Catalog: Archives: Regional Art: Asian (611)

An Edo period sumi-e painting stamped Shundo-no-in on very rough silk depicting Daruma heir Kensu Osho, an eccentric Chinese beggar-monk who lived on shrimp and clams. The painting is certainly no less eccentric than its subject, unique among paintings I have seen from the Edo era. It retains the original faded border of dragon dials and lucky symbols extended with beige and features bone rollers. The scroll measures 14 1/2 x 56 inches (37 x 142 cm) and is in original condition, with some wear to the border extensions. The box is titled:Kensu Osho Ink Painting, From the Ihotei Collection. The Hakogaki refers to the life of Kensu as one who exists unmoored and inscrutable, living freely beyond rules and regulations, and although the behavior of those like him may appear profane, it is actually sacred. The writing could refer to the rare stance of the artist as well, in a society where mediocrity was enforced from above, what artist dared to stray so far from accepted norms? Some eclectic monk himself, seeking to understand the daruma through his own art? A most intriguing work.

A fine wakizashi in saya of crushed aogai shell in lacquer with engraved silver fittings adorned with a family crest wrapped with matching Kozuka. Kyoto license number 59007 Heisei 9.
blade length: 38.9 cm
sori:0.7 cm
motohaba:2.4 cm
motokasane: 0.6 cm It is in excellent condition.

Gold glimmers on the rim against pale concrete tones on this rare mid-Edo period tea bowl from the Utsutsugawa kiln in Nagasaki prefecture, late 17th to early 18th century. Waves of brush strokes decorate the outside, while the white slip cascades from the rim in withering streaks within. A kutsuki on the side testifies to some event which happened during the firing, where another piece of pottery collapsed against the side, fusing and causing the bowl to deform. This force created a crack where the bowl bent, which has now been enhanced with gold. It comes enclosed in a custom made modern wooden collectors box titled Utsutsugawa Kama Kutsu-Gata Chawan. The bowl is 8.5 x 14 x 7 cm (3-1/2 x 6 x 3 inches. Originally a kiln flaw, possibly once discarded, it was rescued and repaired with a sumptuous design of gold powder on lacquer.
Utsutsugawa-yaki (also Utsutsukawa) originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon (Soetsu) 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 later Meiji period, when there was an attempted revival, but that too failed to last due to pressures of modernization. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

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

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

A ceramic cover for a tea room brazier in the shape of a devil dressed in priests robes dated and annotated within. Dating from the Ansei era, inside it is annotated by Daiko Sogen (1772-1860), 435th head of Daitokuji. Well known for his poetry and mastery of the Tea Ceremony, he taught Zen to Eiraku Hozen, and was compatriot to Gengensai. It is 34.5 x 34.5 x 30 cm (13-1/2 x 13-1/2 x 12 inches) and is in fine condition.

Early Edo Myochin Signed Nimai Do with Nanban influence featuring gilded kusazuri and sode laced with blue chord dated Genwa 3 (1620). There are rows of Prominent rivets all about with nobori-kiri crests on the top of the munaita. Comes with an old wrapping cloth dyed with the same crest. The Hon-kozane Kusazuri are removable, attached to two leather belts suspended from iron tongs about the waist. The takahimo shoulder straps are wrapped in leather. The shaped horn clasps are extant but one is broken, the other delicate. The signature and date along with another illegible cartouche are inside the Do exposed through squares cut through the gilded leather lining. Made for an adult, it comes with a set of gilded Sode shoulder guards laced with the same indigo chord.

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 elephant with pagoda on its back forms this three-piece koro incense burner from the Kairakuen Feudal kiln of the Tokugawa family stamped on the belly with the Kairakuen seal. It is magnificently sculpted, standing 31 cm (12 inches) tall and in excellent condition. It comes in a wooden collector’s box. Inside the lid is a long verse detailing the origins of Kairakuen pottery written and attested to by important Meiji to Taisho period pottery legend Miyagawa (Makuzu) Kozan I.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

An exquisite pair of gofun covered fox on black and gold lacquered stands protected by copper wire cages, dating from the second half of the Edo period. They wear a shrewd look, eyes narrowed to slits, enhancing their mischievous image. The mystical carvings are covered in white gofun, stained a soft gray from age with highlights still white from eons of careful cleaning. Around the pair of ethereal creatures are removable cages of copper wire to protect the sacred images, the gofun coating made from powdered shell a tasty source of calcium for foraging rodents. The fox alone are roughly 6-1/2 inches (17 cm) tall, with stand together roughly 8-1/2 inches (21 cm) tall. The back paw of one of the animals is missing, but the copper cages have born the brunt of damage and otherwise all is in fine condition. The fox is a magical being, believed a shape shifter and protector of Shinto Shrines. They are also the kami (a term meaning divinity) of business. Every January the Fox Shrine, Fushimi Inari in Kyoto, is inundated at New Year with entrepreneurs, business people and the self employed praying for a successful year.

A surreal ink on cloth landscape by Kyoto artist Nakanishi Koseki (1807-1884) bordered in rich blue patterned silk and featuring radical flaring rosewood rollers. Soft ink tones and heavy washes of gray clash with the brisk strokes and jagged lines of the painting, creating a vivacious scene. The stamps on this match those on the next listing, a second scroll by Koseki. This scroll measures 19-3/4 by 76 inches (50.5 x 194 cm). There is one hard crease crossing the scroll above the large lower tree, and several minor wrinkles to be noted. Koseki was born in Osaka and studied under the great artist Oda Kaisen in Kyoto, where he established himself as a top rated artist. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

A late Edo period (19th century) image known as the Nehanzu, death of the Buddha. It is absolutely fantastic, one of the best painted I have ever seen. Mourners of all species surround the death bed of Buddha. His mother comes from heaven dropping a bag of magical medicine, which catches on the limb of a tree, unable to reach him in time. Hawk, tiger, elephant, Shishi,. Cow, snail, horse, monkey, crane, rooster, goose, pheasant, turtle, rabbit, egret, mandarin duck, mole, centipede, snake, peacock, lynx (?) deer, boar and worm. The elephant and Shishi fall back in horror at the death. Four other Buddha‚“ (gold figures), red and green holy creatures, 16 Rakan (Arhats), Dragons Jizo and a host of other deities all mourn the loss. His last student falls in a faint on the ground, another pours water to revive him. Framed it would be most impressive! The scroll as is measures 163 x 267 cm, the painting alone is 131 x 173 cm. All original, the painting is in fine condition; however the border is a bit loose and could use remounting. We have chosen to offer it in this condition to allow the buyer to choose the quality and method of remounting (scroll or frame), choice of cloth, colors etc. The story of the Buddha's last moments are recorded in great detail in the sutra known as The Sutra of the Great Extinction, in which the Buddha declares that he has taught all, withholding nothing, for he has no intention to exercise control by means of secret doctrines. Near his death he said: "Make the self your light, make the Law your light." Words equally important today as they were then. This is from the property of a temple collection. Should you desire more detailed and alrger photos please contact me as we have a package of photographs detailing the painting.

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

An original Edo period kōsatsu public proclamation dated Tenwa I (1681) detailing the laws against Christianity, rewards for turning in a Christian to the authorities, as well as punishment for the offenders. Of cypress wood with sumi ink, and a hand-forged iron loop for suspension from a post or gate. The signboard has a shallow peaked “roof” to protect the calligraphy from the rain. However decades in the weather have caused the original surface to wear and bake away the surface, leaving the areas originally written with ink raised above the exposed wood. Few of these kosatsu survive. It is roughly 134 x 46 cm (52-1/2 x 18 inches). A similar Kosatsu in the collection of the museum of the Catholic University of America is translated:
The Christian religion has already been prohibited for many years. Everyone who gives ground for suspicion must be denounced, the following rewards are hereby promised.
To the informer against a Priest, 500 pieces of silver.
To the informer against a Brother, 300 pieces of silver.
To the informer against a Relapse, 300 pieces of silver.
To the informer against a Guest or an ordinary Christian, 100 pieces of silver.
If the informer is himself a guest or a co-religionist (Christian) he will receive 500 pieces of silver. The chief of the section and the group of the five families of the district concerned will be punished jointly with the concealer, if the whereabouts of the culprits are discovered otherwise than through them.
This is followed on this sign by the date: First year of Tenwa, eigth month.
Christianity came to Japan around 1549, and initially received a great many converts, including warlords (Daimyo) and others in powerful positions. The great warlord Oda Nobunaga is said to have been keenly interested in religions and all things foreign. However, Jesuits teaching that God was higher than the Lord or Imperial authority was perceived as undermining governmental legitimacy, and was subsequently initially banned in 1587 by Toyotomi Hideyoshi, although loosely enforced until the Shimabara rebellion in 1637, after which it was strictly enforced. With the Catholic clergy expelled from Japan completely in the mid-17th century, many Japanese Catholics practiced their faith in secret as government officials publicly posted boards like these around Japan. The Japanese Christians who continued to practice in secret during the time of persecution were known as Kakure Kirishitan, literally “hidden Christians.” Christianity remained illegal until the mid 19th century. Another example dated to 1682 is in collection of The Burke Library, New York, another is in the collection of the Sophia University in Tokyo and represent one piece of the fascinating history of Christianity in Japan.

Two fox representing Inari, one of the principal kami (gods) of Shinto, are depicted on this Edo period talisman made at a shrine and traditionally hung in the home for protection. The two creatures hold in their mouths a buddhist jewel, symbol of knowledge, and a key to the kura, a storehouse for treasures. Between them is written Inari Daimyou Jin. Inari is the Japanese god of fertility, agriculture and of general prosperity and worldly success. In Edo Japan, Inari was also the patron of swordsmiths and Warriors. This is a wood-block printed talisman purchased at a shrine and preserved for more hundreds of years. It has been recently mounted in blue patterned cloth extended with beige and features black lacquered wooden rollers. It comes in a fine kiri-wood storage box with a paper sleeve. The scroll is 46 x 116 cm (18 x 45-1/2 inches) and is in excellent condition.

A suit of Edo period armor featuring a Kebiki Ni Mai Do Gusoku, a 2 piece hinged armor of 8 closely knit rows of scale plates. 7 rows of 5 kusazuri hang from the do. It has a 32 plate Suji Kabuto with a tehen Kanamono vent in the shape of a stylized chrysanthemum and prominent Fukigaeshi, with 5 Hineno Jikoro cascading down the back. The helmet has typical chipping to the edges of the lacquer. The bowl retains 90 percent of the original liner and sweatband with the original ties. There is a me no shita no ho mask with 4 lame yodarekake, lacquered inside with red, outside in black and featuring a thick horsehair mustache, again, typical chipping. It also features Osode with brass ornaments and backed with leather; shino gote, haidate and suneate, and comes with an armor box. The armor is laced with orange and white thread, which is all in quite good condition except for the top row on the front of the do. The do and mail were also lacquered in gold. In an unusual note, the armor is still in the hemp bags designed to protect it during storage, marked with the date Ansei ni nen (1855), meaning it was probably repaired or restored at that time.

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.