Catalog: Archives: Regional Art: Asian (643)

A decidedly different version of this theme, a Festive carved wooden Tai (Red Snapper) fish with removable side for sashimi coated inside in gold with bone teeth and inlayed bone eyes. The craftsman ahs gone to great lengths to make this as realistic as possible, from the textures of the skin to the folds in the fins and coloring. Unusually, most dishes in this vein are one sided, however this is equally realistically carved on both sides. It is 47 x 21 x 6 cm (18-1/2 x 8 x 2-1/2 inches and is in overall excellent, antique condition.
It may seem strange, but the red snapper is a representative good luck "charm." There are two reasons. One, the pronunciation of red snapper (Tai) is the same as the end of the word for "fortunate" or "worthy of celebration" (Medetai), and two, the red snapper is known for living a much longer life than other fish and is seen as a symbol of long life. In fact, the deity Ebisu-sama is most often depicted holding a red snapper under one arm.

A beautifully crafted image of a cormorant seeking fish by Ishida Rainosuke enclosed in the original signed wooden box dating from the early 20th century. The bird is 38 cm (15 inches) long and both bird and fish are in excellent condition. A very interesting treatment of the position of the back foot shows the bird kicking, as if speeding up, eye on the prize.
Ishida Rainosuke was born in Kyoto in the 36th year of Meiji (1903) and graduated from the Department of Sculpture at the (mod) Kyoto University of Arts where he had studied under Numata Ichiga (Kazumasa). His work was selected and awarded at Teiten, Bunten and Nitten,National exhibitions as well as various public and private venues.

A set of five Meiji period dishes hand painted by Suzuki Hyakunen in commemoration of the Gosho-Nai Dai-Hakurankai (Exposition in the Imperial Palace, Kyoto) stamped on the underside with the event name and each individually signed by the artist. The literati scenes include a scholar contemplating a waterfall, Mountain retreat lost in rugged hills, sails on the lake, traveler in the hills and horses on the lakeshore under weeping willows. A beautiful and very rare set, each dish is roughly 4-1/2 inches (11 cm) diameter and in fine condition. They come in an older custom made kiri-wood box.

A koro incense burner by Teishitsu Gigei-In Suwa Sozan I decorated by his friend the famous scholar artist Tomioka Tessai and enclosed in a signed double wood box. The silver lid is by Nakagawa Joeki. It is 3-1/2 inches (9 cm) tall (plus the lid), 5 inches (12 cm) diameter and in excellent condition. The box is titled Daibutsu Sozan zo Juhana Koro Tessai Dai and signed Sozan Yakisei.
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…
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 before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.
Nakagawa Joeki X (Junsaburo, 1880-1940) was the 10th generation head of the Nakagawa family of metal workers, one of the Jusoku-Kei families supplying tea ware to the various tea schools, responsible for bronze ware, and is said to have peaked with the 9th and 10th generations. He headed the line from1911-1940, covering the reign of 3 emperors; he was greatly favored by tea masters at the time.

A heavy hand forged iron candle-stand from a Buddhist temple in the shape of a burning jewel. It is 90 cm tall, 57 wide, base and legs 20 x 39 cm and dates from the 19th century. Very thick and heavy iron work.
Due to size the cost of shipping will be accrued separately for this item.

A pair of Wooden doors dating from the later Meiji to Taisho period of fine clear grained panels hand-painted with butterflies, birds, and floral dials in brilliant color by Maruyama Oyo in red lacquered wooden frames retaining the original brass hardware. They are made for an opening 141.5 x 180 cm (55-3/4 x 71 inches). They are in overall fine condition. These were acquired from a large estate along the Kamiyagawa River in Kyoto’s posh Kinugasa district.
Maruyama Oyo (1868-1923) was the adopted son of Maruyama Obun and became the sixth generation head of the Maruyama School of painting in Kyoto. You will find works by this famous artist in the British Museum and the Brooklyn Museum among others.

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

Wild roses blossom on the rich tea green sides of this cloisonné vase by the Ando studio enclosed in a custom silk lined padded wooden box with a separate compartment for the rose wood stand (included). The base color is that of maccha green tea, making it doubly Japanese. Each leaf, each thorn each petal is wrapped in a thin silver wire frame. The vase is roughly 10 inches (25 cm) tall and in excellent condition.

A wonderful image in mat-gray clay of the lucky figure Hotei (Putai) wrapped in robes dating from the mid to later 19th century (Bakumatsu era) when Ao-Bizen enjoyed a revival. Expressive figuring, it is 6-1/2 inches (16.5 cm) tall and in excellent condition, enclosed in an age blackened wooden box.

A pair of unorthodox Edo period guardian corbels in the shape of mythical lion-like creatures (Shishi) made to be notched into a corner under the eaves of Shinto and Buddhist temples to ward off evil spirits. Ordinarily just the heads are carved, these are unusual in that their fore-paws have also been depicted, granting a greater sense of movement than most. Carved Hinoki (cypress), they are 30 x 18 x 20 cm (12 x 7 x 8 inches) each and in overall fine condition.

An exquisite Murashi-Do Bronze vase signed Shuho and enclosed in the original wooden box. The baluster form is interrupted by three ribs starting at the shoulder and running partially down the sides. The vase is otherwise entirely undecorated, leaving all impression to shape alone. A fantastic piece, it is 12 inches (30 cm) tall, 7-1/2 inches (19 cm) diameter and in fine condition. It dates circa the first quarter of the 20th century.

Like an aged boxer, the squat muscular crab takes a stance of readiness, one claw up prepared to defend against a coming attacker. This little fellow is unusual in that it is made of thick bronze, with each joint pinned in a way that allows for some mobility. Legs splayed the creature is 9 inches (23 cm) wide, standing it is 3-1/2 inches 89 cm) tall. There is a repair to the first joint of the 2nd left leg. It dates from the first part of the 20th century.

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.

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

18 cm long set of Kanzashi with five Bira dangling from a branch to which is caught a court cap, possibly dragged from the wearers head during a horse race, or perhaps flung off in a passionate moment. For someone interested we have a museum quality collection of combs and hair pins which I would prefer to sell together in accordance with the previous owners wishes. Birakan (bira Bira Kanzashi) were hair pins used by all classes of society and were one of a woman’s most prized possessions. They are often made of precious metals, gold, silver shakudo and shibuichi, encrusted with bits of red or pink coral, prized for its youthful accent, jades and other precious stones.
The subtleties of Japanese design tend to center on the suggestive rather than the representative. Allowing the viewer to fill in or complete the story surrounding the object viewed. As in the tea room aesthetic, where the room is 95 percent completed but never fully finished, allowing the viewer to complete the room in their own mind, creating to each individual a unique and personal view.

A double sided accordion album bound in iridescent cloth from the Meiji period containing 57 total pages covered in ancient cloth samples. 18th -19th centuries. The album is 19 x 24 cm (7-1/2 x 10 inches). Generally in good condition but the covers have some wear and damage

A Boro Futon cover textile of sewn together bits of worn out indigo dyed fabric 160 x 204 cm (63 x 80 inches ). Go-haba (five widths)

A large Gohon pottery Sweets bowl by Kiyomizu Rokubei V with expertly rendered Sparrows ascending into the sky painted by Imao Keinen enclosed in the original wooden box signed by both artists. It is 8-1/2 inches (21 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto
Imao Keinen (1845-1924) was one of the most respected artists of the turn of the century. He studied Ukiyo-e under Umegawa Tokyo before moving to the Shijo School under Suzuki Hyakunen. In 1868 he established his own studio, becoming a professor at the Kyoto School of Painting in 1880. In 1904 he was named a member of the prestigious Imperial Art Academy and served as a juror for the Bunten as well as representing Japan in exhibitions abroad. Most well known for Kacho-e Bird and flower paintings and landscapes. His work is held in the collections of The Metropolitan Museum of Art NY, Museum of Fine Arts, Boston and Tokyo National Museum among many others.