All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1800
item #1492274
(stock #K012)
The Kura
Price on Request
Price on Request
An incredible lacquered screen decorated with a Bugaku Dancer wearing an angry devil mask opposing a snake in incredibly thick relief opposite three gentlemen heating sake over a fire under the changing leaves of a maple, their oxcart off to the side. An inlaid cartouche near the snake reads Kan. The two-sided panel is set into a frame with matt black iron texture over a raw kiri-wood panel inset with three windows. It is 45 x 16.5 x 40.5 cm (18 x 6-1/2 x 16 inches) and is in overall excellent condition, enclosed in an age darkened wooden box titled Haritsu Kenbyo. Off to the side a paper label gives a household collection number, and a further stamp shows it was recorded in an audit in Showa 14 (1939).
Ogawa Haritsu (1663-1747), also known as Ritsuo, one of the great individualists in the history of lacquer, was a poet as well as a painter, potter and lacquerer. Born into the samurai class, he renounced arms for the brush. In the 1680s, he became a disciple of the haiku poet Matsuo Basho (1644-1694). Haritsu turned to lacquer after 1707, the year his friends Hattori Ransetsu and Takarai Kikaku, both disciples of Basho, died. He adopted the art name Ritsuo, or "Old man in a torn bamboo hat," in 1712. The name suggests a poet or artist wandering carefree. A revival of interest in Haritsu's style and techniques during the 19th century is best exemplified in the copies of his work by Shibata Zeshin (1807-1891), the foremost Japanese lacquerer of the 19th century.
Ogawa Haritsu (1663-1747), also known as Ritsuo, one of the great individualists in the history of lacquer, was a poet as well as a painter, potter and lacquerer. Born into the samurai class, he renounced arms for the brush. In the 1680s, he became a disciple of the haiku poet Matsuo Basho (1644-1694). Haritsu turned to lacquer after 1707, the year his friends Hattori Ransetsu and Takarai Kikaku, both disciples of Basho, died. He adopted the art name Ritsuo, or "Old man in a torn bamboo hat," in 1712. The name suggests a poet or artist wandering carefree. A revival of interest in Haritsu's style and techniques during the 19th century is best exemplified in the copies of his work by Shibata Zeshin (1807-1891), the foremost Japanese lacquerer of the 19th century.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920
item #1494516
(stock #K111(LAC037))
A spectacular Meiji to Taisho period Golden box decorated with a spray of flowers under an imperial Chrysanthemum. The interior and bottom are elegant Nashiji, and the border between box and lid is protected by a solid silver rim. Kirigane cut gold flakes decorate the raised leaves. It comes enclosed in a custom made kiri-wood storage box. The gilded receptacle is 30 x 24.5 x 14 cm (12 x 9-3/4 x 5-1/2 inches) and it is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1700
item #1496582
(stock #K144)
The Kura
$8,000.00
$8,000.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Baskets : Pre 1930
item #1492419
(stock #K006)
The Kura
$7,800.00
$7,800.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Baskets : Pre 1930
item #1494327
(stock #K400)
The Kura
$5,800.00
$5,800.00
A stylish basket of woven bamboo laced with old arrows by Tanabe Chikuunsai II made for the preeminent Shiobido Gallery in Osaka enclosed in the original signed wooden box. It is 16 cm diameter, 37 cm tall and in perfect condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1700
item #1496710
(stock #K108)
The Kura
$4,000.00
$4,000.00
A Takatsuki stand of wood covered in black lacquer decorated with scrolling vines among which are randomly placed crests in the design of the Daruma Wheel on the stem, and the heraldic Mitsuba-aoi hollyhock crest within the tray. Slightly warped and worn with the centuries, finding a piece from this era in such good, original condition, is exceedingly rare. Early Muromachi, 14-15th century, it is 30 x 30 x 28.5 cm (12 x 12 x 11-1/2 inches).
The Mitsuba Aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).
The Mitsuba Aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).
The Kura
$3,800.00
$3,800.00
A pair of vases in the shape of old wooden well buckets (tsurube) in white glaze upon which is scrawled in beautiful grass scrip a poem by Otagaki Rengetsu. The poem reads:
Yamazato wa
matsu no koe nomi
kiki nare te
kaze fuka nu hi wa
sabishikari keri
Which translates as:
Living deep in the mountains
I’ve grown fond
of the soughing pines
On days when the wind is still
how lonely it is
Each is roughly 15 cm (just under 6 inches) square 18.5 cm (7-1/4 inches) tall and both are in excellent condition. ).
Otagaki Rengetsu (1791-1875) 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.
matsu no koe nomi
kiki nare te
kaze fuka nu hi wa
sabishikari keri
Which translates as:
Living deep in the mountains
I’ve grown fond
of the soughing pines
On days when the wind is still
how lonely it is
Each is roughly 15 cm (just under 6 inches) square 18.5 cm (7-1/4 inches) tall and both are in excellent condition. ).
Otagaki Rengetsu (1791-1875) 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.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1495941
(stock #K152)
The Kura
$3,600.00
$3,600.00
A horse shaped koro from the kilns of Bizen dating from the later half of the Edo period enclosed in a period iron bound wooden storage box. The ears are removable, and the saddle lifts off to reveal a compartment for burning incense. It is 27 x 14 x 17 cm. One ear and one tassel along the saddle have been repaired.
Bizen ware, which enjoyed great popularity throughout Japan from the Middle Ages to the Momoyama period, lost its prominence to Seto, Mino, and Arita pottery during the Edo period. The Bizen kilns attempted to break through this situation by developing items such as saikumono (ornamental works) and saishiki Bizen (also called Iro-Bizen or colored Bizen ware). Under the guidance of official painters employed by the Okayama domain, they colored figures and animals, fired at low temperatures, using gofun (white pigment) and mineral pigments. These pieces were used as gifts to the shogunate and other domains.
Bizen ware, which enjoyed great popularity throughout Japan from the Middle Ages to the Momoyama period, lost its prominence to Seto, Mino, and Arita pottery during the Edo period. The Bizen kilns attempted to break through this situation by developing items such as saikumono (ornamental works) and saishiki Bizen (also called Iro-Bizen or colored Bizen ware). Under the guidance of official painters employed by the Okayama domain, they colored figures and animals, fired at low temperatures, using gofun (white pigment) and mineral pigments. These pieces were used as gifts to the shogunate and other domains.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920
item #1493627
(stock #K126)
The Kura
$2,950.00
$2,950.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1700
item #1494812
(stock #K153)
The Kura
$2,950.00
$2,950.00
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 and 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.
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 Kura
$2,800.00
$2,800.00
An unprecedented 19th century ceramic sculpture of a tumble of Shishi lions in a playful fight covered in unusual green-blue glaze. The Banko mark is impressed into the white clay of the base. It is very unusual to find large sculptures or works in Banko ware. This is 30 × 25 x 26.5 cm (12 x 10 x 10-1/2 inches) and in excellent condition. It comes in a box titled Okimono Banko-yaki Gyoku (Jade?) Shishi, with an inscription inside stating it was named a famous piece of the Shrine in July of 1920.
Banko ware began in the mid Edo period with the establishment of a small kiln in Kuwanocho, Mie prefecture, by the merchant, potter and Tea aficionado Nunami Rozan who stamped his works with his store name Banko. He studied in Kyoto and other regional kilns and created a name for himself in tea circles. The pottery died with Rozan, however was revived in the late Edo period specializing in Sencha tea ware and earthenware eating utensils.
Banko ware began in the mid Edo period with the establishment of a small kiln in Kuwanocho, Mie prefecture, by the merchant, potter and Tea aficionado Nunami Rozan who stamped his works with his store name Banko. He studied in Kyoto and other regional kilns and created a name for himself in tea circles. The pottery died with Rozan, however was revived in the late Edo period specializing in Sencha tea ware and earthenware eating utensils.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1495122
(stock #K408)
The Kura
$2,800.00
$2,800.00
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930
item #1494681
(stock #OC023)
The Kura
$2,800.00
$2,800.00
A rare lavender tinged pink porcelain vase decorated with a floral spray by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box and retaining a fine rosewood stand. It is 17.5 cm (7-1/2 inches) diameter, 14.5 cm (6 inches) tall, plus the stand, and is in excellent condition.
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.
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.
The Kura
$2,800.00
$2,800.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1900
item #1492992
(stock #K086)
The Kura
$2,500.00
$2,500.00
A lacquered writing box in the shape of a kimono sleeve (sode) covered in soaring silver and gold geese among autumn reeds and Togidashi clouds with a secondary (inner) sleeve shape covered in Karakusa vine tendrils on black enclosed in an age darkened kiri wood box. The inside is covered entirely in nashiji gold powder, and contains a grinding stone, and a water dropper of copper inset into the tray. Also enclosed are a bamboo brush and gilded ink stick decorated with a squirrel on a grapevine made by Koundo. The box is 22 x 15 x 3.5cm (8-1/2 x 6 x 1-1/2 inches) and is in overall excellent condition.
The Kura
$2,500.00
$2,500.00
A Hikeshi-Banten Fireman Jacket decorated with protective images of waves and birds outside in various dyed colors and sashiko stitching, the inside emblazoned with a dragon and tiger; symbols respectively of wisdom and protection (the dragon is a water god) and ferocity and bravery as the tiger knows no fear. The handmade coats were fashioned from several layers of highly absorbent quilted cotton fabric. They were then resist-dyed using the tsutsugaki method, which involved drawing rice-paste designs on the cloth, dyeing the cloth multiple times and then washing off the paste to reveal the layering of colors. They were worn plain side out and before firefighters entered the scene of a blaze, the coats were thoroughly soaked in water (they could weigh more than 75 pounds) to protect the men from burns and blunt the impact of falling objects as they went about their dangerous work. If firefighters were successful in extinguishing the blaze, they would turn their coats inside out and parade victoriously by cheering onlookers. According to the Denver Art Museum:
Decoration was important to firefighters’ garments, which were far from purely utilitarian uniforms. Firefighters enjoyed respect and high status in urban Japan, especially in Edo, where wood architecture and crowded living conditions led to frequent outbreaks of fire. Commoners wore reversible coats (hikeshi-banten) made of thick, quilted cotton fabric, with a plain indigo-dyed exterior and an elaborately decorated interior.
Decoration was important to firefighters’ garments, which were far from purely utilitarian uniforms. Firefighters enjoyed respect and high status in urban Japan, especially in Edo, where wood architecture and crowded living conditions led to frequent outbreaks of fire. Commoners wore reversible coats (hikeshi-banten) made of thick, quilted cotton fabric, with a plain indigo-dyed exterior and an elaborately decorated interior.
The Kura
$2,500.00
$2,500.00
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1900
item #1487185
The Kura
$2,400.00
$2,400.00
A very large mask of heavily carved wood covered in black lacquer with golden eyes dating from the mid Edo period (18th century). There are minor losses to the lacquer on the cheeks and along the edges typical of age. It is 37.5 x 30 cm (14-1/2 x 12 inches) and is in overall fine condition.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1494198
(stock #K402)
The Kura
$2,250.00
$2,250.00
A Momoyama to early Edo period (16th-17th century) small Chawan , much worn inside, with old gold repairs gleaming softly on the iron ringed rim. Aside from this iron circle, and the wear earned over centuries on the slightly oblong shape, there is no decoration. It is 12.6 × 10.9 × 6.2 cm (5 x 4-1/4 x 2-1/2 inches) and comes wrapped in a crepe silk pouch enclosed in an old, fine quality kiri-wood box.
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Okimono : Pre 1910
item #1495683
(stock #K472)
The Kura
$2,200.00
$2,200.00
A fabulous carved wood image of the fearsome Shishi Lion with glass eyes dating from the Meiji period signed Kazumoto-to (Carved by Kazumoto). It is 35.5 cm x 26 cm x 27 cm (14 x 10-1/2 x 11 inches). There are a few chips in the curly mane and tail and some cracks typical of age along the grain in the base.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1493628
(stock #K077)
The Kura
$2,200.00
$2,200.00
Golden Maple leaves and five petaled plum blossoms float on the golden pond pooling on this early Edo period Karatsu Chawan decorated with a single Zen circle. Superb quality repairs gleam about the rim, one large repair decorated over top of the gold with fine amages of leaves and blossoms. The base is small and shallow, indicative of the early era. It is 12 cm (just less than 5 inches) diameter, 7.5cm (3 inches) tall and comes enclosed in an old wooden box.
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Furniture : Pre 1930
item #1491821
(stock #K044)
The Kura
$2,200.00
$2,200.00
A fabulous Rootwood stand of dark red hardwood with a web of interlacing root-legs beneath. It is 48 x 32 x 8 cm (19 x 12-1/2 x 3 inches) and is in overall fine condition, dating from the first half of the 20th century.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1800
item #1492641
(stock #K051)
The Kura
$2,100.00
$2,100.00
The bird-faced Kami (god) Doryo Daigongen strikes a powerful pose astride the back of a mischievous white fox. Doryo is purported to have been an ascetic monk who turned himself into a Tengu when he vowed on his deathbed to protect the Mountain Temple Complex of Daiyuzen in modern day Kanagawa prefecture. This legend inspired a cult which rose to great prominence in the Edo period. To this cult the figure was the ward of Budo (martial arts). Originally this figure would have had feathered wings, which have been lost to time, and it is likely the soot encrusted figure was also once adorned in color and the fox was white, but that too has been all buried beneath centuries of soot from incense smoke. It is 34 cm (13-1/2 inches) tall. There is some damage to his right hand, tip of the beak and foxes tail.
Tengu are mountain and forest goblins with both Shinto and Buddhist attributes. The patron of martial arts, the bird-like Tengu is a skilled warrior and mischief maker, especially prone to playing tricks on arrogant and vainglorious men, and to punishing those who willfully misuse knowledge and authority to gain fame or position. In Buddhist lore they came to be protectors of temples and defenders of the Dharma (Buddhist Law).
Tengu are mountain and forest goblins with both Shinto and Buddhist attributes. The patron of martial arts, the bird-like Tengu is a skilled warrior and mischief maker, especially prone to playing tricks on arrogant and vainglorious men, and to punishing those who willfully misuse knowledge and authority to gain fame or position. In Buddhist lore they came to be protectors of temples and defenders of the Dharma (Buddhist Law).
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491724
(stock #N09)
The Kura
$2,000.00
$2,000.00
A work so compositionally striking we chose it for the cover of the exhibition catalog by Shirakura Niho titled Baika Shoin Zu (The Plum Blossom Retreat). Pigment on silk in a silk border enclosed in the original signed wooden box. It is 55.5 x 127.5㎝ (21-3/4 x 50 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1930
item #1492124
(stock #K036)
The Kura
$2,000.00
$2,000.00
A hand formed silver vase with lacquered insert attached to a wooden base dating from the Art-deco era. It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in overall excellent condition. There is a small impression in the wood base, roughly 1 cm long, on one side. An accompanying card from the Nakano Zenkuro shop of Osaka has a simple 4 digit telephone number.
Japan's influence on Art Deco was profound, shaping the movement's aesthetic vocabulary and contributing to its evolution as a global design phenomenon. Conversely, Art Deco left its mark on Japan, inspiring Japanese artists and designers to create innovative works that blended Western modernity with traditional Japanese craftsmanship, resulting in the distinctive style of Japanese Art Deco. The Japonisme movement of the late 19th century had already sparked Western fascination with Japanese art, culture, and design, paving the way for Japanese motifs and aesthetics to permeate international artistic trends, including Art Deco. One of the key influences on Art Deco was the emphasis on simplicity, asymmetry, and geometric patterns. Japanese woodblock prints, showcased bold graphic compositions and stylized representations of nature, which resonated with Art Deco's penchant for streamlined forms and dynamic imagery. Furthermore, the Japanese concept of "ma" or negative space, which emphasizes the importance of empty space in composition, had an impact on Art Deco's approach to spatial arrangement and balance.
Conversely, Art Deco also influenced Japanese art and design, particularly during the Taisho period (1912-1926) and the early Showa period (1926-1945). As Japan embraced modernization and Westernization, Art Deco became fashionable among Japanese artists, architects, and designers who sought to merge Western aesthetics with traditional Japanese sensibilities. Architects like Sakakura Yasui and designers like Shima Seien embraced Art Deco principles in their works, incorporating sleek lines, geometric patterns, and luxurious materials into their designs for buildings, furniture, textiles, and decorative objects. Moreover, the international exhibitions of the Art Deco era provided Japanese artists and designers with opportunities to showcase their work on the global stage, further disseminating Japanese Art Deco influences worldwide. Japanese lacquer-ware, ceramics, textiles, and metalwork adorned with Art Deco motifs became highly sought after by collectors and aficionados around the world.
Conversely, Art Deco also influenced Japanese art and design, particularly during the Taisho period (1912-1926) and the early Showa period (1926-1945). As Japan embraced modernization and Westernization, Art Deco became fashionable among Japanese artists, architects, and designers who sought to merge Western aesthetics with traditional Japanese sensibilities. Architects like Sakakura Yasui and designers like Shima Seien embraced Art Deco principles in their works, incorporating sleek lines, geometric patterns, and luxurious materials into their designs for buildings, furniture, textiles, and decorative objects. Moreover, the international exhibitions of the Art Deco era provided Japanese artists and designers with opportunities to showcase their work on the global stage, further disseminating Japanese Art Deco influences worldwide. Japanese lacquer-ware, ceramics, textiles, and metalwork adorned with Art Deco motifs became highly sought after by collectors and aficionados around the world.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491424
(stock #N03)
The Kura
$2,000.00
$2,000.00
A masterpiece painting by Shirakura Niho showing every aspect of his pre-war fame, lurid washes of color, wispy figures, a dreamlike allure, and hints at continental scenery. Here the foreground is dominated by a thatched hut, beyond which we see a single hazy figure twisting up in a narrow doorway beside twisting trees all like smoke rising to the sky. It is performed with ink and pigment on silk bordered in brass colored satin with rosewood rollers. It is 49.5 x 200 cm (19-1/2 x 79 inches) and is in excellent condition, enclosed in a modern wooden collectors box.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491425
(stock #N04)
The Kura
$2,000.00
$2,000.00
This is a fabulous painting dated 1930 by Shirakura Niho enclosed in the original signed wooden box titled Ko-Ten-Bo-Setsu (Twilight Snow in the Bay). Viewing it one can hear the silence, the soft pattering of snow and the flap of wings as geese take flight in the distance. Shirakura Niho was from Niigata prefecture, so was a man who not only knew snow well, but was well known for his snowy landscapes. The scene is performed in ink and light color with white gofun on silk in a patterned cloth border extended with beige and features rosewood rollers. The scroll measures 64.5 x 136.5 cm (25-1/4 x 54 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Niîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Niîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
The Kura
$2,000.00
$2,000.00
A lovely tray in the shape of a split lotus leaf by Ito Tetsugai enclosed in a period wooden box titled Sencha Shiki Habon. It is roughly 53 x 25 cm (20-1/2 x 10 inches), expertly carved to be incredibly thin. Trays like these were used as decorative objects in the service of steeped green tea, and were very popular from the Meiji through early Showa eras.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1930
item #1495943
(stock #K154)
The Kura
$1,750.00
$1,750.00
A very rare pair of Art-Deco era bronze candlesticks covered in polished nickel by Hata Zoroku enclosed in the original signed wooden box. Each is 12 x 7.5 x 35 cm (5 x 3 x 14 inches) and is in overall excellent condition, with some minor wear to the nickel. They come with teh original adapters for samller candles.
Hata Zoroku I (b. 1823) was especially famous for his iron kettles used in tea ceremonies, which often featured intricate designs and ornamentation. His work gained recognition not only in Japan but also internationally. He was instrumental in preserving traditional Japanese metalwork techniques during a time of great social and political change. His works often displayed a balance between functionality and artistry, which helped solidify the demand for high-quality, handcrafted kettles. His success led to the establishment of the Hata Zoroku lineage, setting a high standard for future generations. Later generations continued to uphold the Hata Zoroku name, producing highly sought-after metal objects that reflected the blending of traditional craftsmanship with modern influences. Zoroku II (1854–1932) was active during the late Edo period into the Meiji era, a time of major social and economic transformation in Japan. He continued his father’s legacy in crafting fine kettles, but also expanded the family’s craft into more decorative objects. With the growing export market during the Meiji era, Zoroku II’s works reached international audiences. His pieces often exhibited a fusion of traditional Japanese and Western influences, reflecting the cultural shifts of the time. Zoroku II began incorporating newer techniques and styles, blending modernity with tradition. He experimented more with motifs such as landscapes, animals, and symbolic patterns, and his work was highly regarded in both domestic and international markets. His works were showcased in international expositions, contributing to Japan’s recognition as a center for exquisite craftsmanship. Zoroku III worked hard to ensure that traditional metalworking techniques were preserved during a time of industrialization. He was especially known for creating limited edition pieces that were highly valued among collectors of traditional Japanese art.
Hata Zoroku I (b. 1823) was especially famous for his iron kettles used in tea ceremonies, which often featured intricate designs and ornamentation. His work gained recognition not only in Japan but also internationally. He was instrumental in preserving traditional Japanese metalwork techniques during a time of great social and political change. His works often displayed a balance between functionality and artistry, which helped solidify the demand for high-quality, handcrafted kettles. His success led to the establishment of the Hata Zoroku lineage, setting a high standard for future generations. Later generations continued to uphold the Hata Zoroku name, producing highly sought-after metal objects that reflected the blending of traditional craftsmanship with modern influences. Zoroku II (1854–1932) was active during the late Edo period into the Meiji era, a time of major social and economic transformation in Japan. He continued his father’s legacy in crafting fine kettles, but also expanded the family’s craft into more decorative objects. With the growing export market during the Meiji era, Zoroku II’s works reached international audiences. His pieces often exhibited a fusion of traditional Japanese and Western influences, reflecting the cultural shifts of the time. Zoroku II began incorporating newer techniques and styles, blending modernity with tradition. He experimented more with motifs such as landscapes, animals, and symbolic patterns, and his work was highly regarded in both domestic and international markets. His works were showcased in international expositions, contributing to Japan’s recognition as a center for exquisite craftsmanship. Zoroku III worked hard to ensure that traditional metalworking techniques were preserved during a time of industrialization. He was especially known for creating limited edition pieces that were highly valued among collectors of traditional Japanese art.
The Kura
$1,700.00
$1,700.00
Plums blossom red on the dark surface of this traditionally shaped Mizusashi bearing the rare Ubagamochi Stamp impressed into the clay of the base. It is 18 cm diameter, 15 cm tall, and comes in an old custom made collectors kiri-wood box labeled Ubagamochi Mimitsuki Mizusashi. It retains the original ceramic lid, as well as two lacquered lids, one a tsukuibuta lid in austere black, the other redish brown outside, gold within, featuring a raised image of a dragon flying through billowing clouds circling mount Fuji.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1492443
(stock #Z092)
The Kura
$1,700.00
$1,700.00
Love lasts beyond the grave, here a skeleton walks, her pate decorated with flowers and a bundle of daisies in her hand as she strolls grinning under the shade of a dilapidated umbrella held by an attendant, a poignant painting signed Shoken dating from the Taisho period (1922). The four character verse above is taken from the Lotus sutra (Hanya-Shingyo) and reads shikisokuzeku, meaning (loosely) all color is void, the void is all color. Completely restored in a chic Tsumugi cloth border with black lacquered wooden rollers, the scroll is 59 x 192 cm (23-1/2 x 75-1/2 inches) and is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900
item #1492594
(stock #Z084)
The Kura
$1,650.00
$1,650.00
A Dojin licking Dango-treats dances in erratic dashes of soft wet lines and swift dark strokes of flying white on this vertical presentation by Edo period eccentric Doi Goga. Ink on paper it is 43 x 184.5 cm (17 x 72-1/2 inches) and has been completely remounted in dark silk with bone rollers. The creature clutches the raku-in stamp in his upper hand, the other stamps seem to follow his feet like footsteps. It comes enclosed in an age darkened wooden box. Known as the “Mad monk” Goga had a unique spontaneity to his work which was fresh and yet hearkened back to art of the great Zen masters. Of Doga Rhiannon Paget wrote “Characteristic of Goga's works are blunt, velvety black brushstrokes bleeding into the surrounding paper, exaggerated incidences of “flying white” (the streaking effect caused by a dry brush), paler strokes conveying depth, and perhaps most curiously, the incorporation of his seals into the pictorial space. This playful device was used sometimes in Japanese woodblock prints, but is rarely seen in painting”.
Doi Goga (1818-1880) was a Confucian scholar of the late Edo to Meiji periods. He was born the son of a doctor serving the lords of Ise (modern Mie prefecture), home of the gods and Ise Shrine. A child prodigy, he studied under Ishikawa Chikugai and Saito Setsudo. The early death of his father saw him succeed the family head at the age of 12. He would serve later as a teacher in the official government school. He held strong opinions and was very critical of the hypocrisy and corruption he saw in military government and in Confucianism itself. His works began to see the light of day in the early Meiji period, however due to their inflammatory nature, much was left unpublished until after his death. Known for paintings of bamboo and landscapes, his Dojin figures are rare and highly sought.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900
item #1492597
(stock #Z086)
The Kura
$1,600.00
$1,600.00
A skeleton sits among the dried grasses, alone and forgotten, perhaps reflecting on his life in this earie painting by Buddhist priest Higuchi Ryuon dated Meiji 6 (1873). Ink on paper, it is 41.5 x 179.5 cm (16-1/4 x 70-1/2 inches) and is in fine condition; completely remounted in a border of two subtle shades of black with colorful piping and features black lacquered rollers with mother of pearl flakes. It comes in a kiri-wood box.
Higuchi Ryuon (1800-1885) was a priest of the Jodo sect of Buddhism active from the later Edo through the Meiji periods. Born in Aizu (modern day Fukushima) he studied at the Higashi Honganji Takakura Gakuryo and served at Onjoji in Omi (modern day Shiga Prefecture) as well as Chishakkuin in Kyoto before becoming head priest of Enkoji Temple in Kyoto. He has recently come to attention when it was discovered he had a copy of the Bible in his personal effects.
Higuchi Ryuon (1800-1885) was a priest of the Jodo sect of Buddhism active from the later Edo through the Meiji periods. Born in Aizu (modern day Fukushima) he studied at the Higashi Honganji Takakura Gakuryo and served at Onjoji in Omi (modern day Shiga Prefecture) as well as Chishakkuin in Kyoto before becoming head priest of Enkoji Temple in Kyoto. He has recently come to attention when it was discovered he had a copy of the Bible in his personal effects.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900
item #1492517
(stock #Z095)
The Kura
$1,600.00
$1,600.00
A deliciously horrifying painting of a ghost rising from the empty field dating from the 19th century completely remounted and ready to go for another century of leering from the shadows. Ink on paper with highlights of gofun and red pigment separated from a field of blue by a single narrow strand of red and gold Kinran silk terminating in dark wood rollers. The artist has sealed the panting with two crimson chops in the lower corner. The scroll is 42.7 x 196 cm (16-3/4 x 77 inches) and is in overall excellent condition, completely remounted.
For the Japanese Kaidan-banashi, or ghost stories, are a summer tradition. It is said that the telling of a ghost tale at night will cause the temperature in the room to fall, a great necessity during those boiling summer evenings. The ghosts and their associated skeletons have also long been subject in Buddhist art, with the emphasis on the brief nature of our lives in comparison to the cosmic void.
For the Japanese Kaidan-banashi, or ghost stories, are a summer tradition. It is said that the telling of a ghost tale at night will cause the temperature in the room to fall, a great necessity during those boiling summer evenings. The ghosts and their associated skeletons have also long been subject in Buddhist art, with the emphasis on the brief nature of our lives in comparison to the cosmic void.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930
item #1492828
(stock #K069)
The Kura
$1,575.00
$1,575.00
A fabulous large porcelain vase by Daimaru Hokuho (Hoppoo) complete with a rosewood base enclosed in the original signed and compartmentalized wooden box titled Konko-yu Semi Monkizami Kabin (Golden Yellow Glazed Vase inscribed with Cicada Patterns). The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The baluster form rises to frets in the shape of stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 21 cm (just more than 8 inches) diameter 36.5 cm (14-3/4 inches) tall plus the base and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1492241
(stock #K047)
The Kura
$1,550.00
$1,550.00
The surface of this black glazed bowl signed on the base Dohachi has been impressed all over with seals in a style known as In-chirashi. It comes in an ancient wooden box with ebony rim titled inside Dohachi Saku (Chirashi-in) Chawan, while outside a much-worn paper label reads In-chirashi Dohachi Saku Chawan. The original silk pouch, much deteriorated, is included, but no longer strong enough to hold the bowl. Without a box signed and sealed specifically by the artist, it is difficult to attribute to an individual Dohachi, but likely this is the second Ninnami Dohachi generation. The gourd shaped seal impressed into the side strongly resembles the gourd shaped Momoyama Seal of Ninnami Dohachi II. The bowl is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and is in excellent condition.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1930
item #1494682
(stock #OC024)
The Kura
$1,500.00
$1,500.00
A dimpled bowl decorated with chrysanthemum blossoms floating past a dark shore by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kenzan Utsushi Kikusui Ga Kashi-bachi. It is roughly 20 cm (8 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
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.
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.
The Kura
$1,500.00
$1,500.00
A smoke tendril rises from the mouth of a bloated toad forming an Usubata flower basin in heavy olive patinated yellow bronze. The basin is 19.7 cm (7-3/4 inches) diameter, The entire 24.5 cm (9-3/4 inches) tall and it is in excellent condition.
In Japanese the word for Frog is Kaeru, a homonym for: To Return. Thus the symbol of a frog means money going out will come back, a child growing up or a daughter marrying will come back to visit etc.
Gama Sennin is one of the most depicted Sennin (Saints), a Daoist sage based on Liu Hai of ancient China. He has great magical powers and carries around on his back a large toad. In Chinese legend he learned all the secrets of Magic and the universe from the toad. Frogs have been known as a symbol of prosperity in ancient Chinese culture since time immemorial. As per Feng Shui, keeping frog figurines at home or in the office area, offers protection to the space and brings prosperity to one's life.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920
item #1492337
(stock #K013)
The Kura
$1,500.00
$1,500.00
A fabulous cabinet covered in polished black lacquer inlayed with mother of pearl designs in the style of Nagasaki containing various boxes, trays and dishes for an outing. To allow any steam to escape, it has windows which were once lined with silk. Brass hardware secures the hinged doors which swing out with small boxes and trays in one side, a square sake bottle with brass spout encased in a wooden stand on the other. The interior works are performed in clear lacquered hardwood grains and red lacquer with gold edging. Beneath a drawer slides out from either end, for chopsticks, napkins and other serving implements. The cabinet is 26.5 x 26.5 x 30 cm (10-1/2 x 10-1/2 x 12 inches) and is in overall surprisingly good condition. There are a few minor marks and indentations in the lacquer typical of use and although it originally contained five small red octagonal trays, only four remain.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1495670
(stock #NA)
The Kura
$1,400.00
$1,400.00
A set of Nesting Oribe bowls dating from the Momoyama to early Edo period from the Ohira-gama enclosed in an old collector’s box. Both They display a brownish color, typical of early works from the late Muromachi to Momoyama periods. The spur marks between are quite distinct “C” chapes. A simple tendril of iron has been poured over the sand textured surface, otherwise there is no decoration. Both slightly onched shapes feature kin-tsugi gold repairs. The large bowl is 23 x 24.5 x 6 cm (9 x 9-3/4 x 2-1/2 inches), the smaller 21 x 22.5 x 5 cm (8-1.2 x 9 x 2 inches).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1800
item #1493747
(stock #K075)
The Kura
$1,400.00
$1,400.00
A fabulous Edo period large Gohon Chawan from the Hagi region, a classical bowl wearing its history in a spider thread of gleaming gold. Broken once, the cracks have been repaired with softly gleaming thin wisps o gold in the highest quality. The bowl is 12.5 × 15 x 8 cm (5 x 6 x 3 inches) and comes enclosed in a period Kiri-wood box. Kintsugi lacquer gold repairs embody the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491463
(stock #N06)
The Kura
$1,350.00
$1,350.00
A quintessential image of a tiny bean-shaped figure lost in thought, perhaps staring out to sea on a sunny hillock before cascading water in lush Spring-green washes by Shirakura Niho enclosed in the original signed wooden box titled Enpokihan (Distant Sails Returning). Ink & Light color on Silk in fresh green extended with beige featuring bone rollers. It is 64 x 143.5 cm (25 x 56-1/2 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1930
item #1493058
(stock #K097)
The Kura
$1,350.00
$1,350.00
Polished layered-lacquer lozenges are inlayed into the surface of this fabulous Art-Deco era vase by important Japanese Bronze artist Yamamoto Junmin. The lacquered pieces have been cut and polished from variously colored layered lacquer. The vase is signed on the base Junmin, and measures 27.5 cm (11 inches) diameter, 18.5 cm (7-1/4 inches) tall. It is in excellent condition.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1920
item #1490875
Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491725
(stock #N10)
The Kura
$1,350.00
$1,350.00
This scroll is an excellent example of the early Showa era style of Shirakura Niho centering around 1930 enclosed in the original signed wooden box titled Teishu Sotai. The painting features two persons in a boat contemplating a precipitous waterfall which extends up through the clouds. The phrase Teishu Sotai in old Japanese translates to "meeting of moored boats" in English. It is often used metaphorically to describe a chance encounter or a meeting between two people who happen to be in the same place at the same time, similar to how two boats might meet while anchored or moored. It is 39.5 x 196 cm (15-1/2 x 77 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491409
(stock #N01)
The Kura
$1,350.00
$1,350.00
The sage gazes out from his hermitage clinging to the hillside upon a sparse scene of falling water and precipitous climbing peaks dominating this painting by Shirakura Niho dating from the prime of his career. Ink and light color on silk mounted in blue cloth with thin piping terminating in white ceramic rollers. It is 40.5 x 187.5 (16 x 74 inches) and is in excellent condition; enclosed in a modern wooden storage box. A published version of the Niho Catalog will accompany the work.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491726
(stock #N11)
The Kura
$1,350.00
$1,350.00
A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1492827
(stock #K068)
The Kura
$1,250.00
$1,250.00
A large porcelain vase by) Daimaru Hokuho (Hoppo) enclosed in the original signed wooden box titled Yellow Porcelain Lightning Pattern Vase. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises to a row of alternating concentric lines known as Lightning pattern. It is 21 cm (8-1/2 inches) diameter 25 cm (10 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491465
(stock #N07)
The Kura
$1,200.00
$1,200.00
A tiny figure sails on the placid lake depicted among exaggerated precipices of this early landscape by Shirakura Niho enclosed in the original signed wooden box titled Shunpu Taito. Ink & Light color on Silk, it is 59 x 130 cm (23-1/4 x 51 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491467
(stock #N08)
The Kura
$1,200.00
$1,200.00
The ultimate in tranquility, a sage aloft his peak gazing out at the fresh green landscape, one can hear the rush of the falls in the distance, and occasional birdsong on the spring breeze. The painting is by Shirakura Niho and comes enclosed in the original signed wooden box titled Kankyo Chosen (Leisure Life at the Quiet Spring). Ink & Pigment on Silk, it is 54.5 x 134.5 cm (21-1/2 x 53 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
The Kura
$1,200.00
$1,200.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1489649
(stock #K076)
The Kura
$1,200.00
$1,200.00
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1492224
(stock #K035)
The Kura
$1,150.00
$1,150.00
The mouth of this vase opens like the thickly petaled chrysanthemum flower over a body decorated in thin blue with a roiling landscape of lakes and trees dotted with pavilions. It is an excellent example of the Hirado tradition in the 19th century. The vase is 14 cm (5-1/2 inches) diameter,28.8 cm (11-1/2 inches) tall and is in excellent condition.
The story of Hirado porcelain begins with the Matsura clan, who ruled over the Hirado domain during the Edo period (1603-1868). The feudal lord Matsura Takanobu, played a pivotal role in the development of the industry. In the early 17th century, Takanobu, inspired by the burgeoning popularity of continental ceramics, sought to establish a local porcelain production center on the island. To realize his vision, he invited Korean potters, renowned for their expertise in ceramic artistry, to migrate to Hirado and share their knowledge. This influx of Korean artisans infused the local ceramic industry with new techniques, designs, and aesthetic sensibilities. Under the guidance of these Korean masters, Hirado kilns began producing exquisite porcelain wares that reflected both Korean influences and indigenous Japanese artistic elements. The early Hirado pieces often featured delicate forms, refined decoration, and a distinctive creamy white glaze that set them apart from other ceramic styles of the time. Hirado porcelain quickly gained favor among the Japanese aristocracy and became highly sought after for its exceptional craftsmanship and aesthetic appeal. Throughout the Edo era, Hirado porcelain flourished, enjoying patronage from feudal lords, samurai elites, and wealthy merchants. The Matsura clan's support and encouragement further fueled the growth of the local ceramic industry, leading to innovations in techniques and designs. In fact one of the defining characteristics of Hirado porcelain was its ability to adapt and incorporate various influences while maintaining its distinct identity. While initially inspired by Korean and Chinese ceramics, Hirado porcelain gradually evolved its own unique style, blending elements of traditional Japanese aesthetics with innovative approaches to form and decoration. This fusion of influences contributed to the allure and enduring appeal of Hirado porcelain both domestically and internationally.
The story of Hirado porcelain begins with the Matsura clan, who ruled over the Hirado domain during the Edo period (1603-1868). The feudal lord Matsura Takanobu, played a pivotal role in the development of the industry. In the early 17th century, Takanobu, inspired by the burgeoning popularity of continental ceramics, sought to establish a local porcelain production center on the island. To realize his vision, he invited Korean potters, renowned for their expertise in ceramic artistry, to migrate to Hirado and share their knowledge. This influx of Korean artisans infused the local ceramic industry with new techniques, designs, and aesthetic sensibilities. Under the guidance of these Korean masters, Hirado kilns began producing exquisite porcelain wares that reflected both Korean influences and indigenous Japanese artistic elements. The early Hirado pieces often featured delicate forms, refined decoration, and a distinctive creamy white glaze that set them apart from other ceramic styles of the time. Hirado porcelain quickly gained favor among the Japanese aristocracy and became highly sought after for its exceptional craftsmanship and aesthetic appeal. Throughout the Edo era, Hirado porcelain flourished, enjoying patronage from feudal lords, samurai elites, and wealthy merchants. The Matsura clan's support and encouragement further fueled the growth of the local ceramic industry, leading to innovations in techniques and designs. In fact one of the defining characteristics of Hirado porcelain was its ability to adapt and incorporate various influences while maintaining its distinct identity. While initially inspired by Korean and Chinese ceramics, Hirado porcelain gradually evolved its own unique style, blending elements of traditional Japanese aesthetics with innovative approaches to form and decoration. This fusion of influences contributed to the allure and enduring appeal of Hirado porcelain both domestically and internationally.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1920
item #1492549
(stock #Z093)
The Kura
$1,000.00
$1,000.00
A ghost rises from the darkness pulling on her hair, a wry grin as she looks sideways at the viewer on this antique painting by Moriwaki Unkei. Ink on paper completely cleaned and remounted in vine patterned blue silk with dark wood rollers. There are old age stains on the paper, which appear much stronger in the photos than in life. It is 40 x 200 cm (15-3/4 x 78-3/4 inches) and in excellent condition.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.
All Items : Antiques : Regional Art : Asian : Japanese : Sculpture : Pre 1900
item #1492677
(stock #K064)
The Kura
$950.00
$950.00
A pair of masks representing the two variations of Tengu, the long nosed Tengu and the Karasu (Crow) Tengu mounted on a wooden placard dating from the Meiji period. Each mask is of carved and lacquered wood with inset glass eyes. The placard is 38cm (15 inches) wide 22.5 cm (9 inches) tall and the masks are roughly 11 cm (4 inches plus) in depth. It looks as if the Karasu Tengu mask has had the eyes repaired, and they appear cloudy by comparison to those of the the long nosed partner.
The long-nosed and or Beaked Tengu is a mythical creature from Japanese folklore. Tengu are believed to be supernatural beings often depicted with human and bird-like features. They're known for their long noses, which can vary in length depending on the depiction. Tengu are often associated with mountain forests and are considered protectors of the mountains. They are known for their mischievous nature, martial arts prowess, and sometimes for teaching humans valuable lessons or skills. In Japanese culture, Tengu are a fascinating blend of reverence and fear, embodying both the spiritual and the natural worlds.
The long-nosed and or Beaked Tengu is a mythical creature from Japanese folklore. Tengu are believed to be supernatural beings often depicted with human and bird-like features. They're known for their long noses, which can vary in length depending on the depiction. Tengu are often associated with mountain forests and are considered protectors of the mountains. They are known for their mischievous nature, martial arts prowess, and sometimes for teaching humans valuable lessons or skills. In Japanese culture, Tengu are a fascinating blend of reverence and fear, embodying both the spiritual and the natural worlds.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1900
item #1492548
(stock #Z094)
The Kura
$950.00
$950.00
Long verses fall like rain upon the sinister figure of an Oni (type of devil) dressed in the habit of a priest who glares as he walks through the village, banging out a warning to all evil-doers. Around his neck hangs a bell which he clangs loudly with the hammer held high in one hand. The stern figure carries in the other hand a booklet titled Hogacho. A Hogacho is a record of the name and quantity of persons who donated (hoga) for projects such as the construction and repair of temples or shrines and the publication of scriptures. In the case of the Oni, his Hogacho records the sins and misdeeds of humans for payment in the after world. On his back is an umbrella. Ink on paper in a simple brown cloth border with highlights of Kinran gold in the Ichimonji above and below with dark lacquered wooden rollers like the shift of a priest moving to reveal the regal robes beneath. It is 39.7 x 179 cm (15-1/2 x 70-1/2 inches) and has been completely cleaned and remounted.
The Oni, often depicted as hulking, fearsome creatures with horns, sharp claws, and a menacing appearance, are a prominent feature in Japanese folklore, Buddhist lore, and broader Japanese culture. Their role and representation have evolved over time, encompassing a range of meanings and functions across different contexts.
In folklore, Oni are typically portrayed as malevolent spirits or demons representing chaos, destruction, and malevolence. They are often depicted as ogre-like beings with red or blue skin, wild hair, and tusks. They are known to cause mischief, bring calamities, and even consume human flesh. Oni are common antagonists in folktales, serving as the embodiment of evil and chaos. However, Oni can also have more nuanced roles. In some stories, they are not purely evil but rather more complex characters with a potential for redemption. Thus in Buddhist tradition, Oni take on additional layers of symbolism. They are often seen as the enforcers in hell (Jigoku), punishing the wicked for their sins. In this context, Oni are agents of karmic retribution, ensuring that sinners face the consequences of their actions. This role reinforces the moral lessons of Buddhism, emphasizing the importance of virtuous behavior to avoid suffering in the afterlife. Sometimes the concept of Oni in Buddhism is more metaphorical, representing inner demons or the obstacles one must overcome on the path to enlightenment. They symbolize inner struggles with the vices and negative emotions such as anger, greed, and ignorance that hinder spiritual progress.
In contemporary Japanese culture, Oni have become more multifaceted. They appear in various media, including literature, art, film, and video games, often with different interpretations. While they still retain their traditional fearsome attributes, they are sometimes depicted in a more humorous or sympathetic light. For example, the Oni character in the popular manga and anime "Dragon Ball" is portrayed as a bureaucratic worker in the afterlife, adding a humorous twist to their traditional role. They also feature prominently in cultural festivals such as Setsubun, celebrated on February 3rd during which people perform rituals to drive away evil spirits. One common practice is the throwing of roasted soybeans (mamemaki) while chanting "Oni wa soto, fuku wa uchi" ("Oni out, good fortune in"), which is meant to cleanse the home and welcome good luck.
The enduring presence and adaptability of the Oni in Japanese culture underscore their significance as both a reflection of societal values and a versatile symbol in the collective imagination.
The Oni, often depicted as hulking, fearsome creatures with horns, sharp claws, and a menacing appearance, are a prominent feature in Japanese folklore, Buddhist lore, and broader Japanese culture. Their role and representation have evolved over time, encompassing a range of meanings and functions across different contexts.
In folklore, Oni are typically portrayed as malevolent spirits or demons representing chaos, destruction, and malevolence. They are often depicted as ogre-like beings with red or blue skin, wild hair, and tusks. They are known to cause mischief, bring calamities, and even consume human flesh. Oni are common antagonists in folktales, serving as the embodiment of evil and chaos. However, Oni can also have more nuanced roles. In some stories, they are not purely evil but rather more complex characters with a potential for redemption. Thus in Buddhist tradition, Oni take on additional layers of symbolism. They are often seen as the enforcers in hell (Jigoku), punishing the wicked for their sins. In this context, Oni are agents of karmic retribution, ensuring that sinners face the consequences of their actions. This role reinforces the moral lessons of Buddhism, emphasizing the importance of virtuous behavior to avoid suffering in the afterlife. Sometimes the concept of Oni in Buddhism is more metaphorical, representing inner demons or the obstacles one must overcome on the path to enlightenment. They symbolize inner struggles with the vices and negative emotions such as anger, greed, and ignorance that hinder spiritual progress.
In contemporary Japanese culture, Oni have become more multifaceted. They appear in various media, including literature, art, film, and video games, often with different interpretations. While they still retain their traditional fearsome attributes, they are sometimes depicted in a more humorous or sympathetic light. For example, the Oni character in the popular manga and anime "Dragon Ball" is portrayed as a bureaucratic worker in the afterlife, adding a humorous twist to their traditional role. They also feature prominently in cultural festivals such as Setsubun, celebrated on February 3rd during which people perform rituals to drive away evil spirits. One common practice is the throwing of roasted soybeans (mamemaki) while chanting "Oni wa soto, fuku wa uchi" ("Oni out, good fortune in"), which is meant to cleanse the home and welcome good luck.
The enduring presence and adaptability of the Oni in Japanese culture underscore their significance as both a reflection of societal values and a versatile symbol in the collective imagination.
The Kura
$950.00
$950.00
Autumnal favorites, a basket of Mattake mushrooms and spiny cluster of chestnuts have been carved into the surface of this pine-wood tray by Ichikawa Shudo dated on back to early summer, 1915 and signed Kochikusai Shudo-to (Carved by Kochikusai Shudo). It is 49 x 31 x 3 cm (roughly 19-1/2 x 15-1/2 x 1 inches) and is in excellent condition. 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.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1900
item #1492442
(stock #K058)
The Kura
$900.00
$900.00
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.
The Kura
$900.00
$900.00
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.
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930
item #1491781
(stock #N12)
The Kura
$850.00
$850.00
A sparse image of tiny boats, sails stretched with wind floating out off the coast by Shirakura Niho enclosed in the original signed wooden box titled Enko Hobari (Sails Stretched in the Distant Harbor). Pigment on silk bordered in patterned cloth extended in beige. The scroll is 65.5 x 132.5 cm (25-3/4 x 52 inches). There is some toning to the silk typical of age, but is in overall fine condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.