Catalog: Archives (612)

Waves thrash about in a playful frenzy below the calm watchful eye of a full moon partly blanketed by dark clouds in this extraordinary painting signed Kagyo dating from the later 19th century. It is bordered in ivory colored brocade embellished with clouds extended in golden brown silk and features ivory rollers. The scroll is 21-1/2 by 79 inches 855 x 200 cm) and, aside from minor bands of yellowing of the silk expected of age, is in fine condition. It comes enclosed in a period wooden box.

An amazing bit of weaving has been performed on this modern bamboo basket made in the shape of a gardener’s vegetable collecting basket. The long body has tall sides, open at one end, and is signed underneath Tosho. It has been formed of two shades of thinly cut bamboo, susutake and aged yellow take. Susutake is taken from the roofs of traditional houses, highly prized as it takes many years to color, being stained slowely by smoke and soot from the hearth fire. The basket is 10-1/2 by 26 by 9 inches (66 x 26.5 x 23 cm) and is in perfect condition.

A superb pair of Tokkuri sake flasks by LNT Tokuda Yasokichi III (Masahiko, b. 1933) enclosed in the original signed and stamped wooden box. The slightly belted form seems to imitate a gourd, with glaze fading up from rich purple to green to deeply crackled white. Each piece is 6-3/4 inches (17 cm) tall, signed on the base in a traditional Kutani cartouche Masahiko. Masahiko was trained under both his grandfather and father, succeeding the family name in 1988. He has been awarded at the Nitten National Exhibition and National Traditional Craft Exhibition among many others. In 1997 he was named Living National Treasure for his work with Polychrome glazing. His work is very different from the Kutani ware produced up to this point. Relying on simple, elegant shapes and Saiyu graduated glazing, retaining in general colors of traditional Kutani ware. As the box is signed Masahiko, we would date this to the era preceding his succession of the family name.

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.

Festive red paper lanterns parade in a sea of mist across this elegant 20th century scroll by Hayashi Bunto (1886-1966) enclosed in the original signed and stamped wooden box. A wonderful summer-time scene reminding one of all the matsuri-festivals dominating the nights of this season. The silk scene is bordered in blue ending with bone rollers trimmed with gold. The scroll is 22 by 52 inches (56 x 132 cm) and is in fine condition. Bunto studied painting under Yamamoto Shunkyo, and became a preeminent Shijo school artist of the early 20th Century. He is held in the collection of, among others, the Museum of Modern Art, Kyoto, as well as many private collections.

At first glance this appears to simply be a large image of a burning tree, however, look again and find the tree like figure is in the from of two entwined lovers, flames leaping from their impassioned bodies. This was likely made as an exhibition work, as it certainly would be difficult to fit into even a large Japanese home. The piece is signed Yoneda Mio, (Yoneda Mionosuke), and likely dates from the 1930s. The canvas measures 49 x 61-1/2 inches (124 x 156 cm) the frame 52-1/2 by 65 inches (133 x 165 cm). Overall the painting is in good condition, with minor abrasions typical of age, the frame has sustained a great deal of damage.

White cranes soar from the black water of a lake tucked in the shadow of orange hills on this lovely mid 20th century scroll enclosed in the original signed and stamped wooden box by Takazaki Ko (b. 1910). Extremely delicate yellow trees reflect off the dark surface of the lake, contrasting with the thick ranks of orange marching up the hillside. Painted in the audacious style of Banka, the painting retains a quiet charm in the singular movement of the graceful birds. It measures 19-1/4 by 78-1/2 inches (49 x 199 cm) and is in excellent condition. Oki apprenticed twice, both under Nakamura gakuryo (1890-1969) and Maeda Seison

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's 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 Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

A quaint hand-carved image of Minogame (a sea turtle) supports this antique bamboo pipe tap dating from the second half of the 19th century, the rich dark wood highly polished from a century of fond handling glows like satin. The turtle is a symbol of longevity in Japan, and often is depicted in celebratory situations. Here the creature has been chiseled out of a solid chunk of wood, head raised over the top of its shell. From a flattened are on its back rises the goma-kasu speckled bamboo tube which is capped with a turned piece of rosewood. It appears to have been treated with something (perhaps persimmon oil) leaving only the eyes a lighter color. A wonderfully decorative bit of Mingei, it measures7-1/2 inches (19 cm) long, 6-1/2 inches (16.5 cm) tall. Mingei is a term combining the character for people and craft, or folk craft.

Swirling eddies decorate the rim of this gorgeous vase of huge dark hollowed vine, golden minnows swimming up the sides of the natural current made by the winding wood. A very unusual piece which exemplifies the Japanese awe and care for nature. Minor burls and burs in the wood act like rocks under the swift moving water, the pattern rolling over them in a raucous rush. This special piece of wood, extremely large for a vine, appears to have been naturally hollowed out over time, the twisting pattern outside duplicated roughly within, as if the wood had slowly hollowed out over the centuries. Taking this natural form, the artist has inscribed on its sides a theme which both matches the unusual pattern of the wood and depicts another aspect of the natural world. A one of a kind piece to decorate the Tokonoma of a tea room. The vase is 11-1/4 inches (29 cm) tall, 6 inches (15 cm) in diameter, and comes enclosed in an ancient wooden box. In Shintoism it is believed that gods inhabit the ancient growths. Perhaps when this piece fell, the artist sought to preserve some portion of that ancient being with this amazing work. Unfortunately my photographs fail entirely to capture the true beauty of this amazing piece.

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.

A male peacock struts proudly before a gorgeous plume of color on this mid 20th century hand painted screen signed and stamped Yushin. The colors are slightly muted, in a typical Japanese way, the background awash in mottled silver-gray, presenting the brilliant greens and blues of the birds fabulous attraction. It is bordered in a wooden frame covered in Negoro lacquer, unusual green over red, matching the painting perfectly. Each panel measures 32 inches by five feet (82 x 152.5 cm) and is in excellent condition, even retaining the original backing cloth.

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.

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 young woman in rare western dress gazes across this early to mid 20th century Bijinga scroll signed Ikko (Furutani Fujio, b. 1891) enclosed in a period wooden box. Her bright western dress and short hair must have made quite an impression in conservative Japan. The silk painting is bordered in green brocade embellished with flowering vines, extended with beige and features bone rollers. The scroll measures 21-1/2 x 52-1/2 inches (54.5 x 133 cm), and is in fine condition. Fujio was born in Kyoto, and developed hiw approach to Nihonga under the tutelage of the great Yamamoto Shunkyo, and later became a member of the Nitten.

One of the most interesting vases I have seen by this potter, quite striking in appearance, with brick colored dashes struck briskly through the dark molasses of the vase. Under the glaze we can see the artists signature Jomon rope impressions pressed into the clay. The Jomon pattern (the Jomon were ancient peoples of Japan whose pottery was typified by rope impressions) is what Tatsuzo is most famous for. The vase stands 10-3/4 inches (27.3 cm) tall, and is 4-1/4 inches (11 cm) across the shoulder and comes enclosed in the original signed wooden box. After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, (his father was a rope maker) Tatsuzo set out to create a style unique to himself. In 1996 he was designated a Ningenkokuho (Living National Treasure). Quite often more subdued, this piece seems to bridge the gap between the shapes and textures of Tatsuzo, and the bold colors of his sensei Hamada Shoji.

Here is a fine squat jar form vase, the deep red clay covered in fish-eyed tenmoku glaze by Living National Treasure (Ningen Kokuho) Shimizu Uichi (1926-2004), enclosed in the original signed wooden box. Iron red shows through with startling effect like meteorites in a dark night sky of blue and brown. It measures 6-1/2 inches (16.5 cm) tall, the same diameter. Shimizu is known for the soft persimmon red temmoku (iron oxide) glaze, as well as crackled white and celadon glazes. This is an excellent example piece by the artist. Uichi was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

A black-tailed white crane braves tempestuous seas before the massive orb of a blood red rising sun in this sensational late Edo period Kano style scroll. From the right a sinewy tree loaded with exaggerated fruits hangs precariously from the green face of a sheer cliff, its wild branches running helter-skelter through the dark sphere. Mist retreats beyond the horizon, regrouping for another night. A very unorthodox scene, each wave scratched out with soft gray, foam flying from the bird and waking in troughs on the undulating surface of the sea. The powerful scene is bordered in tea green brocade patterned with vertical waves, and features massive ivory rollers. It is 2 feet (61 cm) wide, 76-1/2 inches (194.5 cm) long. There is some creasing in the heavy red paint of the sun, and although white underneath and not noticeable, there is loss to the thick gofun which originally covered the large peaches. These minor defects fail to mitigate the tyrannical presence of this extraordinary painting.