Catalog: Archives: Regional Art: Asian (611)

A cascade of flora drapes from the neck of this gorgeous piece by Seifu Yohei IV. It is 31 cm (12 inches) tall and in perfect condition. Quite large for a work by Seifu, it is marked on the base with an incised signature.
Seifū Yohei IV (Seizan: 1872-1946) was born the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

A complex landscape wraps around and climbs up this exquisite porcelain vase by Daimaru Hokuho dating from the early to mid 20th century. It is 13 inches (33 cm) tall and in excellent condition. There is no box.
Hokuho would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A breathtaking Koro in the shape of a roaring lion by Miyanaga Tozan I enclosed in the original signed wooden box. This is one of the best pieces I have ever seen by this important artist. It is 25 cm (10 inches) tall 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.

Kamikaze, the Divine Wind decimating the Chinese fleet as fearless warriors brave the tempest to drive off the attacking hordes. Uenaka Chokusai, enclosed in the original signed wooden box. Pigment on silk in a pale silk border with ivory rollers. 19-1/2 inches x 7 feet (49 x 214 cm) in fine condition.
Uenaka Chokusai was born in Nara (1885-1977), and was enthralled with the arts from a young age. He apprenticed under Fukada Chokujo, and later Hashimoto Gaho. At the age of 23 he was accepted into the Bunten (modern Nitten). Shortly thereafter he became a disciple of the Nichiren Buddhist Orator Tanaka Chigaku. He would then fall under the tutelage of Yamamoto Shunkyo, combining his varied skills into a genre of historical scenery. Along with Hayashi Bunto, Ikeda Keisen and Ueda Manshu would help t establish the Nihon Jiyu Gakkai, a non-jurried exhibition of Free Painters. Work by him is held in the National Museum of Modern Art Tokyo (MOMAT as well as the National Museum of Modern Art Kyoto (MOMAK) among many others.

Peach bands of silk arranged in vertical columns stagger across six feet of Kesa interspersed with colorful patches featuring flowers and geometrics. The Kesa is backed with sumptuous orange silk. It is accompanied by a smaller piece of the same design called Ohi, a sash worn along with the Kesa. The Kesa is 78 x 45-1/2 inches (198 x 115.5 cm), the smaller Ohi 12 x 57 inches (30 x 142 cm). A fabulous wall hanging, they likely date from the early 20th century and are overall in very good condition. The unusual pattern of Kesa (Kasaya in Sanskrit) is based on the garment worn by the Buddha, purportedly made by him from scraps of funerary cloths picked up along the banks of the sacred Ganges. It is said the Buddhas Kesa was 10 feet long. The design of kesa is a symbol of the Mandala, the four corners protected by patches representing the four Guardians of the Cardinal points of the universe. At the top of the third and fifth columns are patches representing the Buddhas of benevolence and wisdom. The oldest examples of Kesa in Japan date from the 8th century.

A bronze vase of mountainous form by Nakajima Yasumi I patinated in his signature mottled red-brown and enclosed in the original signed wooden box. The vase is 9-1/2 inches (24 cm) tall, 8 inches (20.5 cm wide and in excellent condition. Nakajima Toyoji, (d. 1950) first came to notice in 1908, receiving an award at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions, He was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 and was subsequently prized there. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists.

Oarsmen battle Tempestuous seas to carry safely home their cargo of courtly women in this vivid scene signed Hakushun dated 1932. The oars bend under the strain of the ferocious seas, the oarsmen pull with all their might. Behind bamboo curtains the young women huddle together, their courtly robes flowing about like the oceans mad waves. A very powerful scene supervised by a noble seated at the back of the small ship, witnessed by a gaggle of cormorants resting on a jagged rock cluster. The silk screen is bordered with an unobtrusive black lacquered wooden frame and measures 9 feet by 55 inches (275 x 140 cm). It is in excellent condition but for some minor marks in the upper portions. Due to the war, which started for Japan in 1932, records on artists for this and following years are scant. However the painting is very much in the style of the artist Matsumura Ichiyo, and Hakushun may have been one of his students.

A superb Silk landscape by Akamatsu Unrei enclosed in the original signed double wooden box (niju-bako) titled ChikusoYusei-Ga. The title and style of the buildings indicate this is likely the Yusei retirement home of Iwakura Tomomi in Northern Kyoto, designated a National Historic Site in 1932. A narrow path hedged in soft greens leads to the rustic cluster of buildings with their thatched roofs lost in a sea of bamboo, the scene rising to precipitous mountains afar, a waterway in the distance perhaps Takaragaike pond. The scene is performed in a dream-like quality, inviting the viewer in for a moment of serenity. Warm in summer but a cool respite from the stifling city life a few miles to the south. Everything about this scroll speaks of quality, from the intensity of the painting itself, the silk canvas used, the border cloth, solid ivory rollers, and the kiri-wood box with hinged brass handle allowing it to be pulled easily from the red lacquered wooden outer case. It is 50 x 216 cm (19-1/2 x 85 inches) and is in overall fine condition, with some faint foxing.
Akamatsu Unrei (1893-1958) was born in Osaka, and apprenticed under Koyama Unsen 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 and he was a member of the Nihon Nanga-in. Held in the collection of the National Museum of Modern Art, Tokyo among others

A carved wooden box with removable lid revealing a container for matches and tobacco slotted in the side to carry a Kiseru pipe. Exquisitely crafted by a man who both understood design and wood grains, it is likely from the arts and crafts era. It is 5-1/2 x 3-1/2 x 5 inches (14 x 9 x 13 cm) and is in overall fine condition, with wear to the base attesting to age.

A finely brushed image of a pheasant in the blossoming boughs of a cherry tree bearing a circular Rimpa School seal in the lower right. Pigment on paper with bokashi daubing of water on the tree trunk. Shadows dragged through the back appear to intimate bamboo. It is bordered in beige silk with a black lacquered wooden frame. The screen measures 71.5 x 68.5 inches (181 x 174 cm) and is in fine condition, dating from the early 20th century.

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.

An evocative image of a bear hunkered down and looking a bit befuddled, perhaps awaking from winter slumber, in un-glazed white porcelain from the Tatsuno kilns of Banko in Mie Prefecture. It is sealed on the base with two stamps, one reading Banko, the other Tatsuno. The image is 23 x 20 x 16.5 cm (9 x 8 x 6-1/2 inches) and in excellent condition, enclosed in a period collectors kiri-wood box. Imagery of animals such as this were very popular in the Taisho (1911-1925) to early Showa era. The expression of this creature is masterful, the execution superlative, and the texture happily left matte; a far cut above the ordinary.

A true part of Kyoto modern ceramic history, this robust vase reminiscent of Okinawan Kaki-otoshi ware was created at the Kyoto 2nd Industrial School circa 1925. It comes in the original wooden box titled Black Glazed Vase with Flower Motif, and signed inside Kyoto Shiritsu Dai Ni Kogyo Gakko followed by a large red seal. It is 27 cm tall, 23 cm diameter and in excellent condition. The roots of the mingei movement, ravaging the Japanese ceramic world at the time, are clearly evident.
The governmental Industrial schools were the proving grounds from a great many young potters before the second world war. The Kyoto 2nd industrial school in Fushimi was split away from the first industrial school in 1920, and remained active until 1963, when it was re-named the Fushimi Industrail High School (Fushimi Kogyo Koko). It is scheduled to close permanently after a century of activity in 2024.

Bright colors decorate this life-like set of Porcelain Okimono in the style of Chinese fruit by Suwa Sozan (no box). This set dates to 1931 and is published in the book Suwa Sozan Sakuhin Shu (1971), p. 85. A bursting pomegranate, Persimmon, Bunch of Grapes and Buddhas Hand, with a fifth piece, a fig, missing from the set. Please note there are a few chips in the edges of the leaves of the fruit (circled in the photos). Each piece is roughly life-size the Buddhas hand is 15 cm (6 inches) long.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

Pines in the Rimpa style grow on the folded surface of this fan painted by Kamisaka Sekka and enclosed in the original signed wooden box, retaining the original paper binding on the fan itself. It is 12 inches (30 cm) long folded, and in excellent condition.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art as I have abbreviated in the above description), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

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 lucky ammer in red decorates the inside of this large bowl by Mamiya Eishu enclosed in a period wooden box. It appears to read Kishoho or Kishohon (the method to satisfaction or the root of satisfaction respectively). The bowl is 7-1/2 inches (19 cm) diameter and in excellent condition. Eishu (1871-1945)entered the priesthood at the age of nine at Ryutakuji Temple under the training of the priest Tengan. 13 years later he was sent to one of the main temples, Tenryu-ji, in Kyoto to study under Gasan Shotei. After serving at a number of temples he received his certificate of enlightenment from Shaku Soen (the first Zen monk to visit America) at Empukuji. He served as a battlefield chaplain for the Japanese troops during the Russo-Japanese War. Upon his return he became a prolific writer, publishing more than 20 books on Buddhism. He was once again called to comfort soldiers scarred by the tragedies of war in Shanghai, in 1945, where he died of illness. For more on this important figure see The Art of Twentieth Century Zen By Addis/Seo.

A demure image of grace and youth; this is a fine full sized Bunraku theater puppet dating from the first half of the 20th century; one of two from a private collection we are currently offering. The eyes open and close, but are stiff, hands are flexible and fully operational. She wears a period red brocade kimono with kiku chrysanthemum patterns and a black obi featuring dragons and phoenix. A white silk lining and silver crown of flowers complete her outfit. The puppet dates from the first half of the 20th century, and stands roughly 40 inches (102 cm) tall. She is in excellent condition.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families.
Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

Kannon (Guanyin) the bodhisattva of compassion, is depicted by two of the most famous painters of the early Showa period on this pair of presentation cloths by Hashimoto Kansetsu and Tomita Keisen. Keisen’s loosely brushed image of a cherubic Kannon sits in the center of an Enso Zen circle. The calligraphy on the left reads "Entsu", a Buddhist term combining the kanji for circle and authority, loosely meaning knowledge of the circle of Buddhist Doctrine, the cycle of life and of all things eternal. Kansetsu, on the other hand, creates a more severe image of Kannon seated in a lotus petal floating in tumultuous seas. The back of this features a long inscription and is dated Showa 7 (1932). The date coincides with the peak of Tomita Keisens popularity, shortly before his untimely death. It is also the year Kansetsu lost his wife, and this may explain the difference in perception of the Compassionate figure. He subsequently created a temple (Gesshinji) in her honor. Both come wrapped around pillows in a red lacquered wooden box signed by Keisen. Each is 34.5 x 36.5 cm (13-1/2 x 14-1/2 inches) and both are in fine condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. His early years were heavily influenced by ancient Chinese painting, a passion for which he made frequent trips to the continent. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso. He exhibited consistently at the Bunten, and was a member of the Imperial Art Academy. Works by him are held in the Kyoto National Museum, Tokyo National Museum, Metropolitan Museum of Art New York, and the Boston Museum of Fine Art, as well as almost every major collection.
Tomita Keisen (1879-1936) was born in Fukuoka on the southern Island of Kyushu into a family of restaurateurs, however fascinated with the arts, he began studying painting at the age of 12 in the Kano school tradition with Kinugasa Morimasa (1852-1912), the official painter for the Kuroda clan. In 1896, he went to Kyōto to continue his education in the Shijo manner with Tsuji Kako, and exhibited with the Japan Painting Association as well as with the Bunten/Teiten National Exhibitions among many others. Keisen also sought inspiration in Buddhist paintings from the Nara and Heian periods which he studied on frequent trips to Nara, the ancient capital. In the 1920s, he would delve into the concepts of the Nanga tradition of literati painting, and his unorthodox use of color and dramatic sense of proportion would propel him to great fame. Religion fascinated Keisen, and much of his work centers around these ideals. His works also show the influence of literati artists Tomioka Tessai and eccentric Buddhist Sengai Gibon. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. In 1935 he was made a member of the Japan Art Academy. He died the following year at the age of 58. Works by him are held in Tokyo National Museum of Modern art and Kyoto Natioanl Museum of Modern Art, the Minneapolis Institute of Art, The Kyoto City (Kyocera) Museum, Museum of Fine Arts in Boston, Rijksmuseum, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others. For more on this artist see Kyōto no Nihonga 1910–1930. National Museum of Modern Art, Kyoto, 1986

An exquisite vessel by Seifu Yohei IV decorated in slight relief under pale green glaze. It is 8-1/4 inches (21 cm) tall and in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946), the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

A fabulous large porcelain vase by Daimaru Hoppo (Hokuho) enclosed in the original signed and compartmentalized wooden box complete with a rosewood base. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises from to frets decorated with stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 14 inches (35 cm) tall plus the base and is in excellent condition.
Hoppo (also called Hokuho) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A stunning early 20th century ai-zome chirimen Kimono decorated top to bottom with dragonflies flitting through tall bamboo grass. The cloth is in excellent condition, with no stains and is over 4 feet long, and 4 feet wide at the shoulder. The collar has been lightly sewn with a protective piece of cloth that can be easily removed for display (see last picture), or left on to protect it from daily wear. The kimono is lined with white cotton. Now I will shut up and let the pictures talk for themselves.

Koma Inu Shrine guardians decorate this unusually vivid Ako carpet dating from the early 20th century. The color combination is quite striking, especially when held up to the more standard subdued works typical of Ako. It is 95 x 195 cm (37-1/2 x 77 inches) and is in stunning condition. We found this wrapped in paper in the attic of a Kyoto home which had been sealed off during renovations in the 1950s. With a relatively small quantity produced within the rather short history of Japanese carpet making, this is a great collector piece as well as functional antique carpet with very soft texture and attractive design.
Called ‘dantsu’ in Japanese, hand knotted rugs are works of art requiring several months to complete. Inspired in her travels by Chinese benrekisen rugs, Naka Kojima spent years developing the looms and began weaving carpets in Ako in 1874 using high quality cotton, traditional designs and her own innovative weaving techniques. It became a cottage industry in Ako, handed down for decades among the local women while men worked the salt fields. At the peak of its popularity, they adorned the Imperial House of Japan and other governmental buildings and were exported to Australia, the UK, and the US. However, challenges in the world market during the great depression the prohibition of cotton trade leading up to World War II forced not simply a decline, but a near closure of the industry. Some resumed weaving after the war, but found it difficult to compete with machine-manufacturing. In 1991, with the support of Ako City, weaving classes for younger women taught by Kirie Sakaguchi,the only Ako Dantsu weaver left in the city, were begun and since there has been some revival albeit on a very small scale.

A large and stunning vase by Nakamura Shuto made for the Shobido Art Company enclosed in the original signed wooden box. It is 12 inches (30 cm) tall, 5-1/2 inches (14 cm) across the base and in excellent condition.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others. 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 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.

An unusal tri-legged bronze incense burner with finialed dome pierced top signed on the underside. It is 6 inches (14.5 cm) diameter, 7 inches (18 cm) tall and in fine condition, dating circa 1935. Hori Joshin was a student of Oshima Joun and was active from the early to mid 20th century.

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

A stunning large bowl decorated with overlapping palm leaves by Kiyomizu Rokubei V enclosed in the original signed wooden box. It is 24 cm (9-1/2 inches) diameter, 11 cm (4-1/4 inches) tall and in excellent condition. It certainly expresses the design skil and painting abilities of this important artist.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

An accordion album featuring calligraphy and paintings by various well known Zen priests of the first half of the 20th century. Including the opening there are 30 pages. The book is 22 x 31 cm and in overall fine condition. The opening pages are by Kutsu Deiryu (Izawa Kanshu 1895-1954, head priest of Kaiseiji), the famous protégé of Nakahara Nantenbo. It is followed by;
1. Daruma by Goto Zuigan, 1878-1965, Myoshinji, Daitokuji
2. Mineo Daikyu, 1860-1954, (head priest of Myoshinji)
3. Chawan, Takeda Eisen 1878-1945 (head priest of Kenninji)
4. Rozan Eko 1865-1944 (head priest of Myoshinji)
5 Takagi Dokuho, no dates, (head priest of Eigenji)
6. Obaku Hoshino Jikio (sp?) 1867-1937 head priest of Manpukuji
7. Seki Seisetsu 1877-1945 (head priest of Tenryuji)
8. Miura Shoten (Hekiun) 1870-1957 (head priest of Myoshinji)
10. Seigo Hogaku 1875-1942
11. Hamamura Seido 1869-1935
12. Yamazaki Taiko 1876-1966 (Head priest of Sokokuji)
13. Ozeki Honko (Horin) 1873-1944 (head priest of Tofukuji)
14. Hoshino Daigen (Saishoken)
15. Tokai Totatsu 1870-1945 (head priest of Myoshinji)
16. Ito Keishu (Seiko) 1881-1935 (Kinkakuji)
17. Maruyama Yoso (Denne) 1870-1940 (Daitokuji)
18. Takibuchi Kenko ?
19. Yokoi Gyokusen
20. Mamiya Eishu, 1871-1945 (Hokoji Temple)
21. Sugimoto Zenki, 1890-1949 (Myoshinji)
22. Hayashi Kaishu (Keikyo) 1890-1979 (Tofukuji)
23. Ota Josei, (Daikai) 1875-1946 (Daitokuji)
24. Konaka Hosu (Zuishoken), (Tokugenji)
25. Akai Giyu (Nanzenji)
27. Yamazaki Ekishu 1882-1961 (Buttsuji)
28. Kozuki Tesshu 1883～1941 (Empukuji)
For more on many of these famous figures see Zenmi, a Taste of Zen (2011, Veljko Dujin) or The Art of 20th Century Zen (Shambhala, 1998).

Dragons writhe across the face of this astounding free standing temple which was a long time display piece in a Butsudan Shoten, an example of the finest work available for Japanese altars. The piece is more than 60 years old, as the current owner of the store (third generation) mentions it has stood there for as long as he can remember. It is entirely hand made; each piece of wood finely shaped and lacquered, each bit of metal hand etched before assembly. It rises from a 9 stage base of red, black and gold lacquer, each stage separated by tiny carved and gilded waves, and centering on a pair of 3 dimensional dragons vying for the prized Buddhist jewel between red colonnaded bows, tumultuous waves crashing down the sides. There are almost 100 pieces of decorative brass on the base alone! Enclosed in a scrolled wall is the center section made up of 10 black lacquered pillars heavily embellished with golden trim separated by carved cornices supporting the roof, which I cannot even begin to describe in its complexity, and will have to let the pictures show the work. The temple breaks into four sections, the base, pillared center, middle and top of the roof. It stands 38-1/2 inches (98 cm) tall, 20 inches (51 cm) wide and 12 inches (31 cm) deep. As mentioned before, this was a display piece showing the best available for Butsudan interiors; Butsudan are altars enshrining ones ancestors. The three black lacquer panels in back were added some years ago, and there are a few small pieces which have broken off and gone missing over the years; however it is surprisingly intact for such a delicate item. Pictured both with and without, all of the golden balls on the roof are accounted for. In Japanese altar making, each step is performed by a separate craftsman, cutting the wood, shaping the wood, lacquering, gilding, painting and assembly. Numerous individuals have worked to show the highest quality work for this outstanding altar. Ordered new today, this would be over 20 thousand dollars.

A large porcelain vase by Miyanaga Tozan decorated with a garden scene of young pine growing up around a large stone brushed by Yamamoto Shunkyo and enclosed in a double wooden box signed by both artists. It comes with the pictured rosewood stand in a separate section in the box. The vase is 12 inches (31cm) tall 8 inches (20 cm) diameter and in excellent condition.
Yamamoto Shunkyo (1871-1933) was born in Otsu, Shiga prefecture in 1871, and came to study traditional Shijo painting in Kyoto under Kono Bairei, Nomura Bunkyo and Mori Kansai from whom he acquired his dexterity with brush and draw from life ideals yet never left his roots in Otsu far behind, always happy to do a quick sketch with minimal effort in the abbreviated hybrid Otsu style. He was also an avid mountaineer, and observation on such outings give his landscapes a sense of depth lacking in traditional art of the era. Shunkyo also was heavily influenced by photography and Western perspective and light. Widely exhibited in his youth he was offered a professorship at the Kyoto Municipal School of Arts in 1899, where his semi-realistic style came to have a strong influence on the early 20th century Nihonga painters from Kyoto. He was appointed a member of the Imperial Art Academy, and was exhibited often both inside and outside Japan including the St. Louis World Exposition. He is held in the collections of numerous museums, including the Kyoto Municipal Museum of Art, Museum of Modern Art Tokyo and Boston Museum among others.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

Gentlemen glide through the open “ma” staring up at the moon on this serene work signed Joun (One of many names used by the priest Hashimoto Dokuzan). Ink on paper in superb Shunpodo Silk mounting (THE preeminent scroll hangers in Kyoto) enclosed in a signed double wood box (niju-bako) dated 1935 with solid ivory rollers (They will be changed for export). The scroll is 28-1/2 x 53 inches (72 x 134 cm) in excellent condition but for scattered foxing.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Niigata, 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.

A square bottle vase by one of the most sought after and influential of all Japanese ceramic artists, Kawai Kanjiro (b. 1890), enclosed in the original kiri box signed by the master, which we have had authenticated at the Kawai Kanjiro Memorial Museum (now endorsed on the top by his daughter, Kyoha). The pale crackle glazed vase dates circa 1935, and is decorated with flower like dabs of rust and cobalt typical of this period, with dark iron fading out from the square mouth and base. As would be expected, the vase is expertly crafted from pale clay, and measures 7-1/2 inches (19cm) tall, 4-3/4 inches (12 cm) across the body. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Rrefusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A lacquer box decorated with a Rimpa style thatched house under blossoming tree by Kamisaka Sekka dating from the late Taisho period. It is 12.5 x 12.5 x 6 cm (5 x 5 x 2 inches) and is in excellent condition. An identical box which was part of the permanent collection of the Ruth and Sherman Lee Institute along with the original design sketch is visible on page 154 of the book Kamisaka Sekka: Rimpa Master - Pioneer of Modern Design published by the Kyoto National Museum of Modern Art in 2003.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

A lacquered wooden box decorated in built up Takamaki-e with Tsuba and Kozuka by Heian Zohiko dating from the first half of the 20th century. Inside is fine even nashiji. The decorations rise quite high off the surface, almost as if genuine tsuba were lying atop the box. One tsuba is in the shape of a Mokugyo, a Buddhist prayer drum of hollowed wood culminating in two dragons. The second is one of the seven lucky gods (shichi-fukujin) Daikoku seated in front of a rice bale, smoking a pipe and petting a puppy. The Kozuka handle is decorated with a traditional entertainer dancing with an umbrella. All the edges are protected by a silver rim. The Zohiko stamp is visible on the underside of the box; an elephant in a cartouche. The box measures 11 x 8-1/2 x 4-1/2 inches (28 x 22 x 12 cm) and is in excellent condition. Zohiko is one of the oldest and most prominent lacquer studios in Kyoto. This was likely produced under the visage of Zohiko VII or VIII.

A truly magnificent vase of pastel blue floral designs on yellow-green body by Miyanaga Tozan enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in excellent condition. It retains the original wooden base. I believe this is by the second generation.
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 rush of water descends into mist between the rocky crags tinted with autumns color on this superb silk scroll by Ochi Shokan enclosed in the original signed double wooden box (niju bako) titled Shusei (Voice of Autumn). Top quality, it is mounted in striped silk extended with green and has large solid ivory rollers. The scroll measures 55 x 213 cm (21-1/2 inches x 7 feet). It is in fine condition. Ochi Shokan (1882-1958) was born in Ehime prefecture on the island of Shikoku and studied painting at the Tokyo Universtiy of Fine Arts, graduating in 1902. His carrer was interrupted soon after when he was inducted into the army, and was injured in fighting during the Russo Japanese war. He returned to Tokyo to continue painting, and was accepted and awarded at the Bunten National Exhibition in 1913. The following ear he would be accepted into the first newly reorganized Inten. He would exhibit there consistently throughout his lifetime, and again with the Nitten in the post-war era. In 1922 his paintings would be selected for exhibition in the United States. He was selected as an artist to represent Japan, along with Yokoyama Taikan, Matsuoka Eigaku, Hirafuku Hyakusui and Hayami Goshun in Italy in 1930, showing how highly thought of he was at the time. A book titled Sketches in Italy published by Asahi Shinbunsha featured the works of Taikan and Shokan in Italy together. Works by him are held in the Museum of Modern Art in Tokyo and Tokyo National Museum among others.

Sitting demurely, legs folded with her back to the viewer, an oil painting by Yoshii Kosaburo dated 1937 and encased in the original period wooden frame. Oil on canvas, the painting is 15 x 18 inches (38 x 46 cm), the frame 21 x 23-1/2 inches (53 x 60 cm) and is in fine condition. The frame has marks and wear typical of age. It comes with some period documents (Japanese) on the artist. Yoshii Kosaburo was born in 1899, and initially studied under Imperial Art Academy Member Nakagawa Hachiro. In 1922 he moved to France, where he spent three years under the tutelage of Pablo Picasso, exhibiting with the Salon De Toneu and Salon De Plantan. Domesticaly he exhibited with the Bunten and Teiten National Exhibitions.

A Tamasudare-ami Hanakago Basket by Yamamoto Chikuryusai I of round bamboo strands enclosed in the original signed wooden box lacquered in translucent red. The basket exudes a deep respect for the tradition, every knot perfect, the proportions exquisite. It is 19 cm (7-1/2 inches) diameter, 37 cm (14-1/2 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.

Golden bamboo spreads its leaf laden branches about the rim of this aka-e Kinsai bowl by Kyoto potter Takahashi Seizan and decorated by the famous painter Hashimoto Kansetsu enclosed in the original signed wooden box. It is 6-1/2 inches (17 cm) square and in excellent condition. This is from the personal collection of painter Konoshima Keika (1892-1974). We will be offering more from his household in the near future.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Southern School). He traveled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.

A lurid landscape spreads across two two-panel screens by Shirakura Niho signed and dated 1929. Two colorful scholars share a quiet moment in the shelter of a thatched hut. On first examination it appears nonsensical, a chaotic collection of dashes and dots, however the closer one examines the painting the more one realizes the detail and planning that went into the imagery, It is performed with ink on paper framed in dark mulberry frame and has been recently re-backed with forest green paper. Each panel is 37 x 67-1/2 inches (94 x 172 cm). Shirakura Niho (b. 1896), originally of Niigata, Studied under Hatta Goro and Tanabe Chikuson settling in Kyoto. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like Yamada Shuho and Fukuda Kodojin, other well known individualistic artists of his generation, he was known for his very unique and easily discernable style.

A daunting image by radical Nihon Nanga-In member and founder of the Osaka Art College Yano Kyoson (1890-1965) dating from earlier in this influential artists career. Crisp white walls of a strangely elongated house perch on the edge of a dark forest reaching up to the rain washed sky. A single tree ripe with yellow leaves guards the entrance. The light color on silk image is bordered in lavender silk matching the leaden sky, extended with green cloth and features shimmering silvered-yellow ceramic rollers well suited to the color of the autumn leaves. The scroll is 13 x 56 inches (33 x 142.5 cm) and is in excellent condition, enclosed in a fine Kiri-wood box. Yano Kyoson was born in Ehime prefecture, on the Island of Shikoku, and studied under Nakamatsu Shunyo. He exhibited consistently with the Nihon Nanga-in, of which he was a founding member. He also was consistently presented at the Bunten and Teiten National Exhibition, where he served as a Juror, and later at the Nitten. His work is held in the collection of the National Museum of Modern Art Tokyo, as well as any number of important private collections.

An extraordinary scene unravels in this raucous tumbling Literati scroll by Kyotos Shirakura Niho (b. 1896) enclosed in the original signed wooden box. An inscription in the box lid names the scene The Hermitage West of Kamo (River) called Taka-Ike-Kyo. A solitary man looks up from his reading toward open ground, his thatched hovel lost in a jumble of bamboo flanking the steep falls rushing white through the foliage. The vibrant work harkens to the radical Taisho period, when Nanga and Japanese art in general was at a peak of creativity. It is bordered in silvered-green silk and features large solid ivory rollers. The scroll is 22 by 85-1/2 inches (56 x 217 cm) and is in fine condition but for some light foxing which gets lost in the complexity of the scene. Niho was trained under Hatori Goro and Chikuson, and was often presented at the Teiten and Nihon Nanga Inten.

The dreamlike quality which gave Taisho period art its unique flavor is readily apparent in this sumptuous composition by Kido Soi featuring long tailed birds along a tumbling stream. Pigment on silk mounted on applied gold flake in a silk border with a red lacquer wooden frame consistent with the era. It is signed in gold, Shunyo, the name used by Kido Soi in his youth, placing the screen easily before 1930. The screen is 67.3 x 56-1/4 inches (171 x 143 cm) and is in fine condition.
Due to size the cost of shipping will be accrued separately.
Kido Soi (1899-1984) was born in Kyoto. He studied painting at the Kyoto Municipal School of Painting and under Yamamoto Shunkyo (1871-1933). His work was consistently accepted into the Teiten and Bunten National art exhibitions.

A fabulous bold design of crashing waves wraps about this balluster form by Miyanaga Tozan enclosed in the original signed wooden box. It is 26 cm (10 inches) diameter, 28 cm (11 inches) tall and in excellent condition. An unusual design and superb execution by this important artist. 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.

The Shishimai dance tradition is common throughout east Asia. A single, or sometimes a pair of dancers, don the costume and parade through the street biting people, especially children, on the head. This is believed to ward off misfortune and evil spirits, and make a child overcome fear. An incense burner by Miyagawa (Makuzu) Kozan in the shape of a shrouded Lion Dancer in vibrant colors enclosed in the original signed wooden box titled Ninsei-I Shishimai Gata Koro. The koro is 14 cm (roughly 5-1/2 inches) tall and in excellent 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. Although he had been running the daily operation since the late 19th century, 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 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.

One of two paintings currently offered by the highly sought after literati artist Fukuda Kodojin (1865-1944) featuring an erratic image of the full moon seen through bristling pine performed in thin ink on paper and enclosed in the original signed wooden box dated 1925. The brazen brushwork will rattle images of the subtleties of Japanese art, and yet the scene is at once calming. It is bordered in caramel cloth extended with soft brown, featuring bamboo knurl rollers and measures 13 by 59 inches (33 x 150 cm). 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. He purposefully destroyed a large portion of his remaining work just before his death, leaving only that which must have met some personal criteria. For more on the life of this remarkable artist see the book Old Taoist (Addiss), 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.

A trumpeting Chinese form by Miyanaga Tozan I enclosed in the original signed wooden box titled Kiji Kodo Gata Kabin (Yellow Porcelain Vase in the Shape of Ancient bronze) and retaining the original Rosewood base. It is 12-1/2 inches (31 cm) tall plus the base, 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. His kiln is now in the third generation, run by his grandson.

An incredible amount of work went in to the burl-like lacquer finish of this early 20th century three-drawered calligraphy box. All surfaces excepting the bottom are covered in the unusual mottled finish known as wakasa, made by spattering on layers of various colored lacquers which are then rubbed down to a smooth, marbleized finish. Just when one thinks the artist has finished, the process is repeated. This small piece of furniture is the finest example of this technique we have come across. In testament to its high quality, the handles on the three small drawers are solid ivory. The top is removable to allow storage of an ink stone, paperweight and brushes, while the smaller drawers were made to hold stamps, brushes and paper. It measures 6-1/2 by 11-1/4 by 7-3/4 inches tall (29 x 17 x 20 cm tall), and is in excellent condition excepting a few small chips, one on the back left corner (see close-up photo), one on the front left corner bottom, and two on the lid edge.

A large exquisite vessel by Miura Chikusen III enclosed in the original signed wooden box titled Hakuji Chokoku Unryu-e Kabin (White Porcelain Vase Carved with Clouds and Dragons), the box signed by both Chikusen and the woodworker (Sashimono-shi) Hosai. It retains the original rosewood stand, presumably made by Hosai. The vase is 37 cm (14-1/2 inches) tall and in excellent condition. It dates from between 1921 and 1931.
Miura Chikusen I (1854-1915) was apprenticed from a young age under legendary Takahashi Dohachi. Leaving the masters studio in 1883 he 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 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 Eldest son (1882-1920) took over after his father assuming the family name as Chikusen II in 1915, but died just 39 years old in 1920 leaving a young child as heir, whereupon his younger brother (1900-1990) temporarily assumed the head of the family as Chikusen, III. He held the reins from 1921 to 1931, however when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assumed the name Chikuken (Chikken). The Chikusen kiln continues, currently under the management of the fifth generation.

This fine antique lacquer tray features a Gold lacquer rim surrounding a field of jet black dominated by two stylistic butterflies, the underside a sea of Nashiji. It is enclosed in the original signed wooden box inside of which is a paper seal reading Nai-gaikoku Hakurankai, Kyoshinkai, Hinpyokai, Kingindosho (National International exhibitions, Kyoshinkai, Industrial exhibitions, Gold silver bronze prizes) followed by the store name Higashimon shoten, Fujibo, Osaka It is in very good condition, yet does show some signs of use in some very minor abrasions on the black field inside. There are no chips or cracks, no loss to the lacquer. It is 12-3/4 by 18 by 2 inches (32.4 x 45.5 x 5 cm).

A sprawl of chrysanthemum are delicately painted growing beneath the elegant curves of a Kanshi poem on this fine silk scroll by Kamisaka Sekka enclosed in the original signed wooden box. Pigment and ink on silk with silk border and black lacquered rollers. The scroll measures 11-1/2 x 73-1/2 inches (30 x 186 cm) and in fine condition. For more on this artist see the current exhibition at the Clark Center. For a very similar painting see Kindai no Rimpa, Kamizaka Sekka by Yanagihara (1981) plate 69 and for images of the seal and signature p. 306 fig 21 and page 311.
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 Nuevo 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.

A superb Landscape by Yano Tetsuzan dated the second month of 1924 enclosed in the original signed wooden box. The arched rooves of Chinese style pavilions rise in the placed waters under th shelter of precipitous verdant cliffs, trees in fall colors in the foreground setting the stage. Above a long verse in Kanshi signed Tetsuzan. Ink and pigment on silk in a dark blue-green satin border with ivory rollers (the rollers will be changed for export). The scroll is 54 x 193 cm (21-1/2 76 inches) and in overall excellent condition.
Yano Tetsuzan (1894-1975) was an important Nanga artist born in Ehime, a nephew (although nearly the same age) of also important artist Yano Kyoson. He studied under Komura Suiun from 1912 in Tokyo before moving to Osaka in 1918 where he studied under Tomioka Tessai while enrolled at the Osaka Art School. In 1920 he was first accepted into the Teiten national exhibition where he would later be often awarded. In 1921 he helped in the foundation of the Nihon Nanga-in art society. In many ways throughout the pre-war years he worked to modernize the Nanga genre, culminating in 1939 when, along with the aforementioned Kyoson, he would found the Kankonsha Salon to showcase modern Nanga. He would serve as a juror for the Shin-bunten and Nitten (where he had accumulated an astonishing 10 awards). He was also awarded at the Nangain-ten (first prize n 1921). He received the Osaka Prefectural Geijutsu-sho Artisan Award in 1953, as well as the Shijuhosho (Order of Cultural Merit with Purple Ribbon) in 1971. In his final years he helped to establish the Nihon Suiboku-ga Kyokai (Japanese Ink Painters Society). His 1942 work “Waves” is held in the National Museum of Modern Art in Tokyo.

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 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.

A very unusual set of three scrolls depicting the women of Shimabara looking down with trepidation at a Fumi-e (a Christian symbol) before lotus enclosed in a wooden box titled Shizan Shimabara-me Sanpuku Tsui (Shizan, Women of Shimabara Three Scroll Set). The Fumi-e was a bronze or wood placard embellished with a Christian symbol upon which people were forced to step to prove that they were not Christians during the ban on Christianity throughout most of the Edo period. Any who refused to step on the image would be tortured or executed, often in horrific manner. Here the two graceful figures appear dressed in kimono bearing a leaf pattern with white scarves on their heads denoting purity. Interestingly the artist has juxtaposed the central image with its symbol of Christ on the cross against a background of ghostly white lotus flowers, traditional symbols of Buddhism. Each scroll is 64.5 x 208 cm (25-1/2 x 82 inches). There is faint scattered foxing, a soft wrinkle in the lotus on the central scroll, and some water stains up the left edge of the painting on the right. Likely an early work by Saito Shizan. Saito Shizan (1902-1963) was born in Shiga prefecture in 1902, and initially studied under Yamamoto Shunkyo in the modern Shijo style before entering the Kyoto Municipal University of Arts. He was accepted into the Teiten, Bunten and Nitten national exhibitions both pre and post war.
The Shimabara rebellion (1637-1638) was the largest uprising against the Feudal government during the Edo period. In response to oppressive taxation and anti-Christian policies by feudal lords sent to replace the former Christian Daimyo, Ronin and peasants rose up, eventually forming an army of combatants and non-combatants of around 37,000. They nearly seized two main fortresses before the Shogun sent an army of over 125,000 samurai against them. They retreated to Hara Castle on Shimabara, where they held out until April of that year, withstanding many mass assaults and bombardment by cannon of the Dutch seeking favor with the Shogunate. Eventually the castle fell, and all rebels were beheaded or crucified, their bodies piled inside the castle and burnt en-masse. On the Shimabara peninsula, most towns experienced a severe to total loss of population as a result of the rebellion. Japan severed ties with Portugal and expelled all missionaries. An existing ban on Christianity was then stringently enforced, and Christianity in Japan survived only underground. Except for the Dutch and a small contingent of Chinese merchants in Nagasaki, Japan then closed itself to the outside world for over 200 years. The Fumi-e became the dominant symbol of religious oppression, the ban on Christianity not officially lifted until 1871 (although the shogunate stopped executing Christians around the turn of the 19th century).

An exquisitely formed Koro incense burner of a young oxherd astride his beast in raw clay and celadon glaze by Miyanaga Tozan I enclosed in the original signed wooden box dated 1925. The childs face is filled with serenity and wonder, as if he is looking up at the moon rising on a spring afternoon. Every detail is superb. It is 10-1/2 inches (26.5 cm) long 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. His kiln is now in the third generation, run by his grandson.

Verdant foliage of the Imperial Paulownia (Kiri) tree in crisp cobalt rises majestically on this tall vase by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seika Kiri no Zu Kabin (Blue and White Vase with Paulownia Design). It is 30 cm (12 inches) tall and in excellent condition, signed on the base.
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. Although he had been running the daily operation since the late 19th century, 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.