Catalog: Archives: Regional Art: Asian (611)

Sakura blossoms begin to open among the draping branches of a weeping willow soughing in the breeze on this beautiful lacquer box by Inami Kirokusai enclosed in the original signed wooden box titled Wajima Nuri Soshun Maki-e Suzuri Bako (Ink Stone Box of Early Spring Design from Wajima). The design is performed over highly polished black, the interior in nashiji with pine saplings in raised design around the ink stone and water dropper. It is 24.5 x 13 x 3 cm (10 x 5 x 1-1/2 inches) and in excellent condition.
The four generations of the Inami family spanning the Meiji to contemporary were the subject of a major retrospective at the Ishikawa Wajima Lacquer Museum in 2013.

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

A framed calligraphy fan painting by important Edo period poet Kawano Tetsuto (1825-1867), published in the book Shijin Kano Tetsuto (1932). The ancient paper fan is mounted in a field of gold flake bordered with black lacquered wood, the frame measuring 11-1/2 by 23-1/2 inches (29 x 59.5 cm). There is one spot of damage to the flecked gold mounting in the lower right (see photos). Tetsuto was an influential poet and scholar of the late Edo period, trained in the arts under Yoshida Kakusen and Somekawa Seigan. Forced to read by his father, he began studying Confucian theory at the age of 6, and by 11 had mastered the 100 Sanyoshi poems, to be called a genius. Two years later he became a pupil of Shirotani Junji. He lived rather freely, loving wine, song and women. He wrote the poems Ho-no-Kai-ko and Shuengai-Nishu and was also a well known flute player. In 1862, five years before his death, he was elevated to the position of a guardian (hanshu Seiwako Oban Gashira) at Nijo castle in Kyoto. During his life he established a school in Osaka; his most famous disciples were Noguchi Shoyo and Yagi Tenkawa. In 1867 he died of complications from diabetes. 60 years after the passing of Tetsuto, his work remained so important; his rank was again elevated by the Showa Emperor in 1928. A copy of the book in which this piece was published is included with the sale.

Four calligraphy works dating from the Edo period mounted on an antique two-panel Kama-byobu tearoom screen; the backing paper covered with minute gold flake. The centerpiece of the screen is a scene of Mt. Fuji next to the character Ryu (for Dragon). This piece is signed Ryukoubi (Soro Ryu 1714-1792) a well documented artist known for calligraphy and poetry who seemed to change names and addresses as often as humanly possible. The other three pieces are by a separate artist, one of which bears the artists stamp. Each character has been bordered in silver leaf, before being applied to the gold flecked backing. The screen measures 17-1/2 by 70 inches (45cm by 178cm) and dates to the early 20th century. It is typical for pieces and screens to be remounted periodically due to damage or age, or even simply fashion, as popular styles of border material and backing paper change. Due to typical wear, we have had the back paper of this screen replaced.

A six panel gold screen decorated in a style harkening to the first half of the Edo featuring angular trees interspersed with blossoming cherries, a torrent splashing angrily through the right quarter topped with moriage gold clouds. Many repairs and losses to the heavy pigments attest to the great age of the painting. Excellent size for wall mounting, it is 62 x 138 inches (157.5 x 350 cm). The border is from a later mounting. Due to size the cost of shipping is to be accrued separately.

The character Take (bamboo) is struck with six brisk strokes of dark ink on this Chagake tea scroll signed Mitsuhiro (Karasuma Mitsuhiro, 1578-1638) and dated 1631. The calligraphy is exquisite. Mitsuhiro was born the son of Karasuma Mitsunobu (1543-1606) and, like his auspicious father, was a well known poet and songwriter accomplished in calligraphy. The paper is, as might be expected, repaired in several places and has marks and yellowing consistent with age, however is still supple and easily displayed. It is bordered in crushed blue paper, dating to the Meiji period, and came from the same collection as the two scrolls by Genryu. The scroll measures 22-1/2 by 44 inches (57 x 112 cm). There is one crease penetrating from the left side through the first character of the signature. Otherwise the scroll is in surprisingly good condition.

The gist of the script is Taoist, something to the effect of: This is my life, I am neither overtly talented nor gifted with genius, like a sail boat alone tossed among the waves I drink freely of sake untouched (unfettered) by others seen only from a distance. Ink on paper in a the rough silk border preferred by Literati artists with exquisite turned ivory rollers enclosed in a period wooden box (the rollers will be changed for something suitable if exporting). The scroll is 17-1/2 x 75-1/2 inches (44 x 192 cm) and is in overall very good condition, with minor wrinkles and handling marks typical of age.
Shibano Ritsuzan (1736-1807) was a Confucian Literati associated with the Edo government in the 18th to early 19th centuries. He was considered one of the three great scholars of the Kansei era. Born under the walls of Takamatsu castle in Kagawa on the Island of Shikoku, he was tutored first under Goto Shibayama. Recognizing his brilliance, along with Nakamura Bunrin, he was sent to the capitol of Edo in 1753 to study at the Yushima Seido academy established by the 5th Shogun. From 1765 he began studying history under Takahashi Zunan and in 1767 was appointed as an official scholar of the Tokushima Clan. In 1787 he was given an official appointment by the Shogunate, and he served them there, becoming the　op scholar at his alma mater of Yushima Seido in 1790.

A deep and mournful sound emanates from this ancient Temple bell from Zennoji temple dated the 20th day, fourth month of 1686. One panel is inscribed Humbly presented, Shokakuzan Zenno Zen-Temple treasure, For the Nyodendoshi-Mujo Bosatsu Buddha. It is further inscribed Donated by Harada Shitaro of Saijo Village for the priest Jusanzoshu. We have been told by the previous owner this and another bell are from Zennoji Temple in Kanazawa prefecture. The striker plate, in the form of a petaled flower, has worn over time to be almost indistinguishable in form. The bell measures 21 inches (53 cm) tall, 12-1/2 inches (32 cm) in diameter. There is a casting flaw beneath one of the studs, with a dent below, otherwise is in fine condition, especially considering its age. Originally a small Zen temple founded in 1566 on Shokakuzan Mountain, Zennoji was moved down to the base of the mountain later, and is recorded in the book ShinpenKamakuraShi published in 1685. The temples records state it was moved after being heavily damaged from a typhoon caused landslide. This is believed to have taken place over time between 1688 and 1731. Currently the temple bears a different first character (Sennoji), however is still read Zennoji in the local district. Now the temple houses a standing Kanon, but was originally said to have been dedicated to AizenMyo-O, destroyed by fire in the later Edo, and it was after this last rebuilding the temple name was changed.

This appears to be an incarnation of Shindara Daisho of the 12 guardian deities (Juni Shinsho). He has glass eyes and stands on the original Daiza.. The Deity is 21 inches (53.5 cm) tall, total height with stand is 33 inches (83 cm). Later Edo period (18th-19th century). The left hand has been replaced.

Flora in heavy pigment decorate the gold leaves of this two panel Rimpa screen dating from the late 18th to early 19th centuries. Tinges of red bring a brush of Autumn to the various grasses and flowers. Heavy veining on the gold as well, evidences the age and brings to vivid life the scene in the fore. The screen has been restored at some time in the distant past with some repairs performed then, and is bordered with patterned blue silk in a natural wood frame. Each panel measures 24-1/2 by 71-1/2 inches (63 x 181 cm) and is in very presentable condition.

Nita A ring of skulls playfully sojourn on the front of this rather unusual deep Edo Karatsu Chawan. On back another pair tumble helplessly over the thick speckled glaze. The base is bare earth, dark and shiny with age and handling. The skulls are not just resist painted on, but are actually incised, the eyes and nostrils set deep into the southern clay. The bowl is 3-1/2 inches (8.5 cm) tall, roughly 4 inches (10.5 cm) diameter and is in excellent condition, enclosed in a wooden box.

Silver canines gleam menacingly in the corners of the mouth of this terrifying Edo period sabiji-nuri iron Menpo face mask. It has a three lame nodokake also with sabiji-nuri, laced with tight blue chord. The mustache is a bit ragged and there are typical chips around the edges from use.

A set of two 18th century screens showing through an assortment of amicable characters, the traditional production of silk. Depicted with ink and light color on paper, every aspect of the process is visible in high detail from the sorting of the worms to spinning, dying, weaving, and the selling of thread and bolts of cloth. An exciting screen both from the quality of the art and from the historical narrative contained. Each screen is 67-1/2 inches by 12 feet (171 x 378 cm). It is bordered in a thin band of cream with a wide band of dark blue patterned with check-work boxes containing fortuitous symbols and has a black lacquered wooden frame. It has been remounted at some time in the long distant past, and is in fine condition.

What a fantastic expression worn by this Edo p. Seto Hand warmer (hibachi or properly Shuro/ Te-abure). The dark shiny Seto glaze suits well the beast portrayed. Coals would have been burned inside, heating the surrounding pottery walls, and the piece would have been placed on a step leading into the house for guests to warm their hands on or used within the house in a more formal room. It is 13 inches (33 cm) long and is in fine condition overall. It appears as if when potted the craftsman had allowed for a hole near the top of the opening for storing the hibachi tongs, however had second thoughts and filled that hole with a biscuit before glazing. A hairline stress crack has formed along the left side of that patch of clay; otherwise it is in excellent condition. Rabbits and Daruma are often seen, but the bull is an uncommon theme for this particular implement.

Spiraling lines and wispy trees rise up to the heavens in this convoluted landscape by Fujimoto Tesseki dated 1855. If one looks carefully, it is fun to see the artists playful choices of colors, not apparent at first, like the blue trunk on the central tree at the base of the painting. Dramatic and colorful landscape Ink and light color on silk, the scene is enveloped in a patterned white satin border with white piping in the Mincho style popular in the 19th century, and features absolutely massive rosewood rollers. The scroll is 21-3/4 x 78 inches (55.5 x 198 cm) and is in overall fine, original condition. The box is titled Keishi Giken no Hito Fujimoto Tesseki Okina Chakushoku Sansui (Colored Landscape by Noble Hero of the Old Capitol the Elder Fujimoto Tesseki) and is signed within Kozan.
Fujimoto Tesseki (1817-1863) was a samurai literatus from Okayama skilled in Martial arts as well as philosophy and Chinese History. A loyalist, he was killed in battle during the years leading up to the Meiji Restoration. A well known painter in the Nanga style, he left a small body of works for the world to remember him by. He was posthumously awarded by the Meiji government for his part in the restoration of the Emperor in 1892. He is held in the British Museum and Tokyo National Museum among others. Enclosed is a registry paper of the Mori family of Kyoto from whose collection this scroll came.

An exquisite wooden plate in cinnabar lacquer over black wrapped in a chord bound cloth bag end enclosed in an age blackened kiri-wood box dating from the Edo period. The surface of brilliant red has been worn through with handling revealing the black beneath about the rim and edges. It is 9 inches (23 cm) diameter and in excellent condition. The bottom is a brown tinged black (the brown is a product of oxidation, inherent only with age) upon which are written two characters in red. The box is titled Negoro Nuri Bon (Negoro lacquered Tray) and inside the box lid is written the name of the owner: ?hekitei Zo-gu (Collection of ?hekitei). The first character is too abbreviated to make a definitive reading.

Iyashiku mo tsune areba
hisashi hisashikereba onozu kara yoi kaori wo harau
If you perservere (with proper living), the years will grant you success. This was a famous last line from a treatise written by revered Han Dynasty scholar Cui Yuan (Cui Ziyu, 78–143). These same words were famously written by Kukai (Kobodaishi 774-835) the founder of Shingon escoteric Buddhism in Japan. The calligraphic style appears to be taken directly from the Saishigyoku Zayumei, written by Kukai, owned by the Masuda clan (now with Mt. Koya). Red over black lacquer on wood it is 11 x 69 x 3/4 inches (28 x 176 x 2 cm) and is in overall fine condition, with wear to the lacquer accenting the age. This is called a hashira-kake among other terms. It would have been possibly hung on a post in a temple or in an entrance hall (perhaps a Terakoya or Juku (School) or Confucian or Taoist institution or a public building, a reminder to people entering of some famous verse which would bring them into the correct frame of mind. Much like a scroll in a tea room, or a calligraphy screen in a zen monastery. It is in very good condition for something which has been exposed for centuries. There is enough wear to the lacquer to allow the black through in some places, accentuating the Negoro process, but not too much to be called damage.
The poem, written in 100 characters can be roughly translated to: Don't talk about the shortcomings of others, don't boast about your strengths. Do not gloat your goodnesses and don't forget the grace of others. Praise of the world is not worthy of envy, Choose benevolence as your code of conduct. Act after due consideration. Pay no attention to the ill spoken of you and speak no ill of others. Don't overrate your accomplishments, but consider yourself a fool as the saints did. Do not allow yourself to be sullied by the world. Although the outer surface is dull, maintain your inner light. Lao Tzu once warned that weakness is a manifestation of strength. Strength lies in humility, live simple and your possibilities will grow. The sage must be cautious in diet, drink and desire. Follow Faithfully These Tenets and you will Reap Sweet Scents Throughout your Years.
Due to size the cost of shipping will be accrued separately.
For a complete translation with original script please contact me.

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.