Catalog (197)

A carved wood guardian figure of a Koma-inu looking quite genki with his tongue lolling and wearing a sheepish grin. It is made from a piece of wood which has grown around a stone, visible in the belly of the creature. This type of item, called Ishikui or Ishigami, is a highly prized phenomenon in Japan. The much-weathered figure was likely in the semi-outdoors for several hundred years, becoming rounded ad loosing bits here and there. The tail, carved from a separate piece of wood and inserted, is no longer extant. It is roughly 40 x 20 x 41 cm (16 x 8 x 16 inches) and solid, with no insect damage.
Komainu, also known as lion-dogs, are mythical creatures that hold significant religious importance in Japanese culture. They are often depicted as pairs of fierce-looking creatures resembling lions or dogs, with one open-mouthed and the other closed-mouthed. These statues are commonly found at the entrances of Shinto shrines and Buddhist temples in Japan. Komainu are considered protective guardians that ward off evil spirits and negative influences. The open-mouthed Komainu is believed to expel evil spirits, while the closed-mouthed one is thought to keep good spirits inside. By placing these statues at the entrances of sacred sites, it is believed that they protect the grounds and the people who visit them. The origin of Komainu can be traced back to ancient China, where similar guardian lion statues were prevalent and likely came to Japan during the 8th century, when cultural exchange between Japan and the continent was thriving. Over time, they became an integral part of Japanese religious and architectural practices.

A remarkable Ainu Shishi-bear mask of wood covered in genuine hair with glass eyes made for traditional festival dance performance. It is made of wood, dry-lacquer, paint, animal hair and features glass eyes. A unique contraption inside the head allows the eyes to move from side to side. In 30 years it is the only one I have ever seen. Roughly the mask is 35 x 26 x 30 cm (14 x 10 x 12 inches) and is in surprisingly good condition, dating from the later 19th to early 20th centuries. It comes complete with the dilapidated long trailing red and white cloth robe which would have hidden the dancers This is an unprecedented opportunity to acquire a unique piece of Ainu culture.
For a similar mask see the last photo, published in the book Garakuta Bijutsu (1975, Figure 27) titled Ainu Soshingu (Ainu accessories); a copy of the book is included.

A Takatsuki stand of wood covered in black lacquer decorated with scrolling vines among which are randomly placed crests in the design of the Daruma Wheel on the stem, and the heraldic Mitsuba-aoi hollyhock crest within the tray. Slightly warped and worn with the centuries, finding a piece from this era in such good, original condition, is exceedingly rare. Early Muromachi, 14-15th century, it is 30 x 30 x 28.5 cm (12 x 12 x 11-1/2 inches).
The Mitsuba-aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. THe Aoi is a two leafed plant, so a three leafed Aoi is somewhat equivalent to a four leaf clover, although perhaps far more rare or strictly mythical. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).

Ragged brushstrokes, dashes of ink and jagged sweeps define this sumi-e painting by important literati artist Fukuda Kodojin. Ink on paper in a patterned satin border with ivory rollers. It is 18-1/2 x 79-1/2 inches (47 x 202 cm) and in fine condition.
Fukuda Kodojin (1865-1944) an eccentric self taught artist, his status as a poet, calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others. For more see the current exhibition at the Minneapolis Institute of Art and the catalog The Art and Life of Fukuda Kodojin (2023) by Andreas Marks.

Plovers of carved mother of pearl shell and powdered gold soar over silver foam capped crashing waves surrounding a led rock inlayed into the surface of this spectacular lacquered box exhibited at the 3rd Aichi Prefectural Crafts Exhibition by Sakamoto Kakutaro wrapped in silk and enclosed in the original wooden box. Hira-maki-e, Taka-Maki-e, Kirigane, inlays of lead and shell on a nashiji ground, with silver fitted rims. It contains a black lacquered ink stone with gold edges and round water dropper which are set into a black lacquered “raft” sprinkled lightly with silver flakes. The box is 23.5 x 20.5 x 4 cm (9-1/4 x 8 x 2 inches) and is in excellent condition. The artist’s name card is affixed to the lid of the box, and contained within are a card reading: 3rd Aichi Prefectural Craft Exhibition (Dai San Kai Aichi Ken Kogeihin Tenrankai) as well as a stamp noting the item number from the exhibition. The same stamps are affixed to the bottom corner of the lacquer box.

An incredible play on the old adage, the pen is mightier than the sword, here is a phenomenal 19th century yatate brush case in the shape of a tanto knife with lavish maki-e designs in gold with mother of pearl blossoms and featuring a silver “Koszuka” insert on the side decorated with butterflies where it is likely an ink-soaked cotton tab or slab of red stamp ink would have been stored. It comes enclosed in a custom made and silk lined kiri-wood box. The piece is 24 cm (9-1/2 inches) long and in excellent condition.
During the Kamakura era (1185–1333), the idea of ink-saturated cotton was developed. By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a small lidded box, the writing set was made convenient and portable.

A Taisho period Lacquer writing box of superb quality decorated with a design of a stone lantern under broad leaves enclosed in an age darkened kiri-wood box. The scene is performed with Thick slices of shell and lead inlay on black Ro-iro ground with Taka-maki-e and Hira-maki-e designs. Inside is finished in Kin-gin (gold and silver) Nashiji. It contains two ink stones, a solid silver water dropper and Silver lidded box, as well as the original brushes, hole punch and paper knife all in matching Nashiji finish. The box is 38.5 x 15 x 5.5 cm (15 x x 2 inches) and is in excellent condition.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

A pair of lacquered Braziers by Kamisaka Sekka enclosed in the original red-lacquered compartmentalized signed wooden box. They are decorated with Rimpa style gold and inlaid lead flora on tame-nuri red alternating with highly polished black lacquered panels with bronze handles. Each is 27 cm diameter (11 inches), 24 cm (9-1/2 inches) tall and they are in overall excellent condition, retaining their original blue cloth storage sleeves.
Kamisaka Sekka (1866–1942) was a pivotal figure in the Rimpa revival movement and made significant contributions to the development of lacquer design and innovation in Japan. He played a central role in revitalizing the traditional Rimpa aesthetic while also incorporating modern elements into his work. His influence extended beyond painting to various art forms, including lacquerware, textiles, ceramics, and even graphic design.

An abstract floral motif is carved through the multiple layers of lacquer forming the surface of this Kanshitsu Dry Lacquer Poem Card Box by 20th century artist Yamada Akio enclosed in the original signed wooden. It is 29.5 x 32.5 x 4 cm (12 x 13 x 2 inches) and is in excellent condition. Yamada Akio was a lacquer artist active throughout the mid 20th century. A student of Living National Treasure Otomaru Kodo he was well versed in the art of Sanuki lacquer carving, and exhibited with the Nihon Dento Kogei Ten and Shin Kogeiten where he was awarded in 1988. Kagawa Shiki lacquer from the Island of Shikoku stood largely ignored for much of the 20th century, but has recently received a good deal of attention in retrospect.

Maki-e of waves and flying birds adorns the hull of this incredible Lacquered food service set consisting of 11 trays, boxes and lids, each piece a part of the meal. Outside it is covered in glossy black with gold touches and flowering vines, while the inner chambers are all festive red. It is roughly 55 cm (21-1/2 inches) long and in overall excellent condition. An incredible work of craftsmanship, sure to start a conversation.
One of my suggestions when people ask: What should I collect? has always been Shuro (hand warming braziers) and Bento (food/picnic boxes). Both were meant to be viewed by guests and so were made to show the personality of the owner, and both come in a plethora of motifs, shapes, sizes and materials, and both are a world unto themselves with possibilities in a huge range of prices, making them an easy item to collect. I have seen Bento in the shape of a tea storage jar, a millstone, animals, fish, drums, and boats such as this among others. They can be made from lacquered wood, Kanshitsu (Dry Lacquer), bamboo, ceramic, a variety of metals or any combination of these.

A lotus forming the basin for an incense burner sprouts from the back of this carved wooden elephant dating from the later 18th to 19th centuries (mid to late Edo period) 36 x 16 x 17.5 cm (14 x 6 x 7 inches). It appears to be carved from a single block of wood, covered in gofun with some poluchrome color. The lotus was gilded in gold, now largely worn away. The nose of the elephant has a strip of cloth running across it. We have not removed it as it is glued on, but assume that the nose was once broken and this is a visible repair.
The elephant is the vehicle for Fugen Bosatsu, the Bodhisattva of Virtue.
Also, in Buddhism the elephant is a symbol of mental strength. At the beginning of one's practice the uncontrolled mind is symbolized by a gray elephant who can run wild and destroy everything on his way. Just as the rampaging elephant is controlled by unregulated passions, we often find ourselves ruled by our desires, fears, and resentments. We think that suffering arises from what others do to us, or what happens to us; as self-perceived victims, we suffer. However, after taming one's mind, the mind which has been brought under control is symbolized by a white elephant strong and powerful, who can be directed wherever one wishes and destroy all the obstacles on his way. The Buddha taught that suffering arises internally, from our responses to events. To free ourselves from suffering, we subdue our minds, and with that tamed mind, we answer difficult circumstances without fear, desire, or rage, transforming adversity into growth. As such, the degree to which we experience unhappiness and pain depends on our internal responses, not on external conditions.

A double walled Ten-moku shaped Chawan Tea Bowl of solid silver (100 percent silver) enclosed in the original signed wooden box by Hasegawa Ichibosai titled Matsuo Konomi Nanryo Tenmoku Chawan. It is breathtaking! The interior is a parabolic mirror, while outside has been slightly tarnished with a vintage feel, like worn denim. The interior, prefeclty smooth, contrasts with the outside, which has been made to intimate the tactile qualities of a glazed Tenmoku bowl, even to the sandy texture around the foot. It is 13.6 cm (5-1/4 inches) diameter, 6.5 cm (2-1/2 inches) tall and weighs 234 grams. The bowl is in perfect condition.

A very unusual Muromachi to early Edo period (16th to early 17th century) lacquered box decorated outside with a wolf looking up at a crescent moon; inside with floral motif typical of the Muromachi to Momoyama period. The gaunt beast is made of worked lead or suzu (a lead alloy) inlaid into the surface. The moon is powdered silver with chunks of kirigane gold in the shrouding clouds. The box is 22 x 18 x 5 cm (9 x 7-1/2 x 2 inches) and overall, in quite good condition considering the elapse of time. Inside is housed a crescent moon water dropper. The inside of the lid was decorated with suzu-fun (powdered suzu) which has degraded over time leaving pock marks in the surface. There is crinkling of the lacquer and some losses typical of age. It comes in an ancient wooden box.

A fabulous modern vase tracing design patterns back into the art-deco era by Sanuki artist Hashimoto Kota exhibited in 1995 at the Kagawa Ken Shitsugei Kenkyusho Exhibition. Gold dusted snails crawl on overlapping leaves in various autumn tones carved through to reveal alternating layers of cream and dusky hazel colored lacquer beneath. The vase is 12.5 x 12.5 x 26.5 cm (5 x 5 x 10-1/2 inches) and is in perfect condition, enclosed in a wooden storage box.
Hashimoto Kota was born in Takamatsu City in 1974. At the age of fifteen he entered the Kosho lacquer studio at the same time as he entered the Kagawa Prefectural Crafts High School, graduating both in 1991. He then entered the Kagawa Lacquer Art Research Institute where he studied from 1992-1995. After years of study he obtained the qualification of a second-class architect. According to him the experience of learning about color, shape, and the role of tools and people in daily life through traditional crafts served served to help understand the importance of the "buildings" that envelop them. From 2012 he has also worked with lacquer art at Sanuki Urushi Shinra.

A fabulous example exploring the various traits of traditional Shigaraki pottery with a thick swath of glaze covering one side, telltale feldspathic inclusions bursting from the raw clay opposite. This is a classic example of 16th century Shigaraki pottery. It is 29 x 31 x 35 cm (11-1/2 x 12 x 14 inches) and in overall excellent condition.

This ancient and dilapidated mask is ghoulishly frightening. Carved from a single piece of wood, the visage seems to scream with both rage and fear, or is it pain, the brow furrowed and mouth open in a shout. Emaciated lips curl back to reveal three teeth like tombstones framing the orifice. A hole appears in the hollow of the left eye, and the top of the mask is broken open like an egg, as if something might leap out. This goes way beyond the traditional mask, into the realm of Iki-ningyo or living dolls. It is 24 x 15 x 12 cm (roughly 9 x 6 x 5 inches).
Japanese ghost tales and horror stories have a rich and fascinating history that dates back centuries. These stories have evolved and been shaped by various cultural, religious, and historical influences over time. Let's focus on the pre-modern era to explore the origins and development of Japanese ghost tales and horror stories: apan's early ghost tales were influenced by indigenous Shinto beliefs, animism, and the veneration of ancestral spirits. In these tales, spirits were often associated with natural phenomena and specific places. During the Nara (710-794) and Heian (794-1185) periods, court literature flourished, and stories of supernatural beings, such as yōkai (supernatural creatures), oni (demons), and yūrei (ghosts), started to gain prominence in written works like "The Tale of Genji." Buddhist beliefs and notions of karma influenced the portrayal of spirits and the idea of vengeful ghosts who returned to the living world seeking retribution. "Uji Shūi Monogatari" (Tales of a Raindrop) and "Konjaku Monogatari" (Tales of Times Now Past) are collections of folktales, including ghost stories, from this period. They reflected the belief in the supernatural and the moral consequences of human actions. The medieval period saw the development of various ghost tales, often referred to as "kaidan" or "katakiuchi-mono" (stories of vengeance). During the Edo period traditional Japanese theater, particularly Noh and Kabuki, incorporated ghostly elements into many of their plays. Ghost characters seeking vengeance or resolution were common themes in these performances, making them popular among audiences. Also during this period was a flourishing of ghost-themed art and literature. Throughout these eras, storytelling played a crucial role in passing down ghost tales and horror stories in Japan. It's essential to recognize that Japanese ghost tales and horror stories are deeply rooted in cultural and spiritual beliefs, and their themes often explore concepts of life, death, morality, and the supernatural. They were often used as a means to entertain, educate, and explore societal norms and values. In the later 19th century, Lafcadio Hearn, an Irish-Greek author who emigrated to Japan taking a Japanese name, is credited with introducing Japanese ghost tales to the Western world. In 1904, he published "Kwaidan: Stories and Studies of Strange Things," a collection of traditional Japanese ghost stories he had translated and adapted in an effort to preserve them before the oral tradition was lost. Many of these pre-modern ghost tales continue to inspire modern Japanese horror literature, movies, and other media.

A pair of 18th century Hibachi braziers made of Karaki and various sword scabbards enclosed in wooden storage boxes dated Tenmei 6 (1786). Each is 27 cm (11 inches) square, 23 cm (9 inches) tall and both are in overall excellent condition.

The cutest elephant (piglet?) ever produced, this antique figure is made of thick pale clay, his open mouth and snout coated in black soot from eons of burning incense. On his back a heavy pottery lid, equally blackened inside. The inner rim on the underside of the lid has lost much of its edge, however the lid itself is still perfectly intact. The tip of the right ear has been broken off, and it is likely that there was once some form of tail insert, which is no longer extant. This is evidenced by the lack of smoke around the rump where a smooth, circular hole exists. It is 40 x 21 x 20 cm (16 x 8 x 8 inches), dating from the Edo period.
The elephant is the vehicle for Fugen Bosatsu, the Bodhisattva of Virtue.
Also, in Buddhism the elephant is a symbol of mental strength. At the beginning of one's practice the uncontrolled mind is symbolized by a gray elephant who can run wild and destroy everything on his way. Just as the rampaging elephant is controlled by unregulated passions, we often find ourselves ruled by our desires, fears, and resentments. We think that suffering arises from what others do to us, or what happens to us; as self-perceived victims, we suffer. However, after taming one's mind, the mind which has been brought under control is symbolized by a white elephant strong and powerful, who can be directed wherever one wishes and destroy all the obstacles on his way. The Buddha taught that suffering arises internally, from our responses to events. To free ourselves from suffering, we subdue our minds, and with that tamed mind, we answer difficult circumstances without fear, desire, or rage, transforming adversity into growth. As such, the degree to which we experience unhappiness and pain depends on our internal responses, not on external conditions.

A set of three accordion albums into which have been applied the plans for the ramparts of 144 castles (48 castles each) taken from what was likely an older makimono and remounted in book format sometime in the later 19th or early 20th century, giving each castle its own page. Each book features 48 pages measuring 40 x 27.5 cm (16 x 11 inches), so each book is 20 meters (65 feet) long and all are in excellent condition. They come with the original paper sleeves created at the same time as the books, which have served their purpose to protect the books, but the covers show some wear.

Overlapping dragonflies in deep relief cover the black surface of this impressive Natsume by Okabe Keizo enclosed in the original signed wooden box titled Tsuikoku Natsume (Carved Black Natsume). This is performed in the carved lacquer technique of Kagawa prefecture, where multiple layers of lacquer are applied then carved through leaving the design in releif. A very time consuming process. It is 7.5 cm (3 inches) diameter, the same height and in excellent condition.
Okabe Keizo was born in 1912 in Kagawa prefecture on the island of Shikoku and studied the art of lacquer carving (Tsuishu Yozei) under the important artist Otomaru Kodo (later designated a Living National Treasure. He was awarded at the Japan Art Academy (Nihon Bijutsu-Kyokai) in 1938, and accepted into the Nitten in 1942, garnering several prizes there over the coming years. In 1956 he would be accepted into the National Traditional Crafts Exhibition.

An exquisite carved lacquer cylindrical incense container enclosed in the original signed wooden storage box titled Nuri-ko-tsutsu and signed Chikusem. It is 12 inches (30 cm) long and in excellent condition, signed in a carved seal on the side. This comes from the Sanuki lacquer tradition of Kagawa prefecture on the Island of Shikoku. The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. The patronage of feudal lords and wealthy individuals furthered the development of the Sanuki lacquer tradition. With the rise of the middle class in the Meiji period and import placed upon traditional crats the demand for high-quality lacquerware increased, leading to innovations in craftsmanship and artistic designs. Tamakaji Zokoku and others like him were important in the development of modern Kagawa lacquer art cementing the foundations of the three basic styles we know today.

Magnificent dark ink forms a lurid summer landscape on this scroll by Irie Shikai enclosed in the original signed wooden box dated the 4th month of 1922. Ink on paper in a white cloth border with dark wood rollers. The scroll is 54.5 x 195 cm (21-1/2 x 76-3/4 inches) in overall great condition. The box appears to be titled Cool Day no Clouds.
Irie Shikai was born in Fukuoka prefecture in 1862, the son of an upper level samurai retainer. He studied Nanga and Chinese style painting under Yoshitsugu Haizan and Daiju Ekizan among others. Eschewing the contemporary trend to exhibit and paint for the major National Juried exhibitions, he remained outside the mainstream. For more on this artist see Literati Modern, Bunjinga from late Edo to 20th century Japan, Honolulu, 2008

A Te-bako lacquered box by Izumi Atsuhiko enclosed in the original signed wooden box dated Autumn of Showa 39 (1964). Black and white Urushi with Iro-urushi floral imagery, mother of pearl inlay flowers and gold Ke-uchi embellishments. It is 22.5 x 30.5 x 13 cm (9 x 12 x 5 inches) and in excellent condition, with minor wear on the bottom typical of use.
Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A haunting wooden mask, severely dilapidated by weather and time, the carving style consistent with the Kamakura to Muromachi eras (12th – 15th centuries). This is most evident in the shape of the eyes, which are cut shallow at a striking angle. It is 13 x 22 cm (5 x 8-1/2 inches), in stable condition. It comes with an incredible ancient wooden storage box.

An image of Kannon in celadon robes, the revealed flesh in raw clay by Suwa Sozan enclosed in the original signed wooden box. It is 18 cm (7 inches9) tall and in excellent condition.
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.

A striking, seemingly contemporary design, covers all surfaces of this eye-catching stacking box set dating from the later Edo to early Meiji period (early to mid 19th century). Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years. Here a brazen design of variously colored precious gold lines stagger in lightning streaks across the rectangular forms. On top is a crest reading Konotori (the character for the Oriental White Stork) and a family crest of Myoga (Japanese Ginger). The entire design is performed in Togidashi, Nashiji and Hira-Maki-e with the crests in Hira Maki-e further adorned with and Keuchi golden details. It is 24.3 x 23 x 47 cm (9-3/4 x 9-1/4 x 19 inches) and in overall fine condition with minor losses typical of age and use.

A carved wooden mask dating from the later Edo period from Northern Japan representing the God of the hearth. It is 29 x 25 x 11 cm and is in excellent condition.
In the Tohoku area, including Miyagi Prefecture and Iwate Prefecture, Kamadogami (Kamado no Kami) is enshrined in a mask made of wood or clay called a Kamaotoko (cauldron male) or Kamajin (cauldron person) and hung on a pillar near the kamado hearth. Kamado no Kami translates to "God of the Hearth" or "Kitchen God." In traditional Japanese beliefs, the Kamado no Kami is a deity or spirit associated with the hearth, kitchen, and cooking. The hearth was a central and essential feature of traditional Japanese homes, serving as a source of warmth and a place for preparing meals. The Kamado no Kami was believed to reside within the kitchen's hearth and was revered as a household protector. The deity was thought to bring good fortune, prosperity, and health to the family. Properly appeasing and showing respect to the Kamado no Kami was seen as essential to ensure the well-being and happiness of the household. While the worship of the Kamado no Kami was a widespread practice in various regions of Japan, it's important to note that specific beliefs and customs could vary from one region to another. The Tohoku region, in the northeast of Japan's main island, is known for its rich folklore and unique cultural practices and reverence for the Kamado no Kami was especially strong. In the traditional Japanese context, the hearth and its deity held significant cultural importance, but with modernization and changes in household structures, many of these beliefs and practices have evolved or declined. Nevertheless, some elements of traditional culture and beliefs continue to be preserved and celebrated in various parts of Japan, especially in rural areas and during traditional festivals.

Precious fruit in silver hangs from golden vines on the sides of this 15 piece No-bento picnic set dating from the mid Edo period. It consists of a carrying case with handle and scrolling vines along the edges, a square bottle with fitted covered dish on top and set of four stacking boxes with lid decorated with grape vines burgeoning with fruit, a set of five small plates decorated with flowers, and a tray with fish. All are marked on bottom with the same stylized mark. There is damage to one corner of the tray. A striking design there are minor losses typical of age and use. 17 x 29.5 x 28 cm. It comes in an ancient red-lacquered kiri-wood storage box with hand forged iron hardware.

Deer prance about in abbreviated Art-Deco windows on this large vase by Okamoto Tameji enclosed in the original signed wooden box titled Hakuji Asobu-Shika-zu Kabin (Vase in pale porcelain decorated with playing Deer). It is 33.5 tall, 32.5 cm (roughly 13 inches) diameter and in excellent condition. Stylistically it is consistent with his works from the early 1930s.
Okamoto Tameji (1901-1958) was born in in the International Port city of Kobe and raised in Kyoto, the artistic and cultural heartland of Japan. He attended the Kyoto Municipal Tojiki Shikenjo Ceramic Research Facility, and apprenticed under Kawamura Seizan. He was first accepted into the Bunten/Teiten National Exhibition in 1927, and was selected for and awarded there consistently both pre and post war. His works were featured at the Chicago, San Francisco and New York Expositions.

Geese take flight from among the brittle winter grasses on the lid of this exquisitely crafted lacquered incense case by Imperial Artisan Suwa Sozan I enclosed in the original signed wooden box titled Aogai Kogo (Mother of Pearl Incense Case). It is 6 cm (2-1/4 inches) square and in excellent condition, signed on the base in red lacquer Sozan.
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.

An exquisite Edo period incense burner, the fine red clay covered in running bamboo glaze from the kilns of Takatori on the southern Island of Kyushu wrapped in a silk pouch and enclosed in a period Kiri-wood box. The lid is solid silver pierced with roiling fronds. It is 7.5 cm diameter, 7 cm tall excluding the silver lid, and in excellent condition.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.

A striking Yellow dry Lacquer (Kanshitsu) Vase by Izumi Atsuhiko enclosed in the original signed wooden box. Truly definitive of the mid-century art scene, it is 17.5 cm (7 inches) tall and in excellent condition. Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

Golden vines with silver fringed leaves envelope this striking Edo period lacquered storage box covered entirely in silver Nashiji lacquer. Two brass rings pierce the side for a tying chord. Inside it retains the original tray, black with Nashiji bottom and rim decorated with stylized vines. The box is 26 x 32 x 21 cm (10-1/4 x 13 x 8-1/4 inches) and in overall decidedly fine condition, with a couple of small dings (see close-up photos).

An Edo period Kogo incense case of pale earth tones deocorated with geometric shapes and green copper glaze in the oribe style with a scrawling streak of kintsugi gold extending down two sides. Kintsugi is the art of repairing using lacquer and powdered gold. The piece is roughly 7 cm (3 inches) diameter and comes wrapped in an antique padded silk wrapping cloth in an age darkened kiri-wood box with deer leather ties. The box is annotated Ko-Oribe Ume-gata Kogo (Old Oribe Plum-shaped Incense Container) by Seisai, (1863-1937), the 12th head of the Omotesenkei School of Tea.

A fabulous carved wooden tray in the sencha style of a ragged leaf, highly detailed on both sides, the underside carved with a poem and signed by the artist. It is 57 x 30 x 4 cm (22-1/2 x 12 x 1-1/2 inches) and is in perfect condition, dating from the early 20th century.
Sencha, as we know it today, started to gain popularity during the 18th century with the rise in Literati thought in Japan. This is partly due to the influx of Chinese at the fall of the Ming dynasty in the mid 17th century and how their culture was absorbed into the greater Japanese culture over the subsequent generations. Sencha is a non-powdered green tea, which distinguishes it from the powdered matcha commonly used in formal tea ceremonies. Along with the tea itself, came an appreciation of the accoutrements and aesthetic which were quite different from those used in powdered tea. Chinese literati culture emphasized simplicity, natural beauty, and a deep connection to the natural world. These values resonated with Japanese tea practitioners who incorporated them into their own tea culture. They overlapped with concepts like "wabi-sabi," which celebrates imperfection and transience, and "yūgen," which suggests a subtle, profound beauty. It manifested itself in many aspects of Japanese culture, including architecture, garden design, painitng and all related crafts. Overall, the influence of Chinese steeped tea practices and literati culture on Japanese tea culture has been a rich and multifaceted process. It has contributed to the unique blend of aesthetics, philosophy, and rituals that define Japanese tea culture, creating a distinct tradition that reflects both local innovations and cross-cultural interactions.

A striking design of five petaled plum blossoms between dual strips of mother of pearl inset into a rust-colored belt circling the black lacquered body of this art-deco influenced vase dating from the early to mid-20th century. The vessel is turned from a single piece of bamboo, the node still clearly visible inside. It is 31 cm (12 inches) tall, 14 cm (5-1/2 inches) diameter and in excellent condition. It comes in a contemporary wooden collectors box.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into various decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A bee rests on leaves carved from wood and covered in green lacquer capping this natural gourd container intimating a large ripened sweet persimmon by Ueta Josen dating from the early 20th century. It is signed inside the lid, and measures roughly 12.5 cm (5 inches) diameter. It comes in the original signed wooden box, which has some water damage. There are some losses and lifting to the lacquer on the inside of the gourd, otherwise is in excellent condition. Ueta Josen was born in Kagawa prefecture I 1909, and was first accepted into the Teiten national art exhibition in 1934.

A classical dreamy Taisho period scene in rich green by Hirai Baisen enclosed in the original signed wooden box. Pigment on silk wrapped in a Green kinrande gold laced silk border patterned with dragon dials among scrolling vines and terminating in solid ivory rollers (these will be changed if exporting). The scroll is 56.5 x 201 cm (22-1/4 x 79 inches) and in overall excellent condition, with a few minor marks typical of age.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts in 1906 and was a regular exhibitor with the Bunten from 1907-1931. In 1910, aged just 22, to the Japan-British Exhibition held in London. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston, Seattle Art Museum, Honolulu, Portland Art Museum and a plethora of other important public and private collections.

The moon rises small over the hermitage lost in dark washes of foliage covering the twilit hills, a fabulous calming scene by Hirai Baisen enclosed in the original signed wooden box titled Sanso ni Tsuki (Mountain Home and Moon). Ink on paper in beautiful cloth mounting with silver thread and solid ivory rollers (these will be changed if exporting). The scroll is 43.2 x 208 cm (17 x 82 Inches). There is one bend (not a hard wrinkle or crease) in the bottom across the signature. Otherwise, overall excellent condition. The box comes in a paper sleeve from Mitsukoshi Department Store.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts in 1906 and was a regular exhibitor with the Bunten from 1907-1931. In 1910, aged just 22, to the Japan-British Exhibition held in London. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston, Seattle Art Museum, Honolulu, Portland Art Museum and a plethora of other important public and private collections.

A classic Rinpa Revival box (also spelled Rimpa) in Tamenuri decorated with bamboo in lead, mother of pearl and gold taka-maki-e enclosed in the original wooden box from the exclusive Mitsukoshi Department store retaining the orignal wooden box signed and stamped inside Mitsukoshi, complete with the Mitsukoshi printed seal dating from the early 20th century It is 20 x 20 x 10 cm (8 x 8 x 4 inches) and is in excellent condition.

The powerful gaze of a Kami (god) glares down over an archaic smile, giving nothing away, the eyes glittering with gold. This is a 19th century carved wood mask created in the life-like Iki-ningyo style covered in gofun and pigment complete with inlayed glass eyes and animal hair. It is 24 x 20 x 10 cm (9-1/2 x 8 x 4 inches) and is in overall fine condition, with minor losses to the pigments and hair typical of age.

A set of five fluted dishes decorated with draped branches dating from the mid to later Edo period enclosed in a period age-darkened wooden box. Several have had repairs made with lacquer nad powdered silver, enhancing the beauty and sense of age. They all bear on the base the Mizoro stamp impressed into the raw earth. Each is 16 x 10 x 4.5 cm (6 x 4 x 2 inches) and all are in overall fine condition, with the silver repairs blending with the finely crackled glaze and dark iron decoration.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

A cluster of Blue and White Edo period Imari bowls which melted together in the inferno and fused, three becoming one in a fortuitous accident. The Japanese have long held these coincidental imperfections in high esteem, accentuating the ideas of Wabi-sabi and the ephemeral which permeate Japanese culture. Roughly 24 x 16 x 8 cm (9-1/2 x 6 x 3 inches), a very interesting addition to the table.

A wooden basin covered in thick lacquer, red on the outside, mottled green within enclosed in the original wooden storage box darkened with age. All about dragonflies in black lacquer alternate with those inlayed with lead into the surface separated by golden spirals over wavering silver eddies. The basin is 45.5 x 30.5 x 5 cm (18 x 12 x 2 inches and is in overall excellent condition. One lead dragonfly wing is missing. It is signed on the base Heian Sesshin.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into various decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A visually captivating design of three-leaf circular crests are scattered crests on a field of Mother-of-Pearl falkes covering entirely the outside of this set of four stacking lacquer boxes dating from the 19th century. Inside is festive red. They are 24.7 x 21.5 x 30 cm (10 x 8-3/4 x 12 inches). There are some old repairs in red lacquer, enhancing the obvious sense of age. Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years.

A classic Tamba Tea leaf storage jar (Chatsubo) with interesting mukimimi or “turned ears”, the tie lugs swirling like a Domoe on the shoulder next to the neck, each leaning to the right, as if listening to the next. In my experience this is quite unusual. The jar is covered in rivulets of flowing green leading down to an undulating belt line between the glaze and the raw clay. A white shadow in the clay indicates where once a label, likely identifying the type of tea contained, had once been applied. The jar is 28 cm (11 inches) tall and in excellent condition.

Gold streaks up the narrow end of this oval Chrysanthemum shaped scalloped Mizusashi water jar from the kilns of the ancient capital of Kyoto. There is a lid of black lacquered wood, which has been broken in half and repaired once. The jar is 18.5 x 16 x 15 cm and is in overall excellent condition. A series of gold lines craze up the side where it has been once repaired. The piece comes enclosed in an age darkened kiri-wood box custom made to fit. It likely dates from the 19th to opening of the 20th century.

Inlaid blossoms of polished white shell glow on the burnished gold branches of a winter plum swirling across the red tame-nuri surface of this small suzuri bako writing box dating from the early 20th century and enclosed in the original signed wooden box titled Hayaume-zu Maki-e Suzuri-bako (Writing box with Early Plum Blossom). Inside the lid is a Togidashi image of snow-covered Hiragi (Japanese Holly) bearing red berries. Inset into the floor of the box are a drip shaped suzuri ink stone and gold colored water dropper in matching tray. The box is 12.5 x 20 x 3 cm (5 x 8 x 1 inches) and in overall excellent condition. THer is wear on the underside consistent with use.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

Two shishi roughhousing, one sinking his teeth into the others back a glass ball balanced on the furled tail signed on the base Taiho. The upper creatures head can be removd allowing the pair to be used as an incense burner. It is 17 x 12 x 17 cm (7 x 5 x 7 inches) and is in excellent condition.
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.

An unusual coffer shaped vessel in classic 1930s art-deco style signed on the base Shokoku and enclosed in the original signed wooden box titled Nunome Zogan Sarasa Mon Hanaire (Cloth-textured Inlayed Chints Design Vase). It is 22.5 x 9.5 x 9.5 cm (9 x 4 x 4 inches) and is in overall fine condition. Originally the interior of the insert was tinned, and that has much changed color.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into bronze sculptures, vases, and other decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A wood tray in the shape of a stylized Basho leaf (fruitless banana) carved of dark red wood and signed on the base. It is 27 x 47 cm (11 x 19 inches) and is in overall excellent condition.

An anonymous art-deco era Japanese bronze vase enclosed in a dilapidated kiri-wood box dating from the 1930s. It is 16 x 16 x 30 cm and in overall excellent condition. Quite solid, it weighs just less than five kilograms (11 pounds).
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into bronze sculptures, vases, and other decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A panel covered in black lacquer decorated with blossoming plums forms the center of this stand made to display a set of Japanese swords. It is 44 x 21 x 44.5 cm, and in overall fine condition, with minor mars typical of use.

A set of two Edo period Iron Kettles for heated Sake with raised designs of Kiri (Paulownia) flowers and looping iron handles in the shape of a folding fan inlayed with silver filigree topped with a lacquered wooden lid with maki-e designs of gold cranes and clouds featuring a brass finial enclosed in the original signed wooden box by Shimotsuma Shobei. The open top on the pouring spout is indicator that these are choshi kettles, not tea kettles, and are made specifically for heating Japanese rice wine. Finding a set from the early 19th century in such good condition with the original signed box is almost unprecedented. They are roughly 16.5 cm (6-1/2 inches) diameter and in overall excellent condition. There is loss to the lacquer on the edge of one lid. Shimotsuma Shobei III (Jokyu d. 1838) is third generation head of the family of kettle makers whose first generation is Shobei Shimotsuma, a disciple of Jyomi, the 4th head of the Kyonagoe family.

A fabulous Suiseki stone on carved rosewood base in the shape of a Limestone cave in which meditates a holy figure. It is 11 x 7 x 16 cm including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

A dramatic Suiseki stone set into a carved wood base retaining the chiseled marks (typical of the early 20th century) in the shape of a Limestone cave in which meditates a holly figure. It is 12 x 7 x 18 cm (5 x 3 x 7 inches) including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

An exquisite lacquer dish with black Tessen (Clematis) flowers over a mottling of pale layers by Ikeuchi Kaho enclosed in the original signed wooden box titled Choshitsu Tessen Hana Moyo Kazari-sara. The work is performed by applying layer upon layer of cream-colored lacquer, with a final layer of black, which is then carved through to reveal the lower layers of white, leaving only the one top layer of black as the design. A very labor-intensive process with little room for error. The dish is 30.5 cm (12 inches) diameter and in excellent condition. Ikeuchi Kaho (1903-1967) was an artist in the carved lacquer tradition of Sanuki, and his work is held in the collection of the Takamatsu City Museum.

A set of two Edo period iron kettles with raised chrysanthemum designs under a belt of ichimatsu (alternating box) designs surrounding a lid of lacquered wood embellished with unique scenes of birds and flowers of Autumn and Winter. The iron handle is inlayed with silver designs, and has a copper under-liner which protects the hand of the person serving from the hot metal. These guys thought of everything. The kettles are in perfect condition. The lids have some losses to the lacquer around the edge. The open top on the pouring spout is indicator that these are choshi kettles, not tea kettles, and are made specifically for heating Japanese rice wine. They are 16 cm (6-3/8 inches) diameter each, enclosed in a period age darkened kiri-wood box.

A fabulous covered bowl decorated with cobalt dragons and covered almost entirely in intricate lacquer designs from the Toyoraku (also read Horaku) tradition in Nagoya. The dragons swirl in both the foot ring, and center ring of the lid. As if to pair, gold dragons slither about in scalloped green cartouches overlaying the ornate Shippo pattern outside, inside completely lacquered black with a nashiji rim with a floral dial in centor of both bowl and lid. The bowl is 17 cm (6-3/4 inches) diameter and comes enclosed in a period wooden box. It is in outstanding condition, and one of the finest quality pieces I have seen.
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. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

A Japanese viewing stone set into a rosewood base dating from the early 20th century. It is17 x 8 x 9.5 cm (6 x 3 x 3 inches) and is in excellent condition. In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.