Catalog: Archives: Regional Art: Asian (643)

The time of Obon is upon us, the middle of August when the spirits of the dead return to visit their families. A lantern is hung so the wandering souls may find their way. And on the last day of Obon (August 16), in Kyoto, is held perhaps the most famous of all the festivals, commonly referred to as Daimonji-yaki, when 6 massive characters are lit on fire in the mountains surrounding the city to light the way home for the ancestors. Unlike the Gion festival or Aoi Festival, made for tourists, it is very local, personal, and an almost melancholy event. You will find the entire city celebrating with family, then, after dark, out in the streets, silently watching the inferno roar up on the mountains in a torrent of sparks making the shapes of Dai, Myo, ho, fune….orchestrated to start concentrically around the city beginning in the east. And after the crescendo, the flames wane, then flicker and disappear taking the summer with them. It is the most Japanese of festivals with its emphasis on the pathos and transience of life.
This lantern would have been hung outside the home to light the way for the returning ancestors. The lantern is made of a red lacquered wooden frame suspended by chains of antique glass beads. Stretched between the sides are four silk panels backed with paper. On three sides are painted abandoned skulls (two signed Ko-u, the third unknown) and on the fourth an epitaph dated the 8th month of Meiji 36 dedicated to appeasing the ghosts of honored ancestors signed Kokin. The lantern is 25.5 cm (10 inches) square, 46.5 cm (18-1/2 inches) tall and in overall excellent condition. It comes in the original wooden storage box.

An ancient pine and youthful bamboo rise in gold against a striking red background on this scroll set by Hirai Chokusui dated Mid-summer of Taisho 2 (1913) an enclosed in the original signed double wood box titled Ro-matsu Fu-chiku (ancient Pine, Wind in the Bamboo) Kindega Kenpon Sofuku (Gold Painted Silk Pair). The elegant scene is painted with gold on the finest red silk with gold border extended above and below with a deep solid Ichionji of burgundy wine wrapped in a field of azure washed with the slightest hint of powdered silver, so they shimmer, like sunlight coming through the trees. They feature solid ivory rollers (these will be changed if exporting) denoting the importance given to the pair. Each measures 65 x 213 cm (25-1/2 x 83-1/2 inches) and is in excellent condition. This is a rare find!
Hirai Chokusui (1859-1918) was born in Osaka with the given name Yutaka. He began his studies in the Shijo school under Fukada Chokujo in 1889. He began to be exhibited in 1893 with the Nihon Young Artist Association (Nihon Seinen E-ga Kyokai) and with the National Painters Association (Nihon E-ga Kyokai) and he garnered a great many awards as the century turned. His painting the Voice of Autumn was awarded at the first National Exhibition (Bunten) in 1907, and Hills and River again awarded at the same venue in 1909. He served as mentor to a number of subsequently important artists such as Konoshima Keika, Ito Keisui and Tabatake Kasho. He passed away at the height of his popularity at the age of 58.

An original Edo period kōsatsu public proclamation dated Tenwa I (1681) detailing the laws against Christianity, rewards for turning in a Christian to the authorities, as well as punishment for the offenders. Of cypress wood with sumi ink, and a hand-forged iron loop for suspension from a post or gate. The signboard has a shallow peaked “roof” to protect the calligraphy from the rain. However decades in the weather have caused the original surface to wear and bake away the surface, leaving the areas originally written with ink raised above the exposed wood. Few of these kosatsu survive. It is roughly 134 x 46 cm (52-1/2 x 18 inches). A similar Kosatsu in the collection of the museum of the Catholic University of America is translated:
The Christian religion has already been prohibited for many years. Everyone who gives ground for suspicion must be denounced, the following rewards are hereby promised.
To the informer against a Priest, 500 pieces of silver.
To the informer against a Brother, 300 pieces of silver.
To the informer against a Relapse, 300 pieces of silver.
To the informer against a Guest or an ordinary Christian, 100 pieces of silver.
If the informer is himself a guest or a co-religionist (Christian) he will receive 500 pieces of silver. The chief of the section and the group of the five families of the district concerned will be punished jointly with the concealer, if the whereabouts of the culprits are discovered otherwise than through them.
This is followed on this sign by the date: First year of Tenwa, eigth month.
Christianity came to Japan around 1549, and initially received a great many converts, including warlords (Daimyo) and others in powerful positions. The great warlord Oda Nobunaga is said to have been keenly interested in religions and all things foreign. However, Jesuits teaching that God was higher than the Lord or Imperial authority was perceived as undermining governmental legitimacy, and was subsequently initially banned in 1587 by Toyotomi Hideyoshi, although loosely enforced until the Shimabara rebellion in 1637, after which it was strictly enforced. With the Catholic clergy expelled from Japan completely in the mid-17th century, many Japanese Catholics practiced their faith in secret as government officials publicly posted boards like these around Japan. The Japanese Christians who continued to practice in secret during the time of persecution were known as Kakure Kirishitan, literally “hidden Christians.” Christianity remained illegal until the mid 19th century. Another example dated to 1682 is in collection of The Burke Library, New York, another is in the collection of the Sophia University in Tokyo and represent one piece of the fascinating history of Christianity in Japan.

Early Edo Myochin Signed Nimai Do with Nanban influence featuring gilded kusazuri and sode laced with blue chord dated Genwa 3 (1620). There are rows of Prominent rivets all about with nobori-kiri crests on the top of the munaita. Comes with an old wrapping cloth dyed with the same crest. The Hon-kozane Kusazuri are removable, attached to two leather belts suspended from iron tongs about the waist. The takahimo shoulder straps are wrapped in leather. The shaped horn clasps are extant but one is broken, the other delicate. The signature and date along with another illegible cartouche are inside the Do exposed through squares cut through the gilded leather lining. Made for an adult, it comes with a set of gilded Sode shoulder guards laced with the same indigo chord.

A rare and stunning set of Kinrande sake cups by the elusive Nakamura Shuto I enclosed in the original compartmentalized signed wooden box dating from the late Meiji to Taisho period. Crisp designs of shishi lions frolicking among peonies in genuine gold are expertly applied to the brilliant red outside, while inside landscapes of plum, pine and bamboo blossom in minute detail in Sometsuke blue on white. The artists seal is deeply impressed inside the foot ring. Each cup is 5.5 cm (2-1/4 inches) diameter and in excellent condition. Phenomenal! It has been a long time since I have found a piece by Shuto.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.

Golden cranes soar among clouds etched into the surface of this solid silver Japanese hanging incense burner (Tsuri Koro) dating from the late 19th to early 20th century. Inside is an ash-cup suspended in a triple-hinged gimble which keeps the ash pot upright no matter the angle of the ball itself. On the side is impressed the official Kokuin which reads Jungin (pure silver). The cranes have a soft golden sheen and are likely gilded or damascened with gold. It hangs from three silk chords tied to ringlets on the lower half, and a similar ringlet on bottom holds a decorative tassel. Above is a second smaller orb of the same silver construction used to tighten the suspending ropes. The incense burner is 15 cm (6 inches) diameter weighing 1.4 kilograms (3.08 lbs) and is in overall excellent original condition of hammered and chiseled silver inlaid in gold. The silk chords have faded from purple to a dark tea colored brown.

A bronze bell dated Kanbun 10 (1670) which would have been suspended in front of a Shinto shrine worship hall, and struck with a knotted rope to awaken the gods to listen to one’s prayers. Inscribed in the surface around dials of lotus flowers is: An auspicious day in the 7th month of Kanbun 10, followed by the names Honda Yasutoki Ko and Hiramoto Sukeyuki opposite a dedication to the god of water the Hachidairyu-jin followed by a place name near Awazu in modern day Shiga prefecture. The Hachidairyu-O or eight headed dragon king (god) is a creature who controls water and is enshrined in the sacred place of Takachiho, in Kyushu, with branch shrines throughout Japan. Roughly 26 cm (10-1/2 inches) diameter and weighs 3.4 kg (7.5 pounds). There is a scratch in the backside, (see close-up photos) otherwise it is in excellent original condition with two casting flaws which have become pin holes in the upper back. The combination of Buddhist and Shinto Iconography is certainly a point of interest with Japanese religious ideology.

No discussion on 20th century Kyoto ceramics can skip over the importance of the Kyoto Shi Tojiki Shiken-sho ceramics research facility at which all the luminaries studied and laid the foundation for a number of the early Living National Treasures. Here is a delicate vessel with elegant curves decorated with poppies dating from the early 20th century enclosed in an age darkened wooden box titled : Kyoto Tojiki Shikensho-sei (Made by the Kyoto Ceramics Research Facility) Keshi Moyo Kabin (Poppy Design Vase). It is 22.5 cm (9 inches) tall and in excellent condition.
The Kyoto Shi Tojiki Shikensho or Kyoto Municipal Ceramics Research Institute was founded in 1903 and under that specific persona existed until 1920. The facility was the proving ground for such luminaries as Kondo Yuzo, Kusube Yaichi, Kawai Kanjiro, Hamada Shoji and Komori Shinobu among many others.

Gold glimmers on the rim against pale concrete tones on this rare mid-Edo period tea bowl from the Utsutsugawa kiln in Nagasaki prefecture, late 17th to early 18th century. Waves of brush strokes decorate the outside, while the white slip cascades from the rim in withering streaks within. A kutsuki on the side testifies to some event which happened during the firing, where another piece of pottery collapsed against the side, fusing and causing the bowl to deform. This force created a crack where the bowl bent, which has now been enhanced with gold. It comes enclosed in a custom made modern wooden collectors box titled Utsutsugawa Kama Kutsu-Gata Chawan. The bowl is 8.5 x 14 x 7 cm (3-1/2 x 6 x 3 inches. Originally a kiln flaw, possibly once discarded, it was rescued and repaired with a sumptuous design of gold powder on lacquer.
Utsutsugawa-yaki (also Utsutsukawa) originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon (Soetsu) opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the later Meiji period, when there was an attempted revival, but that too failed to last due to pressures of modernization. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A very unusual Toyoraku Usubata vase covered outside in black lacquer decorated with geometric gold maki-e designs, the inside nearly swamped by organic green flowing to the center. It comes enclosed in the original somewhat dilapidated wooden box signed: The 75 year old man Toyosuke. This appears to be the signature of the third generation, and so would date from 1854, only a few years prior to the death of the fourth generation who began the technique of lacquering pots. It is 25.5 cm (10 inches) diameter at the top, and stands21 cm (8-1/4 inches) tall, in overall excellent condition. Lacquer has been re-applied to the foot ring and there is a small loss in the bulbous center of the vase.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A graceful vase with elongated neck covered in spotted celadon by rare early 20th century female artist Suwa Sozan II enclosed in the original signed wooden box. It is 25 cm (10 inches) tall and in excellent condition.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

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.

A fabulous baluster form vase by the first generation Kato Keizan enclosed in the original signed wooden box titled Gaoji Ryumimi Chokoku Kabin(Ivory Porcelain Dragon Ear Carved Vase). Low on the flaring neck two dragons form handles, and the body of the vessel as carved with archaic symbols reflecting continental taste popular from the Meiji through Taisho to early Showa period. It is 33 cm (13 inches) tall 19.5 cm (7-3/4 inches) diameter and in excellent condition. Attached to the base is a collection seal from the Kono Family Collection.
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 (1848-1920). He established himself in 1912 in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. He was especially rememberd for Tenryuji seiji (Chinese Longquan celadon porcelain). Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

A very unusual set of three scrolls depicting the women of Shimabara looking down with trepidation at a Fumi-e (a Christian symbol) before lotus enclosed in a wooden box titled Shizan Shimabara-me Sanpuku Tsui (Shizan, Women of Shimabara Three Scroll Set). The Fumi-e was a bronze or wood placard embellished with a Christian symbol upon which people were forced to step to prove that they were not Christians during the ban on Christianity throughout most of the Edo period. Any who refused to step on the image would be tortured or executed, often in horrific manner. Here the two graceful figures appear dressed in kimono bearing a leaf pattern with white scarves on their heads denoting purity. Interestingly the artist has juxtaposed the central image with its symbol of Christ on the cross against a background of ghostly white lotus flowers, traditional symbols of Buddhism. Each scroll is 64.5 x 208 cm (25-1/2 x 82 inches). There is faint scattered foxing, a soft wrinkle in the lotus on the central scroll, and some water stains up the left edge of the painting on the right. Likely an early work by Saito Shizan. Saito Shizan (1902-1963) was born in Shiga prefecture in 1902, and initially studied under Yamamoto Shunkyo in the modern Shijo style before entering the Kyoto Municipal University of Arts. He was accepted into the Teiten, Bunten and Nitten national exhibitions both pre and post war.
The Shimabara rebellion (1637-1638) was the largest uprising against the Feudal government during the Edo period. In response to oppressive taxation and anti-Christian policies by feudal lords sent to replace the former Christian Daimyo, Ronin and peasants rose up, eventually forming an army of combatants and non-combatants of around 37,000. They nearly seized two main fortresses before the Shogun sent an army of over 125,000 samurai against them. They retreated to Hara Castle on Shimabara, where they held out until April of that year, withstanding many mass assaults and bombardment by cannon of the Dutch seeking favor with the Shogunate. Eventually the castle fell, and all rebels were beheaded or crucified, their bodies piled inside the castle and burnt en-masse. On the Shimabara peninsula, most towns experienced a severe to total loss of population as a result of the rebellion. Japan severed ties with Portugal and expelled all missionaries. An existing ban on Christianity was then stringently enforced, and Christianity in Japan survived only underground. Except for the Dutch and a small contingent of Chinese merchants in Nagasaki, Japan then closed itself to the outside world for over 200 years. The Fumi-e became the dominant symbol of religious oppression, the ban on Christianity not officially lifted until 1871 (although the shogunate stopped executing Christians around the turn of the 19th century).

Two austere Bodhisattva play music and spread lotus petals before the benign countenance of Kannon while a fierce green God (god of thunder or wind) recoils, flame spouting from his mouth. This is a very unusual triptych enclosed in the original age darkened compartmentalized kiri wood box signed Urata Tenka titled Daiji Kannon no Zu (Image of the most merciful Kannon), Takahashi Koko Sho (Painted by Takahashi Koko). Urata Tenka was the first art-name (go) used by famed Meiji artist Takahashi Koko. The tension created by the movement and posture of the left figure juxtaposed against the serene silence of the celestial figures on the right is striking, with the central figure an island of calm and compassion in a tempestuous world. Pigment on silk in fine silk border with solid bone rollers. The scrolls are (Center) 96 x 223 cm (left & right) 52.5 x 222 (38 and 20-3/4 x 87-1/2 inches respectively). Overall they are in excellent condition, with toning of the silk typical of age. Beside the original Urata signature on the box has been added at a later date: By the deceased Takahashi Koko.
Takahashi Koko (1875-1912) was born the eldest son of Unkoku school painter Urata Chojiro (1846-1913)in Yamaga City Kumamoto Prefecture and was trained from an early age in the Unkoku style of his father as well as absorbing other styles. While working as a teacher in Kumamoto City at the age of 20 he met actress Takahashi Ko, who was visiting the area. Under the guidance of Takahashi, who was impressed by his artistic talent, he moved to Tokyo in 1890 and entered the painting school of Japanese-style painter Matsumoto Fuuko who honed his skills in historical genre painting. He exhibited with a number of different art organizations, and together with Yukihiko Yasuda and Shikō Imamura, he livened up the art world of the Meiji era. His ability was recognized by Okakura Tenshin, and was invited to the research institute in Izura. During this time, he exhibited at the Tatsugakai and Kojikai, and received many awards. In 1908, he was nominated as a judge by the chairman of the Kokuga Tamaseikai. In 1912 he was commissioned a work by the Minister of Korea Hanabusa Yoshitada, and visited Manchuria and Korea for research where he contracted scarlet fever. He died suddenly at the age of 37 after returning to Japan. A major figure in the art world, he left a solid mark on the Meiji painting stage. Work by him is held in the collection of the Sankei Kinenkan (Yokohama), Kumamoto Prefectural Museum of Art, Kumamoto Municipal Museum, Senoku Kokan Museum (Kyoto) and Adachi Kyodo Museum (Tokyo) among 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 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 serving tray made of Kozai (Jap. old material) from Todaiji Temple in Nara branded with the marks of the 7 great temples of Nara and enclosed in the original wooden storage box dated 1925. It is turned from keyaki, a hardwood in the elm family famed for durability and beautiful wood grain. On the bottom of the tray is a seal which reads Daibutsuden Kozai (Old Material from the great Hall). The tray is 33 cm (13 inches) diameter and in excellent condition. In order to fund temple repairs, often wooden objects such as trays, Robuchi (hearth frames) Haidai (cup stands) among others were made from the original parts of a temple, and given as gifts to those who supported reconstruction or as a way to thank parishioners for donations. The Todaiji temple complex underwent extensive restorations in the early 20th century, and these trays were made at that time from the old posts or beams replaced in the repairs. They have been branded (yaki-in) with marks from the seven great temples of Nara (Nanto Shichi Daiji) Todaiji, Saidaiji, Daianji, Horyuji, Kofukuji Gangoji and Yakushiji temples respectively. On the box lid is written the title: Nanto Shichi Daiji Yaki-in Maru-bon (Round tray branded by the 7 great temples of the Southern Capitol). Inside the lid is written: Made from the old material of the Great Buddha Hall of Todaiji Temple, at the bequest of the Nihon Bijutsuin (Japan Art Institute). A handwritten epitaph inside the box states it was received as a gift from the politician and business magnate Oya Shichibei (1865-1929) of Osaka after completion of repairs to the great hall on an auspicious day in May of 1925 as attested to by Hirai Kinjiro (sp?) followed by five red seals.