Catalog: Archives: Regional Art: Asian (640)

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

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

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

Waves lap at the dark shore crowded with cranes on this elegant 18th century paper screen embellished with clouds of gold flake signed Hokkyo Shunboku (O-oka Shunboku, 1680-1763). A bramble of dried bamboo hides one sleeping form, the others strut about oblivious to the frigid winter air. Turgid blue water rolls slowly behind, waves licking at the near shore. A fine example of the mid-Edo aesthetic; the screen is 67-1/2 by 148 inches (172 x 376 cm) and is in excellent condition, recently fully re-mounted. It is bordered in green silk with a black lacquered wooden frame reflecting the original, backed with dark blue paper embellished with black crests. As might be expected there is loss to the white gofun coating on the birds, and some repairs performed during restoration. This screen was bought personally by us in Kagoshima from the house of a former high level retainer of the Satsuma Fief. It was likely purchased or commissioned during the procession from Edo to Satsuma performed every three years by the Daimyo of that powerful fief. O-oka Shunboku was born in the merchant city of Osaka. He was a largely self taught artist, initially mastering the rules of the Kano school, then moving into Chinese style painting of the Yuan period. A talented painter, he was equally well known for his mild personality and mastery of the cultured doctrines of Tea Ceremony, Incense Testing, Dance, Song and Poetry. He was popular from a young age, and patrons fought for their place in line at his studio door (according to Araki) He is very well known for his reproductions of Chinese painting manuals and the large number of art books he published. He eventually rose to the level of Hogen, very rare for an artist with no lineage behind him. He died at the age of 84, and is buried in Komyoji Temple. He was survived by an adopted son, and is accredited with being an early influence on Ito Jakuchu (according to Daiten Kenjo) with his emphasis on Yuan painting, as well as Katsushika Hokusai with his colorful publications. A set of painted doors in the Mie prefectural Museum of Art, formerly in the Nagashima household, featuring a cow at rest, were painted by Soga Shohaku in a style based on Shunbokus 1740 six volume compendium of Kano techniques, Gako Senran (An Exploration into the Techniques of Paintings). His paintings adorn the doors of Myoshinji, one of the most famous temples in Kyoto, as well as Myokoji in Osaka among others. He also helps fill the collections of the Fukuoka Prefectural Museum of Art, Seattle Art Museum and British Museum in London.

A pair of small gold doors depicting Asian Civets (Jakoneko) in a flower strewn garden dating from the early to mid Edo period (17th to 18th century) reminiscent of the famous pair of screens heralding the same image by Kano Yukinobu (Utanosuke, active Muromachi period). The handmade bronze handles are in the shape of hollyhock leaves, intimating connection to the Tokugawa clan, head of the Shogunate. The painted panels are 45 x 28 cm each (17-1/2 x 11 inches), the doors roughly 48.5 x 32 cm (19 x 12-1/2 inches) and are in remarkably good condition considering age. There is some soot built up on the gold surface as might be expected of a painting exposed to wood heat and cooking for two centuries.

An antique cast bronze waniguchi bell or gong, the type used to hang in front of places of prayer and under temple eaves dated 1710. Often these can be found hanging over saisen-bako where the bell is rung by clanging a dangling rope with wooden corbel against the bell to awaken the gods; coins are tossed and a prayer given. Anyone who has been to a Japanese Temple or Shrine may have noticed one. A much thinner cast than the later bell we are offering

A beautiful large black Seto Guro Hikidashi Chawan with undulating rim sculpted to perfectly rest in the hands by some anonymous 17th to 18th century potter. It is 5 inches (13 cm) diameter, 3 inches (8 cm) tall and in fine condition.

A 16th to 17th century (Momoyama to early Edo period) candle-stick of vine or root set onto a hollow carved base and covered in black and red lacquer with a metal stud and drip pan. It is 11 inches (28 cm) tall and in overall fine condition, with wear typical of centuries of use.

Tempestuous waves in fine gold lines splash between lightning shapes decorated with reed curtains on the sides of this singular lacquered wooden koro with woven silver lid dating from the Momoyama to opening of the Edo period, Later 16th to early 17th century. It is 8.5 cm (3-1/4 inches) high, 7.5 cm (3 inches) diameter. The worn base has been re-lacquered to protect the wood core from splitting or cracking otherwise is entirely original to the period.

A beautifully preserved 16th to 17th century Annan Bronze basin inscribed with the animals of the zodiac which had been used as a prayer bell at a Japanese Buddhist temple. It makes a beautiful ring when struck. It is roughly 12 inches (30 cm) diameter, 6-1/2 inches (16.5 cm) tall. An exceedingly rare find. The Japanese had extensive trade with the Kingdom of Annan (Vietnamese Annam) and in fact one of the most famous and still extant symbols of Hoi An is the Japanese bridge, built in the 1590s by the Japanese community there.

The character Take (bamboo) is struck with six brisk strokes of dark ink on this Chagake tea scroll signed Mitsuhiro (Karasuma Mitsuhiro, 1578-1638) and dated 1631. The calligraphy is exquisite. Mitsuhiro was born the son of Karasuma Mitsunobu (1543-1606) and, like his auspicious father, was a well known poet and songwriter accomplished in calligraphy. The paper is, as might be expected, repaired in several places and has marks and yellowing consistent with age, however is still supple and easily displayed. It is bordered in crushed blue paper, dating to the Meiji period, and came from the same collection as the two scrolls by Genryu. The scroll measures 22-1/2 by 44 inches (57 x 112 cm). There is one crease penetrating from the left side through the first character of the signature. Otherwise the scroll is in surprisingly good condition.

A matching Edo period Myochin signed Go-mai-do Gusoku yoroi lacquered black and threaded with blue chord emblazoned with a seven star crest. It features a 24 plate suji kabuto with elaborate tehen kanamomo signed Myochin Ki Munemasa saku. The blossoming Shikoro features large back-turned Fukigaeshi and mabizashi covered in leather and also emblazoned with the seven star crest. Inserted in front is a sharp kuwa-gata maedate. The mask is a reisei ho with prominent flanges matching the design of the helmet and sode. Large five plate sode protect the shoulders, and the Do, made up of five hinged parts, supports 9 rows of gessan to protect the waist. The raw iron sangu is on all matching cloth dyed with the 7 star crest. The Haidate is of the Kawara style with leather plates lacquered black, and the suneate are signed, as is the helmet, Myochin Munemasa. It is in oveall fine condition. There are a few chips onteh mask typical of use, and the base of the maedate uke has been repaired. For more photographs please contact me.
Myochin Munemasa (Shahei) was a descendant (24th generation) of Myochin Munesuke active in Edo during the Tenwa era (later 17th century).

Namiamidabutsu sho (Praise to the name of Amiddha Buddha) is scrawled in faint verse down the upper right, while on the left is a warning, kono tori, minasama goyojin goyojin (all those on this path, be wary be wary…) The two scripts are separated by a grave marker at the base of which lies a skull and scattered bones among the unkempt dried grasses. A very unusual seal in the shape of a Buddhist ewer hugs the right edge. Early to mid Edo period in the style of Hakuin Eikaku (1686-1768). Ink on paper, it has been fully restored with a thin black border in a field of dark brown and retains the original bone rollers. The scroll is 42.5 x 165 cm and in excellent condition

A deep and mournful sound emanates from this ancient Temple bell from Zennoji temple dated the 20th day, fourth month of 1686. One panel is inscribed Humbly presented, Shokakuzan Zenno Zen-Temple treasure, For the Nyodendoshi-Mujo Bosatsu Buddha. It is further inscribed Donated by Harada Shitaro of Saijo Village for the priest Jusanzoshu. We have been told by the previous owner this and another bell are from Zennoji Temple in Kanazawa prefecture. The striker plate, in the form of a petaled flower, has worn over time to be almost indistinguishable in form. The bell measures 21 inches (53 cm) tall, 12-1/2 inches (32 cm) in diameter. There is a casting flaw beneath one of the studs, with a dent below, otherwise is in fine condition, especially considering its age. Originally a small Zen temple founded in 1566 on Shokakuzan Mountain, Zennoji was moved down to the base of the mountain later, and is recorded in the book ShinpenKamakuraShi published in 1685. The temples records state it was moved after being heavily damaged from a typhoon caused landslide. This is believed to have taken place over time between 1688 and 1731. Currently the temple bears a different first character (Sennoji), however is still read Zennoji in the local district. Now the temple houses a standing Kanon, but was originally said to have been dedicated to AizenMyo-O, destroyed by fire in the later Edo, and it was after this last rebuilding the temple name was changed.

An Kamakura period Enso-ga in cream-colored patterned brocade with maple brown extensions and featuring rosewood rollers signed Renshabo. Renshabo was a high ranking samurai named Jiro Naozane and confidant of 13th century General Minamoto no Yoritomo. After losing a son at the battle of Ichinotani, and killing the great Heike warrior Atsumori, he became saddened by Bushido (the way of the warrior) and became a disciple of the priest Honen Jonin in Kurodani, Kyoto, whereupon he was given the name Renshabo. The scroll measures 21-3/4 by 48 inches (55.5 x 122 cm). The ink work was already ancient when mounted in this cloth in the Edo period as evidenced by wormholes and damage in the painting repaired from the back.

A perfect example of the Early Edo Tea aesthetic in this Chatsubo dating from the first half of the Edo period, a splash of black over rust with a white glazed waste from the Seto region around modern day Nagoya. It comes with an ancient wooden bung and wrapping cloth. The pot is roughly 27 cm (11 inches) tall and in overall excellent condition, with typical wear around the foot. No cracks or repairs. Called Koshijiro (White wasted) this style became popular in the end of the 16th century, and were produced in both the Seto region, and a similar style in Kyushu.

An Annan pottery tea bowl for use in the Japanese tea ceremony from the kilns of 15th-16th century Vietnam enclosed in an age-blackened kiri-wood box. The crackled pale glaze is decorated with a band of blue frets about the rim inside, a decidedly modern design of droplets descending in beads down the outside typical of early Vietnamese decoration. The remnants of a kinran gold infused cloth bag remain for wrapping the piece, the outside layer is in tatters, but the inside brocade is still supple. Named “Full Moon” (man-getsu) the inside of the box lid is endorsed by a tea master. It is 5 inches (13.5 cm) diameter. There are three kin-tsugi gold repairs about the rim. The 14th/15th century Ming ban on export of Chinese ceramics provided the opportunity for the Thai, Khmer and Vietnamese to capture a substantial portion of the Asian consumer market for pottery, and trade flourished between the Kingdoms of Vietnam and Japan. In fact according to research by Guy Faure and Laurent Schwab of the 10 officially licensed ports of trade during the time of Hideyoshi (late 1500s) seven were in present day Vietnam. This would lead to the establishment of vast trading towns and large numbers of Japanese in South East Asia until the Sakoku era when Japan closed itself to outside contact. Those Japanese still outside the country at the time were never able to return, and eventually blended with the native populations of their adopted countries. This piece has likely been preserved and prized as a Chawan, handed down from generation to generation for four centuries.

A set of early wood panels, once doors on a votive shrine, painted with guardian shishi lions (Also called Fu-dogs) in polychrome colors, much worn with time. The doors are of clear grained hinoki (Japanese cypress) and have shrunk horizontally over the centuries, evidenced by the ari (wooden support) which is inset into them. On back one can see clearly the silhouette of the original metal-work. Momoyama to early Edo period, they are 37.5 x 47 cm (15 x 18-1/2 inches) each and would be fabulous framed as a set or individually.