Catalog (201)

A crane rises elegantly from a truncated tree, the legs intricately crafted and the body flowing in a liquid grace. This is Bizen Saikumono, a body of Bizen popular throughout the Edo, Meiji and early 20th centuries. Craftsman carved wild animals, mythical beasts, human figures and many other figures out of the smooth Bizen clay, relying on perfection of form, allowing the firing to add color without overt decoration. This figure is 34 cm (13-1/2 inches) tall and in excellent condition. It comes in a period wooden box dated the 8th month of Koka 3 (1846). As one might expect from something nearly two hundred years old, there is a well done invisible repair in the neck, otherwise is in excellent condition.
The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The beauty of Bizen pottery lies in its adherence to wood-fired kilns. The firing process is crucial, as it allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Saiku-mono or figurative pottery works have their roots much further back, but were very popular in the 19th and early 20th centuries. Simplicity of form, often inspired by nature and everyday objects, enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

A Fushina (Fujina) yaki image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the Edo period. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What happens in the tea room, stays in the tea room! The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the Rakuzan seal. It comes in an antique woven thread pouch.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

A Bairin Yaki Suiteki water dropper in the shape of an eggplant and bowl covered in that quintessential Bairin purple and green glaze flowing into the water bowl. It is 10.5 x 6 x 4.5 cm (4 x 2-1/4 x 2 inches and is in overall nice condition, with miniscule chips repaired on the rim. Suiteki are used to provide water for grinding ink on an ink stone.
Bairin Yaki was a resurrection of the ancient Omi style of ceramic called Zeze favored by Kobori Enshu and Honami Koetsu. Zeze Yaki died out in the mid 1600s, but was reestablished by Odawara Ihe-e sometime during the Tenmei Era (1781-1789), with brighter colors. It was, however not long lived, and appears to have died out again sometime in the 1840s. It was again revitalized in the Late Edo and Meiji eras under the name Seta-yaki, and again the lineage died in the Taisho period. An unusual opportunity for the collector of Japanese ceramics.

A diminutive image of Hotei (Putai) the lucky god of fortune from the Edo period kilns of the Matsudaira clan of Matsue in their distinct golden color. It is 4.5 x 3.3 x 4 cm tall and is in excellent condition. Fushina-yaki was the Goyogama clan kiln of the Matsudaira of Matsue Han in modern day Izumo, established around 1764. It fell strongly under the aesthetic taste of Matsudaira Harusato (1751-1818) Daimyo of the province and one of the most influential Tea Masters of the later Edo period. His style of ceremony continues to this day as the Fumai-ryu style of tea.
Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

A small carved Zushi in the form of a cave housing a red stone in the shape of the Daruma, progenitor of Zen Buddhism in Japan. It is 6 x 4.2 x 8.3 cm (2-1/2 x 1-3/4 x 3-1/4 inches) and is in overall excellent condition, dating from the This would have been made as a talisman to ward off evil spirits. later Edo period.

An incredible Mishima Chawan dating from the Edo period with a wide repair to the rim in dark lacquer decorated with golden grasses in gold maki-e lacquer designs. It comes in an ancient dilapidated silk pouch with cotton buffer enclosed in an age darkened kiri-wood box titled Mishima Chawan. The bowl is 5.5 cm (2 inches) tall, 12.5 -13.5 cm (5-1/2 -6 inches) diameter and in fine condition. Mishima ware refers to different types of imported and adopted Japanese pottery. Mishima originally refers to the shimamono pottery imported from the islands of Taiwan, Luzon, and "Amakawa" (Macau). They were characterized by being roughly-made and often uneven, thus epitomizing the Japanese aesthetic of wabi-sabi. HOwever the term overall came to refer to impressed and slip-inlayed ceramics in the Korean style like this bowl.

Grapes cluster on the vine under drying leaves on this painting by Tenryu-dojin performed with ink on paper in a light cloth mounting with pale blue piping and wood rollers. Painted when the artist was 77 years old (1794 by the Japanese count). The scroll is 42.5 x 162.5 cm (16-3/4 x 64 inches) and has been remounted sometime in teh 20th century, in a style reflecting the literati mounting style popular from the later Edo period.
Tenryu Dojin (1718-1810) was born as an illegitimate child of the Hizen Kashima Domain, but was raised as the son of a chief retainer. At the age of 14 his family was involved in a scandal and the artist was made a Ronin, or masterless Samurai. Around the age of 15, he entered the Buddhist priesthood under the priest Taitake of Hizen Ankoku-ji Temple, and later went to Nagasaki to study medicine and painting under Kumashiro Kumai. Around the age of 19, he went to Kyoto where he was adopted by Manri-koji Shufusa, calling himself Zenmyo-in, and served the Cloistered Imperial Prince. He fell into the circle of Imperial loyalist Takenouchi Shikibu, and joined the movement to overthrow the shogunate and restore the monarchy operating under various pseudonyms. After a failed coup at the age 41, many of his loyalist friends were exiled, but this did not deter the patriot, and he was again involved in a plot at age 50 known as the Daini Jiken. The leadership of this plot were put to death, and Tenryu-Dojin escaped to mountainous Shinsu region in central Japan. He changed his name and hid himself in this area for the res of his life. He is remembered for paintings of hawks and grapes.
An exhibition of his work was held in 1960 at the Nezu Museum.

A pair of bottle-shaped heishi vases made for tribute to the gods emblazoned with the characters Dai-Kichi (Great Fortune) by Imamura Joen (1635-1717) signed on the base and enclosed in a wooden collectors box. They are 20.5 cm (8 inches) tall each and in excellent condition.

A smokey yellow bowl impressed with various floral images dating from the Edo period made up of various ancient kiln shards put together with lacquer and silver in the Kintsugi technique. The bowl is 11.5 cm (4-1/2 inches) diameter, 8 cm (3-1/4 inches) tall and comes wrapped in a contemporary silk pouch in an age darkened kiri-wood box.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

A bucolic scene of temples and rugged seaside hills dotted with pagodas in silver and gold wraps around the black surface of this deep tray dating from the Momoyama to early Edo period (16th-17th century). It is 27 cm (10-1/2 inches) diameter, 8.5 cm (3-3/8 inches) tall. The bottom has been re-lacquered at some time in the past. There is wear and cracks to the inside typical of age and use, and the rim has been re-done in gin-dame powdered tarnished-silver, which blends well with the ancient feeling of the piece.

A set of 5 rare Dutch glass cups imported to Japan in the Edo period and formerly owned by the Confucian scholar Nakai Riken (1732-1817). They are enclosed in a custom made double sided wooden box with drop in doors titled on the side Yoi-O-Gozui (Five fortuitous ways to be drunken) with a long verse carved into each door. Of course, the meaning of the title goes much deeper, and the Gozui is also a Confucian concept. The emperor of China distributed five jade treasures to the five feudal lords, and they were named. The scholar has named each of the cups after one of these jade objects, Ko, Yu, Haku, Shi and Dan. The Osaka University Professor Ueda Minoru researched Riken, and mentions the treasured set of five glass cups, the smallest with a golden rim, in his research of the scholars life and belongings, claiming them to be one of his most treasured items. The largest cup is 15 cm tall, the smallest 7.5 cm. There are some chips and fractures in the corners of the seven-sided foot of the smallest cup, otherwise all is in overall excellent condition.
Nakai Riken (1732-1817) was a Confucian scholar of the later Edo period. He studied Neo-Confucianism under Goi Ranshu, and together with his older brother Nakai Chikuzan, supported Kaitokudo, a school of learning in Osaka, leaving behind the greatest academic achievements of the Kaitokudo school. the rational and modern academic style that is characteristic of Kaitokudo literati was established mainly by Riken. As a scholar he commented on the classics and wrote books such as " Nanakyo Kadai," and "Shichikyo Kadai Ryaku." These were compiled into a total of thirty-three volumesara. He was well versed not only in economics but also in natural sciences such as astronomy. Goryu Asada, who had studied Western astronomy in earnest, stayed with. He wrote an overview of the ming period book "Tenkyo Arumon," by Yushiroku, and created a celestial map. In addition to astronomy, he also left a natural history map "Sakura Cho", an anatomical chart "Etsuryofutsu", and a microscope observation record "Microscopic Record". In addition, he wrote "Kashokoku Monogatari" (The Tale of Kashokoku), in which the protagonist was the king of a fictitious ideal nation, 'Kashokoku,' and discussed how the nation should be governed. A prolific writer, he left a vast body of contextual research for subsequent generations.

An unusual Edo period Oribe serving bowl, the color filled crackled glaze decorated with scrolling lines in iron and splashes of copper green. Both inside and out hash mars denote a bamboo fence with blossoms in the fore. A handle and raised architectural elements around the rim and rising to the mouth echo some western influence, possibly indicating original Christian use. It comes resting on a silk pillow in a age-blackened wooden box titled Oribe Katakuchi. The piece measure 24.5 x 13.5 x 10 cm (10 x 5-1/4 x 4 inches) and is in overall excellent condition.
On a little historical note, a toned paper label on one side denotes the piece was once placed under hold by the Himeji Courthouse as part of a property with a lean against it, indicating the piece was considered to be of significant value even a century ago.

Startled to enlightenment, this is a large Edo period figure of a Rakan (Sanskrit: Arhat), a Buddhist saint kozutsucarved in the Yosegi-zaiku method of joined blocks of wood. Originally covered in polychrome colors, much has grayed and flaked away with time, a fitting aspect of the image. He has glass eyes which seem to burn violently with realization. The image is 43 x 36 x 51 cm (17 x 14 x 20 inches) and is in solid condition. The head is removable, slotted into the body at the collar. For additional images please inquire. In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art. According to the Met: Rakan are ascetics who guard and proclaim Buddhist law on earth in the period between the death of Shakyamuni, the historical Buddha, and the coming of Maitreya, the Buddha of the Future. They have inspired some of the freest and most lively depictions of the human figure in Japanese art. Age and the struggle for salvation have left their mark, but in the figures’ gnarled faces and bodies is a strong expression of the uniqueness of each individual. Because Rakan achieved enlightenment through rigorous individual effort and meditation, they appealed to practitioners of Zen Buddhism and became a popular icon in medieval Japan. They are conventionally portrayed in groups of sixteen…

A crusty wood fired Bizen dish with looping handle, one hemisphere rounded, the other pinched as if for pouring, dating from the Edo period enclosed in an ancient custom fit lacquered Kiri-wood box. It is 23.5 x 22cm x 12.5 cm (roughly 9 inches diameter, 5 inches tall) and is in surprisingly excellent overall condition, with a few nicks to the edge of the foot consistent with age. Evidencing the centuries, there is a loss near the handle to some thicker glaze encrustation. This only happens with Bizen after a great deal of time. A dish like this would have been used for serving sweets in a tea room, or perhaps some skewered grilled fish in a traditional meal. The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The firing process allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Simplicity of form enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

An exceptional web of gold interspersed with nishiki-cloth patterned designs on gold lacquer fuses this once broken 16th-17th century Koro with ami-me net patterned solid silver lid. This was likely originally made as a tea cup, considering that the entire interior is glazed. Broken and reassembled using the Kintsugi gold technique and placing unusual patterns on the missing portions, this is an exceptional work of art. The silver lid was likely made when it was repaired and repurposed as an incense burner. It is 8 cm diameter, 7 cm tall (roughly 3 inches) and is in excellent condition. It comes in an antique cloth pouch with solid silver lid enclosed in a compartmentalized age-darkened kiri-wood box.

An early Edo period Ki-Seto sake cup repurposed with a silver lid pierced with a chrysanthemum to function as an incense burner enclosed in a custom made silk pouch and bamboo case dating the transformation to New Years of Kae-7 (1854). Without the lid it is 5.5 cm (roughly 2 inches) diameter and in excellent condition.

A Kintsugi gold repair provides a flash of gold on the much-used richly color-stained glaze of this Early Edo Takahara Yaki Chawan Tea bowl enclosed in an age darkened kiri-wood box titled Takahara Yaki Hira Chawan. The box is annotated inside followed by a Ka-o stylized signature. There is also a separate Kiwame letter enclosed. The bowl is 15.3 cm (6 inches) diameter and in excellent condition. Takahara Yaki began with Takahara Tobei (Fujihei) who hailed from Higo in modern day Kumamoto prefecture, and later Takahara Heizaburo. Tobei established a kiln near Shitennoji in Osaka specializing in tea ware during the Keicho era (1596-1615) especially known for Korai Korean and Raku wares. Later a second kiln was opened in Omi (modern day Shiga) which specialized in pottery of the Awata tradition. In 1653, On the recommendation of Katagiri Sekishu, the family split, and under orders of the Edo shogunate Heizaburo opened a kiln in front of Asakusa in Tokyo. So in fact there are three lines of Takahara Yaki, Osaka, Shiga and Tokyo. This is likely from the original Osaka kiln and dates from the 17th century.

From the Shoguns table to yours…why not? This is a lacquer tray elevated on scrolling legs decorated with squirreling tendrils and Mitsuba-Hidari Aoi Domoe (Left Swirling Triple Hollyhock) crests from the Shogun family. The flat surface is festive red with chirashi-mon design (scattered crests) duplicating that on the outside. The table is 38 cm (15 inch4s) square, 20 cm (8 inches) tall and in fairly good condition considering its age. There are chips to the edges and other mars typical of use.
It is said that the reason Tokugawa Ieyasu adopted the Aoi, which was originally the crest of Kamigamo Shrine, as a family crest, was that he wanted to prove the dignity of the origin of his samurai family as parishioners of Kamigamo-jinja Shrine, which descended from the Nitta-Genji clan. There are many versions of the Mitsuba Aoi crest of the Edo Shogunate, those in use by the government, and those in use by branch families and tributaries, however the left swirling crest (as seen here) was restricted for the use of the direct lineage of the Shogun. It is, in fact, quite a rarity.