Catalog: Archives: Regional Art: Asian (643)

A breathtaking Taireiji pottery vase by Kiyomizu Rokubei V enclosed in the original signed wooden box. Chrysantheum in raised relief grow ghosly white on the soft pink surface. It is 32 cm 12-1/2 inches) tall and in excellent condition. Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare.
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.

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

A set of five Porcelain Tea Cups decorated by 5 individual artists from the early 20th century; Tomioka Tessai, Tajika Chikuson, Kamisaka Sekka, Imao Keinen and another as yet unidentfied artist, stamped on the base by the kiln. Each cup is uniquely hand painted by the artist; all stamped on the base by the potter, and come enclosed in a quality custom-made period wooden box. Each is roughly 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter and all are in fine condition. A similar set by these artists can be found in the Honolulu Museum of Art.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveao and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Imao Keinen (1845-1924) was born in Kyoto, and initially schooled in the Ukiyoe style before becoming a pupil of Suzuki Hyakunen, from whom he received his name. Master of many styles, he was a member of the Imperial Art Committee and Imperial Art Academy, and served as Juror for the Bunten as well as teaching at the Kyoto School of painting. A very influential painter known for his detailed Kacho-ga. He is held in the collections of the Ashmolean, Metropolitan Museum NY and Museum of Fine Arts, Boston among others.
Tajika Chikuson (Also Tachika, 1864-1922) was born in Takeda (modern Oita) and initially studied painting with Fuchino Keisen before moving to Kyoto where he apprenticed under another Kyushu born Nanga artist Tanomura Chokunyu, placing him in the direct lineage of the great 19th century literatus Chikuden. Along with Ikeda Keisen and Yamada Kaido, he helped to establish the Nihon Nanga-In. He was repeatedly awarded at the Bunten National Exhibition, and left a lasting impression on the world of Japanese Nanga with his many students.
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Perfectly formed characters eschew the virtues of the scholar life and way of tea through the Gyokusen Chaka (Song of Tea) decorating this masterpiece of calligraphy and design by Miura Chikusen enclosed in the original signed wooden box. Books have been written upon the subject of this poem centering on the experience of a Tang dynasty recluse reaching Daoist enlightenment through the drinking of seven cups of tea. The bowl is 17 cm (7 inches) diameter, 10 cm (4 inches) tall and in fine condition.
The Tang dynasty poet Lú Tóng, wrote " Thanks to Mèng Jiànyì for Sending New Tea." Which has come to be simply called The Tea Song (of Yuchuan). Much too long to offer fully here, I offer the first few lines (A full translation will be provided):
The sun already high in the sky,
An envoy wrapping on the door called me from sleep.
The imperial censor Meng had sent a letter,
wrapped in white silk with three seals.
Inside, it was as if I could see the face of Meng
In the 300 blocks of "round moon" tea…
Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.

A large baluster form Sumidagawa vase decorated in slips of green and black glaze over crackled red with a three-dimensional tokage (lizard) crawling down the side. The detail on the creature is superb, from the textured body to the white claws with which it seems to grip the sides of the slippery surface. On the backside is a raised gourd shaped stamp reading Ishiguro Koko (One of the most prominent Sumidagawa potters). Sumida ware was first produced around the beginning of the 19th century, coming into full fruition after the arrival of Perry in the 1850s. Sumida pottery was made almost entirely for export, and by the turn of the 19th century, the Mckinley Act had required that all foreign goods be so marked. The ware was then marked Nippon, and later Made in Japan or Foreign. This vase is unmarked, indicating, and datres from the period between 1890 and 1920. It stands over 11 inches (28 cm) tall and comes enclosed in an antique chirimen-silk bag and kiri-wood box. The right rear leg of the animal appears to have been repaired, and although well done there is a slight color variation. There are also several flakes missing in hte red paint. This helps to bring the piece into a more affordable price range.

A pair of six panel byobu by Abbot of Daitokuji, Priest Sohan Gempo (Murasakino Shoun) dating from the Meiji to Taisho period. The subject is an old song used to teach the basics of literacy as it is a panagram, containing every letter in the Japanese alphabet once; a popular subject for Zen artists for its simplicity and usefulness. The song itself seems to say, Keep it Simple, and the title I Ro Ha is used to mean basic. It can be translated according to Dr. Ryuichi Abe: Although its scent still lingers on the form of a flower has scattered away For whom will the glory of this world remain unchanged? Arriving today at the yonder side of the deep mountains of evanescent existence We shall never allow ourselves to drift away intoxicated, in the world of shallow dreams. Ink on paper, with a dark silk border and wooden frame. Some minor surface insect damage but overall presentable with a good sense of age. 67-1/2 x 143.5 inches (172 x 364 cm). Sohan Gempo, (1848-1922) was born into a Shinto family, however entered the Buddhist priesthood at the age of 12 at Kogen-ji, Kanazawa. After a brief period at Empukuji in Kyoto, he moved to Yokohama and received inka from Nakahara Nantenbo. It was in 1898 that he would be asked to take over the training facility at Empukuji. After a brief sojourn in China he came back to Japan and was appointed abbot of Daitokuji, one of Kyotos most important Zen temples, where he stayed until his death in 1922. An accomplished poet and calligrapher, for more information on this important priest see The Art of 20th Century Zen by Audrey Yoshiko Seio and Stephen Addiss (2000).

Iron laced with tinges of blue decorates the rim, flowing into the bowl of these five abalone shaped dishes from 19th century Takatori in central Kyushu enclosed in a beautiful age darkened kiri-wood box titled Awabi Mukozuke Go Kyaku Takatori Yaki (Five Abalone Shaped Dishes from Takatori). Each is roughly 9.5 x 12.5 cm (4 x 5 inches) and each bears the “Taka” stamp beneath. No post-firing damage. One has a pre-firing chip in the rim, another a firing flaw visible in the bottom, it does not go through.

A very rare colored figurine of a egret standing, foot raised, by Miyanaga Tozan I enclosed in the original signed wooden box. Known best for his celadon and sometsuke porcelains and tea ware, this figurine is a scarce example of his talent with figuration. Beautifully rendered in life-like detail, it is 21 cm (8 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.

Everything about this sencha tea implement storage cabinet is top quality; a most unusual box made up almost entirely of worm wood featuring a removable door with an inner panel of antique Chinese origin, possibly an image of a tea salesman with his baskets of leaves. A bronze handle surmounts the lightweight box, with a set of four jade rings attached through a pair of folding fans serving as a handle for the door. Climbing up the naturally gnarled sides of the door are two tiny frogs gazing across the smooth reflective burl-wood center panel like a pool. Inside red-orange (shu-iro lacquer covers the removable shelving, with a small drawer below opening with a solid ivory pull. The box is 7 x 11 x 14 inches 818 x 27 x 36 cm) and in fine condition. The box itself likely dates from the boom in Chinese style tea ushered in at the end of the Edo period, and in fact may be of Chinese origin which the polished wood of the door seems to indicate.

A fox sits wrapped up like the Daruma, a humorous image by long time head priest of Kenninji Temple Takeda Mokurai (1854-1930) in light ink on paper. The scroll has been fully remounted in dark forest border extended with beige and features black lacquered wooden rollers. It is 18 by 47-1/2 inches (45.5 x 120.5 cm) and in excellent condition. Mokurai began his training as a priest at the age of 7. Developing under a number of masters, he finally settled under Yuzen. During his younger years he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, and in later days, his scholar script was highly prized. As a scholar priest and head of Kyotos Kenninji, he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

The work on this superb Meiji p. Kutani vase would easily rival that of the greatest studios of the time (and surpass those of today!). Chrysanthemum and other flowers in overglaze enamels spread their brilliant foliage over the whit pebble textured moriage shoulder, Gold fading to white below the bamboo fence-like belt inlayed with kiri-kane gold and silver diamonds. Dew drops of gold moriage cling to the large leaves while plums blossom below. All of the work is both vibrant and meticulous, showing a great attention to detail. It is 11 inches (29 cm) tall, 6 inches (15 cm) diameter and in excellent condition enclosed in a box dated 1924 with a Kiwame on the lid by Tabushi Kyojiro attributing the vessel to the work of Hirao Gen. The base stamp reads Kutani Taniguchi.

A very rare work by Suda Seika featuring a long armed monkey climbing over the rim in raw terracotta clay, contrasting brilliantly against the blue splashed white porcelain. It is 17.5 x 20 x 10.5 cm (7 x 8 x 4 inches) and comes enclosed in a period kiri-wood box. The first generation Suda Seika (1862-1927) was born the son of a merchant in Kanazawa, then part of the Kaga fief. He graduated the Ishikawa prefectural Industrial Ceramic Research Center in 1880 specializing in decoration, and moved to Kyoto the same year. In 1883 he entered the Kutani Ceramics Company, and was elevated to head of decoration two years later. In 1891, he established the Nishiki kiln in Yamashiro Onsen (Hotsprings) of Kaga city, and in 1906 opened a second climbing kiln which bore the name Seika. In 1915 he served as a mentor to the young upstart who would later become known as Kitaoji Rosanjin (1883-1959). The second generation took the reins in the mid 1920s, passing them onto the third generation around 1970.

A superb 19th century hanging moon Vase of caramel bronze gilded inside entrrely with gold and enclosed in a custom kiri-wood period box titled Kara-kin Gekkei Hanaire (gilded Chinese-Bronze Vase). In this case the word Chinese does not indicate it being manufactured in China, but using a mixture of bronze based on Chinese origins. It is quite large at 14 inches (36 cm) diameter and comes with the original chain and insert for hanging and display of flowers. Although I do see this shape often enough, this quality is rarely if ever found. The box is a bit worse for wear from the last century or more of use, but the piece inside is fine.

An incredible hand painted Taisho period bijin scroll signed Hakuho; so lifelike it looks to be a photograph. An angelic, Kimono clad beauty pauses to gaze out the garden window. One arm resting on the sill, she tranquilly stares past the hanging lantern and bamboo close at hand, her beautiful almond eyes fixed on the distance, she appears to be looking not at the garden, but at her own world. A colorful comb decorates her full hair while a pendant dangles from a kanzashi above her ear. A colorful obi holds her black kimono over the flower patterned under kimono. This arresting scene is intricately detailed, down to the tarnish on the lantern and individual threads running through the reed blind. The scene is mounted in creamy brocade embossed with vines, extended top and bottom in beige and ending in lacquered wooden rollers. The scroll has been meticulously restored and remounted and measures 21-1/2 inches (54cm) by 79 inches (2 m) and comes in a wooden box.

A discreet masterpiece are words which could easily describe this gorgeous chunk of antique burled vine root carved and polished to a subtle sheen in the shape of a two tiered vase inset with bamboo pots. The piece rises from pebbly textured burl, abundant with character, like a clay pot which collapsed during firing. The second level appears to float above the first on tendrils of smoke. A startling effect. This piece truly captures the Japanese sense of respect for the natural world. It would be wonderful holding a sparse display of small flowers in a Tokonoma or tea room, or even in a collection of scholars desk items. The piece stands 11 inches (28 cm) tall, and is in excellent condition.

Jurojin getting an earful; a humorous image by Suzuki Shonen showing the elderly god having his ear cleaned by his companion, the long lived crane. It comes enclosed in a double wooden box annotated by Konishi Fukunen (1887-1959) and bears a label from the Daimaru Department Store. Fukunen was one of Shonens most famous pupils. The ink and light color on paper image is bordered in a superb brocade mounting with solid ivory rollers. It measures 64 x 149 cm (25 x 59 inches) and is in fine condition.
Suzuki Shonen (1849-1918) studied under his father Suzuki Hyakunen and served as a professor at the Kyoto Municipal School of Painting. Born in Kyoto, he lived through the tumultuous early years of change in the Meiji era, when Japan was opened to outside influence for the first time in 3 centuries. Reflecting the times, he established his own unique style of painting which blended aspects of Nanga and the Shijo School, with influences from Otsu-e and Western Perspective. Much lauded in his lifetime, he was awarded a silver medal at the Paris World Exhibition in 1900. He is well known as the teacher of Uemura Shoen, one of the most important artists of the era. Works by this artist are held in the collection of the Victoria Albert Museum, British Museum, Ashmolean, Kyoto Municipal Museum of Modern Art, Metropolitan Museum of Art, Seattle Art Museum among many many other important private and public collections.

A young girl, her hair loosely bound, drifts off into a fond memory with a smile as she brushes a letter, the reem of paper draped from her left hand, the bamboo brush idle in her right. Incredible detail from the Kinkozan Kiln in Kyoto stamped on the pale clay of the base. It is 18 cm (7 inches) long, roughly the same height and in excellent condition. Better known for Kyo-satsuma style pottery works, this is a rarity.

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