Catalog: Archives: Regional Art: Asian (611)

Leaping green fish soar up the sides over tempestuous crackled celadon waves crashing over the matte blue of this exquisite Mizusashi fresh water container by Sawada Sozan enclosed in the original signed wooden box. It comes with a pottery lid as well as a black lacquered lid (Kaebuta). It is 18 cm (7 inches) tall, 13 cm (5 inches) diameter and in excellent condition.
Sawada Sozan (1881-1963) was born in Kyoto and graduated the Tokyo School of Fine Arts. He attended the Arts Department of Columbia College in the United States where he researched design, and after touring Europe, returned to Japan in 1907 where he established the Sawada Design Institute in Kyoto. He designed textiles, posters, sake labels alongside his exploration of the clay medium. In 1917 he established a kiln in the Momoyama district of Fushimi in Southern Kyoto (this box is signed Momoyama Sozan Saku). He exhibited with the Bunten-Teiten- National Exhibitions and eventually was selected to serve as a judge there. From the mid ‘30s, with the darkening of world affairs, he began to focus more on private exhibition. Several works are held in the permanent collection of the National Museum of Modern Art, Kyoto.

A gorgeous Jubako stacking box of lacquered wood decorated with burgeoning grape vines in powdered gold maki-e dating from the 19th century enclosed in the original wooden storage box. Inside oxidized vermilion grants a sense of celebration, while the outside covered in polished black is the perfect back drop to the shimmering gold decoration. Assembled it is 24 x 26 x 31 cm (9-1/2 x 10-1/4 x 12 inches). Overall it is in very good condition, with some minor dings in the edges typical of use. Jubako were used to contain various types of foods during festive occasions, and can still be seen in use at New Years for O-sechi in modern Japan.

Not quite the Easter Bunny, but perhaps close to an Easter Egg, the design on this vase is both classical and modern, reminiscent of Kenzan and his use of patterns and colors, surmounted by a sometsuke underglaze blue dragon among roiling cobalt clouds. The pot dates from the late 19th to early 20th century, classic Meiji period but for the unusually bright and cheerful rows of yellow, blue and green florals on red. The dragon blends with the clouds, with a single gold line delineating his body, and red flame whirling off from his legs. It is 11 inches (28 cm) tall, 9 inches (23 cm) diameter and in excellent condition.

A Mingei style sculpture of a sake-sprite (Shojo) making off with a barrel of rice wine on his shoulder dating from the 19th century. This architectural work was likely originally part of a gate, and would have been a welcome sign to thirsty fellows after a day of work. Carved from a single piece of hard Keyaki wood, It is in excellent condition. 28 x 12 x 5 inches (71 x 13 x 13 cm). Keyaki as a wood is known for its hardness, beautiful grain and pest resistance.

A decidedly different version of this theme, a Festive carved wooden Tai (Red Snapper) fish with removable side for sashimi coated inside in gold with bone teeth and inlayed bone eyes. The craftsman ahs gone to great lengths to make this as realistic as possible, from the textures of the skin to the folds in the fins and coloring. Unusually, most dishes in this vein are one sided, however this is equally realistically carved on both sides. It is 47 x 21 x 6 cm (18-1/2 x 8 x 2-1/2 inches and is in overall excellent, antique condition.
It may seem strange, but the red snapper is a representative good luck "charm." There are two reasons. One, the pronunciation of red snapper (Tai) is the same as the end of the word for "fortunate" or "worthy of celebration" (Medetai), and two, the red snapper is known for living a much longer life than other fish and is seen as a symbol of long life. In fact, the deity Ebisu-sama is most often depicted holding a red snapper under one arm.

An incredible work of florals on gold signed on the base Kutani Kaburagi Sei showing the very best of that regions pottery dating from the Meiji to Taisho period, when quality and craftsmanship was at its peak. It is 9 inches (23 cm) diameter, 13 inches (33 c) tall and in overall fine condition. There is a small tori-ashi (birds foot) glaze crack in the bottom but does not leak, and is only visible on the outside bottom.

A pair of small gold doors depicting Asian Civets (Jakoneko) in a flower strewn garden dating from the early to mid Edo period (17th to 18th century) reminiscent of the famous pair of screens heralding the same image by Kano Yukinobu (Utanosuke, active Muromachi period). The handmade bronze handles are in the shape of hollyhock leaves, intimating connection to the Tokugawa clan, head of the Shogunate. The painted panels are 45 x 28 cm each (17-1/2 x 11 inches), the doors roughly 48.5 x 32 cm (19 x 12-1/2 inches) and are in remarkably good condition considering age. There is some soot built up on the gold surface as might be expected of a painting exposed to wood heat and cooking for two centuries.

A fabulous large Mingei Tokkuri from the Satsuma region in the shape of an eggplant, glazed in black with crystalline blue about the neck over iron rich glazed clay. Likely from the Hirasa kilns, one of the great Satsuma production centers on the southern Island of Kyushu, 18th to early 19th century. It is 24 cm (10 inches) tall and in overall excellent condition, enclosed in a kiri-wood collectors’ box.
The history of Satsuma ware goes back to the 16th century when Japan fought in the Imjin War, ( also known as the Porcelain War), in which Yoshihiro Shimazu, Lord of the Satsuma domain, brought back eighty Korean potters, giving birth to a new ceramic tradition on Japanese soil. There are four main historical lines of Satsuma ware: Tateno, Ryumonji, Naeshirogawa, Hirasa. They are roughly separated into white wares, black wares and porcelains. Kuro Satsuma (black ware) is made by using combinations of black or brown colored glaze. The body itself is dark brown since the clay contains iron from the local soil enriched by the volcanic ash of Sakurajima.

A trumpeting form decorated with bamboo adorned with a single cicada by Matsumoto Sahei (Sabin) enclosed in a wooden box annotated by the current head of the family Matsumoto Sakio. It is 31 cm (12 inches ) tall and in excellent condition.
Matsumoto Sahei (1851－1918)　was born into the family of Matsuya Kikusaburo, a first generation Kutani porcelain artist. He studied under both his father and Tokuda Kansho, mastering Aka-e, Ao-kutani and other decorating styles of the era and realizing his own techniques with Iro-e Kutani. He was also known as Shoundo or Sabin. He was succeeded by Matumoto Sakichi (first and second) then Matsumoto ,Sakio in modern times.

“I am here” she whispers as the bespectacled gentleman pours the last drops from his bottle and says “I am going home”…a lithograph by Kei Hiraga numbered 50/120 and signed Key Hiraga ’88 with the artist’s seal in red. The paper sheet, matted and framed, measures 50.5 x 42 cm (20 x 16-1/2 inches) and is in excellent condition. This is an superb example of his work, showing both his eros and playful nature in the abstracted figuration for which he is most remembered. Included is a newspaper featuring an article on his life from December 2000.
Hiraga Kei (Key, 1936-2000) was born in Tokyo and aspired to art from a young age during the tumultuous post-war era when art was not high in the Japanese conscious. He Graduated from the Department of Economics, Rikkyo University in Tokyo, but could not curb the itch, and in 1963 won 3rd Prize at Shell Art Exhibition. The following year he was awarded the New Artist Prize at the 38th National Exhibition and Grand Prix with a grant for study in Paris at the 3rd National Young Artists Exhibition. In 1965 he moved to Paris, where he remained until 1977. The same year (1965) he was exhibited at Seize Jeune Peintres Japonais exhibition at Galerie Lambert in Paris and participated in a group exhibition of nine artists at Galerie Argos, Nantes in Belgium. Over the next decade he would be exhibited in Paris, Prague, Lyon, Edinburgh, Haarlem, Tokyo and Milan as well as participating in group exhibitions in France, Brazil, Italy and Japan. In 1972 Hiraga’s works were shown at Salon des Beaux Arts exhibition and Salon de la Realite Nouvelle at the Museum of Modern Art in Paris and then at the “Japanese Artists from Europe” exhibition at National Museum of Modern Art, Kyoto. He would also be included in the “turning point of contemporary art in the 1960’s” at The National Museum of Modern Art, Tokyo, and Kyoto. In 1989 Art Exciting ’89 at The Museum of Modern Art in Saitama Prefecture which travelled to the Queensland Art Gallery in Australia. In 1991 he was featured in “Japanese Anti Art Now and Then” at The National Museum of Art, Osaka. An exhibition of Hiraga’s work Hiratsuka Museum of Art, Hiratsuka in Kanagawa Prefecture and Bokushin Gallery in Tokyo was held the year of his death in 2000. His home in Hakone has been turned into a Museum. Work by him is held in the collection of the Museum of Modern Art New York. A pair of paintings by this artist sold at Christies Hong Kong in 2014 for over 300,000 dollars. For more see “The Elegant Life of Key Hiraga: a Japanese Artist in Europe 1965-1974” (2008)

A loosely brushed image of a Kingfisher perched on dilapidated lotus stalk decorates the crackled gohon pale glaze of this gourd shaped Mizusashi fresh water jar by Takahashi (Ninnami) Dohachi. It features a black lacquered wooden lid. There are cracks in teh lacquer of the looping handle. The signature is consistent with works by Ninnami Dohachi (Dohachi II) from the mid 19th century. It is 5-3/4 inches (14.5 cm) tall, 6-1/2 inches (16.5 cm) diameter and in excellent condition, enclosed in a collector made wooden box. A Mizusashi in iron glaze of this same form is visible in the book Tensai Toko Ninami Dohachi (2014, Suntory Museum) page 164.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others. The third generation (1811-1879) was known as Kachutei Dohachi and continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics. He was followed by the fourth generation (1845-1897), and his sons Takahashi Dohachi V (1845-1897) who took control of the kiln in 1897 until 1915 when his younger brother Dohachi VI (Kachutei) (1881-1941) continued the business.

Flowers of the four seasons blossom in a cacophony of color over the entirety of this Kutani vase signed from the pre-eminent Kaburaki (Kaburagi) studio dating from the opening of the 20th century. The imagery is exquisitely performed with over-glaze enamels on a sheer white ground. The vase is large at 19 cm (7-1/2 inches) tall and is in excellent condition, with some wear to the gold rim. It comes enclosed in an old custom made kiri-wood box.
Kaburaki, along with Yoshidaya, were the preeminent studios producing Kutani from the 19th to early 20th century. Kutani-yaki originated in a village called Kutani in Ishikawa Prefecture in the 17th century and was revived in Kanazawa in the early 19th century by the ruling Maeda family. It was in 1822 that Jisuke Kaburaki opened the very first kutani pottery shop. Over the years Kaburaki Kutani products gained a reputation for excellence both at home and abroad. Today the eighth generation of the family, Motoyoshi Kaburaki, continues this family business.

A truly magnificent vase of pastel blue floral designs on yellow-green body by Miyanaga Tozan enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in excellent condition. It retains the original wooden base. I believe this is by the second generation.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

Gentlemen glide through the open “ma” staring up at the moon on this serene work signed Joun (One of many names used by the priest Hashimoto Dokuzan). Ink on paper in superb Shunpodo Silk mounting (THE preeminent scroll hangers in Kyoto) enclosed in a signed double wood box (niju-bako) dated 1935 with solid ivory rollers (They will be changed for export). The scroll is 28-1/2 x 53 inches (72 x 134 cm) in excellent condition but for scattered foxing.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Niigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under Tomioka Tessai. At the age of 20 he entered Tenryuji under Gazan. He received Inka from Ryuen. In 1910 he moved to Shokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Shokokuji, both important Zen temples in Kyoto.

A lovely hollowed out root forming a basket; an anonymous 20th century work of Mingei art. It is roughly 18 x 13 x 10 inches (45 x 33 x 25 cm) and in fine condition.

A superb Landscape by Yano Tetsuzan dated the second month of 1924 enclosed in the original signed wooden box. The arched rooves of Chinese style pavilions rise in the placed waters under th shelter of precipitous verdant cliffs, trees in fall colors in the foreground setting the stage. Above a long verse in Kanshi signed Tetsuzan. Ink and pigment on silk in a dark blue-green satin border with ivory rollers (the rollers will be changed for export). The scroll is 54 x 193 cm (21-1/2 76 inches) and in overall excellent condition.
Yano Tetsuzan (1894-1975) was an important Nanga artist born in Ehime, a nephew (although nearly the same age) of also important artist Yano Kyoson. He studied under Komura Suiun from 1912 in Tokyo before moving to Osaka in 1918 where he studied under Tomioka Tessai while enrolled at the Osaka Art School. In 1920 he was first accepted into the Teiten national exhibition where he would later be often awarded. In 1921 he helped in the foundation of the Nihon Nanga-in art society. In many ways throughout the pre-war years he worked to modernize the Nanga genre, culminating in 1939 when, along with the aforementioned Kyoson, he would found the Kankonsha Salon to showcase modern Nanga. He would serve as a juror for the Shin-bunten and Nitten (where he had accumulated an astonishing 10 awards). He was also awarded at the Nangain-ten (first prize n 1921). He received the Osaka Prefectural Geijutsu-sho Artisan Award in 1953, as well as the Shijuhosho (Order of Cultural Merit with Purple Ribbon) in 1971. In his final years he helped to establish the Nihon Suiboku-ga Kyokai (Japanese Ink Painters Society). His 1942 work “Waves” is held in the National Museum of Modern Art in Tokyo.

A trumpeting Chinese form by Miyanaga Tozan I enclosed in the original signed wooden box titled Kiji Kodo Gata Kabin (Yellow Porcelain Vase in the Shape of Ancient bronze) and retaining the original Rosewood base. It is 12-1/2 inches (31 cm) tall plus the base, and in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

Fabulous carved florals rise in vibrant color off the surface of this yellow glazed vase by Kato Keizan II enclosed in the original signed wooden box. It is 31 cm (12-1/2 inches) tall, 24 cm (9-1/2 inches) diameter and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others. Kato Keizan II (1913-1995) Born the eldest son of Kato Keizan, he learned basic techniques for glazing and modeling at industrial school and later at the Kyoto National Ceramics Research Institute. In 1931, he began assisting his father at his ceramics workshop and in the same year became a member of the Shinko Kogei Association, which was presided over by Rokubei (5th Generation), from whom he sought guidance. Right from the beginning, he was repeatedly selected to exhibit his works at exhibitions such as the Imperial Exhibition, Kyoto Prefectural Exhibitions, and others, received praise from the Ministry of Commerce and Industry as a preserver of technology in 1940. After the war, he became a founding member of the Kyoto Ceramics Association in 1955, which demonstrated the sway he held in the Kyoto ceramics sphere. With the death of his father in 1963, he took over as 2nd generation Kato Keizan and moved the kiln to Oyamazaki. Pursuing a revival of Song dynasty-style celadon and Tenryuji celadon, he developed beautiful glazes such as tobiseiji celadon, kiba-hakuji porcelain, and purple celadon.