Catalog: Archives: Regional Art: Asian (611)

A set of shishi guardian carvings from high up on the front of a Buddhist temple, each cut from a single block of wood with fore-paws extended in a leaping motion and vicious snarls. Each is roughly 30 x 30 x 24 cm (12 x 12 x 9-1/2 cm tall and in overall excellent condition. These date from the Edo period.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

A boxed set of fifteen unique bowls with lids for clear soup made for the Lord of the Yanagisawa family enclosed in a wooden box dated the 7th month of 1730. What makes this set quite unique is that each bowl is singular, a different design, color, shape or technique. But throughout is the one continuous symbol, the four petaled crest of the Yanagisawa clan.　The box is titled Yakatasama, Go Suimono wan, Yangisawa Shimono and on the side Jugonin-mae. Yakatasama, means a nobleman's house such as a public house or a samurai house. Under the Shogunate it was a title or honorific granted to the head of a prestigious or meritorious samurai family or feudal lord of a Great Clan. Suimono Wan are bowls for clear soup served between parts of the meal to clean the palette. Yanagisawa Shimono is the name of a member of the Yanagisawa clan. On the side is written Jugonin-mae or service for 15. The box is divided into three compartments holding five bowls and lids in each compartment. Each bowl is roughly 12.5 cm (5 inches) diameter and they are in overall excellent condition with some browning of the lacquer inside due to heat from use.
Kawagoe-jo Castle in Musashi Kuni in modern Saitama Prefecture was given to the Yanagisawa clan by the fifth shogun in the 7th year of Genroku (1694). In 1724, in gratitude to the family’s service and recognition of their skill at administration, they were granted control over four domains (Yamato, Omi, Kawachi and Ise) totaling 150,000 Koku of rice. Undoubtedly at that time there would have been a sudden need for furnishings bearing the symbol of the family throughout their four domains, and this set of bowls is one of those furnishings. To this day the crest adorns the Yanagisawa Bunko library a designated cultural property in Yamato Koriyama city housing tens of thousands of antique texts from the era, a testament to the power of this important clan.

The gist of the script is Taoist, something to the effect of: This is my life, I am neither overtly talented nor gifted with genius, like a sail boat alone tossed among the waves I drink freely of sake untouched (unfettered) by others seen only from a distance. Ink on paper in a the rough silk border preferred by Literati artists with exquisite turned ivory rollers enclosed in a period wooden box (the rollers will be changed for something suitable if exporting). The scroll is 17-1/2 x 75-1/2 inches (44 x 192 cm) and is in overall very good condition, with minor wrinkles and handling marks typical of age.
Shibano Ritsuzan (1736-1807) was a Confucian Literati associated with the Edo government in the 18th to early 19th centuries. He was considered one of the three great scholars of the Kansei era. Born under the walls of Takamatsu castle in Kagawa on the Island of Shikoku, he was tutored first under Goto Shibayama. Recognizing his brilliance, along with Nakamura Bunrin, he was sent to the capitol of Edo in 1753 to study at the Yushima Seido academy established by the 5th Shogun. From 1765 he began studying history under Takahashi Zunan and in 1767 was appointed as an official scholar of the Tokushima Clan. In 1787 he was given an official appointment by the Shogunate, and he served them there, becoming the　op scholar at his alma mater of Yushima Seido in 1790.

An absolutely stunning large Chinese carving of a Buddhist Rakan (Arhat or Arahat), the emaciated figure wrapped in billowing robes with a hand scroll clutched in his bony right fist. The detail in the hairs around his face is incredible. The holy figure is chiseled from Ryuganki (dragons eye wood) and comes enclosed in a box dated 1922, likely the year it came to Japan, and is signed by the then owner. 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. The figure stands 16 inches (41 cm) tall. There is an abrasion to the back of the head, a chip repaired in his robes at the back, and it appears the small toe on the left foot has been replaced. The Japanese have long esteemed crafts of China and Korea, and this would certainly have been a highly prized possession.

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.

Silver canines gleam menacingly in the corners of the mouth of this terrifying Edo period sabiji-nuri iron Menpo face mask. It has a three lame nodokake also with sabiji-nuri, laced with tight blue chord. The mustache is a bit ragged and there are typical chips around the edges from use.

An exquisite wooden plate in cinnabar lacquer over black wrapped in a chord bound cloth bag end enclosed in an age blackened kiri-wood box dating from the Edo period. The surface of brilliant red has been worn through with handling revealing the black beneath about the rim and edges. It is 9 inches (23 cm) diameter and in excellent condition. The bottom is a brown tinged black (the brown is a product of oxidation, inherent only with age) upon which are written two characters in red. The box is titled Negoro Nuri Bon (Negoro lacquered Tray) and inside the box lid is written the name of the owner: ?hekitei Zo-gu (Collection of ?hekitei). The first character is too abbreviated to make a definitive reading.

Brilliantly colored riders charge into rushing water on the gold leaves of this 18th century six panel screen relating the famous charge at the Battle of Uji Bridge. Tatsuna and Kagesue charge forward into the waters riding toward the enemy lined up on the opposite shore of the Uji River; the skeleton of the bridge visible in the back-ground. The screen measures 173 x 377 cm. (68 x 148-1/2 inches) each and retains the original Edo backing paper, with strong hinges and a good brocade border. It does need some surface repairs and restoration, mostly cosmetic as the screen itself is solid. We are offering this screen as is to allow the buyer to choose the level and quality of restoration desired. See The Art of the Japanese Folding Screen (ISBN , 1 85444 103 5) image 2 for a similar composition held in the collection of the Victoria and Albert Museum, London.

A fine rendition of a plum by Tanaka (Zuitai) Ryurei (commonly known as Ryudojin, 1740-1804)). Ink on paper, it has been fully remounted in a silk frame with wooden rollers reflecting the original style. The scroll is 12-1/2 x 70 inches (31.5 x 178 cm).
Ryudojin was born in Owari, near modern day Nagoya. He is referred to also as Ryurei Zuitai and or Ryudo Reizui or simply Ryurei. Born into the Tanaka family, he was sent to the priesthood at Reigenji at the age of 11. Then he went to the capitol, Edo (modern day Tokyo) to study at Sengakuji. Returning to Owari he was put in charge of Heidenji. Proving his worth he was promoted to larger temples, eventually becoming the head of Manshoji. H was then put in charge of establishing temples, and worked to create three in the Owari area.

A 17th – 18th century Neko-tora Tiger by Nagasaki school artist Watanabe Shuseki performed with ink and color on paper in yellow bronze silk border with bone rollers. The parchment is aged and gray, giving the sense of a wall painting in some ancient tomb. The scroll is 14 x 63 inches (36.5 x 160 cm). There is some damage to the lower extremities of the paper, and minor cupping. Watanabe Shuseki (1639-1707) lived in Nagasaki and was a proponent of that school trained under Itsunen. Works by the artist are held in the collection of the Kobe Municipal Museum of Nanban Art and Nagasaki Municipal Museum.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.

A set of two 18th century screens showing through an assortment of amicable characters, the traditional production of silk. Depicted with ink and light color on paper, every aspect of the process is visible in high detail from the sorting of the worms to spinning, dying, weaving, and the selling of thread and bolts of cloth. An exciting screen both from the quality of the art and from the historical narrative contained. Each screen is 67-1/2 inches by 12 feet (171 x 378 cm). It is bordered in a thin band of cream with a wide band of dark blue patterned with check-work boxes containing fortuitous symbols and has a black lacquered wooden frame. It has been remounted at some time in the long distant past, and is in fine condition.

A mid Edo period carved woodn mask for Shishi-mai festival dance covered in red and black lacquer with gilded teath and eyes in rarely seen good condition. The mask is used with the hand, not worn over the head, the dancer usually hidden beneath a long flowing cape. It is 22 x 20 x 20 cm (8 x 8 x 9 inches) excluding the horn and ears. There is an old metal plate nailed over one hinged jaw inside (not visible from outside), where the wood had likely once given way. Overall it is in surprisingly good condition considering the age.

Cranes flock to the shore, greeted by their compatriots grazing among dry winter grasses on the wave lapped beach of this anonymous pair of Mid Edo period six panel screens. Performed with Ink and pigment on paper with scattered gold flake in a blue silk border with kuwa (mulberry) wood frame and sturdy blue cloth backing. Fully remounted, each screen is 65 x 142 inches (165 x 361 cm). A quintessential Kano style Edo period scene.

Veins of green Kai-yu meander over the body of this spectacular example of Edo period Tamba Pottery capping rich red clay rising from an abrupt base. A few bubbles in the clay reveal character about the torso, the lip powerfully rendered over the shoulder, which slumps to one side like some haggard but still proud old soldier. Four looping handles (mimi) would allow the lid to be tied down. Between two a drip from the roof of the kiln has adhered to the clay forming a point of interest. Retaining the character of Momoyama firing techniques, and easily classified as such, I believe this dates from the early Edo period, 17th century. The Tsubo is 18 inches (46 cm) tall, 13 inches (33 cm) diameter, and without cracks or repairs. Due to size the cost of shipping will be accrued separately.

A large 17th to 18th century Buddhist sculpture of a Rakan (arahat), well sculpted, his naked torso gilded in gold with robes and shoes in black lacquer, carrying a large urn which is an active incense burner. The sculpture is 2 feet (61 cm) tall and in overall fine condition. There are minor losses to the lacquer and gilding typical of age, and a repair to his left foot. Both little fingers are missing from his hands; these could be repaired if desired at additional cost.

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.

A man-headed snake coils atop this incredible mid Edo period (18th century) image of Benzaiten (Saraswati) inside a mountain shaped reliquary of dark wood. Inside the gilded cave she sits on a gilded lotus base. The figure holds a variety of sacred implements in her 8 hands. Riding on the benevolent figures head is the snake seated behind a Torii-shaped Crown settled between two Buddhist jewels. The image is 8 inches (19.5 cm) tall, the mountain shaped receptacle 19 x 14 x 23 inches (48 x 35 x 58 cm). There are broken fingers on the right hand, and missing tama on the left hand lotus base, but overall it is in surprisingly good condition. Benzaiten is a Japanese Buddhist and Shinto Goddess from the Hindu goddess Saraswati, and has been worshiped in Japan since at least the 6th century. One of the central figures in the Sutra of Golden Light, she is the god of all that flows, including water, music and language. In Japan she has become the protector deity of the state, and therefore the Japanese people. In Shinto she is known as Ichikishima-hime, and in Tendai beliefs represents Ugaijin represented by a Shinto Torii and there (as in this figure) is known as Uga Benzaiten. This piece is from Shiga prefecture, home of one of the three great Benzai Shrines on Chikubu-shima Island in Lake Biwa.