Catalog: Antiques: Regional Art (164)

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.

A lacquered cabinet for storing Tea accoutrements by Koyama Kogetsu enclosed in the original signed wooden box dated 1931 and titled Tsukiyama Maki-e Kikkyoku (Mon and Hills Maki-e Tea Cabinet). On the door deer stand on the edge of a glade, gold, lead and Raden (mother of pearl) trees with branches of gold and silver maki-e above. The door lifts off to reveal the silver disc of a full moon rising over evening hills. It is signed in gold Kogetsu. The cabinet is 36 x 28 x 39 cm (11 x 14 x 15-1/2 inches) and is in excellent condition. Koyama Kogetsu (Rokuro, 1884-1937) was a Maki-e artist from Kashwaski City born the son of Koyama Kinpei (Tesse). He studied the art of Maki-e under Kawanobe Iccho and Uematsu Homin.　His work was exhibited at the Teiten National Art Exhibition and awarded at the Imperial Crafts Exhibition.

A visually captivating design of three-leaf circular crests are scattered crests on a field of Mother-of-Pearl falkes covering entirely the outside of this set of four stacking lacquer boxes dating from the 19th century. Inside is festive red. They are 24.7 x 21.5 x 30 cm (10 x 8-3/4 x 12 inches). There are some old repairs in red lacquer, enhancing the obvious sense of age. Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years.

An exceptional tray of Golden Plum Flowers on black dating from the later 19th century, something incredibly modern, like a work by Kaws in the overall flower design. Hira Maki-e on Ro-iro with Ke-uchi details. It is 27.5 x 32 14 cm (11 x 12-1/2 x 5-1/2 inches) and is in excellent condition.

A superlative writing box (Suzuri bako) by the 8th generation Nishimura Hikobei (Zohiko) enclosed in the original signed wooden box. The wooden structure is covered in black lacquer and decorated with Hira Maki-e and Togidashi Maki-e using powdered gold, silver and Kanshitsu-ko with iro-nashiji and Raden (Mother of Pearl) inlays. The rim is solid silver. Inside is perhaps even more sumptuous that outside, with fans on clouds of gold nashiji. It contains the original circular Suzuri (stone) covered in nashiji lacquer, as well as a solid silver water-dropper set in to a wooden tray lacquered exactly the same as the box. Two fude brushes covered also in Nahiji as well as a perfect ink stink cast with dragon motif are contained within, and all are protected by a padded silk pillow. The box is 23.5 x 28 x 5.5 cm (9-1/2 x 11 x 2 inches) and in perfect condition. It appears to have never been used.
The Zohiko family dates back to 1661 when they opened as a shop specializing in lacquer tools. Nishimura Hikobei III received the title of Master of Maki-e from the Imperial Court after creating a makie plaque depicting `a White Elephant and Fugen Bosatsu. It was from this scene of an elephant (Zo) and the Hiko in Hikobei, that the modern name was born. The 4th generation Hikobei served as a purveyor to the Sento Imperial Palace, and the 6th generation Hikobei was well-versed in the art of elegance and produced many masterpieces, including works called Konomi-mono, utensils specifically for the masters of the various tea schools. Hikobei VII established the Kyoto Maki-e Art School and worked hard to train the next generation. Theendeavored to spread the fame of Japanese lacquer and concentrated on promoting lacquer exports. The inside of the imperial carriage was decorated with maki-e on the occasion of the Taisho Emperor's Grand Enthronement, and he Provided lacquer work for the Omiya Imperial Palace, Nijo Castle, and banquet halls. Re-decoration of the Kyoto Imperial Palace was carried out on the occasion of Emperor Showa's enthronement. In addition, he produced many gifts for and from the imperial family and for state guests.

An Edo period incense burner of wood cut in a squash shape known as an Akoda-koro covered in black lacquer with designs of aogai-shell laid onto the surface under a solid silver dome-lid. It is 11 cm (4-1/2 inches) diameter and enclosed in modern custom wooden storage box. There are losses to the raden design revealing the underlying tonoko on which it is laid.

Precious fruit in silver hangs from golden vines on the sides of this 15 piece No-bento picnic set dating from the mid Edo period. It consists of a carrying case with handle and scrolling vines along the edges, a square bottle with fitted covered dish on top and set of four stacking boxes with lid decorated with grape vines burgeoning with fruit, a set of five small plates decorated with flowers, and a tray with fish. All are marked on bottom with the same stylized mark. There is damage to one corner of the tray. A striking design there are minor losses typical of age and use. 17 x 29.5 x 28 cm. It comes in an ancient red-lacquered kiri-wood storage box with hand forged iron hardware.

A striking, seemingly contemporary design, covers all surfaces of this eye-catching stacking box set dating from the later Edo to early Meiji period (early to mid 19th century). Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years. Here a brazen design of variously colored precious gold lines stagger in lightning streaks across the rectangular forms. On top is a crest reading Konotori (the character for the Oriental White Stork) and a family crest of Myoga (Japanese Ginger). The entire design is performed in Togidashi, Nashiji and Hira-Maki-e with the crests in Hira Maki-e further adorned with and Keuchi golden details. It is 24.3 x 23 x 47 cm (9-3/4 x 9-1/4 x 19 inches) and in overall fine condition with minor losses typical of age and use.

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. THe Aoi is a two leafed plant, so a three leafed Aoi is somewhat equivalent to a four leaf clover, although perhaps far more rare or strictly mythical. 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 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 quintessential 16th century design in worn gold covers all the dark surfaces of this lacquered wooden box dating from the Momoyama period. Here auspicious cranes and turtles, reported to live a thousand years, laze among pines. About the lid boaters enjoy leisure seas. Ichimonji checkerboard patterns rising diagonally up the sides alternate with garden trees, the ends decorated with wisteria and ivy. The box retains the original inner tray in festive red decorated with garden grasses. It is worn with age and use, but stands testament to the durability of lacquer and evidences the functionality of the coating. The box is 35 x 26.5 x 28 cm (13-1/2 x 10-1/2 x 11 inches). A rare opportunity to acquire such an ancient lacquer work.

A hawk rests on an elaborate perch, the feathers fluffed up, each uniquely carved on this rare okimono from the Mushiake kilns of Okayama prefecture. It comes in an ancient kiri-wood box. The notation on the side of the box states it was received in late Meiji 27 (1894) from the former Head of the Okayama fief Ikeda Mochimasa. The name of the recipient has been redacted, as is often the case when things change hands in Japan. It is 24 x 7.4 x 29 cm (9 x 3 x 11-1/2 inches). A ringlet on one side and a hook under the bar, both made of wire-thin clay, have been broken off, otherwise it is in excellent condition. A work like this from Mushiake is unprecedented, a true rarity.
Mushiake ware is pottery made in modern day Setouchi City, Okayama Prefecture. Legend states it was begun as the Niwa-yaki (a private samurai residence kiln) by the Igi Family, chief retainer of the Okayama Domain. The kiln origin is unknown, but possible originated with the 6th head of the Igi family, and was certainly active in the Bunka/Bunsei eras at the opening of the 19th century. It is said the third generation Dohachi fired work there. The kiln was shut down in 1842, but five years later revitalized by the 14th-generation head of the Igi family, Igi Tadazumi (Sanensai, 1818–1886,), who was a well-known tea master. He invited Seifu Yohei (1803–1861) who came to the kiln and taught blue and white pottery techniques, Korean and other traditions popular in the capitol at the time. At the end of the Edo period (Bunkyu era) Mori Kakutaro took over operations at the kiln. In the early Meiji era Miyagawa Kozan came to work at the kiln, and it is said Kakutaro’s son Hikoichiro took the character Ko from Kozan for his own pseudonym Mori Koshu. Once again, during the Meiji era, the kiln shut down temporarily, and Hikoichiro (now known as Koshu) went to Yokohama to learn new pottery techniques from Kozan. The kiln enjoyed some success during this era, but was again shut down eventually, and revived in 1932. It is still in existence today.

A fabulous carved wooden tray in the sencha style of a ragged leaf, highly detailed on both sides, the underside carved with a poem and signed by the artist. It is 57 x 30 x 4 cm (22-1/2 x 12 x 1-1/2 inches) and is in perfect condition, dating from the early 20th century.
Sencha, as we know it today, started to gain popularity during the 18th century with the rise in Literati thought in Japan. This is partly due to the influx of Chinese at the fall of the Ming dynasty in the mid 17th century and how their culture was absorbed into the greater Japanese culture over the subsequent generations. Sencha is a non-powdered green tea, which distinguishes it from the powdered matcha commonly used in formal tea ceremonies. Along with the tea itself, came an appreciation of the accoutrements and aesthetic which were quite different from those used in powdered tea. Chinese literati culture emphasized simplicity, natural beauty, and a deep connection to the natural world. These values resonated with Japanese tea practitioners who incorporated them into their own tea culture. They overlapped with concepts like "wabi-sabi," which celebrates imperfection and transience, and "yūgen," which suggests a subtle, profound beauty. It manifested itself in many aspects of Japanese culture, including architecture, garden design, painitng and all related crafts. Overall, the influence of Chinese steeped tea practices and literati culture on Japanese tea culture has been a rich and multifaceted process. It has contributed to the unique blend of aesthetics, philosophy, and rituals that define Japanese tea culture, creating a distinct tradition that reflects both local innovations and cross-cultural interactions.

A remarkable Ainu Shishi-bear mask of wood covered in genuine hair with glass eyes made for traditional festival dance performance. It is made of wood, dry-lacquer, paint, animal hair and features glass eyes. A unique contraption inside the head allows the eyes to move from side to side. In 30 years it is the only one I have ever seen. Roughly the mask is 35 x 26 x 30 cm (14 x 10 x 12 inches) and is in surprisingly good condition, dating from the later 19th to early 20th centuries. It comes complete with the dilapidated long trailing red and white cloth robe which would have hidden the dancers This is an unprecedented opportunity to acquire a unique piece of Ainu culture.
For a similar mask see the last photo, published in the book Garakuta Bijutsu (1975, Figure 27) titled Ainu Soshingu (Ainu accessories); a copy of the book is included.

The powerful gaze of a Kami (god) glares down over an archaic smile, giving nothing away, the eyes glittering with gold. This is a 19th century carved wood mask created in the life-like Iki-ningyo style covered in gofun and pigment complete with inlayed glass eyes and animal hair. It is 24 x 20 x 10 cm (9-1/2 x 8 x 4 inches) and is in overall fine condition, with minor losses to the pigments and hair typical of age.

A startling find! A Horned Demon mask dating from the Nanboku-cho to earlier Muromachi eras (14th to 15th centuries) carved from a single block of wood and enclosed in an ancient kiri-wood box. The visage would have once sported a lower jaw, likely suspended by chord, which is no longer extant. It is 21 x 15 x 9 cm (8-1/4 x 6 x 3-13/4 inches) and is in overall fine condition, exuding a great sense of age.
Oni Masks: Oni are a type of horned demon or ogre in Japanese folklore. They are often depicted with fierce expressions, sharp teeth, and horns on their foreheads. Oni masks were commonly used in various traditional Japanese performing arts, including Noh theater, Kyogen (a comedic theater form), and festivals. In Noh and Kyogen plays, Oni characters represented malevolent supernatural beings or disruptive forces. Oni masks were crafted with variations in color and design to represent different types of Oni with distinct personalities and roles in performances.
Horned demons and monstrous beings have been a recurring theme in various art forms and folklore throughout Japanese history. The Hannya mask, with its distinctive design and association with the Noh theater, is one of the most iconic representations of a horned demon in Japanese culture. However, it is just one of the many examples of horned demon imagery that has been present in Japanese artistry throughout history.
The term "Hannya" refers to a vengeful female spirit or demon, often depicted as a hideous and tormented being with sharp fangs and a horned, demonic visage. The character of the Hannya is prevalent in Noh theater, a traditional form of Japanese drama that dates back to the 14th century. Hannya is often portrayed as a woman who transforms into a demon due to overwhelming jealousy, rage, or sorrow. The transformation occurs after experiencing intense emotional pain, particularly from unrequited love or betrayal. As a result, the Hannya's soul becomes consumed by negative emotions, leading to her metamorphosis into a malevolent, otherworldly creature. The Hannya mask is a distinctive and iconic representation of this character. It features a fearsome expression with bulging, angry eyes, a long nose, sharp fangs, and two sharp, upward-curving horns on the forehead. The mask is crafted to express a complex range of emotions, capturing the Hannya's torment, grief, and anger.

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.