Catalog (156)

A looping handle sweeps above this fabulous bowl decorated with burgeoning gourds by Takahashi Dohachi VI enclosed in the original signed wooden box. It is 21 x 18 x 15 cm (8 x 7 x 6 inches) and is in excellent condition.
Takahashi Dohachi VI (1881-1941) was born the second son of the 4th generation Dohachi in Kyoto. He was too young to succeed the family name upon his fathers early demise, and a a potter named Ogawa Yunosuke steered the helm as the 5th Dohachi until he too passed away in 1914. Dohachi VI took over in 1915. A close compatriot of Kiyomizu Rokubei V and Miyagawa (Makuzu) Kozan II, his work was presented to the Showa Emperor at his coronation.

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 fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

A beautiful black Raku bowl with golden lightning splitting across the surface like an eruption of light in the night sky. It is roughly 12 cm (4-3/4 inches) diameter and in excellent condition. An exquisite repair.
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.

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

An exquisite hand-formed koro, the tri-legged form hammered from a single sheet of copper gilded with gold and signed on the base Goro. The top is created in the same manner pierced with three holes, and it has an insert of the same alloy to keep heat away from the softly gleaming body. It is 13 cm (5 inches) diameter and in excellent condition.
Uchidashi is a traditional Japanese metalworking technique that involves hammering or embossing designs onto the surface of metal objects. This technique is often used to create intricate patterns, textures, and relief designs on various metal objects, such as armor. Taking it to the extreme, and entire three dimensional object such as a koro or animal figurine, can be hammered out from a single plate of metal. Uchidashi is a labor-intensive technique that requires a high level of skill, precision, and artistic creativity. It has been traditionally used in the creation of decorative and functional metal objects. This technique showcases the mastery of Japanese metal craftsmen and their ability to turn simple pieces of metal into intricate works of art.

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

A serene vision of enlightenment, calming and compassionate, can be seen in the later Edo period Buddhist carving of Amitabha. He stands on a lotus base, with a flame like mandala rising up behind him in the shape of a jewel, the entire gilded in pure gold worn soft with age and care. The figure alone is 39 cm (15-1/2 inches) tall. With the base and mandala, it is 65.5 cm (just under 26 inches) tall. It is in excellent condition. I believe that some restoration has been performed on the delicately sculpted hands in the past, not uncommon in the most earthquake prone country on the planet.
Amida Buddha, also known as Amida Nyorai or Amitabha Buddha, is an important figure in Mahayana Buddhism, particularly in the Pure Land Buddhism tradition which permeates Japan. He is revered as a celestial Buddha who resides in the Pure Land, a realm of ultimate enlightenment and liberation from suffering. Pure Land Buddhism and the belief in Amida Buddha were introduced to Japan during the 8th century. The key figure responsible for bringing Pure Land teachings to Japan was the monk, scholar, and imperial advisor named Genshin (942-1017). Genshin is considered the founder of the Japanese Pure Land school and played a significant role in popularizing the Pure Land teachings in the country. Genshin was deeply influenced by the Chinese Pure Land master Shan-tao (613-681) and his teachings on Amitabha Buddha's Pure Land. Shan-tao was a renowned exponent of Pure Land Buddhism, and his writings and teachings had a profound impact on the development of the Pure Land tradition in East Asia. Genshin's most famous work, "Ojoyoshu" (The Essentials of Rebirth in the Pure Land), written in 985, became a seminal text in Japanese Pure Land Buddhism. In this treatise, Genshin elaborated on the concept of Amida Buddha's Pure Land and the practice of reciting the Nembutsu (Namu Amida Butsu) as a means of attaining birth in the Pure Land after death. After the establishment of the Pure Land school, Pure Land Buddhism gained popularity among the common people and members of the aristocracy in Japan. The teaching of salvation through faith in Amida Buddha's vow and the chanting of the Nembutsu resonated with the aspirations of people seeking a simple and accessible path to enlightenment. Over time, other prominent figures and schools contributed to the spread and development of Pure Land Buddhism in Japan. Notably, Honen (1133-1212), the founder of the Jodo Shu (Pure Land School) in the Kamakura period, and Shinran (1173-1263), the founder of the Jodo Shinshu (True Pure Land School), played significant roles in popularizing Pure Land Buddhism and further shaping its doctrines.
Amida Buddha and Pure Land Buddhism continue to be influential and revered in various Asian countries, especially in Japan, where it has a significant presence as one of the major Buddhist traditions. The belief in Amida Buddha's compassion and the aspiration to reach his Pure Land remain important elements in the spiritual lives of millions of Buddhists around the world.

A rare small sized circular Hokai container with chased brass hardware decorated on the lid with a six layer 16 petal chrysanthemum, the floral symbol of the Imperial Household. The container is made of wood covered with black lacquer decorated with gold powder hira-maki-e with brass hardware. Hokai were a standard accoutrements to any household of means, however this size is quite rare. It is not the miniature version from a doll set. It is 18.5 cm (7 inches) diameter, 19 cm (7-1/2 inches) tall and in excellent overall condition.

Golden crests are emblazoned on the matt black surface of this small Hokai with chased brass hardware dating from the later Edo period. The container is made of wood covered with black lacquer decorated with gold powder hira-maki-e with brass hardware. Hokai were a standard accoutrement to any household of means, however this size is quite rare. It is 23 cm (9 inches) square, 26 cm (10-1/2 inches) tall and in fine overall condition, with minor blemishes consistent with use.

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

A 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 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.

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

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

A delicate incense burner in festive red, green, blue and gold enclosed in a fabulous wooden box of mulberry lined with kiri-wood. It is created to look as if a purple chord with red tassels secures the lid. Dating from the 19th century, it is 8 cm (3 inches) diameter, 8.5 cm (3-1/4 inches) tall and in overall excellent condition, with a few minor glaze losses to the dark rim.
Overglaze enamel ware, also known as iro-e in Japanese, is a traditional form of decorative ceramic art that involves applying colorful enamels on the surface of ceramics and firing them at a lower temperature. This technique results in vibrant and intricate designs, and has long been a specialty of the capitol. In the late 16th century, during the Azuchi-Momoyama period, this technique was introduced to Kyoto, the cultural capital of Japan. Imported wared were highly esteemed and artist sought to incorporate similar aesthetic elements into Japanese pottery. As a result, overglaze enamel ware began to be produced in Kyoto, with a distinct Japanese touch and unique artistic expressions. The production of overglaze enamel ware in Kyoto experienced significant growth during the Edo period (1603-1868). Notably, the Kiyomizu kilns in Kyoto became famous for producing overglaze enamel ware. The craftsmen in Kyoto continuously refined their techniques and developed various styles and patterns over time. They incorporated traditional Japanese motifs, such as cherry blossoms, chrysanthemums, and seasonal landscapes, along with designs influenced by nature, folklore, and mythology. The Meiji period (1868-1912) brought significant changes to the production of overglaze enamel ware in Kyoto. Japan was opening up to the world after centuries of isolation, and there was a growing demand for export-quality ceramics. Traditional Kyoto overglaze enamel ware found new markets overseas, particularly in Europe and the United States. Today, the tradition of overglaze enamel ware continues to thrive in Kyoto. Skilled artisans and workshops carry on the legacy of producing these intricate and beautiful ceramics, blending traditional techniques with modern innovations. The art form remains highly esteemed both in Japan and internationally, admired for its craftsmanship, aesthetic beauty, and historical significance.

A light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture, particularly in relation to tea ceremonies: 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 pair of Tokkuri in crackled Gohon style Kyoto glaze decorated with sprays of bamboo by Shichibei enclosed in a period kiri-wood collectors’ box. There are some ancient chips around the foot rim of one Tokkuri, otherwise they are in excellent condition, signed on the sides Shichibei. They are 14 cm (5-1/2 inches) tall and in excellent condition, dating from the Meiji period.
First Generation Shimizu Shichibei was born the eldest son of the second generation Shimizu (Kiyomizu) Rokubei in Kyoto. He passed the title of the third generation Shimizu Rokubei to his younger brother and received the family kiln, where he started pottery under the name "Ebiya Shichibei" in Gojo-hashi Higashi (present-day Higashiyama-ku). In 1843), under the orders of the 10th Lord of Nagaoka Domain, Makino Tadayoshi, he opened a kiln for "Gozan Ware" in Nagaoka. In 1844, Shichibei went there with his craftsmen to work as a supervisor. The Second Generation Shimizu Shichibei: (1845-1918) was born to the first generation Shichibei. He received commendations at the Domestic Industrial Exhibition and was awarded an honorary trophy at the 1878 Paris World Exposition.

This child with a pleasant face happily rides his toy horse, the horse looking just as pleased. The entirety is a porcelain sake server from the Saga region on the southern Island of Kyushu, home to Imari, Hirado and other porcelain ware. A bung of black persimmon wood has been added as a lid in the shape of a Chinese hat. It is 21 x 12 x 21 cm (8 x 4-3/4 x 8 inches) and in overall fine, original condition, dating from the 19th century.

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

A pair of covered ceremonial Sake-Tsubo called Heiji decorated with the three auspicious winter plants, Sho-chiku-bai (Pine, bamboo and plum) by Ito Tozan II enclosed in the original wooden box Plum pine and bamboo rise up in a riot of color on the thinly crackled pale glaze covering the surface. Inside the box is dated Showa 11 (1936) 8th month, 9th day. Each is roughly 22 cm (9 inches) tall and in excellent condition, each uniquely stamped on the base with the artist seal.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prizd at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

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.

Brilliant red leaves seem to glow in the darkness over a band f silver on this vase by Miyagawa Kozan. It is 24 cm (9-1/2 inches) tall, 21 cm (8-1/4 inches) diameter and in excellent condition.　There is no box.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

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

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

A set of shishi guardian carvings from high up on the front of a Buddhist temple, each cut from a single block of wood with fore-paws extended in a leaping motion and vicious snarls. Each is roughly 30 x 30 x 24 cm (12 x 12 x 9-1/2 cm tall and in overall excellent condition. These date from the Edo period.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

A beautifully crafted image of a cormorant seeking fish by Ishida Rainosuke enclosed in the original signed wooden box dating from the early 20th century. The bird is 38 cm (15 inches) long and both bird and fish are in excellent condition. A very interesting treatment of the position of the back foot shows the bird kicking, as if speeding up, eye on the prize.
Ishida Rainosuke was born in Kyoto in the 36th year of Meiji (1903) and graduated from the Department of Sculpture at the (mod) Kyoto University of Arts where he had studied under Numata Ichiga (Kazumasa). His work was selected and awarded at Teiten, Bunten and Nitten,National exhibitions as well as various public and private venues.

A bronze vase dating from the mid Showa period by Ono Tsuneo of Takaoka enclosed in the original signed wooden box. It is 26 cm (10 inches) tall and in perfect condition.

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.

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.

An exquisite bronze image of an ancient sage, a gnarled staff supporting his crooked frame with a golden fan capped with silver feathers clutched in his right hand. The Detail is superb, from the evocative expression to the minute details on his robe and accoutrements. It is signed on the foot Seiun (Hara Souemon), a top quality bronze, expressive and detailed. The figure is 10 inches (25.5 cm) tall and in excellent condition.
The Seiun family began bronze casting by the lost wax method in the later Edo to Meiji period, receiving the technique directly from Hara Takusai. Each piece is unique, unlike many foundries which employ re-usable molds. They are currently in the 5th generation, and have been named an intangible cultural property of Niigata Prefecture.

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

A beautifully turned bowl lacquered burnt orange-red over a black foot dating from the late 19th to early 20th century enclosed in an old kiri wood box titled Negoro-nuri Kashiki followed by a signature. The faintest brush strokes in perfect lines swirl around the outside, and cross the bowl inside. The bowl itself is also signed in red on the base. It is 18 cm (7 inches) diameter and in excellent condition.

A sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.