Catalog (193)

An exceptional web of gold interspersed with nishiki-cloth patterned designs on gold lacquer fuses this once broken 16th-17th century Koro with ami-me net patterned solid silver lid. This was likely originally made as a tea cup, considering that the entire interior is glazed. Broken and reassembled using the Kintsugi gold technique and placing unusual patterns on the missing portions, this is an exceptional work of art. The silver lid was likely made when it was repaired and repurposed as an incense burner. It is 8 cm diameter, 7 cm tall (roughly 3 inches) and is in excellent condition. It comes in an antique cloth pouch with solid silver lid enclosed in a compartmentalized age-darkened kiri-wood box.

An early Edo period Ki-Seto sake cup repurposed with a silver lid pierced with a chrysanthemum to function as an incense burner enclosed in a custom made silk pouch and bamboo case dating the transformation to New Years of Kae-7 (1854). Without the lid it is 5.5 cm (roughly 2 inches) diameter and in excellent condition.

A Kintsugi gold repair provides a flash of gold on the much-used richly color-stained glaze of this Early Edo Takahara Yaki Chawan Tea bowl enclosed in an age darkened kiri-wood box titled Takahara Yaki Hira Chawan. The box is annotated inside followed by a Ka-o stylized signature. There is also a separate Kiwame letter enclosed. The bowl is 15.3 cm (6 inches) diameter and in excellent condition. Takahara Yaki began with Takahara Tobei (Fujihei) who hailed from Higo in modern day Kumamoto prefecture, and later Takahara Heizaburo. Tobei established a kiln near Shitennoji in Osaka specializing in tea ware during the Keicho era (1596-1615) especially known for Korai Korean and Raku wares. Later a second kiln was opened in Omi (modern day Shiga) which specialized in pottery of the Awata tradition. In 1653, On the recommendation of Katagiri Sekishu, the family split, and under orders of the Edo shogunate Heizaburo opened a kiln in front of Asakusa in Tokyo. So in fact there are three lines of Takahara Yaki, Osaka, Shiga and Tokyo. This is likely from the original Osaka kiln and dates from the 17th century.

From the Shoguns table to yours…why not? This is a lacquer tray elevated on scrolling legs decorated with squirreling tendrils and Mitsuba-Hidari Aoi Domoe (Left Swirling Triple Hollyhock) crests from the Shogun family. The flat surface is festive red with chirashi-mon design (scattered crests) duplicating that on the outside. The table is 38 cm (15 inch4s) square, 20 cm (8 inches) tall and in fairly good condition considering its age. There are chips to the edges and other mars typical of use.
It is said that the reason Tokugawa Ieyasu adopted the Aoi, which was originally the crest of Kamigamo Shrine, as a family crest, was that he wanted to prove the dignity of the origin of his samurai family as parishioners of Kamigamo-jinja Shrine, which descended from the Nitta-Genji clan. There are many versions of the Mitsuba Aoi crest of the Edo Shogunate, those in use by the government, and those in use by branch families and tributaries, however the left swirling crest (as seen here) was restricted for the use of the direct lineage of the Shogun. It is, in fact, quite a rarity.

Thick molten ash drivels over the shoulder of this fabulous 17th century Shigaraki Tsubo storage jar showing all the great attributes of Shigaraki ware. It has a large open ware (pronounced wa-ray) crack down the front, which does not go through to the inside, and the fire blasted front surface is shot with fine heat cracks. A large Kutsuki to the lower let shows where it adhered to something else in the kiln during the firing. Natural ash glaze in yellow and green slides down over the surface forming shiny green drips opposite raw earth burnt red studded with Shiseke feldspathic stones. On the foot are two supporting Geta. It is 31 cm tall, nd in overall excellent condition, with one colored repair to the mouth (see photos).

A rare Seto Heishi (also read Heiji) bottle dating from the Kamakura period (1192-1333) wrapped in a custom made silk pouch with age darkened Kiri-wood box. Streaks of an unusual blue shidare glaze are visible on one side, Unlike the vast majority of Heishi bottles, this piece is no unearthed or excavated but has been passed down from generation to generation (as evidenced by the lack of inclusions or calcification). It is 24 cm tall and in overall excellent condition, with only minor chips about the rim. Included is a printed image of the piece titled Seto Haiyu Heishi, Kamakura period. This appears to have been cut from an exhibition catalog, and one can guess it has been exhibited.

A yobitsugi Jar made up of various excavated kiln shards of central Japan dating from the Heian period (794–1185). It is roughly 32 cm diameter, the same height. Looking at the volume of debris and encrustations, it is likely that the upper most part of this tsubo, which is one piece, was buried in a kiln collapse, earth and stone fusing to the molten ash. During the Heian period, hole kilns were dug into hillsides, with a chimney bored down into the back. Sometimes during firing, or after repeated use, the earth above would weaken and collapse upon the contents, burying all. Unusable, the site would be abandoned and another hole kiln dug alongside or at the next available site, leaving the shattered contents to be excavated a millennia later. Assembling these parts into Wabi-sabi jars or bowls became popular from the mid Edo period in a style known as Yobitsugi (literally called together and attached). To the contemporary viewer it is an example of the simple beauty of random effects produced by a wood-fired kiln as well as a unique view into the Japanese mindset of serenity found in the accidental and ephemeral.

Wide gold bands mend the broken walls of this unearthed pottery bowl dating from the Kamakura period covered in earthy green glaze from the Seto region from around modern day Nagoya. It is 16.3 (almost 6-1/2 inches) diameter and ready to use. It comes enclosed in a modern collectors wooden box titled Horinote Hirachawan (Excavated Wide Tea Bowl).
Kintsugi embodies 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.

A startling find! A Horned Demon mask dating from the Nanboku-cho to earlier Muromachi eras (14th to 15th centuries) carved from a single block of wood and enclosed in an ancient kiri-wood box. The visage would have once sported a lower jaw, likely suspended by chord, which is no longer extant. It is 21 x 15 x 9 cm (8-1/4 x 6 x 3-13/4 inches) and is in overall fine condition, exuding a great sense of age.
Oni Masks: Oni are a type of horned demon or ogre in Japanese folklore. They are often depicted with fierce expressions, sharp teeth, and horns on their foreheads. Oni masks were commonly used in various traditional Japanese performing arts, including Noh theater, Kyogen (a comedic theater form), and festivals. In Noh and Kyogen plays, Oni characters represented malevolent supernatural beings or disruptive forces. Oni masks were crafted with variations in color and design to represent different types of Oni with distinct personalities and roles in performances.
Horned demons and monstrous beings have been a recurring theme in various art forms and folklore throughout Japanese history. The Hannya mask, with its distinctive design and association with the Noh theater, is one of the most iconic representations of a horned demon in Japanese culture. However, it is just one of the many examples of horned demon imagery that has been present in Japanese artistry throughout history.
The term "Hannya" refers to a vengeful female spirit or demon, often depicted as a hideous and tormented being with sharp fangs and a horned, demonic visage. The character of the Hannya is prevalent in Noh theater, a traditional form of Japanese drama that dates back to the 14th century. Hannya is often portrayed as a woman who transforms into a demon due to overwhelming jealousy, rage, or sorrow. The transformation occurs after experiencing intense emotional pain, particularly from unrequited love or betrayal. As a result, the Hannya's soul becomes consumed by negative emotions, leading to her metamorphosis into a malevolent, otherworldly creature. The Hannya mask is a distinctive and iconic representation of this character. It features a fearsome expression with bulging, angry eyes, a long nose, sharp fangs, and two sharp, upward-curving horns on the forehead. The mask is crafted to express a complex range of emotions, capturing the Hannya's torment, grief, and anger.

A quintessential 16th century design in worn gold covers all the dark surfaces of this lacquered wooden box dating from the Momoyama period. Here auspicious cranes and turtles, reported to live a thousand years, laze among pines. About the lid boaters enjoy leisure seas. Ichimonji checkerboard patterns rising diagonally up the sides alternate with garden trees, the ends decorated with wisteria and ivy. The box retains the original inner tray in festive red decorated with garden grasses. It is worn with age and use, but stands testament to the durability of lacquer and evidences the functionality of the coating. The box is 35 x 26.5 x 28 cm (13-1/2 x 10-1/2 x 11 inches). A rare opportunity to acquire such an ancient lacquer work.

A small circular table likely made as a stand for an incense burner or suiban basin dating from the Muromachi era (late 14th to 16th century ) covered in black lacquer over which has been applied vermillion in the style known as Negoro. About the center a ring of wood grain is typical of the era. It is supported by three curling feet extending from a billowing diaper. The lacquer, originally black, has oxidized to a mellow chocolate color beneath. It is 29 cm (11-1/2 inches) diameter, 14.5 cm (5-3/4 inches) tall. As one may imagine there are some losses and much wear to the edges typical of age. One leg has been broken and repaired. Surprisingly good condition for something over 500 years old.
According to the National Gallery of Victoria: Negoro refers to simple and elegant red lacquer objects that were produced during Japan’s medieval period, between the twelfth and seventeenth centuries. Embodying the ancient sense of Japanese beauty, the minimalistic forms of Negoro lacquer ware were primarily made to be functional objects and are void of elaborate decoration. The supple shapes and naturally worn patina of red and black lacquered layers give Negoro an ambience of antiquity and elegance which has made them treasured objects throughout the ages. Since the early twentieth century Negoro wares have become highly appreciated by connoisseurs as objects of outstanding design that pursue a certain utilitarian beauty. Negoro lacquer derived its name from the Buddhist temple of Negoro-ji, located in the mountains of present-day Wakayama Prefecture, just south of Osaka. Established in 1243 as a temple of esoteric Buddhist practice, Negoro-ji thrived during the Kamakura, Muromachi and Azuchi-Momoyama periods. In period depictions of monastery life and aristocratic villas Negoro utensils are clearly shown as favoured and cherished objects, alluding to demand for their production in large numbers. Square and circular trays, bowls of various sizes and large spouted ewers were used at daily meals. Lobed cup stands, offering trays and sake bottles with foliate lids featured in temple rituals and clearly display lotus flower–inspired motifs common to Buddhist art. Stem tables were frequently used as offering stands and placed in altars of Buddhist temples and Shinto shrines. Circular wash basins with legs were used in monastery ceremonies to catch water poured over the hands of monks in an act of purification. Large hot water pots or spouted ewers were often used as practical kitchen and serving utensils, and are still used to this day in Zen monastery dining halls. The true essence of Negoro is found in its antiquity and the generations of affectionate use that imbues these objects with the esoteric Japanese spirit wabi (the aesthetic of beauty found in imperfection), and sabi (an affection for the old and faded). With regular use the wearing and reduction of the outer red coating gradually reveals the black lacquer beneath, creating an ever-changing beauty that can only result from continual use and the passage of time. Cracks, wear, damage, splits, texturing and irregularities all enhance the harmonious sophistication of a Negoro object’s surface. This natural evolution of beauty, similar to the maturing of the human spirit with age, epitomises the Japanese spirit and stems from the belief that the respectful use of an object for its proper function enhances its appearance and status.

A shard has been grafted into the side of this large misshapen Shino bottle dating from the Momoyama to early Edo period, the repair lined with gold. Gold also circle the neck where the discarded misfire was repaired, and gleams on the lip. It is 22 cm (9 inches) tall and in excellent condition. It comes in an age darkened wooden box titled Ko-Shino Tokkuri, Shoki no Kama (Old Shino Tokkuri, early Kiln era)
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

A lovely chawan made of three separate excavated shards connected by lines of gold dating from the Kamakura to early Muromachi periods (13th to 14th centuries). It is 15.7 cm diameter, 7 cm tall and in excellent condition, enclosed in an old wooden box.

A spectacular collapsed pottery jar from the Karatsu tradition with a purpose-warped wooden lid covered in powdered silver enclosed in a top quality ancient red-lacquered kiri-wood box lined with wave-patterned colored-paper. The ancient box has silver lacquer writing on the top reading Kodai Karatsu Tsubo, Kamakura Ki, Mizusashi (Ancient Karatsu Tsubo, Kamakura Period, Mizusashi). The pot is 17 cm (7 inches) diameter, 15 cm (6 inches) tall and in overall excellent condition.

A classic Nanban style Japanese lacquer tray decorated with mother of pearl inlay featuring four panels of birds among floral patterns separated by bands and frets dating from the 17th century later Momoyama to early Edo era. It is 43 × 28.5 x 2cm (17 x 11 x 1 inches). It has been fully restored, with repairs to the original lacquer and inlay, and the underside has been re-lacquered. It comes in a custom fitted Chinese style cloth bound box lined with red silk.
According to the Met: The Portuguese and Spanish who visited Japan during the Momoyama period were fascinated by the beauty and exotic appearance of luxurious gold-decorated lacquerwares associated with the taste of warlord Toyotomi Hideyoshi (1537–1598). As a result, lacquers commissioned for the European market typically adopted this flamboyant style (Kōdaiji maki-e). Such pieces—among the earliest trade goods exported from Japan—are known collectively as “Nanban,” or “Southern Barbarian,” the Japanese appellation for foreigners who arrived “from the south.” Highly prized by the great families of Europe as luxurious exotica, they helped to define a “Japan aesthetic” for the Continent for more than three centuries. The decorative patterns depict Japanese subjects, among others, including maple, mandarin orange, and cherry trees, camellia flowers, wisteria branches, and birds. The decorative bands of the borders are embellished with geometric designs. One of the characteristic features of the Nanban lacquers is the rich application of mother-of-pearl inlays.

An E-karatsu Yobitsugi bowl made of various shards attached with wide bands of gold to a discarded base: the pieces dating from the Momoyama to early Edo periods. It is 22 x 20 x 6 cm 8-1/2 x 8 x 2-1/4 inches) and comes enclosed in a modern kiri-wood collectors box titled E-Karatsu Hachi.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. Kintsugi embodies 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.

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. The history of Shigaraki traces its origins to around the 12th century with the discovery of exceptional clay deposits rich in iron and other minerals which contribute to its distinct rustic charm. The clay's natural tones, ranging from warm browns to deep russet, evoke the earth's organic essence. The subtle imperfections and irregularities of the forms and glazes mimic the irregularities found in nature, embodying the concept of wabi-sabi. Shigaraki ware captures the essence of simplicity, modesty, and reverence for the natural world, reflecting the philosophical ideals deeply rooted in Japanese culture. During the Muromachi and Momoyama periods (1336-1603), the popularity of Shigaraki pottery soared due to changes in the aesthetic of the tea ceremony, which came to emphasize the importance of humility. Shigaraki pieces, with their earthy tones, and rough natural textures, perfectly embodied the idea, making them highly sought-after by connoisseurs. In the Momoyama period (1573-1603), the introduction of anagama kilns that foster the spontaneous and unpredictable nature of the firing process, further enhanced the uniqueness of Shigaraki ceramics leaving beautiful variations in glaze and color based on, among other factors, kiln placement, fuel, firing time, convection, temperature, oxidation, and atmospheric conditions. Shigaraki celebrates the natural properties of the clay it is made from with the idea of Tsuchi-aji (literally Clay Flavor). Tsuchi-aji refers to the “visual taste” of the clay and is highly prized by connoisseurs. The surface often displays fascinating natural effects, including "hi-iro" (fire coloration), "koge" (scorch marks), Shizen-yu (natural ash glaze) and various "Yohen" (alterations). They contribute to the distinctive and organic aesthetic of Shigaraki pottery. Each piece tells a story of its journey through the firing process, reflecting the harmonious relationship between the artist, the kiln, and the natural elements. The interplay of clay, fire, and ash creates a captivating visual narrative, making Shigaraki pottery a testament to the beauty of the moment, the ephemeral and the accidental.

An incredible Mishima Chawan dating from the Edo period with a wide repair to the rim in dark lacquer decorated with golden grasses in gold maki-e lacquer designs. It comes in an ancient dilapidated silk pouch with cotton buffer enclosed in an age darkened kiri-wood box titled Mishima Chawan. The bowl is 5.5 cm (2 inches) tall, 12.5 -13.5 cm (5-1/2 -6 inches) diameter and in fine condition. Mishima ware refers to different types of imported and adopted Japanese pottery. Mishima originally refers to the shimamono pottery imported from the islands of Taiwan, Luzon, and "Amakawa" (Macau). They were characterized by being roughly-made and often uneven, thus epitomizing the Japanese aesthetic of wabi-sabi. HOwever the term overall came to refer to impressed and slip-inlayed ceramics in the Korean style like this bowl.

Grapes cluster on the vine under drying leaves on this painting by Tenryu-dojin performed with ink on paper in a light cloth mounting with pale blue piping and wood rollers. Painted when the artist was 77 years old (1794 by the Japanese count). The scroll is 42.5 x 162.5 cm (16-3/4 x 64 inches) and has been remounted sometime in teh 20th century, in a style reflecting the literati mounting style popular from the later Edo period.
Tenryu Dojin (1718-1810) was born as an illegitimate child of the Hizen Kashima Domain, but was raised as the son of a chief retainer. At the age of 14 his family was involved in a scandal and the artist was made a Ronin, or masterless Samurai. Around the age of 15, he entered the Buddhist priesthood under the priest Taitake of Hizen Ankoku-ji Temple, and later went to Nagasaki to study medicine and painting under Kumashiro Kumai. Around the age of 19, he went to Kyoto where he was adopted by Manri-koji Shufusa, calling himself Zenmyo-in, and served the Cloistered Imperial Prince. He fell into the circle of Imperial loyalist Takenouchi Shikibu, and joined the movement to overthrow the shogunate and restore the monarchy operating under various pseudonyms. After a failed coup at the age 41, many of his loyalist friends were exiled, but this did not deter the patriot, and he was again involved in a plot at age 50 known as the Daini Jiken. The leadership of this plot were put to death, and Tenryu-Dojin escaped to mountainous Shinsu region in central Japan. He changed his name and hid himself in this area for the res of his life. He is remembered for paintings of hawks and grapes.
An exhibition of his work was held in 1960 at the Nezu Museum.

A pair of bottle-shaped heishi vases made for tribute to the gods emblazoned with the characters Dai-Kichi (Great Fortune) by Imamura Joen (1635-1717) signed on the base and enclosed in a wooden collectors box. They are 20.5 cm (8 inches) tall each and in excellent condition.

A smokey yellow bowl impressed with various floral images dating from the Edo period made up of various ancient kiln shards put together with lacquer and silver in the Kintsugi technique. The bowl is 11.5 cm (4-1/2 inches) diameter, 8 cm (3-1/4 inches) tall and comes wrapped in a contemporary silk pouch in an age darkened kiri-wood box.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

A bucolic scene of temples and rugged seaside hills dotted with pagodas in silver and gold wraps around the black surface of this deep tray dating from the Momoyama to early Edo period (16th-17th century). It is 27 cm (10-1/2 inches) diameter, 8.5 cm (3-3/8 inches) tall. The bottom has been re-lacquered at some time in the past. There is wear and cracks to the inside typical of age and use, and the rim has been re-done in gin-dame powdered tarnished-silver, which blends well with the ancient feeling of the piece.

A set of 5 rare Dutch glass cups imported to Japan in the Edo period and formerly owned by the Confucian scholar Nakai Riken (1732-1817). They are enclosed in a custom made double sided wooden box with drop in doors titled on the side Yoi-O-Gozui (Five fortuitous ways to be drunken) with a long verse carved into each door. Of course, the meaning of the title goes much deeper, and the Gozui is also a Confucian concept. The emperor of China distributed five jade treasures to the five feudal lords, and they were named. The scholar has named each of the cups after one of these jade objects, Ko, Yu, Haku, Shi and Dan. The Osaka University Professor Ueda Minoru researched Riken, and mentions the treasured set of five glass cups, the smallest with a golden rim, in his research of the scholars life and belongings, claiming them to be one of his most treasured items. The largest cup is 15 cm tall, the smallest 7.5 cm. There are some chips and fractures in the corners of the seven-sided foot of the smallest cup, otherwise all is in overall excellent condition.
Nakai Riken (1732-1817) was a Confucian scholar of the later Edo period. He studied Neo-Confucianism under Goi Ranshu, and together with his older brother Nakai Chikuzan, supported Kaitokudo, a school of learning in Osaka, leaving behind the greatest academic achievements of the Kaitokudo school. the rational and modern academic style that is characteristic of Kaitokudo literati was established mainly by Riken. As a scholar he commented on the classics and wrote books such as " Nanakyo Kadai," and "Shichikyo Kadai Ryaku." These were compiled into a total of thirty-three volumesara. He was well versed not only in economics but also in natural sciences such as astronomy. Goryu Asada, who had studied Western astronomy in earnest, stayed with. He wrote an overview of the ming period book "Tenkyo Arumon," by Yushiroku, and created a celestial map. In addition to astronomy, he also left a natural history map "Sakura Cho", an anatomical chart "Etsuryofutsu", and a microscope observation record "Microscopic Record". In addition, he wrote "Kashokoku Monogatari" (The Tale of Kashokoku), in which the protagonist was the king of a fictitious ideal nation, 'Kashokoku,' and discussed how the nation should be governed. A prolific writer, he left a vast body of contextual research for subsequent generations.

An unusual Edo period Oribe serving bowl, the color filled crackled glaze decorated with scrolling lines in iron and splashes of copper green. Both inside and out hash mars denote a bamboo fence with blossoms in the fore. A handle and raised architectural elements around the rim and rising to the mouth echo some western influence, possibly indicating original Christian use. It comes resting on a silk pillow in a age-blackened wooden box titled Oribe Katakuchi. The piece measure 24.5 x 13.5 x 10 cm (10 x 5-1/4 x 4 inches) and is in overall excellent condition.
On a little historical note, a toned paper label on one side denotes the piece was once placed under hold by the Himeji Courthouse as part of a property with a lean against it, indicating the piece was considered to be of significant value even a century ago.

Startled to enlightenment, this is a large Edo period figure of a Rakan (Sanskrit: Arhat), a Buddhist saint kozutsucarved in the Yosegi-zaiku method of joined blocks of wood. Originally covered in polychrome colors, much has grayed and flaked away with time, a fitting aspect of the image. He has glass eyes which seem to burn violently with realization. The image is 43 x 36 x 51 cm (17 x 14 x 20 inches) and is in solid condition. The head is removable, slotted into the body at the collar. For additional images please inquire. In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art. According to the Met: Rakan are ascetics who guard and proclaim Buddhist law on earth in the period between the death of Shakyamuni, the historical Buddha, and the coming of Maitreya, the Buddha of the Future. They have inspired some of the freest and most lively depictions of the human figure in Japanese art. Age and the struggle for salvation have left their mark, but in the figures’ gnarled faces and bodies is a strong expression of the uniqueness of each individual. Because Rakan achieved enlightenment through rigorous individual effort and meditation, they appealed to practitioners of Zen Buddhism and became a popular icon in medieval Japan. They are conventionally portrayed in groups of sixteen…

A crusty wood fired Bizen dish with looping handle, one hemisphere rounded, the other pinched as if for pouring, dating from the Edo period enclosed in an ancient custom fit lacquered Kiri-wood box. It is 23.5 x 22cm x 12.5 cm (roughly 9 inches diameter, 5 inches tall) and is in surprisingly excellent overall condition, with a few nicks to the edge of the foot consistent with age. Evidencing the centuries, there is a loss near the handle to some thicker glaze encrustation. This only happens with Bizen after a great deal of time. A dish like this would have been used for serving sweets in a tea room, or perhaps some skewered grilled fish in a traditional meal. The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The firing process allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Simplicity of form enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

Scrolling characters are inscribed into the side of this hand formed elongated basin by Otagaki Rengetsu enclosed in the original signed wooden box titled Hissen Chawan (Brush washer shaped Tea bowl). The poem reads:
Shigayama ya On Mount Shiga...
hana no shirayuki flowers like white snow
harahara to flutter down
furuki miyako no in the ancient capital
haru zo kure yuku. Spring is fading
The bowl is 17 x 12 x 7 cm (6-1/2 x 4-3/4 x 2-3/4 inches) and is in excellent condition.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A long verse is incised into the side of this tea bowl by Otagaki Rengetsu. The poem reads:
Yorozuyo mo 10,000 ages
tae nu nagare to enduring the surge
shimetsu ran so well
sono kame no o no From Turtle Tail Mountain
yama no shitamizu. The water flows
The bowl is 12.2 cm (5 inches) diameter and in perfect condition. It comes wrapped in a silk cloth pouch, enclosed in an old box with original lid inside of which is a long verse. It has been appraised by the head priest of Jinkoin Tokuda Koen on a separate newer lid titled Rengetsu Ro-ni saku Chawan.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A rare stacking Bento (picnic) box in the shape of a tea leaf storage jar decorated in a realistic fashion with black, silver and gold maki-e lacquer. It consists of four pieces, stacked they are 28 cm (11 inches) tall, and all are in excellent condition.

A quintessential Iga vase dating from the Edo period, the rough clay covered in thick ash glaze. It is viciously charred, testament to the tempest in the kiln, with molten ash flowing freely over the surface. This is a perfect complement to a Japanese chashitsu tea room or traditional flower display. It is 24.5 cm (9-1/2 inches) tall and in excellent condition. In a Japanese tea ceremony room, historically vases were made to match the ambiance of the humble setting. Although I did not write it: Starting in the Momoyama period (16th century), Mimitsuki Iga ware vases with characteristic "ear" lugs appeared. and thus became the popular norm. Since then the ears have become a mark of not only Iga flower vessels but also Mizusashi water jars. They were used as Japanese tea utensils under master Sen no Rikkyu and others. Old Iga ware, which is known as Ko-Iga, generally reflects Wabi-Sabi aesthetics with a rustic appearance and purposefully deformed shapes, given extra character by the addition of "ear" lugs and intentional gouges and dents.

A rare iron hanging censer in the shape of a Mongolian Saddle Stirrup (Abumi) with silver mesh lid covering half the top. It comes in an age-darkened and worm-eaten kiri-wood box titled simply Tsuri Koro. The receptacle is 13.5 x 7 x 15 cm (5-1/2 x 3 x 6 inches) and is in excellent condition, dating from the Edo period.

A striking soft-glazed six-sided incense burner by Maki Hokusai decorated with white flower blossoms on soft flesh colored glaze surmounted by a silver lid pierced with the character Kotobuki (Fortune) by Hata Zoroku. The pot itself is 10 cm tall, plus the sliver lid. It comes in an ancient wooden box signed by Zoroku.
Hata Zoroku I (1823-1890) learned metalwork techniques in the studio of Ryubundo in Kyoto. Hata produced works for the Imperial Household and it is known that he made the gold Imperial seal and national seal by order of the Imperial Household in 1873. He was under consideration as Artist to the Imperial Household (Teishitsu Gigeiin). He died several days before the announcement of these designations in 1890. For bronze works by Zoroku in the collection of the Imperial Household, see The Era of Meiji Bijutsu-kai and Nihon Kinko Kyokai, in Meiji bijutsu saiken I (Reappraisal of Meiji Art I) (Tokyo: Museum of the Imperial Collections, Sannomaru Shozokan, 1995), pp. 40-41.
Maki Hokusai (Bunshichi, 1782-1857) established a pottery workshop in the West district of Nagoya city during the Bunka era (1804-18). Hokusai was a master at sculpture and studied painting technique under Gekkoku. He decorated with bright colors and vivid detailed landscapes. Known as a master craftsman for making tea utensils, sake utensils, ornaments, etc., he worked for the 12th lord of the Owari clan, Tokugawa Naritaka, and produced works in the Hagiyama Niwa-yaki kiln of the Feudal lord. The kiln continued for three generations, but due to the expansion of Nagoya Station, the kiln was abandoned around 1923.

This is a breathtaking work of art, a cherubic figure forms the finial of this later Edo period ceramic incense burner. Atop the lid strides a youth in purple robes wearing a lotus leaf as a hat and blowing a flue, a staff lays at his feet. About the square box of the ash pot are exquisite-colored designs lined with gold like precious jewels dangling from the edge. Two beast heads protrude from the sides and the entire is elevated on a square foot. The koro is 8 x 11 x 17 cm (3-1/4 x 4-1/2 x 7 inches) and is in excellent condition. It comes enclosed in an age darkened Kiri-wood box with chamfered edges titled Ninsei Fue-buki Jizo Koro annotated inside the lid Zuiichi (Superlative) followed by a Kao signature traditionally used by Tea Masters, Literati and important figures such as samurai and (Edo period) court figures.

Crabs clamber through the tangled bamboo leaves decorating the rim of this crushed fluted pottery bowl from the kiln of Wake Kitei (also read Waki) dating from the 19th century. This piece shows a great influence from the southern Island of Kyushu and Korean ware, not only in the literati style depiction of crabs, but in the glaze itself which is very much in the vein of Karatsu and or Gohon ware, as well as in the swirling whirlpool inside the footring. The bowl is 28 x 18 x 12 cm (11 x 7 x 5 inches) and is in overall excellent condition, enclosed in an age darkened and somewhat dilapidated wooden box.
Kitei Yaki was begun in the mid 18th century in the environs of Kyoto by Kameya Kitei, a 3rd generation craftsman specializing in Dobin and Earthenware Braziers (Kama). He adopted the name Kitei. The second (some say 3rd) generation Kitei went to Kyushu to study Imari wares, developing the family line to include sencha and maccha tea ware as well as regular dishware. This is likely from the 4th generation (1826-1902), a potter representing Kyoto ware in the Meiji period. The 4th generation Kitei was born in Kyoto as the eldest son of the 3rd generation Kameya Heikichiro. In 1862, he inherited the family estate and called himself Kameya Heikichi. In the first year of the Meiji era, he took Wake as his surname. In 1873, he became a purveyor to the Kyoto Prefectural Government's industrial sector. After that, he participated in domestic expositions and exhibitions, where he was awarded including the Philadelphia World's Fair in 1876, the Paris World's Fair in 1878, and the Sydney World's Fair in 1879. Work by him is held in the British Museum

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.