on the morning of June 21, 1582, the traitorous forces of Akechi Mitsuhide, one of his top generals, surrounded the temple and set it on fire. Knowing there was no way out for him, Nobunaga committed seppuku. After Nobunaga's death, Mitsuhide himself was killed by farmers following the Battle of Yamazaki, where his forces were defeated by Toyotomi Hideyoshi, who completed the unification of Japan started by Nobunaga. Subsequently Hideyoshi’s own son died in a similar fashion after the second battle of Osaka, and the Toyotomi line ended, paving the way for the take-over of the Tokugawa Shogunate and the beginning of the Edo period.

A troop of Shishi lion dogs sewn with couched gold thread. frolic among the blossoms and crashing falls embroidered on the re-purposed rich blue patterned Edo period silk of this altar cloth. The original form was likely an uchikake kimono, assembled as an altar drape as a tribute to the owner at a Buddhist Temple. Embroidered up high is the Mitsuba-aoi crest of the Tokugawa Shogun, indicating this was from an aristocratic family as the quality of the embroidery presmes. The dimensions are roughly 150cm (59 inches) x 170 cm (67 inches) tall, and it is in remarkably fine condition. The kimono was re-fitted into its current form dated on back Meiji 13 (1880) followed by the name Okawa Yoshiuemon

Wisteria vines in gold and silver Maki-e lacquer decorate the natural body of this beautiful sake flask cut from a section of vine, hollowed and capped with natural wood and black lacquer, a pouring spout of brass bunged with bamboo. It is 9 inches (22 cm) tall and in fine condition, dating from the 19th century.

Ivy in colored maki-e lacquer drapes over the ro-iro polished black of this museum quality Tankei oil lantern dating from the 19th century complete with oil container, with both ceramic and lacquered-brass oil dishes; enclosed in the original wooden storage box. It is 22 x 18 x 54 cm (8-1/2 x 7 x 21 inches) and is in overall fine condition, with minor wear typical of age and use.
Historically slow burning rapeseed or fish oil would have been used, the long wicks burning on the dish draped over the notch at the top of the back. The orange dish would have been set underneath on the compartment lid to catch soot and drippings.
On the box is written (inside) Suki-e Tankei, Togidashi Maki-e Iwata (name illegible)ei saku (Ivy Decorated Oil Lamp, Togidashi Maki-e made by Iwata (illegible)) followed by the signature Iwata Takumi at the bottom. Outside, is written the same thing (sans signature). The paper up top reads Jidai Maki-e Tankei (Antique Makie Lantern), below is an inventory number (Andon Niban) Koko Saku Tankei. Like all works of art in Japan, several people would have been involved in the production of this piece, a Sashimono-shi who built the wood parts, the lacquer artist, the metal artist and the potter. In this case the pottery bears the stamp of the Raku family, traditional potters in Kyoto.

A young Maiko parts the curtains of an Okiya Tea-house entrance, perhaps on her way to training, or to begin a night of traditional entertainment through song and dance. Pigment and ink on silk in a fine brocade border with lacquered red wooden rollers. It is 25 x 78 inches (63.5 x 198 cm). There is some loss to the gofun in the center where it was obviously folded once before being mounted in its current state.

White Robed Kannon by Zen Wako (also Chon Fua Fan/Chow Wha Whang), Oil on panel, 22 x 27,5 cm (9 x 11 inches) in the original frame.
Zen Wako was born in Pyongan (modern day North Korea) in 1909, while that country was under Japanese Influence, and one year before it was officially annexed by Japan. He was first recognized in 1929 when his work was accepted into the Korean national Art Exhibition. In 1933 he came under the influence of Nishida Tenko (1872-1968), a spiritual figure in Japan who founded the Ittoen (Garden of One Light) Society. He began studies under Suda Kunitaro in 1945, and came to exhibit with the Kohdo Art Organization, taking top prize there in 1948. He would help to establish an art organization for Korean peoples living in Japan (Zai Nichi Chossen Bijutsukai) in 1953, and would serve as head of the Kansai area branch. His work would be exhibited in Europe, Japan and Korea. It currently is held in the National Museum of Modern and Contemporary Art, Korea, Gwangju Museum of Art, and a Painting of Kannon in the National Museum of Modern Art, Kyoto. He died in 1994. Unfortunately, due to the lack of consensus on how to spell Korean names in English, his name can be written Chon Fua Fan or Chow Wha Whang or any combination thereof.

A rare opportunity to pick up a perfect condition Mingei pot from the former Yonezawa Clan's Narushima-kiln of Imaizumi on the border between Yamagata and Fukushima prefectures, one of the Edo period Daimyo feudal kilns, dating from the later 19th to opening years of the 20th century. It is 7-1/2 inches (19 cm) diameter, 6-1/2 inches (16 cm) tall and in fine condition with no chips, cracks or repairs. Very similar in appearance to nearby Tsutsumi-yaki of Sendai, the lesser lip between the glaze lines is indicative of Narushima-ware, and the clay is less brick-like in appearance. It is rare to see a functional piece like this in perfect condition. Narushima-yaki was established under the orders of Uesugi Yozan, one of the great leaders of the Yonezawa Uesugi clan, when he sent Sagara Kiyosaemon to study the techniques of nearby Soma-yaki and open in kiln in the first year of Tenmei (1781). The kiln flourished throughout the second half of the Edo, but, like most provincial kilns, began to flounder in the Meiji period with new technology making the old ways obsolete, and it closed in the early 20th century. It has since been revived in the post-war era.

Ducks are the only life in this landscape of frozen rice paddies by Shirakura Niho enclosed in the original double wood box (Nijubako) signed Kanyu (the name he used later in his career). Teh composition is very minimalist, relying on the diagonal lines of paddy walls to define the foreground, only a haze of color to intimate the hills beyond. Judging by the style this likely dates from the 1940s and is an exceptional work by this innovative artist. Ink and pigment on silk in a superb border of patterned silk featuring solid ivory rollers. It is 26 x 56 inches (66.5 x 142 cm) and is in excellent condition.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

A very rare Nana-sun plate with swirling hake-me design from the kilns of Utsutsukawa dating from the early to mid Edo period wrapped in a ragged bit of sarasa dyed cotton cloth and enclosed in an age darkened wooden box titled Utsutsukawa-Yaki Kashibachi - Ikko (Sweets dish-1) It is 7-1/2 inches (19 cm) diameter. Thinly potted, there is a tiny chip in the rim, otherwise is in perfect condition; exceedingly rare for this type of pottery.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A crow stands stark against a dark landscape, the last vestiges of autumn clinging to frozen branches as the landscape settles with snow. Below water surrenders to gravity as it drops into the unseen depths. Ink and light color on silk in a green silk border patterned with tangled vines and featuring stag antler rollers. It is 19 x 76-1/2 inches (48 x 194 cm) and in overall great condition.
Tanaka Raisho (1867-1940) was born in Shimane prefecture, into an important household which fell to ills after the Imperial restoration in 1867. So giving up his dreams to study in Kyoto, he became a traveling artist, painting for fees in the mountainous areas of Hiroshima and Shimane, going from village to village and sending his earnings home to help the family. With copies of the work of Mori Kansai, he was self taught; only making it to Kyoto at the age of 36. A very late start for an artist at that time. After moving to Tokyo, and despite his age, he was accepted into the circle of Kawabata Gyokusho (1842-1913) and flourished under his tutelage, garnering much acclaim at the Nihon Bijutsu Kyokai Exhibition, and Teiten/Bunten National Exhibitions. However after the great Kanto earthquake of 1923 destroyed the city, he returned to Hiroshima where he lived out his final years.

The soft blur of blossoming plum, as if viewed in a dream, by Murashiam Yuichi. The evocative form, rising up in an arc to dominate the paper, seems powerful in comparison to the delicate petals clinging to new branches rising from the gnarled limbs. Ink on paper in green silk border, the scroll is 216 × 45cm (85 x 18 inches) and in overall excellent condition.
Murashima Yuichi (1897-1983 born Yuichiro) also known as Ho-o, was born in Toyama and graduated the Tokyo Bijutsu Gakko (Mod University of Art) under Yuki Somei. He exhibited with and was awarded several times at the Teiten/Bunten Nitten National Exhibitions. His Painting Horses in Pasture from 1942 is held in the collection of the Tokyo National Museum of Modern Art

Pierce-work combined with over and under glaze decoration create the perfect picture of spring on this bowl by Takahashi Dohachi enclosed in the original wooden box signed Kachutei Dohachi and titled Kenzan Yo Tsubaki Bori Hachi (Kenzan style Camelia patterned Carved Bowl). It is 20 cm (8 inches) diameter and in excellent condition.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.

Loops of white decorate the dark pitted glaze of this quashed bowl from the kilns of Kyushu dating from the early to mid Edo period. The small foot is testament to dating, and there is much natural wear to the dark glaze. The vessel is 14 x 10 x 6 cm (5-1/2 x 4 x 2-1/2 inches) with an age darkened chip in the rim where it rolls over on itself. It comes in a silk bag enclosed in a black lacquered antique wood box. It comes from a collection of Edo pottery, and inside the box is a receipt describing the bowl and the price 35.00 yen (about 30 cents today, but a huge sum in the pre-war years, when 1 yen was divided into 100 sen).

An elegant Edo period Mokko-Gata bowl decorated in gosu floral motifs over yellow under a clear glaze from the kiln established by Chinese Ming émigré Chin Genpin (Chen Yuanyun 1587-1671) around 1660 in Nagoya under direction of the Daimyo of Owari Province Tokugawa Mitsutomo. The piece makes use of Seto clay covered in a combination of imported yellow glaze and local glazes mimicking the popular Annan Yaki of Southern China and Vietnam. It is 15.5 x 11 x 7 cm (6 x 4-1/2 x 3 inches) and is in excellent condition.
Chen Yuanyun (Jap. Chin Genpin) was born in Zhejiang and studied at the Shaolin Temple in Heinan. He traveled to Japan on more than one occasion, the first in 1619. A gifted linguist, he became affiliated with many of the growing literati class in Nagasaki and would later travel to Kyoto and Edo where he became a favorite of the Shogun. He taught Confucian doctrine at the Domain School of Owari province from 1638, and with the fall of the Ming Dynasty shortly after remained in Japan. For more on Chin Genpin (Chen Yuanyun) see Articulating the Sinosphere by Joshua A. Fogel

A seething dragon in white bronze by Mitsui Yoshio dating circa 1930 enclosed in the original signed wooden box. The very distinct character of the creature is similar to the famous dragons of Yakushiji temple in Nara. It is 32 cm (12-1/2 inches) long, 25 cm (10 inches) tall and in excellent condition.
Mitsui Yoshio (1899-1959) was born in Tokyo and initially studied metal craft under Tsuchida Katsue and then Unno Kiyoshi. While studying at the Tokyo University of Art (then Tokyo Bijutsu Gakko, he was first accepted into the Teiten in 1927; graduating school the following year. He was a member of the Kofukai Crafts Division, and a consistent exhibitor with the Bunten/Teiten.Nitten, National Exhibitions throughout his career. His 1955 work Namazu (Catfish) was awarded and purchased by the Monbusho, and his work from 1956 received the Nihon Geijitsuin Prize. He passed away at the peak of his career at the age of 59.

A fine rendition of a plum by Tanaka (Zuitai) Ryurei (commonly known as Ryudojin, 1740-1804)). Ink on paper, it has been fully remounted in a silk frame with wooden rollers reflecting the original style. The scroll is 12-1/2 x 70 inches (31.5 x 178 cm).
Ryudojin was born in Owari, near modern day Nagoya. He is referred to also as Ryurei Zuitai and or Ryudo Reizui or simply Ryurei. Born into the Tanaka family, he was sent to the priesthood at Reigenji at the age of 11. Then he went to the capitol, Edo (modern day Tokyo) to study at Sengakuji. Returning to Owari he was put in charge of Heidenji. Proving his worth he was promoted to larger temples, eventually becoming the head of Manshoji. H was then put in charge of establishing temples, and worked to create three in the Owari area.

The full moon glowing in shimmering gold illuminates the silver blossoms adorning the ragged plum tree growing along the river bank, a superb lacquer box dating from the 19th century enclosed in a period wooden box titled Plum & Moon Maki-e Suzuri Bako. Inside the lid the stream continues, running past golden rocks and young flora reaching for the moon. Contained within is a grinding stone with gilded edges and a blossom shaped suiteki water-dropper inset into a raft structure upon which the brushes could rest without touching the brilliant sparkling nashiji gold flake. It is in overall very fine condition, measuring 23 x 25 x 5 cm (10 x 9 x 2 inches) with no cracks or repairs.

A mid Edo period (16th to 17th century) five plate cuirass (go-mai-do) of heavy iron emblazoned on front with a sun and moon in inlayed silver over the fierce god Fudomyo with protective sanskjrit characters in silver damascene on the sides and a five character phrase (The Gotoku or five precepts of Confucianism, also espoused in the book of five rings) on back, also in silver. It is lacquered red inside, and about the waste hang rows of black lacquered scales laced in blue with color fleckedwhite mimi-ito. The lacquer is in rough condition.
The Sode are made of plate iron lacquered black within, also laced in blue with white mimi-ito. The Sode are signed Koshu-nushi Myochin-Ki Nobunawa and dated an auspicious day in the 8th month of Tensho 2 (1574). Perhaps these were heirlooms passed down through the family that were incorporated into a suit of armor in the mid Edo period. It comes with papers from the Japanese Armor Society. A jizai butterfly with the same signature is held in the Musuem 50 in Kaohsiung Taiwan.
The Takahimo and Aibiki Himo (the tie chords connecting the front and back of the do on the right side and at the shoulder) are weak and need restoring, and one of the plates covering the Kohaze on the right shoulder (front) has been replaced. I am offering it in original condition to allow the collector the right to choose the level of restoration desired.
The five precepts of Confucianism espoused on back are not easily defined, but could be:
Nin: Think of others
Gi: Duty, justice, selfless
Rei: The actuation of “Nin”
Chi: Knowledge, wisdom
Shin: Friendship, loyalty, trust