Catalog: Archives: Regional Art: Asian (640)

A sage stands in deep contemplation of the sight of a sheer falls , his paige cautiously approaching behind on the rugged outcropping; a fine trumpeting ZeZe-Yaki sometsuke porcelain vase decorated by important Meiji artist Yamamoto Shunkyo. The decoration is performed with a very delicate hand. It is signed on the side Shunkyo followed by a Ka-O signature, and stamped on the base Zeze. The vase is 10-1/2 inches (27 cm) tall, 7-1/4 inches (18.5 cm) diameter and is in fine condition. Zeze yaki is the ceramic ware created in Otsu, (former home of Zeze castle) the artists home of many long years. Shunkyo (1871-1933) was a student of Kono Bairei and Mori Kansai, and taught at the Kyoto Municipal School of Art. He was also a member of the Imperial Art Committee and frequent exhibitor at the Bunten. His paintings are included in most important collections.

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

Edo period Kimono hang from a lacquered frame on this gorgeous two panel silver screen dating from the turn of the 19th century. Dyed on the shoulder of the Chirimen silk lavender mans kimono is the Mitsuba-Aoi, official crest of the Tokugawa Shognate indicating the original kimono was property of the family which ruled Japan for 250 years. Below is chrysanthemum flowers (symbols of Imperial Power) embroidered over patterned Rinzu Satin. The other is completely embroidered with flower carts over patterned silk. Both are magnificent over the age tarnished silver. Each panel measures 27 inches by 5 feet (68 x 152 cm). There is some wear to the cloth at the inside hinge. It is backed with faded blue cloth in a polished mulberry frame

A later Meiji period two panel screen, Pigment on silk, signed Hosen (Usui Hosen) dating 1900-1910. Shunkei lacquer frame with cloth backing. Quintessential for the era, the scene is brushed in an abbreviated style, allowing the viewer to participate by completing the details. Muted colors and the lack of hard lines lend the screen an ethereal quality, as if recalled from a distant memory. The screen is 56 inches x 5 feet (142 x 152 cm) and is in fine condition but for some stress in the silk in the lower portion of the womans garments. Usui Hosen (b 1881, Kyoto) graduated the Kyoto School of Art and apprenticed under Yamamoto Shunkyo before establishing himself as a known Nihonga artist in early 20th century Kyoto the cultural heart of Japan.

A well detailed frog sends its spirit up in a mass of swirling clouds forming the basin of this unusual 19th century bronze Usubata signed underneath. The signature appears to read Togyokumu-zo, although the third character Mu is fairly illegible. Great face! The total height is 10 inches (25 cm). Width of basin roughly 8 inches (21 cm). Length of frog roughly 7 inches (17 cm) and weighs 2.3 kilograms (about 5 lbs). It is in fine condition.

This is the pinnacle of production for imperial artist Seifu Yohei III, a large Taihakuji porcelain vase with carved designs enclosed in the original signed wood box. Museum quality would be an understatement. Seifu III was known to have made few large works, so this is a very important piece, and Taihakuji was his most appreciated style. Here we see two pheasants in a blossoming tree overlooking a large crag, with clouds brimming about the rim, all in carved relief. It is signed on the base Dai-Nippon Seifu Zo and measures 39 cm (15-1/2 inches) tall, 28.5 cm (11-1/2 inches) diameter. The vase retains the original rosewood stand kept in a separate compartment in the box and all is in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A silver rabbit and large solid bronze figure of the young god O-kuninushi no Mikado by Oshima Joun on a black lacquered stand enclosed in the original signed and red lacquered wooden box with separate compartments for the table and figure. Here we see O-kuninushi seated beside his bundle of belongings, hand extended in benevolence to the meek creature. The box is titled O-kuninushi Go-Zo, Go Okimono, Tobu Oshimia Joun Sakku followed by a ka-o signature. Inside is written the characters SoNeKo(Shi)ShakuDen(Tono). The inscription infers some Imperial event at which this was given (The character Shaku is the same as the UjinoShaku Imperial visit held after New years when commoners who have excelled in the previous year are granted an audience with the Emperor). There are two patches of fresh lacquer inside the lid, indicating a name and possible date of the recipient have been erased. The bronze figure is 8-1/2 inches (22 cm) tall and weighs 4.5 kg (9-1/2 lbs). The rabbit is solid silver, 28 grams. Both are in fine condition.
I believe the story tells of a young god Onamuji (who would become O-kuninushi) and eight of his fellows who left Izumo seeking the hand of princess Yakami of Inaba. He being the youngest and kindest of the group, was left to carry the baggage. As the men reached the coast, they found a rabbit stripped of fur and bleeding. So as a prank they told him to wash in the sea and dry himself in the sun. Of course this caused the rabbit much pain, until Onamuji arrived (delayed with the heavy bags), and told the hare to wash himself in the clean rivers of the stream and roll in the billowing seeds of the cat-tails. The rabbit quickly recovered, and made a prediction to the lad that indeed Yakami would fall in love with him above all others despite his appearing as a servant.
Oddly the story does not end there, and one must pity the princess, for the other men kill Onamuji (several times and he is several times revived) and he is forced to flee to the underworld, where he falls in love with King Susano’s daughter and elopes with her. The grand Shrine at Izumo, one of the oldest and most important in Japan, is dedicated to Okuninushi, and he is believed to be the builder of nations.

The mastery of expression accomplished by Suwa Sozan I is evident in this pair of porcelain children enclosed in the original signed wooden box titled Gosai Doshi Okimono (Five Colored Figure of Children). This piece is published in the definitive book “Suwa Sozan Sakuhin Shu” (1971). In the book the photo title is more specific “Gosai Mimiakatori Karako Okimono” (Five Color Figure of Chinese Children Cleaning Ears) and the work is dated to 1913. The fellow doing the cleaning is absorbed in his work, an intense expression on his face, while the other fellow smiles with glee, leaning into his compatriots hands. It is 22 x 11 x 18 cm (9 x 4-1/2 x 7 inches). There are losses to the glazing, some of which are evident in the photograph in the book as well.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

The benign figure of Monju Bosatsu bearing the sword of knowledge and a sutra astride a fierce Shishi lion exquisitely painted by Takagi Shunrin in 1920. The compassionate being appears in royal regalia and white robes seated on a lotus shaped saddle upon the fierce creatures back. Pigment on silk in the original silk mounting with large ivory rollers enclosed in the original signed wooden box dated Spring of Taisho 9 (1920). The Rollers will be changed if exporting. It is quite large at 87 x 265 cm (34-1/4 x 104-1/2 inches). A masterpiece of Taisho era Buddhist art in overall excellent condition, with some toning of the silk typical of age.
Monju Bosatsu is Wisest of the Boddhisattva, often seen to the left of Shakyamuni (the historical Buddha) with Fugen Bosatsu on the right. He is often depicted astride a Shishi which symbolizes the power of Buddhism to overcome all obstacles, or occasionally peacock. In his right hand the sword of wisdom to cut through illusion and in the a sutra representing the Hannyakyō (Prajnaparamita Sūtra). The Boddhisattva (Bosatsu) are those who have achieved the highest state of enlightenment yet renounce the Nirvana to remain on earth in various guises to help all living beings achieve salvation. Often seen Bosatsu are Kannon, Jizo, Miroku, Monju, and Fugen among others.

A pleasure craft of solid burled wood covered in clear, black and red lacquer with inlayed mother of pearl designs which opens up to be a picnic box. The fore-peak is removable and opens to hold chopsticks. The upper cabin is a sake bottle, the roof a large plate, the the lower cabin food and rice storage. The aft holds 6 small plates, and the structure all can be removed to reveal the food storage in the hold. It is roughly 20 x 8-1/2 x 11 inches (50 x 21 x 28 cm). There is a repair to the winglet on the stern, and a fracture in the upper bottle near the spout, otherwise is in quite good (used) condition.

A fine dark olive bronze by Living National Treasure Katori Masahiko enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in fine condition. Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples and Monuments. He was designated an Important Intangible Cultural Property of Japan (Living National Treasure) in 1977.

Like an aged boxer, the squat muscular crab takes a stance of readiness, one claw up prepared to defend against a coming attacker. This little fellow is unusual in that it is made of thick bronze, with each joint pinned in a way that allows for some mobility. Legs splayed the creature is 9 inches (23 cm) wide, standing it is 3-1/2 inches 89 cm) tall. There is a repair to the first joint of the 2nd left leg. It dates from the first part of the 20th century.

A brilliantly textured Oni-Hagi bowl dating from the early 20th century by Deika (Sakata Deika XII, died 1934), the radically fissured surface ruptured by exploding inclusions; the scars connected by cracks in the glaze giving the appearance of constellations written into a yellow sky. Outside the bowl is an earthy beige, mostly eclipsed by pale white. Inside the basin is the same earthy color, while all the walls are like salt foam. Surrounding all of the scars is a gray mist, accenting and drawing ones attention to each in turn. On the white side is a sketch of the married rocks at Ise in dark gray. The artists stamp is clearly visible impressed into the clay beside the notched foot ring and the base has been much worn. The bowl comes inside a wooden box labeled Hagi Wan and annotated (not by the artist). It measures 4-5/8 inches (11.5 cm) diameter, 3-1/2 inches (8.7 cm) tall. It has a very natural feel, and tucks firmly and comfortably into the palm. Mori Terumoto, Lord of Hagi brought two Korean potters to Japan and had them found this kiln, and the line has continued unbroken to today. The current Deika is the 14th generation.

A wispy bearded sage clutches his staff, robes draped loosely about his emaciated frame as he peers ahead in interest, a curious smile on his wizened visage. The figure is beautifully crafted with a slightly textured patina and signed on the base Seiko. Slight wear to the base reveals the pure gold of the underlying bronze. It is 36.5 cm (14-1/2 inches) tall and in excellent original condition.

An ominous row of black crows in silhouette cry in unison from the stormy insides of this gassaku bowl made by Kiyomizu Rokubei IV and decorated by Kikuchi Hobun, enclosed in the original signed wooden box. Color has infused the glaze, evidence of age and use and lending to the malefic atmosphere. It is 20.5 cm (8 inches) diameter and in fine condition, stamped on the base Rokubei and signed on the side Hobun.
Kiyomizu Rokubei IV (1848-1920) was first born son of Rokubei III, and took over the family business in 1883 upon the death of his father. Not restricted to pottery, he studied painting with Shiokawa Bunrin and worked with many famous Kyoto painters. He also worked to promote Japanese pottery in the tumultuous Meiji period, when the capitol was moved to Tokyo, helping to establish the Yutoen Ceramics organization and Kamikai with Kamisaka Sekka. Held in many collections, a lantern by him stands in the garden of the Tokyo National Museum.
Kikuchi Hobun (1862-1918) was born into a family of Hyogu-shi (professional mounter of paper and paintings) in Osaka during the waning years of the Tokugawa government. He was adopted into the Kikuchi family and moved to Kyoto where he studied under Kanō Hōen, and later with the Shijo master Kōno Bairei along with Takeuchi Seihō, Taniguchi Kōkyō and Tsuji Kakō. He frequently exhibited at and was much lauded with the Bunten/Teiten National Exhibitions. He taught at the Kyoto Municipal School of Fine Arts and Crafts where his influence on following generations was much felt. Works by the artist are held in the V&A, Museum of Fine Arts, Boston, National Museums of Modern Art, Tokyo and Kyoto and British Museum among others. For more see Modern Masters of Kyoto (Paul Berry and Michiyo Morioka)

A koro incense burner by Teishitsu Gigei-In Suwa Sozan I decorated by his friend the famous scholar artist Tomioka Tessai and enclosed in a signed double wood box. The silver lid is by Nakagawa Joeki. It is 3-1/2 inches (9 cm) tall (plus the lid), 5 inches (12 cm) diameter and in excellent condition. The box is titled Daibutsu Sozan zo Juhana Koro Tessai Dai and signed Sozan Yakisei.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.
Nakagawa Joeki X (Junsaburo, 1880-1940) was the 10th generation head of the Nakagawa family of metal workers, one of the Jusoku-Kei families supplying tea ware to the various tea schools, responsible for bronze ware, and is said to have peaked with the 9th and 10th generations. He headed the line from1911-1940, covering the reign of 3 emperors; he was greatly favored by tea masters at the time.

A horrifying image of a ghostly apparition accompanied by a Buddhist verse engraved into this long bamboo incense container by Ishii Matetsu. It is expertly crafted. The verse reads:
Katsu!
Dokusei Dokushi Dokko Dokurai
The literal translation sounds quite cold, but in Buddhist teaching it means: We enter the world alone; we depart it alone. Do not depend upon others for your happiness, rely upon yourself and live your life in your way to the fullest. It is 48 cm (19 inches) long and in excellent condition.

Pine boughs laden with snow shelter a pair of foraging raven in a spectacular scene reminiscent of paintings of the Kyoto school masters which decorates this Meiji period cloisonn$B!&(Bvase. The unusually tall tapered form swells at a tight shoulder to close about the wide neck wrapped with a band of darkly patinated silver. Silver wire defining the color is so thin as to be almost invisible. On the copper colored base drift three blue and white snowflake dials, the color matching that inside the mouth of the vase. There is an old repair of the highest quality visible upon close inspection (to the trained eye) in the blank of the undecorated side, as well as a number of fine cracks which seem to blend into the erratic branches of the pine tree above the dark birds. The vase sits on a custom made rosewood base with five scrolled feet and comes with an unusual custom made lacquered lid decorated with a peony (botan) in gold maki-e. Total height with base 16 inches (40 cm), the height of the vase alone 14 inches (35.5 cm).