Catalog: Antiques: Regional Art: Asian: Japanese (133)

A haunting wooden mask, severely dilapidated by weather and time, the carving style consistent with the Kamakura to Muromachi eras (12th – 15th centuries). This is most evident in the shape of the eyes, which are cut shallow at a striking angle. It is 13 x 22 cm (5 x 8-1/2 inches), in stable condition. It comes with an incredible ancient wooden storage box.

A carved wooden mask dating from the later Edo period from Northern Japan representing the God of the hearth. It is 29 x 25 x 11 cm and is in excellent condition.
In the Tohoku area, including Miyagi Prefecture and Iwate Prefecture, Kamadogami (Kamado no Kami) is enshrined in a mask made of wood or clay called a Kamaotoko (cauldron male) or Kamajin (cauldron person) and hung on a pillar near the kamado hearth. Kamado no Kami translates to "God of the Hearth" or "Kitchen God." In traditional Japanese beliefs, the Kamado no Kami is a deity or spirit associated with the hearth, kitchen, and cooking. The hearth was a central and essential feature of traditional Japanese homes, serving as a source of warmth and a place for preparing meals. The Kamado no Kami was believed to reside within the kitchen's hearth and was revered as a household protector. The deity was thought to bring good fortune, prosperity, and health to the family. Properly appeasing and showing respect to the Kamado no Kami was seen as essential to ensure the well-being and happiness of the household. While the worship of the Kamado no Kami was a widespread practice in various regions of Japan, it's important to note that specific beliefs and customs could vary from one region to another. The Tohoku region, in the northeast of Japan's main island, is known for its rich folklore and unique cultural practices and reverence for the Kamado no Kami was especially strong. In the traditional Japanese context, the hearth and its deity held significant cultural importance, but with modernization and changes in household structures, many of these beliefs and practices have evolved or declined. Nevertheless, some elements of traditional culture and beliefs continue to be preserved and celebrated in various parts of Japan, especially in rural areas and during traditional festivals.

This ancient and dilapidated mask is ghoulishly frightening. Carved from a single piece of wood, the visage seems to scream with both rage and fear, or is it pain, the brow furrowed and mouth open in a shout. Emaciated lips curl back to reveal three teeth like tombstones framing the orifice. A hole appears in the hollow of the left eye, and the top of the mask is broken open like an egg, as if something might leap out. This goes way beyond the traditional mask, into the realm of Iki-ningyo or living dolls. It is 24 x 15 x 12 cm (roughly 9 x 6 x 5 inches).
Japanese ghost tales and horror stories have a rich and fascinating history that dates back centuries. These stories have evolved and been shaped by various cultural, religious, and historical influences over time. Let's focus on the pre-modern era to explore the origins and development of Japanese ghost tales and horror stories: apan's early ghost tales were influenced by indigenous Shinto beliefs, animism, and the veneration of ancestral spirits. In these tales, spirits were often associated with natural phenomena and specific places. During the Nara (710-794) and Heian (794-1185) periods, court literature flourished, and stories of supernatural beings, such as yōkai (supernatural creatures), oni (demons), and yūrei (ghosts), started to gain prominence in written works like "The Tale of Genji." Buddhist beliefs and notions of karma influenced the portrayal of spirits and the idea of vengeful ghosts who returned to the living world seeking retribution. "Uji Shūi Monogatari" (Tales of a Raindrop) and "Konjaku Monogatari" (Tales of Times Now Past) are collections of folktales, including ghost stories, from this period. They reflected the belief in the supernatural and the moral consequences of human actions. The medieval period saw the development of various ghost tales, often referred to as "kaidan" or "katakiuchi-mono" (stories of vengeance). During the Edo period traditional Japanese theater, particularly Noh and Kabuki, incorporated ghostly elements into many of their plays. Ghost characters seeking vengeance or resolution were common themes in these performances, making them popular among audiences. Also during this period was a flourishing of ghost-themed art and literature. Throughout these eras, storytelling played a crucial role in passing down ghost tales and horror stories in Japan. It's essential to recognize that Japanese ghost tales and horror stories are deeply rooted in cultural and spiritual beliefs, and their themes often explore concepts of life, death, morality, and the supernatural. They were often used as a means to entertain, educate, and explore societal norms and values. In the later 19th century, Lafcadio Hearn, an Irish-Greek author who emigrated to Japan taking a Japanese name, is credited with introducing Japanese ghost tales to the Western world. In 1904, he published "Kwaidan: Stories and Studies of Strange Things," a collection of traditional Japanese ghost stories he had translated and adapted in an effort to preserve them before the oral tradition was lost. Many of these pre-modern ghost tales continue to inspire modern Japanese horror literature, movies, and other media.

A dramatic Suiseki stone set into a carved wood base retaining the chiseled marks (typical of the early 20th century) in the shape of a Limestone cave in which meditates a holly figure. It is 12 x 7 x 18 cm (5 x 3 x 7 inches) including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

Magnificent dark ink forms a lurid summer landscape on this scroll by Irie Shikai enclosed in the original signed wooden box dated the 4th month of 1922. Ink on paper in a white cloth border with dark wood rollers. The scroll is 54.5 x 195 cm (21-1/2 x 76-3/4 inches) in overall great condition. The box appears to be titled Cool Day no Clouds.
Irie Shikai was born in Fukuoka prefecture in 1862, the son of an upper level samurai retainer. He studied Nanga and Chinese style painting under Yoshitsugu Haizan and Daiju Ekizan among others. Eschewing the contemporary trend to exhibit and paint for the major National Juried exhibitions, he remained outside the mainstream. For more on this artist see Literati Modern, Bunjinga from late Edo to 20th century Japan, Honolulu, 2008

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

A pair of bottle-shaped heishi vases made for tribute to the gods emblazoned with the characters Dai-Kichi (Great Fortune) by Imamura Joen (1635-1717) signed on the base and enclosed in a wooden collectors box. They are 20.5 cm (8 inches) tall each and in excellent condition.

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

A beautiful black Raku bowl with golden lightning splitting across the surface like an eruption of light in the night sky. It is roughly 12 cm (4-3/4 inches) diameter and in excellent condition. An exquisite repair.
Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

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

Grapes cluster on the vine under drying leaves on this painting by Tenryu-dojin performed with ink on paper in a light cloth mounting with pale blue piping and wood rollers. Painted when the artist was 77 years old (1794 by the Japanese count). The scroll is 42.5 x 162.5 cm (16-3/4 x 64 inches) and has been remounted sometime in teh 20th century, in a style reflecting the literati mounting style popular from the later Edo period.
Tenryu Dojin (1718-1810) was born as an illegitimate child of the Hizen Kashima Domain, but was raised as the son of a chief retainer. At the age of 14 his family was involved in a scandal and the artist was made a Ronin, or masterless Samurai. Around the age of 15, he entered the Buddhist priesthood under the priest Taitake of Hizen Ankoku-ji Temple, and later went to Nagasaki to study medicine and painting under Kumashiro Kumai. Around the age of 19, he went to Kyoto where he was adopted by Manri-koji Shufusa, calling himself Zenmyo-in, and served the Cloistered Imperial Prince. He fell into the circle of Imperial loyalist Takenouchi Shikibu, and joined the movement to overthrow the shogunate and restore the monarchy operating under various pseudonyms. After a failed coup at the age 41, many of his loyalist friends were exiled, but this did not deter the patriot, and he was again involved in a plot at age 50 known as the Daini Jiken. The leadership of this plot were put to death, and Tenryu-Dojin escaped to mountainous Shinsu region in central Japan. He changed his name and hid himself in this area for the res of his life. He is remembered for paintings of hawks and grapes.
An exhibition of his work was held in 1960 at the Nezu Museum.

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

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

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

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

A double walled Ten-moku shaped Chawan Tea Bowl of solid silver (100 percent silver) enclosed in the original signed wooden box by Hasegawa Ichibosai titled Matsuo Konomi Nanryo Tenmoku Chawan. It is breathtaking! The interior is a parabolic mirror, while outside has been slightly tarnished with a vintage feel, like worn denim. The interior, prefeclty smooth, contrasts with the outside, which has been made to intimate the tactile qualities of a glazed Tenmoku bowl, even to the sandy texture around the foot. It is 13.6 cm (5-1/4 inches) diameter, 6.5 cm (2-1/2 inches) tall and weighs 234 grams. The bowl is in perfect condition.

A carved wood guardian figure of a Koma-inu looking quite genki with his tongue lolling and wearing a sheepish grin. It is made from a piece of wood which has grown around a stone, visible in the belly of the creature. This type of item, called Ishikui or Ishigami, is a highly prized phenomenon in Japan. The much-weathered figure was likely in the semi-outdoors for several hundred years, becoming rounded ad loosing bits here and there. The tail, carved from a separate piece of wood and inserted, is no longer extant. It is roughly 40 x 20 x 41 cm (16 x 8 x 16 inches) and solid, with no insect damage.
Komainu, also known as lion-dogs, are mythical creatures that hold significant religious importance in Japanese culture. They are often depicted as pairs of fierce-looking creatures resembling lions or dogs, with one open-mouthed and the other closed-mouthed. These statues are commonly found at the entrances of Shinto shrines and Buddhist temples in Japan. Komainu are considered protective guardians that ward off evil spirits and negative influences. The open-mouthed Komainu is believed to expel evil spirits, while the closed-mouthed one is thought to keep good spirits inside. By placing these statues at the entrances of sacred sites, it is believed that they protect the grounds and the people who visit them. The origin of Komainu can be traced back to ancient China, where similar guardian lion statues were prevalent and likely came to Japan during the 8th century, when cultural exchange between Japan and the continent was thriving. Over time, they became an integral part of Japanese religious and architectural practices.

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