Catalog: Antiques: Regional Art: Asian: Japanese (180)

A fabulous set of five wooden Kashizra sweets dishes cut from worm eaten hardwood, enclosed in an age darkened wooden box titled Keyaki Meme Chinmoku Kashiki. The title identifies the wood as Keyaki, or Zelkova, a member of the elm family. It is a highly prized hardwood in Japan and has a beautiful undulating grain.. Each dish is 13.5 cm (5-1\4 inches) diameter and all are in excellent condition. One plate has a water ring, as they were likely used as tea cup saucers for sencha steeped tea.

A carved lacquer box which pays homage to Chinese literary taste while presenting itself clearly in a modern, Japanese way (for turn of the century lacquerware at least) by 2nd generation lacquer artist Ishii Yusuke enclosed in the original signed wooden box. The tsuishu lacquer technique requires applying layer upon layer of lacquer which is then carved through and polished, a painstaking process. This piece is exquisitely crafted, carved and polished revealing the many layers of lacquer, it is 13.5 x 10.5 x 5.5 cm (5-1/2 x 4 x 2 inches) and is in excellent condition. On bottom in a bell-shaped gold cartouche are the characters Yusuke. According to the box it was held in the collection of the Kuriyama Sodo, home of Ishizaka Sennosuke who was a member of the governing assembly of Toyama prefecture.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

The title does not lie, this is one against which all others might be measured. A celebratory sake set consisting of three cups and a stand enclosed in their original lacquered wooden boxes. The cups are over the top, decorated with plum pine and bamboo in taka-maki-e gold over red replete with bits of kirigane gold and ke-uchi details. The cups are equally gorgeous on top and bottom, the design extending even inside the foot ring. Roundels of the same designs are built up in gold and lacquer maki-e on the black lacquered stand, the inside of which is covered in Togidashi Nashiji. Along the edge of the stand are carefully placed bits of gold in a technique known as oki-hirame. The stand is 17 x 17 x 14.2 cm (6-3/4 x 6-3/4 x 5-1/2 inches). The cups are 9.8 cm (4 inches) 11.2 cm (4-1/2 inches) and 12.7 cm (5 inches) diameter respectively, and all are in excellent condition.

A splendid set of five Chataku Tea Cup Saucers of turned wood decorated in ridiculously thick lacquer floral decoration by Ikkokusai enclosed in a fine wooden box signed by the artist and dated Meiji 39 (1906). Accompanying is a note stating the set was received as a gift upon visiting the Naganuma Ryokan during a trip to Hiroshima in the fifth month of Meiji 43, accompanied by the name Kayanomiyasama. Kaya-no-miya were a collateral branch of the Japanese Imperial family. There is a photograph in the collection of the Hiroshima Peace Museum commemorating an Imperial visit (meeting school children) dated the fifth month of Meiji 43 taken in front of the Naganuma Ryokan. Each Chataku is 13.5 x 11 cm (5-1/4 x 4-1/4 inches) and all are in excellent condition, each uniquely signed on the base.
Ikkokusai I (1777-1852) was born in Ise, Mie prefecture, and was trained in the lacquer arts in Osaka. His talent was recognized and in 1811 he was taken as an official artist of the Tokugawa Clan, relatives of the Shogun and Feudal lords of Owari near present day Nagoya. All three of his sons would take the name Ikkokusai, His first son, (true name Nakamura Yoshiyuki), would settle in Osaka, and works he made were presented at the first National Industrial Art Exhibition (Naikoku Sangyo Hakurankai) in the early Meiji period. The third son (Sawagi Tsunesuke, 1822-1875) would remain and work in Nagoya until his death. The second son (Nakamura Issaku) would leave the Owari province to further his studies, traveling throughout Japan and developing the Takamorie technique of built up layers of lacquer creating nearly 3-dimensional works. He would become the carrier of the name, and after a sojourn in Hagi (Choshu), moved to Hiroshima in 1843 where he would pass on his techniques and experience to Kinoshita Kentaro (1829-1915). It was Kentaro who would officially become the third head of the family and who brought the name to the fore with his dedication to Takamorie lacquering. Kinjo Ikkokusai IV (1876-1961) continued to develop the method with new materials and designs. The family is currently under the 7th generation (b. 1965) who was named an important cultural property of Hiroshima Prefecture in 2011.

A beautifully sculpted incense burner in the shape of a nesting crane dating from the 19th to opening of the 20th century, Late Edo to Meiji period). It comes enclosed in an age darkened kiri-wood collectors box. It is 12.5 x 24 x 16 cm (5 x 9-1/2 x 6 inches). Although not altogether clear there appears to be a possible old repair to the back of the head.

Gold gleams on the dragon shaped prow of this boat shaped object in the style of Kyoto’s Ninsei ware. The house on top is meant to be filled with ash and serves as an incense burner. Removed it reveals a glazed compartment in which flowers can be placed, allowing the versatile object to be not only a display on its own, but also to act as a vase and or incense burner. It is 41 x 16 x 25 cm (16-1/2 x 6 x 10 inches) and is in excellent condition, enclosed in an ancient wooden storage box dating from the 19th to opening years of the 20th century.

Gold dragons prance about the vermillion surface of this exquisite vessel by important Meiji potter Eiraku Zengoro XIV (Tokuzen) enclosed in the original signed wooden box which is in turn enclosed in an outer box also annotated by a later generation Eiraku. Remembered specifically for his mastery of Aka-e Kinsai ware, this is a museum worthy example of this important potters work. It is 43 cm (17 inches) tall and in excellent condition.
Eiraku Tokuzen (Eiraku Zengoro XIV, 1853-1909) was born the first son of the 12th generation Eiraku Wazen He was named the 14th Zengoro at the age of 18 in 1871. This was only a couple years after the Fall of the Shogunate and restoration of the Meiji emperor, a hard time for potters specializing in Tea ware, which was experiencing a backlash as did many things associated with what had been traditional societal ranking and privilege. However Tokuzen worked hard to both maintain ties with the tea world, while making efforts to embrace a global audience. In 1873 Eiraku wares were exhibited at the Vienna World Exposition, and in 1876, Philadelphia, then Paris in 1878. At the same time new approaches to pottery pioneered by Eiraku were exhibited at the 1875 Kyoto Hakurankai in the cultural heartland of Japan. In 1882 he opened in a new Kiln in the Eastern hills called the Kikutani Kiln (Valley of Chrysanthemum) specializing in high end tea ware for both Maccha and Sencha teas, while expanding into daily wares for the growing middle class.

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

An Inuyama style pottery dish covered in black lacquer; the two pinched areas of the rim decorated with slight gold designs of fortuitous symbols from the Toyoraku kiln of Nagoya. Inside the dish features crackled glaze decorated with young pine and bamboo shoots with splashes of Oribe green. The Toyoraku stamp is visible to the left of the design. The dish is roughly 17.5 cm (7 inches) diameter and in excellent condition.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A 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.

A carved wooden mask dating from Edo period Japan, likely made as a talisman to ward off evil and bad spirits. It is of thickly carved wood, larger than life, and beautifully modeled. Originally the mask was covered in lacquer and the eyes were silver., remnants of color still visible in the folds and crevices. It is 31 x 25 cm (12 x 10 inches) and is in overall fine condition.

Ring in the New Year with this beautifully cast bronze bell surmounted by a dragon embellished with Characters of good fortune enclosed in an ancient red-lacquered wooden storage box. It is 15 cm (6 inches) diameter, 21 cm (8 inches) tall and in excellent condition, dating from the Edo period.

An antique gilt bronze Buddhist tower finial with three pierced flame flanges richly engraved with scrolling vines mounted on a hardwood pedestal It is 53 cm tall and in overall excellent condition.

A protective deity is carved into this Piece of a pillar from Himeji Castle dating from the Meiji period restoration of the Tenshukaku (main tower). It is branded with the Yaki-in which reads Himeji Jo Ko-zai-in (Brand of the old wood from Himeji Castle). It has long been a method of raising funds in Japan to offer replaced pieces of a historical building to those who donate to the restoration. These pieces are commonly branded with a special seal, called a yaki-in, which is heated and burnt into the surface, stating from which famous building the Ko-zai or old material, comes from. This large piece also has on another side written “Keicho 5 (1602) Ikeda Terumasa Chikujo (Castle made by Ikeda Terumasa) Kokuho Himeji Jo Tenshukaku Kozai (Old material from the Main Tower of National Treasure Himeji Castle) Yonkai Ko-neta (4th Floor small joist). It is 89 cm (35 inches) tall, 12 x 13 cm (roughly 5 inches) square.
Himeji Castle dates to 1333 when Akamatsu Norimura built a fort on top of Himeyama hill. The fort was dismantled and rebuilt as Himeyama Castle in 1346 and then remodeled into Himeji Castle two centuries later. Himeji Castle was then significantly remodeled in 1581 by Toyotomi Hideyoshi, who added a three-story castle keep. In 1600, Tokugawa Ieyasu awarded the castle to Ikeda Terumasa for his help in the Battle of Sekigahara, and Ikeda completely rebuilt the castle from 1601 to 1609, expanding it into a large castle complex. Several buildings were later added to the castle complex by Honda Tadamasa from 1617 to 1618. For almost 700 years, Himeji Castle has remained intact, even throughout the bombing of Himeji in World War II, and natural disasters including the 1995 Great Hanshin earthquake. Himeji Castle is the largest and most visited castle in Japan, and it was registered in 1993 as one of the first UNESCO World Heritage Sites in the country and five structures of the castle are also designated National Treasures.
In 1873 (Meiji 6), many of Japan's castles were destroyed due to the Castle Abolition Ordinance as they were seen as symbols of the former government (Shogun) and were no longer necessary for defense, but around 1877 (Meiji 10), when the major changes at the beginning of the Meiji period had come to an end, there was born a movement to preserve the countries castles. At the request of Colonel Shigeto Nakamura, who oversaw construction and repairs in the Army, Himeji Castle was also preserved with national funds, including its large and small castle towers and turrets, along with Nagoya Castle (Unfortunately, Nagoya Castle was later burnt down in the war). following, temporary repairs were carried out, but due to lack of funding, full-scale renovation was postponed until 1910. At this time the large castle tower was repaired along with the remaining small castle towers (east small castle tower, west small castle tower, inui small castle tower) in the first phase of construction.

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

A 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.

A carved wood figure of a wandering priest, robes billowing in the wind, his large straw hat full of holes, signed Yasuchika on the back. Dating from the late Edo to Meiji period, it is by a member of the Tsuchiya Yasuchika lineage. The figure is 31 cm (12 inches) tall and in excellent condition, complete with walking stick.

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.