Catalog (168)

A set of two large deep Imari fluted porcelain bowls dating from the later Edo to Meiji period (19th century) decorated with blossoming cherry trees over wave frets with a rabbit in blue in the center. Each is roughly 16.5 cm (6-1/2 inches) diameter, 11.5 cm ((4-1/2 inches) tall and both are in overall fine condition.

An aka-Raku Chawan decorated with a phoenix by Kikko Jusoken sealed on bottom with what appears to read “the 7th Kyoto Gosho Hakurankai enclosed in the original signed wooden box. It is 12 cm ( just less than 5 inches) diameter, 89 cm (3-1/8 inches) tall and is in excellent condition.
Kikko Jihei (the firs Jusoken, 1784-1861) was born in Kaminada Village, Iyo country (mod. Ōzu City, Ehime Prefecture), as the eldest son of Todara Genbei, a retainer of the domain. Before establishing his own kiln, Jihei learned various pottery techniques at kilns in Kyoto. He studied under some of Kyoto's foremost masters, including the first Takahashi Dōhachi and the first Kiyomizu Rokubei. After receiving guidance from these emblematic potters of the era, he decided to set up his kiln in Jūso Village, Osaka, for its high visibility. In 1817 at the age of 33 he was commissioned by Mizuno Tadakuni, who later became the Lord of Osaka Castle, to present works to the 11th Shogun, Tokugawa Ienari. These works included a food container (jikirō) adorned with cranes and turtles and a goldfish bowl. As a result, Tadakuni bestowed upon Jihei the kiln name "Kikkō" along with a gold and silver seal. From 1819, at the age of 37, Jihei adopted the surname Kikko. In 1827, he took on the name Kikko Jusoken. Kikko Jusoken worked on his creations at kilns from Osaka to Edo. The first Kikko Jusoken had no children. However, he passed on his kiln in Jūso Village, Osaka, to his niece's son, Kameji, who became the second-generation Kikko, and his own sister's son, Yoemon, who became the third-generation Kikko. The first four generations died within a short time span of each other, all by 1863, and this is likely the work of the fifth generation, who held the reins until 1891.

A fabulous Toyoraku-yaki pottery bowl covered in colorful lacquer dating from the Mieji period enclosed in an old wooden collectors box. Insed Oribe green flows down from the rim to garden scene of iris and ya-giku (wild chrysanthemum) growing along a rived on the white crackled glaze. Outside geometric patterns in alternating gold green and red supported on three black bamboo shaped feet. It is 13.4 cm (5-1/4 inches) diameter, 10 cm (4 inches) tall and in excellent condition but for a very small chip in hte glaze inside the wall of the bowl (see close-up for details).
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A set of 4 exquisite lacquered wooden boxes with trays decorated with Tsuba (sword guards) in gold on a jet black mirror surface dating from the early 20th century enclosed in a four tier black lacquered wooden box. Inside is silver Nashiji with scattered cherry blossoms. The trays feature solid silver rims and are signed Ryoshin. Each box is 13.5 x 10.5 x 5.7 cm (5-1/4 x 4 x 2 inches) and each tray is 17.6 x 14.6 x 1.7 cm and all are in overall fine condition.

A set of five lacquer lined covered bowls made from natural gourds enclosed in an age darkened wooden box titled Hyo Suimono Wan indicating they are for serving thin soup to cleanse the palate between courses. In Japanese cuisine, presentation is everything. Texture and color may in fact be more important than flavor. The dishes used as well, should be a feast for the eyes, and you will find every aspect of the traditional meal is presented in its own unique setting. These bowls are 7 to 8.5 cm (roughly 3 inches plus) diameter, 7 cm tall (roughly 3 inches) and all are in excellent condition. According to Arigatojapan, Suimono, literally meaning 'dish to sip,' is a refreshing type of clear soup that is meant to cleanse the palate in between dishes. Often very light and slightly umami in taste, it is one of the oldest and most traditional foods in Japanese cuisine.

A very thin cast bronze image of a hunched female crow in dark olive patina with an incised signature on the underbelly Takayo dated Bunan 2 (1445). The image is made in several parts, the upper and lower halves of the body joined along the neck and under the wings, the feet separately cast and attached where they join the body. There is some form of plug, or possibly spur mark, on the breast above the signature. It is 23 x 16 x 10 cm (9 x 6 x 4 inches) and weighs 616 grams (1.3 pounds), in overall excellent condition.

A masterpiece of Akahada Pottery ware in the shape of a wooden bucket with elaborate scrolling feet from the kiln of Okuda Mokuhaku. It is 18 x 18 x 19 cm (7 x 7 x 7-1/2 inches) and is in excellent condition, enclosed in a modern wooden collector’s box.
Okuda Mokuhaku (1800-1871) was born the son of a merchant in Sakai Machi Yamato Koriyama in Nara Prefecture that served the local lords with hair ornaments, make-up supplies and other fashionable items. His given name was Kamematsu, which was changed to Sahe-e upon reaching adulthood. He was enthralled with the tea ceremony from a young age, and enjoyed making Raku ware, so it was no surprise later when he quit the family business and became a potter. He established the pottery style known today as Akahada-yaki. With his outstanding design and technical prowess, Akahada pottery came to be highly regarded as utensils for the Japanese tea ceremony, earning him the reputation as a master craftsman of the Edo period who made Akahada pottery known to the world.

A beautifully carved tray of overlapping leaves interspersed with clustered grapes by Ichikawa Shudo signed on back in a circular cartouche. In one corner an odd round tail leads us to a squirrel head popping through the leaves, as if one were looking up through the vines toward the sky. It is 46 x 35 x 3 cm (roughly 18 x 14 x 1 inches) and is in overall fine condition, There is a slight warp to the bottom of the tray, but it is still bery usable and there is no damage to the carving. Ichikawa Shudo (1868-1933), also known as Shochikusai, brought unique characteristics to Himeji's wood crafts, leaving behind many elegant Sencha-style trays with his outstanding technique.

A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

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.

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 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.

An austere wide low Chawan tea bowl from the Asahi kilns of Nara prefecture emblazoned with Daibutsuden (Great Buddhist Hall). This was made to fund the rebuilding of the Great Buddhist Hall at Todaiji Temple during the late Meiji period. It is 15 cm (6 inches) diameter, 6 cm (2-1/4 inches) tall. There is a single gleaming gold repair to a chip in the rim.
Tōdai-ji in Nara, Japan, was founded in the 8th century by Emperor Shōmu as the head temple of all provincial Buddhist temples. It houses the Great Buddha (Daibutsu), one of the largest bronze statues in the world. Over the centuries, Tōdai-ji suffered multiple fires and earthquakes, leading to several reconstructions. The current Great Buddha Hall, rebuilt in the 17th century, is the world's largest wooden structure. Major restorations were conducted in the early 20th century, incorporating modern techniques to preserve its historical significance. In 1906 (Meiji 39), dismantling and repairs began, incorporating new methods such as reinforcing the interior with steel frames. The restoration was completed in 1912 (Meiji 45).

A meek mouse huddles between erratic designs on the crackled-cream colored surface of this lidded container dating from the later 19th century Awata Kilns of Kyoto. It is 17 cm diameter, 11 cm tall and in excellent condition.
Awata, or Awataguchi, was the end of the Tokaido road connecting Kyoto and the Edo period capital of Tokyo. Potteries began there in the opening years of the Edo period.

A wildly crafted bronze image of a shishi lion breathing out a cloud forming the basin for a flower arrangement (known as an usubata). The curly hair has been somehow flaked off and maintained during the casting process, quite an exceptional example. The basin can be removed from the mouth of the creature. Assembled it is 32 x 28 x 33 cm tall (12-3/4 x 11-1/4 x 13 inches) and weighs 4390 grams (9.5 pounds). It is in fine original condition.

A beautifully crafted cast, carved, and parcel gilt bronze image of a samurai pulling back, arrow nocked, ready to let fly, signed in a metal cartouche on back Shunko-saku (made by Shunko). It is roughly 27.5 cm (11 inches) to the top of his hat, 25 cm (10 inches) from forefinger to elbow. The warrior is calm, determined, with a look of deep concentration in his inlaid eyes. He wears an eboshi, a formal type of hat, and is dressed in sumptuous, loose fitting robes with leggings and braces to protect his arms and legs. A short sword juts from his waist. The warrior's robes and pants feature large wagon wheel mon, known as genji guruma. The signed box identifies the figure as Minamoto no Tametomo (1139 - 1170) was a celebrated historical samurai of the Heian Period. Known for his impressive archery skills, he features as one of the epic warriors of the Hogen Rebellion, a precursor to the Genpei War. It is in excellent condition.

The gaze is stern on this Edo period image of the divine general Shori Ken (Chinese: Zhongli Quan or Han Zhongli), god of war and one of the eight immortals in the Daoist pantheon. This character is most discernable by his feather fan which was said to be able to resurrect the dead and here he holds out prominently in front of himself. Astride a typical stocky Japanese horse in full trappings, he would have looked down on visitors from a gate or the eaves of a palace or shrine. The tassels on the horses trappings and a few facial highlights are done in soft color, the rest in natural wood. The figure is 19 x 20 x 40 cm (roughly 8 x 8 x 16 inches) tall, carved of hardwood, and is in overall excellent condition but for one chipped finger on his right hand.
Taoism is ever present in the background in Japan, its rituals, superstitions, and symbols. As well it is certain that Taoism and its symbolisms are prominent in Japanese art, much more so than Confucianism. However it has been here so long and become so intertwined with the culture it is difficult to distinguish. According to Jeffrey L. Richey: Though there is no dispute that Daoism is present in Japanese culture, the degree and importance of its influence has been the subject of ongoing scholarly debate. One problem has been dislodging its specificity from the broader mass of Chinese culture that has entered Japan over 15 centuries. This very span of time admits a complicating plurality: Daoism in China was multilayered and changed over time, while its products, which first arrived in Japan as part and parcel of the ritsuryō state (7th century), went on to appear piecemeal chiefly through textual sources over the centuries.

A masterpiece basket made from used split bamboo arrows by Maeda Chikubosai enclosed in the original signed wooden box titled Jidai Yadake-sei Hanamori (Basket made of Old Arrows) dated Showa 5 (1930). Hints of red and gold lacquer give clues to the origin of the bamboo shafts, making this an example of one of the most sought of all types of baskets by this elusive artist. It is roughly 19 cm (7-1/2 inches) diameter, 49 cm (19 inches) tall and in excellent, original condition. Maeda Chikubosai I (1872-1950) was one of the most important bamboo artists working in the first half of the 20th century and was pivotal in promoting individual expression in the bamboo arts. Chikubosai I was from the Kansai Region and active in Sakai, Osaka prefecture. He was instructed by Wada Waichisai I (1851-1901). From 1912, he worked alongside Tanabe Chikuunsai I (1877-1937). Late in the Taisho era (1912-1926), he made presentation baskets on behalf of the Imperial Household. Chikubosai's bamboo flower baskets, in particular, gained widespread acclaim for their exquisite craftsmanship and elegant designs. He experimented with various weaving techniques, incorporating intricate patterns and textures to create visually stunning pieces that were both functional and decorative.