The Kura
sold
sold
A fabulous carved-lacquer incense box in the shape of a peach by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box. It measures 7.5 cm x 7 cm x 4.3 cm (roughly 3 inches long, 2 inches high) and is in excellent condition.
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.
The Kura
sold
sold
A school of fish crowd the black surface of this spectacular box by Goda Minoru enclosed in the original signed wooden box titled Nagare no Naka ni (Amid the Current). The rim is finished with powdered silver, and the interior is black flecked with silver flake Nashiji. It is 27.5 x 21.2 x 5 cm (11 x 8-1/2 x 2 inches) and is in excellent condition.
Goda Minoru (1933-1983) was born in Toyama, and trained under his father as well as Yamazaki Ritsuzan. He consistently exhibited with the Nitten National Exhibition (First time in 1969). He also won prizes at the Japan Contemporary Arts and Crafts Exhibition and the Japan New Crafts Exhibition. This piece dates from the last years of his short life when he was at his peak.
Goda Minoru (1933-1983) was born in Toyama, and trained under his father as well as Yamazaki Ritsuzan. He consistently exhibited with the Nitten National Exhibition (First time in 1969). He also won prizes at the Japan Contemporary Arts and Crafts Exhibition and the Japan New Crafts Exhibition. This piece dates from the last years of his short life when he was at his peak.
The Kura
$2,300.00
$2,300.00
A basket of dark red bamboo woven by the 4th generation Hayakawa Shokosai IV enclosed in the original signed wooden box. It is 22.5 cm (9 inches) diameter, 48 cm (19 inches) tall and in excellent condition.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.
Dashes of black form overlapping autumn grasses outside while spots and streaks inside create a strong sens e of movement on this yellow tinged bowl by Uno Sango enclosed in the original signed wooden box titled simply Chawan. It is 13.5 cm (5-1/2 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Uno Sango (1888–1973) was born in Kyoto as the eldest son of Uno Ninmatsu. In 1902, he entered the Painting Department of the Kyoto Municipal School of Arts and Crafts, transferring in 1905 to the Kyoto Municipal Ceramic Research Institute. By 1907, he won the Grand Prize Gold Cup at the Fine Arts Division of the World Exposition. In 1910, he constructed a large bisque kiln adjacent to the historic Kanza Denroku Kiln and began pioneering research into Chinese colored glazes in 1913. By 1919, he had developed innovative techniques, including "Ensei" (flame glaze) and "Suiseiji" (water celadon), while working with glazes like cinnabar red, Jun ware, celadon, and tenmoku. Uno's work was recognized internationally, with pieces entering the collection of the Tokyo National Museum in 1929 and later the Sèvres Museum (1951) and the Boston Museum of Fine Arts (1958, 1966). He was designated for preservation of techniques related to "Ensei" by the Ministry of Commerce and awarded for cinnabar and celadon techniques as Intangible Cultural Heritage assets in 1952 and 1957. In his later years, he received numerous accolades, including the Silver Prize at the Moscow Ceramics Exhibition (1960), the Order of the Purple Ribbon (1965), and the Order of the Sacred Treasure, Fourth Class (1967). His contributions to the ceramic arts culminated in receiving the Art Merit Award in 1972, solidifying his legacy as a master of Japanese pottery.
Uno Sango (1888–1973) was born in Kyoto as the eldest son of Uno Ninmatsu. In 1902, he entered the Painting Department of the Kyoto Municipal School of Arts and Crafts, transferring in 1905 to the Kyoto Municipal Ceramic Research Institute. By 1907, he won the Grand Prize Gold Cup at the Fine Arts Division of the World Exposition. In 1910, he constructed a large bisque kiln adjacent to the historic Kanza Denroku Kiln and began pioneering research into Chinese colored glazes in 1913. By 1919, he had developed innovative techniques, including "Ensei" (flame glaze) and "Suiseiji" (water celadon), while working with glazes like cinnabar red, Jun ware, celadon, and tenmoku. Uno's work was recognized internationally, with pieces entering the collection of the Tokyo National Museum in 1929 and later the Sèvres Museum (1951) and the Boston Museum of Fine Arts (1958, 1966). He was designated for preservation of techniques related to "Ensei" by the Ministry of Commerce and awarded for cinnabar and celadon techniques as Intangible Cultural Heritage assets in 1952 and 1957. In his later years, he received numerous accolades, including the Silver Prize at the Moscow Ceramics Exhibition (1960), the Order of the Purple Ribbon (1965), and the Order of the Sacred Treasure, Fourth Class (1967). His contributions to the ceramic arts culminated in receiving the Art Merit Award in 1972, solidifying his legacy as a master of Japanese pottery.
The Kura
sold, thank you
sold, thank you
Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro
A Red Raku Chawan named Yama no Gotoshi by the chief Abbot of Kenninji Temple Takeda Ekishu enclosed in the original signed wooden box which is in turn enclosed in an outer protective box. It bears the artists Ka-o signature engraved into the clay beneath near the foot ring. The bowl is 13 cm (over 5 inches) diameter, 7 cm (just under 3 inches) tall and is in excellent condition.
Takeda Ekishu (1896-1989) was born in Oita prefecture. He studied under Takeda Mokurai and Takeda Eisen, then rose through the ranks to become superintendent of Kenninji Temple in downtown Kyoto. He was born in Oita prefecture, and In 1902 he was adopted by the Yano family, headed by Yano Yōhei. In 1904 when the head of his adoptive family was conscripted for service in the Russo-Japanese War, he left the Yano household. The following year, at the age of 9, he briefly became a novice monk at Chitose-ji, but left after only a few months. During his third year of elementary school, he stayed for 5–6 days at Shoon-ji, a nearby Zen temple. This experience planted the seeds for his monastic aspirations. At his mother's request, the abbot Emon of Shoon-ji took him under his care, and on February 16, 1906, he entered Shorai-ji, a temple of the Daitoku-ji branch of Rinzai Zen located in Otsu City, Shiga Prefecture. The following year, in 1907, he underwent tonsure under the guidance of Otomo Sotada at the age of 11, thus beginning a rigorous Zen monastic life. In May 1911, he enrolled in a monastic school located within the precincts of Daitoku-ji, and spent four years living in its dormitory. Among his classmates were Kajiura Itsugai (later chief abbot of the Myoshin-ji) and Hayashi Ekyō (later chief abbot of the Tofuku-ji). In 1915 he entered Kennin Monastery to continue his training under Takeda Mokurai. Takeda Eisen assumed the reins at Kenninji in 1928, and Ekishu moved to study under him. In 1933 he completing the reconstruction of Zuisho-ji, and in November of the same year, he received certification (inka) from Koto-an Takeda Eisen, under whom he had been training. Subsequently, he held various significant positions, including professor at the Zen Higher Academy, abbot of Daisen-in in the Daitoku-ji branch of Rinzai Zen, and administrative head of Daitoku-ji. Following the death of Takeda Eisen on September 9, 1945, he was appointed master of Kennin Monastery. On May 10, 1980 (Showa 55), he passed on his role as master of Kennin Monastery to his Dharma heir, Minato Sodō, dedicating himself fully to his responsibilities as chief abbot. In 1981 he visited China as the leader of the "Second Representative Delegation to China" dispatched by the Japan-China Zen Friendship Association. To celebrate his 88th birthday a service was held at the Kennin-ji abbot's quarters, during which his art collection, Takeda Ekishu Gachō: Rakusō Yoji ("Idle Musings of the Fallen Grass"), was published in commemoration.
Takeda Ekishu (1896-1989) was born in Oita prefecture. He studied under Takeda Mokurai and Takeda Eisen, then rose through the ranks to become superintendent of Kenninji Temple in downtown Kyoto. He was born in Oita prefecture, and In 1902 he was adopted by the Yano family, headed by Yano Yōhei. In 1904 when the head of his adoptive family was conscripted for service in the Russo-Japanese War, he left the Yano household. The following year, at the age of 9, he briefly became a novice monk at Chitose-ji, but left after only a few months. During his third year of elementary school, he stayed for 5–6 days at Shoon-ji, a nearby Zen temple. This experience planted the seeds for his monastic aspirations. At his mother's request, the abbot Emon of Shoon-ji took him under his care, and on February 16, 1906, he entered Shorai-ji, a temple of the Daitoku-ji branch of Rinzai Zen located in Otsu City, Shiga Prefecture. The following year, in 1907, he underwent tonsure under the guidance of Otomo Sotada at the age of 11, thus beginning a rigorous Zen monastic life. In May 1911, he enrolled in a monastic school located within the precincts of Daitoku-ji, and spent four years living in its dormitory. Among his classmates were Kajiura Itsugai (later chief abbot of the Myoshin-ji) and Hayashi Ekyō (later chief abbot of the Tofuku-ji). In 1915 he entered Kennin Monastery to continue his training under Takeda Mokurai. Takeda Eisen assumed the reins at Kenninji in 1928, and Ekishu moved to study under him. In 1933 he completing the reconstruction of Zuisho-ji, and in November of the same year, he received certification (inka) from Koto-an Takeda Eisen, under whom he had been training. Subsequently, he held various significant positions, including professor at the Zen Higher Academy, abbot of Daisen-in in the Daitoku-ji branch of Rinzai Zen, and administrative head of Daitoku-ji. Following the death of Takeda Eisen on September 9, 1945, he was appointed master of Kennin Monastery. On May 10, 1980 (Showa 55), he passed on his role as master of Kennin Monastery to his Dharma heir, Minato Sodō, dedicating himself fully to his responsibilities as chief abbot. In 1981 he visited China as the leader of the "Second Representative Delegation to China" dispatched by the Japan-China Zen Friendship Association. To celebrate his 88th birthday a service was held at the Kennin-ji abbot's quarters, during which his art collection, Takeda Ekishu Gachō: Rakusō Yoji ("Idle Musings of the Fallen Grass"), was published in commemoration.
The Kura
sold
sold
A Noh mask representing either the deified spirit of the Sugawara no Michizane and or a god linked to agricultural rituals. Carved wood with mineral pigments and gold, it is 22 x 16 cm and in fine condition, dating from the 20th century.
The mask's unassuming nose, thin-lipped, open mouth exposing upper and lower teeth, and fleshy cheeks are simple and human-like. However, the reddish coloring, the hair around the lips, the eyebrows that sweep upward, and the gold metal eyes that peer downward give the mask an air of heightened emotions and movement. Used to portray Michizane in the plays such as Raiden and is also connected to agricultural rites and is used to portray heavenly gods.
The mask's unassuming nose, thin-lipped, open mouth exposing upper and lower teeth, and fleshy cheeks are simple and human-like. However, the reddish coloring, the hair around the lips, the eyebrows that sweep upward, and the gold metal eyes that peer downward give the mask an air of heightened emotions and movement. Used to portray Michizane in the plays such as Raiden and is also connected to agricultural rites and is used to portray heavenly gods.
The Kura
sold, thank you
sold, thank you
A carved wood Noh-men Mask of an aged male figure called Okina. Carved wood covered with Gofun and mineral pigments with horse-hair and chord, 20th century. It is 18.5 x 15.2 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.
The Kura
sold
sold
A Noh mask representing a middle-aged woman torn by separation from a loved one, either man or child. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. Gentle and mature, fukai's face is filled with a melancholy that comes from experience and feeling. The features are deep-cut, with crevices along the lower cheeks and deep-set eyes with heavy eyelids and drooping corners. The well-modulated lips neither smile nor frown. The fleshy face has a protruding forehead and chin, creating a slightly concave silhouette. Fukai masks come in a spectrum of ages, the oldest being labeled yuki no fukai (snow), the next tsuki no fukai (moon), and the yougest hana no fukai (flower).