Catalog: Antiques: Regional Art: Asian: Japanese (182)

A fabulous porcelain incense burner in the shape of a boy playing the flute astride a large ox dating from the 19th century. The box identifies the work as Hirado ware. The quality is certainly of that level. It is 23.5 x 12 x 19 and is in perfect condition, enclosed in a period red-lacquered wooden box.
In Zen, an oxherd searching for his lost ox has served as a parable for a practitioner’s pursuit of enlightenment since this Buddhist sect’s early history in China. In the eleventh century, the Song-dynasty Zen master Guoan Shiyuan codified the parable into ten verses. The parable proceeds from the herd boy losing his ox and following its tracks to recover the animal to transcending this world. This piece represents the sixth step in enlightenment, riding the bull home. This is the point where one has attained understanding. The ancient verse associated with this image reads:
Mounting the bull, slowly
I return homeward.
The voice of my flute intones
through the evening.
Measuring with hand-beats
the pulsating harmony,
I direct the endless rhythm.
Whoever hears this melody
will join me.

Dragons charge the sides of this large water urn covered in crackled pale glaze emblazoned with a panel which specifies: Water for the 11 Faced Kannon (Quanyin). Inside is lined with iron glaze. Outside key frets surround the rim leading to a nearly flat shoulder upon which blossom five petaled plum flowers. Below this the dragons vie in the tempest, with the base drawing precipitously covered in Shipppo designs (7 treasures). It is 38 cm (15 inches) tall, 34 cm (13-1/2 inches) diameter. There are glaze losses to the rim, and a repair to a firing crack inside the rim (see close-up photos), otherwise is in excellent condition dating from the 19th century.

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

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

Lavender and aquamarine coat the surface of this vase from the Kairakuen Kilns of the Ki branch of the Tokugawa family dating from the 19th century. The circular window between floral scrolls is made in the shape of the archaic character Kotobuki. The vase is 18 cm (7 inches) tall and in excellent condition, and bears the Kairakuen seal impressed into the base. It comes enclosed in an old kiri-wood collectors box titled Kairakuen-ki Juji Moyo Kabin (Kairakuen Vessel decorated with Character of fortune).
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

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

Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.

A radical Bizen Mizusashi with two lacquered wooden lids enclosed in a black lacquered wooden box with gold lacquer writing titled Samidare which is in turn enclosed in a kiri-wood storage box by the same title compartmentalized to allow the lids to be stored safely. Samidare is a poetic reading for Rain of the Fifth Month (June in the traditional calendar). It has a seal of overlapping rings impressed into the earth of the base, and dates from the Edo period. The lids are for differing events, one black lacquered, the other covered with gorgeous gold and silver maki-e clouds with a soaring nightingale in gold, inside the ghost of a crescent moon. The Vessel itself is crusted with ash and dribbles of ocher with kutsuki on the side where something adhered to it in the firing. Inside the trials of the artist fingers are clearly visible. The receptacle is 23 x 20 x 15 cm (9 x 8 x 6 inches) ad is in overall excellent original condition. A very impressive presentation. Inside the Kiri box is written that the piece was viewed by The honorable Mr. Inoue upon his visit in Meiji 45 (1912). Inside the black lacquered lid is a paper tablet which reads Matsue-jo Nushi Fumaiko Hakogaki (Box written by Fumaiko of Matsue Castle).
Among the successive lords of the Matsue domain was the 7th lord of the Matsudaira family, famous tea master and Zen acolyte Harusato Matsudaira (1751-1818). He is known by many people simply as Fumai, the name he took after shaving his head in retirement in 1806. At the age of 17 he became the lord of the fief; the domain was in dire financial trouble. Harusato appointed Goho Asahi Tanba as chief retainer and promoted a fiscal reconstruction plan. While making great efforts to reduce expenditures, such as reducing debts within the domain and reviewing the domain's personnel structure, they also sought to increase income through industrial promotion measures such as the cultivation of medicinal ginseng and wax. He succeeded in restoring the domain's prosperity. After rebuilding the domain's finances, he focused his efforts on collecting tea utensils that had been scattered one after another from feudal lords of the time. The collected items were later called ``Unshu specialties,'' and are highly valued by lovers of tea ceremony and art. Harusato's great achievement in the history of the tea ceremony was his 18-volume book, in which he further classified famous tea utensils. He also promoted arts and crafts within the Matsue domain, supporting many craftsmen in the worlds of pottery, lacquer, and woodwork.

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.

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

A Bairin Yaki Suiteki water dropper in the shape of an eggplant and bowl covered in that quintessential Bairin purple and green glaze flowing into the water bowl. It is 10.5 x 6 x 4.5 cm (4 x 2-1/4 x 2 inches and is in overall nice condition, with miniscule chips repaired on the rim. Suiteki are used to provide water for grinding ink on an ink stone.
Bairin Yaki was a resurrection of the ancient Omi style of ceramic called Zeze favored by Kobori Enshu and Honami Koetsu. Zeze Yaki died out in the mid 1600s, but was reestablished by Odawara Ihe-e sometime during the Tenmei Era (1781-1789), with brighter colors. It was, however not long lived, and appears to have died out again sometime in the 1840s. It was again revitalized in the Late Edo and Meiji eras under the name Seta-yaki, and again the lineage died in the Taisho period. An unusual opportunity for the collector of Japanese ceramics.

Unusual Pottery sweets dish in soft green glaze by the 11th generation head of the Raku Family Keinyu, enclosed in the original signed wooden box titled Chagata Kobachi. Covered in crackled pale green glaze, it is 11.5 cm diameter, 8 cm tall and in excellent condition.
The 11th generation head of the Raku family, Keinyu, was born a second son of Ogawa Naohachi, a sake brewer from Tanba, the present Kameoka city in Kyoto, he was adopted in the Raku family as Tannyû's son-in-law, assuming the name of Keinyû. He succeeded as the 11th generation in 1845. He retired in 1871. The period he lived through was an age of transmission from the feudalism of the Tokugawa Shogunate to the modernization of the Meiji government introducing the modern cultural prospects from the West. At the same time he saw the collapse of traditional culture including the tea culture. Over a long production of ceramics under such unfavourable circumstances, Keinyû, however, vigorously made a variety of ceramics, not only tea bowls but other tea utensils as well as decorative objects, considered as the most versatile among all the Raku generations. His work is endowed with a high quality of artifice as well as a poetic sensibility.

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.

Rich green glaze covers this elongated delicate undulating bottle from the Kosugi-yaki tradition of the Kaga region near modern day Kanazawa city. This bottle is roughly 20 cm (8 inches) tall and in excellent condition.
Kosugi ware is a type of pottery that was produced in Kosugi Town over four generations for about 80 years, from around the early Bunka era (1810-1820) to the Meiji 20s (around 1890). In the hilly area south of Imizu City that connects Ikeda, Hirano, Ueno, and Hashimotojo, pottery was made in the Kofun period, Nara period, and Heian period, even before Kosugi ware began. This is probably because this area was rich in high-quality clay, which was the raw material for pottery, and red pine trees, which were used as fuel. From the first Yoemon to the fourth generation, pottery production was actively carried out in the former Kosugi Town (hereinafter referred to as Kosugi Town). The first generation Yoemon (given name Yoichiro) traveled throughout the land and mastered the technique of Soma ware (Fukushima prefecture), before returning to his hometown at the age of 30 to open a kiln. Kosugi ware rapidly spread its fame, and in the Tenpo era, it received a pottery license from the Kaga domain, and with the support of the county magistrate, reached its peak. The first Yoemon passed away in August 1838. The second generation Yoemon (young name Yojuro) took over at the age of 30. Many of the first-generation sake bottles were somewhat small, with a wonderful sculptural sense, and the green glaze had a beautiful color and luster that was slightly bright.

A beautiful set of ten small shallow dishes, each uniquely decorated with a poem and image from the Edo period Sasashima Kiln of central Nagoya. The box, titled Sasashima Yaki Teshio Jumai (10 Sasashima Salt Dishes) is dated inside to the Tenpo era, (1830-1844). Each dish is 9 cm (3-1/2 inches) diameter and all are in excellent condition. Salt dishes were small plates used to hold salt, pickles or other condiments in a traditional Japanese meal. Finding a complete set like this in good condition is exceedingly rare.
The kiln producing Sasashima ware was opened by Makibokusai in the Bunka era in central Nagoya. Sasashima ware is characterized by its bright colors, and it is said that Makibokusai was also good at carving. The kiln, which continued for three generations after Makibokusai, is said to have disappeared around 1923 (Taisho 12) due to the expansion work of Nagoya Station.

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

A crane rises elegantly from a truncated tree, the legs intricately crafted and the body flowing in a liquid grace. This is Bizen Saikumono, a body of Bizen popular throughout the Edo, Meiji and early 20th centuries. Craftsman carved wild animals, mythical beasts, human figures and many other figures out of the smooth Bizen clay, relying on perfection of form, allowing the firing to add color without overt decoration. This figure is 34 cm (13-1/2 inches) tall and in excellent condition. It comes in a period wooden box dated the 8th month of Koka 3 (1846). As one might expect from something nearly two hundred years old, there is a well done invisible repair in the neck, otherwise is in excellent condition.
The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The beauty of Bizen pottery lies in its adherence to wood-fired kilns. The firing process is crucial, as it allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Saiku-mono or figurative pottery works have their roots much further back, but were very popular in the 19th and early 20th centuries. Simplicity of form, often inspired by nature and everyday objects, enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

A light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture, particularly in relation to tea ceremonies: Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.