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).

A fabulous lidded bowl of deeply carved layered lacquer by Tamakaji Zokoku dating from the later Edo period. It is 17 cm diameter (roughly 7 inches) and comes in a period wooden box. It is signed with individual characters splayed between the frets around the base. A similar work, if not the same, is visible on page 118 (figure 69) of the book Hyakunensai Kinen Tamakaji Zokoku, produced in 1968 commemorating the 100th anniversary of his passing.
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. Tamakaji Zokoku was an important artist in the development of modern Kagawa lacquer art. Born in Takamatsu City, Kagawa, in 1806, at a young age he went to Kyoto where he studied painting as well as lacquer technique. Zokoku was granted access to many important collections of antique lacquer works including works from countries such as China, Thailand, and Myanmar in the possession of Higashi-Honganji Temple and Daitokuji Temple. After returning to Takamatsu his talent was recognized by Matsudaira Yorihiro (ninth lord of the Takamatsu Domain), and he was appointed to manage the items in the domain's treasury. He carefully researched each of these treasures to further develop his own skills. He established a distinctive style of lacquer-ware based on his interpretation of these traditional techniques. Today, these form the basis of the three major Kagawa Lacquer ware Techniques, Kinma, Zonsei, and Choshitsu.

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.

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.