Catalog: Vintage Arts: Regional Art: Asian: Japanese (23)

Coxcomb decorates the deeply carved surface of this box covered in green and red lacquer outside, gilded with gold inside in the Kamakura-bori carving tradition. It is 22 x 25 x 5 cm and comes enclosed in a period wooden box. Kamakura-bori is a type of lacquer ware made in the area around the ancient capital city of Kamakura in Kanagawa prefecture. The tradition is based on carved lacquer wares imported from China during the Kamakura era. However, many Japanese lacquer craftsmen did not adopt the Chinese method of layering lacquer and then carving it; instead, they created Kamakura-bori, a method of carving wood and then coating the already prepared surface with lacquer. Initially, sculptors of Buddhist ritual implements and temple carpenters that were influenced by Chinese art works started to carve items made of Japanese Judas tree or ginkgo and applied a lacquer finish to the pieces in order to mass-produce Buddhist altar fittings resembling carved Chinese lacquer without the extensive drying time. This style came to be known as Kamakura-bori, or literally Kamakura Carving, and the adoption of traditional Japanese patterns made the technique unique to the island nation. Kamakura-bori features chisel markings left intentionally to accentuate patterned areas. Another unique technique is to sprinkle black ink on a vermilion lacquered surface, then polish down the highlights in order for the patterns to stand out from the darkened background. The carving and lacquering techniques of Kamakura-bori have evolved for the past 800 years. Today, production has spread to include everyday goods as well.

An unusual woven basket of bamboo strips and roots in the shape of a cocoon or bird nest dating from the 20th century. It can be used flat on a table or even better suspended on the wall or pillar. It is 43 cm (17 inches) long and in excellent original condition.

A beautifully sculpted image of a pheasant by Ogawa Yuhei enclosed in the original signed wooden box. It is 37 cm long and in excellent condition.
Yuhei Ogawa (1885-1945) was born in Takamatsu, Okayama prefecture an came to pottery a bit later than most. In 1923, while working part time at the Naval Hydrographic Department, he was deeply moved by seeing the solo exhibition of ceramic sculptor Kazumasa Numata. This gave him impetus to begin sculpting in his free time. Although he started his career as an artist late at the age of 37, he was selected for the opening exhibition of the newly established arts and crafts department at the Teiten National Exhibition in 1927, and frequently thereafter. He participated in the activities of the Totokai, a group of potters living in the Kanto region, with Itaya Hazan, Numata Kazumasa and Miyagawa (Makuzu) Kozan II serving as advisors, and played an active role as a central artist. In 1934 he was invited to Iwaki Glass Factory as an advisor and created pottery sculptures and glass works for the rest of his life. A sculpture of a black panther is held in the collection of the Tokyo National Museum of Modern Art.

A very rare Mashiko platter by Living National Treasure Hamada Shoji decorated with a poem cradled in an offset ring forming the mika-tsuki or third day moon by poet Shimizu Hian. The poem reads: Akaki Mi no Omoto no Hotori Dainaru Maruki kono yo no ishi okitari, and is signed by the 76 year old man Hian meaning it was made either in 1958 or 59 (depending upon whether Hian was going by the Western or Japanese manner of counting age). It is 35.5 cm (14 inches) diameter and is in excellent condition, enclosed in a wooden box signed by Hamada’s son.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.
Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum

3 robed figures appear decidedly relaxed on the edge of a rock-strewn river lost in dark mountains. Above a poem reads:
Furusato ha Arukiteyukeru Tokoro ni-te, Yama ari, Mizu ari, kataru yuujin ari (Walking through my home(town) I find mountains, water and friends for conversation).
Ink on paper bordered in patterned silk with bone rollers. It is 59 x 129 cm (23 x 51 inches) and is in overall fine condition, with some toning due to age. Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum