Catalog (198)

A serene vision of enlightenment, calming and compassionate, can be seen in the later Edo period Buddhist carving of Amitabha. He stands on a lotus base, with a flame like mandala rising up behind him in the shape of a jewel, the entire gilded in pure gold worn soft with age and care. The figure alone is 39 cm (15-1/2 inches) tall. With the base and mandala, it is 65.5 cm (just under 26 inches) tall. It is in excellent condition. I believe that some restoration has been performed on the delicately sculpted hands in the past, not uncommon in the most earthquake prone country on the planet.
Amida Buddha, also known as Amida Nyorai or Amitabha Buddha, is an important figure in Mahayana Buddhism, particularly in the Pure Land Buddhism tradition which permeates Japan. He is revered as a celestial Buddha who resides in the Pure Land, a realm of ultimate enlightenment and liberation from suffering. Pure Land Buddhism and the belief in Amida Buddha were introduced to Japan during the 8th century. The key figure responsible for bringing Pure Land teachings to Japan was the monk, scholar, and imperial advisor named Genshin (942-1017). Genshin is considered the founder of the Japanese Pure Land school and played a significant role in popularizing the Pure Land teachings in the country. Genshin was deeply influenced by the Chinese Pure Land master Shan-tao (613-681) and his teachings on Amitabha Buddha's Pure Land. Shan-tao was a renowned exponent of Pure Land Buddhism, and his writings and teachings had a profound impact on the development of the Pure Land tradition in East Asia. Genshin's most famous work, "Ojoyoshu" (The Essentials of Rebirth in the Pure Land), written in 985, became a seminal text in Japanese Pure Land Buddhism. In this treatise, Genshin elaborated on the concept of Amida Buddha's Pure Land and the practice of reciting the Nembutsu (Namu Amida Butsu) as a means of attaining birth in the Pure Land after death. After the establishment of the Pure Land school, Pure Land Buddhism gained popularity among the common people and members of the aristocracy in Japan. The teaching of salvation through faith in Amida Buddha's vow and the chanting of the Nembutsu resonated with the aspirations of people seeking a simple and accessible path to enlightenment. Over time, other prominent figures and schools contributed to the spread and development of Pure Land Buddhism in Japan. Notably, Honen (1133-1212), the founder of the Jodo Shu (Pure Land School) in the Kamakura period, and Shinran (1173-1263), the founder of the Jodo Shinshu (True Pure Land School), played significant roles in popularizing Pure Land Buddhism and further shaping its doctrines.
Amida Buddha and Pure Land Buddhism continue to be influential and revered in various Asian countries, especially in Japan, where it has a significant presence as one of the major Buddhist traditions. The belief in Amida Buddha's compassion and the aspiration to reach his Pure Land remain important elements in the spiritual lives of millions of Buddhists around the world.

A fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

A hawk rests on an elaborate perch, the feathers fluffed up, each uniquely carved on this rare okimono from the Mushiake kilns of Okayama prefecture. It comes in an ancient kiri-wood box. The notation on the side of the box states it was received in late Meiji 27 (1894) from the former Head of the Okayama fief Ikeda Mochimasa. The name of the recipient has been redacted, as is often the case when things change hands in Japan. It is 24 x 7.4 x 29 cm (9 x 3 x 11-1/2 inches). A ringlet on one side and a hook under the bar, both made of wire-thin clay, have been broken off, otherwise it is in excellent condition. A work like this from Mushiake is unprecedented, a true rarity.
Mushiake ware is pottery made in modern day Setouchi City, Okayama Prefecture. Legend states it was begun as the Niwa-yaki (a private samurai residence kiln) by the Igi Family, chief retainer of the Okayama Domain. The kiln origin is unknown, but possible originated with the 6th head of the Igi family, and was certainly active in the Bunka/Bunsei eras at the opening of the 19th century. It is said the third generation Dohachi fired work there. The kiln was shut down in 1842, but five years later revitalized by the 14th-generation head of the Igi family, Igi Tadazumi (Sanensai, 1818–1886,), who was a well-known tea master. He invited Seifu Yohei (1803–1861) who came to the kiln and taught blue and white pottery techniques, Korean and other traditions popular in the capitol at the time. At the end of the Edo period (Bunkyu era) Mori Kakutaro took over operations at the kiln. In the early Meiji era Miyagawa Kozan came to work at the kiln, and it is said Kakutaro’s son Hikoichiro took the character Ko from Kozan for his own pseudonym Mori Koshu. Once again, during the Meiji era, the kiln shut down temporarily, and Hikoichiro (now known as Koshu) went to Yokohama to learn new pottery techniques from Kozan. The kiln enjoyed some success during this era, but was again shut down eventually, and revived in 1932. It is still in existence today.

An Edo period incense burner of wood cut in a squash shape known as an Akoda-koro covered in black lacquer with designs of aogai-shell laid onto the surface under a solid silver dome-lid. It is 11 cm (4-1/2 inches) diameter and enclosed in modern custom wooden storage box. There are losses to the raden design revealing the underlying tonoko on which it is laid.

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.

A very unusual lacquered Jubako stacking box in the shape of a water cauldron made for serving food at events and celebrations. It is finshed with metallic textured silver-black lacquer simulating old iron. The lid and base are shiny black lacquer, the interior coated in festive red. Cranes and turtles, symbols of longevity, populate the inside in gold. It is 20.5 cm (8 inches) diameter and comes enclosed in an age darkened period wood box titled Kamagata Kashiki. There are two repairs to the red lacquer of the interior trays and marks consistent with use, but overall in fine condition.

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.

Lavender and aquamarine coat the surface of this vase from the Kairakuen Kilns of the Ki branch of the Tokugawa family dating from the 19th century. The circular window between floral scrolls is made in the shape of the archaic character Kotobuki. The vase is 18 cm (7 inches) tall and in excellent condition, and bears the Kairakuen seal impressed into the base. It comes enclosed in an old kiri-wood collectors box titled Kairakuen-ki Juji Moyo Kabin (Kairakuen Vessel decorated with Character of fortune).
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.

A rare large vase by Kanzan Denshichi decorated with a hermitage in the hills and a poem extolling the beauty of summers first rain by Kanzan Denshichi enclosed in the original signed wooden box bearing the Shountei seal, dating it between 1871 and 1890. It is 34 cm (13-1/2 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

A rare Edo period porcelain covered dish attributable to the Nanki Otokoyama porcelain tradition of the Southern Kii peninsula (modern day Wakayama) under the patronage of the Kii branch of the Tokugawa family. Outside the dish is expertly modeled in the shape of a sea bream, a fish known as Tai (or Madai) in Japanese. The fish is associated with celebration, not only because of its festive red color, but also as the name Tai is a homonym for festivity. Cranes soar inside both the lid and base with the mark Nanki Otokoyama brushed in among the imagery. The dish is 29 x 19 x 18.5 cm and is in excellent condition, enclosed in a period compartmentalized kiri-wood box titled Otokoyama Tai Futamono (Otokoyama Sea Bream Lidded Dish).
Nanki-Otokoyama ware was established in 1827 under the patronage of the Tokukgawa clan of the Kishu Domain by Sakiyama Rihe after he learned the art of blue and white porcelain in Takamatsu. The kiln remained open until 1878, and the then craftsmen moved to Work at the Tozan Kiln of Himeji. At the height of its prosperity, together with Kairakuen-ware, they were highly esteemed ceramics to be presented as a gifts from the Daimyo feudal lord. Works for the Nani Otokoyama Kiln are held in the collections of the Metropolitan Museum of art New York, the British Museum and the Smithsonian among others.

A hand painted cloth banner decorated with imagery by various artists including the Nanga School literati artists Tanomura Chokunyu (1814-1907) and Nakanishi Koseki (1807-1884) as well as Tanaka Koha of the Kagetsuan School of Sencha and Confucian scholar Goto Shoin (1797-1864) and Hirose Kyokuso (1807-1863) who were two of the most important followers of Rai Sanyo. The date Konoe-saru (year of the monkey in metal) is visible in both the central leaf and the lower left gourd image. Judging then by the 60 year cyclical zodiac calendar it dates from the fifth month of 1860. The title, signed Shochiku-Rojin (the old man Shochiku), reads Betsu-yu-ten-chi-hi-jin-kan, a poetic phrase meaning there are other worlds aside from that of the human plane, specifically alluding to a world without human desire. Perhaps when these learned gentlemen gathered for tea beyond this curtain, they felt that they had experienced one of these other worlds. The cloth is 91 x 160 cm (36 x 63 inches) including a pouch through which a bamboo stave would have been run for hanging. Toned somewhat with age, the fibers are strong.

An antique gilt bronze Buddhist tower finial with three pierced flame flanges richly engraved with scrolling vines mounted on a hardwood pedestal It is 53 cm tall and in overall excellent condition.

A beautiful 2 Stage lacquered container covered in black lacquer decorated with flowering vines. The domed lid opens to reveal a circular tray removable to open a deep container. It is 8.5 cm (3-1/4 inches) diameter, 11 cm (4-1/4 inches) tall and in excellent condition.

A stunning large Menuki in the form of a writhing dragon of gilt copper dating from the 19th century, It is 7.5 cm (3 inches) long and in perfect condition, retaining both the original studs on back unused. The Year of the Dragon is coming up!

A very large mask of heavily carved wood covered in black lacquer with golden eyes dating from the mid Edo period (18th century). There are minor losses to the lacquer on the cheeks and along the edges typical of age. It is 37.5 x 30 cm (14-1/2 x 12 inches) and is in overall fine condition.

An Edo period coat (haubergeon) and “kote” (mitons) of linked chain over layers of indigo dyed blue cloth decorated with family crests in gold. The chain, Kikko collar, outer layers of cloth and leather piping are all in overall excellent condition, the original pale blue lining is much worn away. This is made for an adult.
In Japan, mail is called kusari which means chain. When the word kusari is used in conjunction with an armored item it usually means that mail makes up the majority of the armor composition. Kusari jackets, hoods, gloves, vests, shin guards, shoulder guards, thigh guards, and other armored clothing were produced, even kusari socks. Kusari gusoku or chain armor was commonly used during the Edo period 1603 to 1868 as a stand-alone defense. According to George Cameron Stone: Entire suits of mail kusari gusoku were worn on occasions, sometimes under the ordinary clothing. In his book Arms and Armor of the Samurai: The History of Weaponry in Ancient Japan, Ian Bottomley shows a picture of a kusari armor and mentions kusari katabira (chain jackets) with detachable arms being worn by samurai police officials during the Edo period. The end of the samurai era in the 1860s, along with the 1876 ban on wearing swords in public, marked the end of any practical use for mail and other armor in Japan. Japan turned to a conscription army and uniforms replaced armor.

A Hikeshi-Banten Fireman Jacket decorated with protective images of waves and birds outside in various dyed colors and sashiko stitching, the inside emblazoned with a dragon and tiger; symbols respectively of wisdom and protection (the dragon is a water god) and ferocity and bravery as the tiger knows no fear. The handmade coats were fashioned from several layers of highly absorbent quilted cotton fabric. They were then resist-dyed using the tsutsugaki method, which involved drawing rice-paste designs on the cloth, dyeing the cloth multiple times and then washing off the paste to reveal the layering of colors. They were worn plain side out and before firefighters entered the scene of a blaze, the coats were thoroughly soaked in water (they could weigh more than 75 pounds) to protect the men from burns and blunt the impact of falling objects as they went about their dangerous work. If firefighters were successful in extinguishing the blaze, they would turn their coats inside out and parade victoriously by cheering onlookers. According to the Denver Art Museum:
Decoration was important to firefighters’ garments, which were far from purely utilitarian uniforms. Firefighters enjoyed respect and high status in urban Japan, especially in Edo, where wood architecture and crowded living conditions led to frequent outbreaks of fire. Commoners wore reversible coats (hikeshi-banten) made of thick, quilted cotton fabric, with a plain indigo-dyed exterior and an elaborately decorated interior.

A Tea Pot by Otagaki Rengetsu with a handle like bamboo root inscribed with a poem which reads: Ko no kimi wa
medetaki fushi wo
kasane tsutsu
sue no yo nagaki
tameshi nari keri.
This translates as:
Our young bamboo
piling up happy knots
year upon year—
its tips reaching high
a paragon to us.
It is roughly 10 cm (4 inches) diameter. And comes enclosed in a wooden box annotated by Koen of Jinkoin temple, where Rengetsu lived. On the side of the box is written what appears to be Kae-ichinen san-gatsu (3rd month of 1848), Otagaki Rengetsu Ni Waka iri Dobin (Pot engraved with Poem by Nun Otagaki Rengetsu). It appears the handle has been broken and repaired twice, and there is a tiny chip in the rim of the lid (see pictures).
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.