Catalog: Archives: Regional Art: Asian (611)

Feeling frisky that day, perhaps a wry self portrait by this most famous of Nuns, Otagaki Rengetsu with a poem brushed above in her unique script.
Hito hakaru The trickster
Sagano no harano In the Fields of Sagano
Yufumagure At Twilight
Onoka obana ya Tail in the Pampas grass
Sode to misuran Will it seem a sleeve
There is something very human about this depiction, perhaps the nose…The Hakuzosu (Fox spirit) is a popular theme surrounding the superstition that foxes transform themselves into human form to bewitch the unwary, particularly at twilight. Perhaps the final reference to a sleeve is that of the beguiler, the sleeve of a kimono draped for the seduction of a passing man. Performed with ink on paper in a silk border, the scroll is 10-1/4 x 65-1/2 inches (26 x 166.5 cm) and in overall fine condition. The word obana, written with characters meaning "tail-flower," is classic poetic diction for susuki autumn grass signifying Sagano, a place name often used in poetry as a pun on saga, "one's nature." For a similar image with this poem see the Metropolitan Museum of Art New York (Gift of Donald Keene).
Much has been written about the life and work of poet/artist Otagaki Rengetsu. 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.

Here is a fine squat jar form vase, the deep red clay covered in fish-eyed tenmoku glaze by Living National Treasure (Ningen Kokuho) Shimizu Uichi (1926-2004), enclosed in the original signed wooden box. Iron red shows through with startling effect like meteorites in a dark night sky of blue and brown. It measures 6-1/2 inches (16.5 cm) tall, the same diameter. Shimizu is known for the soft persimmon red temmoku (iron oxide) glaze, as well as crackled white and celadon glazes. This is an excellent example piece by the artist. Uichi was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

A spectacular black lacquered wooden sign carved with bold characters over a gold gilded carp swimming through a torrent of waves dating from the late 19th to early 20th century. It is in fine condition, with only minor marks typical of age. It measures 4 feet (121 cm) long, 14 inches (35 cm) wide and is 1-1/2 inches (3.5 cm) thick at the frame edge.
Due to size the cost of shipping will be accrued separately for this item.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

A Karatsu style shuhai sake cup with cream glaze decorated inside and out by the Zen Priest Nakahara Nantenbo, a priest who was instrumental in reviving the Zen tradition in the beginning of the 20th century. Circling the circumference is a seven character inscription, the first six reading Kaisei Fugetsu O Kan, the last we have not been able to read. Written inside is an image of the priests infamous staff from which he derived his name, and in large characters NANTENBO, written by a 65 Year Old Man Toju (rokujugo okina Toju). Toju was his official Zen name, but his wild nature and propensity for using his long staff earned him the name Nantenbo. The central character Ten (heavens) has been playfully abbreviated to a single line pointing up like an arrow. The priests name-sake staff was cut from a 200 year old Nandina tree the priest found in a garden. After beseeching the owner he was allowed to cut down the tree and fashion it into his walking staff. The Nandina in Japanese is Nanten, and a walking stick is called a Bo, thus the name Nantenbo. It is known Nantenbo, like many priests of his time, was fond of Sake, Japanese rice wine. The piece is 1-5/8 inches (4.3 cm) tall, 2-1/2 inches (6.5 cm) diameter; slightly large for a sake cup of the time. It is in perfect condition but for a small old chip in the Mikatsuki kodai (foot). We could say this piece is very rare; in fact I have never seen nor heard of another. It was purchased in Kobe, home of Kaiseiji, the long time residence of this notorious priest. It comes enclosed in a custom kiri-wood box.

Smooth black lacquer covers the mirror like surface of this wooden boat inlayed with mother of pearl down the sides, hiding under the low roof a brass tray for flower arranging. The prow is flecked with gold and the roof decorated with karakusa maki-e designs in black on the flecked surface. The tiller is removable for cleaning. It is 28-1/2 inches (72 cm) long, the ship dating to the opening of the 20th century. There are some minor chips in the lacquered corners in the stern, however overall it is in fine condition.

18 cm long set of Kanzashi with five Bira dangling from a branch to which is caught a court cap, possibly dragged from the wearers head during a horse race, or perhaps flung off in a passionate moment. For someone interested we have a museum quality collection of combs and hair pins which I would prefer to sell together in accordance with the previous owners wishes. Birakan (bira Bira Kanzashi) were hair pins used by all classes of society and were one of a woman’s most prized possessions. They are often made of precious metals, gold, silver shakudo and shibuichi, encrusted with bits of red or pink coral, prized for its youthful accent, jades and other precious stones.
The subtleties of Japanese design tend to center on the suggestive rather than the representative. Allowing the viewer to fill in or complete the story surrounding the object viewed. As in the tea room aesthetic, where the room is 95 percent completed but never fully finished, allowing the viewer to complete the room in their own mind, creating to each individual a unique and personal view.

A cormorant cries out to the sea on the lid of this fantastic suzuri bako writing box enclosed in a red lacquered kiri-wood box. Inside the birds mate looks up from among gold flecked lotus leaves growing wild along the waters edge. The box contains the original tray with stone, the edges of which are flecked with gold. It is in excellent condition but for on ding to the inside of the base, lower left, and one in roughly the same position on the lid. A silk wrap and satin pillow protect the box both inside and out. Repair to both small nicks will be inclusive in this price.

Gnarled plums cover the unusual rich blue ground of this antique tsubo vase from the Arita kilns dating from the early 20th century. It is 14-1/2 inches (37 cm) tall and in fine condition, signed on the base. The decoration is performed entirely in overglaze enamels with a gold rim,and is both vivid and fresh. One of the more unusual pieces I have seen from this region. It is signed on the base in Red Arita sei Miyuki Gama

A beautiful Suiseki mounted on rich red carved wood base enclosed in a custom made kiri-wood display box. There is a sublime balance between the ragged peaks and deep clefts in the stone, and excellent example of the Renzan (Range) type of stone. The stone is 37 x 10 x 12 cm (15 x 4 x 5 inches) and is in excellent condition. There is one very small nick in the wooden base (1/8th of an inch or 3 mm in size). Together the stone and box weight 3.5 kilograms (roughly 8 pounds). The chip in the wooden base will be filled before shipping unless otherwise preferred.

A published set of 10 Zen Scrolls by Jikihara Gyokusei and Shibayama Zenkei showing the 10 stages of enlightenment through the parable of the bull and the ox-herd. Ink on paper in blue silk border with wood rollers. Each scroll measures 44 x 188.5 cm and all are in fine condition but for a few tiny holes in the top of one border (see close-up). The scrolls were photographed in the order taken from the box, and are not necessarily in the correct order in the composite photos. This set of scrolls is the subject of the 1974 book Zen Oxherding Pictures by Zenkei and Gyokusei, and each is published in the text followed by a discussion of the imagery, in both English and Japanese.
The Ten Ox Herding Pictures are inspired from the Chinese Zen Master Kuan Shiyuan in the 12th century to illustrate the stages of enlightenment in Mahayana Buddhism as illustrated in the original Avatamsaka Sutra. The pictures tell the story of an Ox herder (an ordinary person) who must go in search of his lost charge (the true self, the Buddha Nature). Wandering through the wilderness he searches until finally finding its tracks, he follows, captures, then must tame the beast through discipline. Following is realization and the two become one and return home. Then transcend their own self-imposed boundaries and perceptions. All is overcome and the practitioner reaches enlightenment and can return to society where his image inspires others.
A similar pair by Gyokusei reside in the Zen Mountain Monastery of New York. Zenkei and Gyokusei also co-authored a book on the Zen Oxherding pictures in 1967. Another thing special about these is they show the friendship between Zenkei and Gyokusei, and it is through the chance meeting of Zenkei and Michael Hoffman, the prominent American ink painter, at the Zen center in Los Angeles, that Zenkei introduced him to Gyokusei, who would become Michaels life-long Mentor.
Shibayama Zenkei (1894¡ª1974), a former Abbot of Nanzenji and was a Rinzai master well-known for his commentary on the Mumonkan. One of his better-known students is Fukushima Keido former abbot of Tofukuji. Shibayama also taught at Otani University and was the head abbot of the entire Nanzenji Organization, overseeing the administration of over five hundred temples. Due to a number of lecture tours he undertook to the United States in the 1960s, and the translation of several of his books into English, Shibayama was a significant contributor to the establishment of Zen in America
Jikihara Gyokusei (1904-2005) was born in Okayama prefecture, and graduated the Osaka Municipal School of Art where he had studied under Yano Kyoson. He was accepted into the Nanga-In TenNational Nanga Exhibition in 1930. Subsequently his fame as an artist grew, exhibiting at the Teiten and subsequent Nitten National Exhibitions as well, however his yearning for something more grew as well.¡¹In 1956 he entered Nanzenji to study under Shibayama and a lifelong friendship was born. As an artist he received many awards throughout his career and was honored with the Hyogo Prefectural Cultural Citation. He also became the head of his own Zen Temple and helped to further the teaching of Zen in Japan and in America.

An Art-Deco Revival vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Homan Kabin dated 1959. It is 8-1/2 inches (22 cm) tall and in fine condition.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1959.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

Three tough looking toads work together to support the base ring of this unusual leaf-shaped bronze Usubata flower basin enclosed in an antique wooden box. It is signed on the base simply “Oka”. Roughly 11 inches (27 cm) diameter, 8 inches (20 cm) tall.

A pair of gold screens with bold shishi on genuine gold leaf. It is signed Miyauchi Gohogan Shinsai Fujiwara Morimichi sei and stamped Hogan Morimitsu no In. Each panel is 37-1/4 x 68-1/2 inches (94.5 x 174 cm). The screens have been restored, with some old repairs visible. These appear to be remounted from what is likely a different composition, possibly a set of fusuma doors. This is possibly from the Kano Tanshin of the later Edo, who used the name Morimichi, although there are a number of Tanshin. He was the 7th head of the Kajibashi branch of the Kano family, and was an appointed painter for the Edo Shogunate, achieving the rank of Hogan. He died in 1835 at the age of 51.

An incredible hand painted Taisho period bijin scroll signed Hakuho; so lifelike it looks to be a photograph. An angelic, Kimono clad beauty pauses to gaze out the garden window. One arm resting on the sill, she tranquilly stares past the hanging lantern and bamboo close at hand, her beautiful almond eyes fixed on the distance, she appears to be looking not at the garden, but at her own world. A colorful comb decorates her full hair while a pendant dangles from a kanzashi above her ear. A colorful obi holds her black kimono over the flower patterned under kimono. This arresting scene is intricately detailed, down to the tarnish on the lantern and individual threads running through the reed blind. The scene is mounted in creamy brocade embossed with vines, extended top and bottom in beige and ending in lacquered wooden rollers. The scroll has been meticulously restored and remounted and measures 21-1/2 inches (54cm) by 79 inches (2 m) and comes in a wooden box.

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

Finely crackled which glaze covers this late Meiji Chinese inspired form clearly stamped inside the footring Tozan Ito Tozan. There is an incredible sense of mastery in the concise lines and perfectly sculpted form. It is 13 inches (33 cm) tall, 10 inches (26 cm) diameter and in excellent condition, enclosed in an older custom made wooden box.