Catalog: Antiques: Regional Art: Asian: Japanese (184)

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.

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 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.

Wide gold bands mend the broken walls of this unearthed pottery bowl dating from the Kamakura period covered in earthy green glaze from the Seto region from around modern day Nagoya. It is 16.3 (almost 6-1/2 inches) diameter and ready to use. It comes enclosed in a modern collectors wooden box titled Horinote Hirachawan (Excavated Wide Tea Bowl).
Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A quintessential 16th century design in worn gold covers all the dark surfaces of this lacquered wooden box dating from the Momoyama period. Here auspicious cranes and turtles, reported to live a thousand years, laze among pines. About the lid boaters enjoy leisure seas. Ichimonji checkerboard patterns rising diagonally up the sides alternate with garden trees, the ends decorated with wisteria and ivy. The box retains the original inner tray in festive red decorated with garden grasses. It is worn with age and use, but stands testament to the durability of lacquer and evidences the functionality of the coating. The box is 35 x 26.5 x 28 cm (13-1/2 x 10-1/2 x 11 inches). A rare opportunity to acquire such an ancient lacquer work.

A rare Seto Heishi (also read Heiji) bottle dating from the Kamakura period (1192-1333) wrapped in a custom made silk pouch with age darkened Kiri-wood box. Streaks of an unusual blue shidare glaze are visible on one side, Unlike the vast majority of Heishi bottles, this piece is no unearthed or excavated but has been passed down from generation to generation (as evidenced by the lack of inclusions or calcification). It is 24 cm tall and in overall excellent condition, with only minor chips about the rim. Included is a printed image of the piece titled Seto Haiyu Heishi, Kamakura period. This appears to have been cut from an exhibition catalog, and one can guess it has been exhibited.

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.

An E-karatsu Yobitsugi bowl made of various shards attached with wide bands of gold to a discarded base: the pieces dating from the Momoyama to early Edo periods. It is 22 x 20 x 6 cm 8-1/2 x 8 x 2-1/4 inches) and comes enclosed in a modern kiri-wood collectors box titled E-Karatsu Hachi.
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. Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A shard has been grafted into the side of this large misshapen Shino bottle dating from the Momoyama to early Edo period, the repair lined with gold. Gold also circle the neck where the discarded misfire was repaired, and gleams on the lip. It is 22 cm (9 inches) tall and in excellent condition. It comes in an age darkened wooden box titled Ko-Shino Tokkuri, Shoki no Kama (Old Shino Tokkuri, early Kiln era)
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 spectacular collapsed pottery jar from the Karatsu tradition with a purpose-warped wooden lid covered in powdered silver enclosed in a top quality ancient red-lacquered kiri-wood box lined with wave-patterned colored-paper. The ancient box has silver lacquer writing on the top reading Kodai Karatsu Tsubo, Kamakura Ki, Mizusashi (Ancient Karatsu Tsubo, Kamakura Period, Mizusashi). The pot is 17 cm (7 inches) diameter, 15 cm (6 inches) tall and in overall excellent condition.

A lovely chawan made of three separate excavated shards connected by lines of gold dating from the Kamakura to early Muromachi periods (13th to 14th centuries). It is 15.7 cm diameter, 7 cm tall and in excellent condition, enclosed in an old wooden box.

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.

A fabulous example exploring the various traits of traditional Shigaraki pottery with a thick swath of glaze covering one side, telltale feldspathic inclusions bursting from the raw clay opposite. This is a classic example of 16th century Shigaraki pottery. It is 29 x 31 x 35 cm (11-1/2 x 12 x 14 inches) and in overall excellent condition. The history of Shigaraki traces its origins to around the 12th century with the discovery of exceptional clay deposits rich in iron and other minerals which contribute to its distinct rustic charm. The clay's natural tones, ranging from warm browns to deep russet, evoke the earth's organic essence. The subtle imperfections and irregularities of the forms and glazes mimic the irregularities found in nature, embodying the concept of wabi-sabi. Shigaraki ware captures the essence of simplicity, modesty, and reverence for the natural world, reflecting the philosophical ideals deeply rooted in Japanese culture. During the Muromachi and Momoyama periods (1336-1603), the popularity of Shigaraki pottery soared due to changes in the aesthetic of the tea ceremony, which came to emphasize the importance of humility. Shigaraki pieces, with their earthy tones, and rough natural textures, perfectly embodied the idea, making them highly sought-after by connoisseurs. In the Momoyama period (1573-1603), the introduction of anagama kilns that foster the spontaneous and unpredictable nature of the firing process, further enhanced the uniqueness of Shigaraki ceramics leaving beautiful variations in glaze and color based on, among other factors, kiln placement, fuel, firing time, convection, temperature, oxidation, and atmospheric conditions. Shigaraki celebrates the natural properties of the clay it is made from with the idea of Tsuchi-aji (literally Clay Flavor). Tsuchi-aji refers to the “visual taste” of the clay and is highly prized by connoisseurs. The surface often displays fascinating natural effects, including "hi-iro" (fire coloration), "koge" (scorch marks), Shizen-yu (natural ash glaze) and various "Yohen" (alterations). They contribute to the distinctive and organic aesthetic of Shigaraki pottery. Each piece tells a story of its journey through the firing process, reflecting the harmonious relationship between the artist, the kiln, and the natural elements. The interplay of clay, fire, and ash creates a captivating visual narrative, making Shigaraki pottery a testament to the beauty of the moment, the ephemeral and the accidental.

A yobitsugi Jar made up of various excavated kiln shards of central Japan dating from the Heian period (794–1185). It is roughly 32 cm diameter, the same height. Looking at the volume of debris and encrustations, it is likely that the upper most part of this tsubo, which is one piece, was buried in a kiln collapse, earth and stone fusing to the molten ash. During the Heian period, hole kilns were dug into hillsides, with a chimney bored down into the back. Sometimes during firing, or after repeated use, the earth above would weaken and collapse upon the contents, burying all. Unusable, the site would be abandoned and another hole kiln dug alongside or at the next available site, leaving the shattered contents to be excavated a millennia later. Assembling these parts into Wabi-sabi jars or bowls became popular from the mid Edo period in a style known as Yobitsugi (literally called together and attached). To the contemporary viewer it is an example of the simple beauty of random effects produced by a wood-fired kiln as well as a unique view into the Japanese mindset of serenity found in the accidental and ephemeral.

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.