The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
All Items : Artists : Furniture : Contemporary item #1494412 (stock #Y4)
The Kura
$1,800.00
Bird of Paradise, A bright playful wall mounted light of raw Kozo and linen fiber papers over an iron frame by Kinoshita Yuri made this Spring during her sojourn on Awaji Island. It is lit by a 60 W (6 W) LED Lighting Strip with transparent flat cord plug. The core is 60 cm (roughly 24 inches) diameter, 40 cm (16 inches) deep and in excellent condition, directly from the artist. With the tale is about 140 cm (55 inches) long.
Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900 item #1488519
The Kura
$1,700.00
Plums blossom red on the dark surface of this traditionally shaped Mizusashi bearing the rare Ubagamochi Stamp impressed into the clay of the base. It is 18 cm diameter, 15 cm tall, and comes in an old custom made collectors kiri-wood box labeled Ubagamochi Mimitsuki Mizusashi. It retains the original ceramic lid, as well as two lacquered lids, one a tsukuibuta lid in austere black, the other redish brown outside, gold within, featuring a raised image of a dragon flying through billowing clouds circling mount Fuji.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1492443 (stock #Z092)
The Kura
$1,700.00
Love lasts beyond the grave, here a skeleton walks, her pate decorated with flowers and a bundle of daisies in her hand as she strolls grinning under the shade of a dilapidated umbrella held by an attendant, a poignant painting signed Shoken dating from the Taisho period (1922). The four character verse above is taken from the Lotus sutra (Hanya-Shingyo) and reads shikisokuzeku, meaning (loosely) all color is void, the void is all color. Completely restored in a chic Tsumugi cloth border with black lacquered wooden rollers, the scroll is 59 x 192 cm (23-1/2 x 75-1/2 inches) and is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900 item #1492594 (stock #Z084)
The Kura
$1,650.00
A Dojin licking Dango-treats dances in erratic dashes of soft wet lines and swift dark strokes of flying white on this vertical presentation by Edo period eccentric Doi Goga. Ink on paper it is 43 x 184.5 cm (17 x 72-1/2 inches) and has been completely remounted in dark silk with bone rollers. The creature clutches the raku-in stamp in his upper hand, the other stamps seem to follow his feet like footsteps. It comes enclosed in an age darkened wooden box. Known as the “Mad monk” Goga had a unique spontaneity to his work which was fresh and yet hearkened back to art of the great Zen masters. Of Doga Rhiannon Paget wrote “Characteristic of Goga's works are blunt, velvety black brushstrokes bleeding into the surrounding paper, exaggerated incidences of “flying white” (the streaking effect caused by a dry brush), paler strokes conveying depth, and perhaps most curiously, the incorporation of his seals into the pictorial space. This playful device was used sometimes in Japanese woodblock prints, but is rarely seen in painting”. Doi Goga (1818-1880) was a Confucian scholar of the late Edo to Meiji periods. He was born the son of a doctor serving the lords of Ise (modern Mie prefecture), home of the gods and Ise Shrine. A child prodigy, he studied under Ishikawa Chikugai and Saito Setsudo. The early death of his father saw him succeed the family head at the age of 12. He would serve later as a teacher in the official government school. He held strong opinions and was very critical of the hypocrisy and corruption he saw in military government and in Confucianism itself. His works began to see the light of day in the early Meiji period, however due to their inflammatory nature, much was left unpublished until after his death. Known for paintings of bamboo and landscapes, his Dojin figures are rare and highly sought.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1492703 (stock #K088)
The Kura
$1,650.00
An image of the white robed Kannon (Quanyin), Goddess of Mercy, by Mashimizu Zoroku dating from the early 20th century. Exquisitely crafted, The figure is 14.5 x 12 x 21.5 cm (5-3/4 x 4-3/4 x 8-1/2 inches) and is in excellent condition.
Kannon, also known as Guan-yin in Chinese or Avalokitasvara is a Bodhisattva, (one who has prolonged their own eternal enlightenment to stay behind to alleviate the suffering of others in this ephemeral world. Generally shown as feminine or androgynous, she is one of the most popular deities in the Japanese Buddhist Pantheon.
Mashimizu Zoroku I ((Shimizu Tasaburo, 1822-1877) studied under his uncle Wake Kite and established his independent studio in 1843, taking the name Mashimizu Zoroku. He became independent in 1843 working along with Sen Soshitsu XI. His work was exhibited at the Vienna international exposition in 1873 and Philadelphia in 1876. Zoroku II (Jutaro,1861-1936) was born in the Gojo-zaka Pottery district of Kyoto and inherited the pottery tradition of his father, and, after his early death, continued under the guidance of his mother Chika, taking the name Zoroku in 1882. He was awarded at the Kyoto Kangyo Hakurankai Exposition. He colluded with some of the greatest artist of the day in reviving lost Japanese traditions such as Koyama Fujio and Arakawa Toyozo as well as being heavily involved in research into continental styles. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition,
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900 item #1492517 (stock #Z095)
The Kura
$1,600.00
A deliciously horrifying painting of a ghost rising from the empty field dating from the 19th century completely remounted and ready to go for another century of leering from the shadows. Ink on paper with highlights of gofun and red pigment separated from a field of blue by a single narrow strand of red and gold Kinran silk terminating in dark wood rollers. The artist has sealed the panting with two crimson chops in the lower corner. The scroll is 42.7 x 196 cm (16-3/4 x 77 inches) and is in overall excellent condition, completely remounted.
For the Japanese Kaidan-banashi, or ghost stories, are a summer tradition. It is said that the telling of a ghost tale at night will cause the temperature in the room to fall, a great necessity during those boiling summer evenings. The ghosts and their associated skeletons have also long been subject in Buddhist art, with the emphasis on the brief nature of our lives in comparison to the cosmic void.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900 item #1492597 (stock #Z086)
The Kura
$1,600.00
A skeleton sits among the dried grasses, alone and forgotten, perhaps reflecting on his life in this earie painting by Buddhist priest Higuchi Ryuon dated Meiji 6 (1873). Ink on paper, it is 41.5 x 179.5 cm (16-1/4 x 70-1/2 inches) and is in fine condition; completely remounted in a border of two subtle shades of black with colorful piping and features black lacquered rollers with mother of pearl flakes. It comes in a kiri-wood box.
Higuchi Ryuon (1800-1885) was a priest of the Jodo sect of Buddhism active from the later Edo through the Meiji periods. Born in Aizu (modern day Fukushima) he studied at the Higashi Honganji Takakura Gakuryo and served at Onjoji in Omi (modern day Shiga Prefecture) as well as Chishakkuin in Kyoto before becoming head priest of Enkoji Temple in Kyoto. He has recently come to attention when it was discovered he had a copy of the Bible in his personal effects.
All Items : Artists : Furniture : Contemporary item #1494414 (stock #Y6)
The Kura
$1,600.00
A long wall mounted light of woven strips of Kozo, Linen Fiber, Bamboo Fiber, embossed Kozo and pasta impregnated Kozo Paper, with PP Film on a stainless frame by Kinoshita Yuri titled Tenkugumo. It is lit with five 25 Watt (2 watt) LED Lighting Strips featuring a clear flat cord and plug. It is 148 x 18 x 20 cm (58 x 7 x 8 inches) and is in excellent condition, directly from the artist, created during her stay on Awaji Island in preparation for this show this Spring.
Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930 item #1492828 (stock #K069)
The Kura
$1,575.00
A fabulous large porcelain vase by Daimaru Hokuho (Hoppoo) complete with a rosewood base enclosed in the original signed and compartmentalized wooden box titled Konko-yu Semi Monkizami Kabin (Golden Yellow Glazed Vase inscribed with Cicada Patterns). The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The baluster form rises to frets in the shape of stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 21 cm (just more than 8 inches) diameter 36.5 cm (14-3/4 inches) tall plus the base and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900 item #1492241 (stock #K047)
The Kura
$1,550.00
The surface of this black glazed bowl signed on the base Dohachi has been impressed all over with seals in a style known as In-chirashi. It comes in an ancient wooden box with ebony rim titled inside Dohachi Saku (Chirashi-in) Chawan, while outside a much-worn paper label reads In-chirashi Dohachi Saku Chawan. The original silk pouch, much deteriorated, is included, but no longer strong enough to hold the bowl. Without a box signed and sealed specifically by the artist, it is difficult to attribute to an individual Dohachi, but likely this is the second Ninnami Dohachi generation. The gourd shaped seal impressed into the side strongly resembles the gourd shaped Momoyama Seal of Ninnami Dohachi II. The bowl is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and is in excellent condition.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1900 item #1490730
The Kura
$1,500.00
A smoke tendril rises from the mouth of a bloated toad forming an Usubata flower basin in heavy olive patinated yellow bronze. The basin is 19.7 cm (7-3/4 inches) diameter, The entire 24.5 cm (9-3/4 inches) tall and it is in excellent condition. In Japanese the word for Frog is Kaeru, a homonym for: To Return. Thus the symbol of a frog means money going out will come back, a child growing up or a daughter marrying will come back to visit etc. Gama Sennin is one of the most depicted Sennin (Saints), a Daoist sage based on Liu Hai of ancient China. He has great magical powers and carries around on his back a large toad. In Chinese legend he learned all the secrets of Magic and the universe from the toad. Frogs have been known as a symbol of prosperity in ancient Chinese culture since time immemorial. As per Feng Shui, keeping frog figurines at home or in the office area, offers protection to the space and brings prosperity to one's life.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920 item #1492337 (stock #K013)
The Kura
$1,500.00
A fabulous cabinet covered in polished black lacquer inlayed with mother of pearl designs in the style of Nagasaki containing various boxes, trays and dishes for an outing. To allow any steam to escape, it has windows which were once lined with silk. Brass hardware secures the hinged doors which swing out with small boxes and trays in one side, a square sake bottle with brass spout encased in a wooden stand on the other. The interior works are performed in clear lacquered hardwood grains and red lacquer with gold edging. Beneath a drawer slides out from either end, for chopsticks, napkins and other serving implements. The cabinet is 26.5 x 26.5 x 30 cm (10-1/2 x 10-1/2 x 12 inches) and is in overall surprisingly good condition. There are a few minor marks and indentations in the lacquer typical of use and although it originally contained five small red octagonal trays, only four remain.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1800 item #1493747 (stock #K075)
The Kura
$1,400.00
A fabulous Edo period large Gohon Chawan from the Hagi region, a classical bowl wearing its history in a spider thread of gleaming gold. Broken once, the cracks have been repaired with softly gleaming thin wisps o gold in the highest quality. The bowl is 12.5 × 15 x 8 cm (5 x 6 x 3 inches) and comes enclosed in a period Kiri-wood box. Kintsugi lacquer gold repairs embody the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1920 item #1490875
Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1491409 (stock #N01)
The Kura
$1,350.00
The sage gazes out from his hermitage clinging to the hillside upon a sparse scene of falling water and precipitous climbing peaks dominating this painting by Shirakura Niho dating from the prime of his career. Ink and light color on silk mounted in blue cloth with thin piping terminating in white ceramic rollers. It is 40.5 x 187.5 (16 x 74 inches) and is in excellent condition; enclosed in a modern wooden storage box. A published version of the Niho Catalog will accompany the work.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1491463 (stock #N06)
The Kura
$1,350.00
A quintessential image of a tiny bean-shaped figure lost in thought, perhaps staring out to sea on a sunny hillock before cascading water in lush Spring-green washes by Shirakura Niho enclosed in the original signed wooden box titled Enpokihan (Distant Sails Returning). Ink & Light color on Silk in fresh green extended with beige featuring bone rollers. It is 64 x 143.5 cm (25 x 56-1/2 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1491725 (stock #N10)
The Kura
$1,350.00
This scroll is an excellent example of the early Showa era style of Shirakura Niho centering around 1930 enclosed in the original signed wooden box titled Teishu Sotai. The painting features two persons in a boat contemplating a precipitous waterfall which extends up through the clouds. The phrase Teishu Sotai in old Japanese translates to "meeting of moored boats" in English. It is often used metaphorically to describe a chance encounter or a meeting between two people who happen to be in the same place at the same time, similar to how two boats might meet while anchored or moored. It is 39.5 x 196 cm (15-1/2 x 77 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1491726 (stock #N11)
The Kura
$1,350.00
A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.