Catalog: Archives: Regional Art: Asian (588)

A late Edo period (19th century) image known as the Nehanzu, death of the Buddha. It is absolutely fantastic, one of the best painted I have ever seen. Mourners of all species surround the death bed of Buddha. His mother comes from heaven dropping a bag of magical medicine, which catches on the limb of a tree, unable to reach him in time. Hawk, tiger, elephant, Shishi,. Cow, snail, horse, monkey, crane, rooster, goose, pheasant, turtle, rabbit, egret, mandarin duck, mole, centipede, snake, peacock, lynx (?) deer, boar and worm. The elephant and Shishi fall back in horror at the death. Four other Buddha‚“ (gold figures), red and green holy creatures, 16 Rakan (Arhats), Dragons Jizo and a host of other deities all mourn the loss. His last student falls in a faint on the ground, another pours water to revive him. Framed it would be most impressive! The scroll as is measures 163 x 267 cm, the painting alone is 131 x 173 cm. All original, the painting is in fine condition; however the border is a bit loose and could use remounting. We have chosen to offer it in this condition to allow the buyer to choose the quality and method of remounting (scroll or frame), choice of cloth, colors etc. The story of the Buddha's last moments are recorded in great detail in the sutra known as The Sutra of the Great Extinction, in which the Buddha declares that he has taught all, withholding nothing, for he has no intention to exercise control by means of secret doctrines. Near his death he said: "Make the self your light, make the Law your light." Words equally important today as they were then. This is from the property of a temple collection. Should you desire more detailed and alrger photos please contact me as we have a package of photographs detailing the painting.

A vibrant bowl in the shape of an aubergine decorated with soaring cranes and clouds by Heian Isso enclosed in the original artist signed wooden box, the inside of which is decorated with a wispy poem by friend and compatriot Otagaki Rengetsu. The bowl is large at 26 x 29.5 x 7 cm (10 x 11-1/2 x 3 inches) and is in excellent condition. This is a very interesting piece, clearly made by Isso, but the box decorated by Rengetsu, showing the depth of their friendship and artist relationship.
Hinazuru no A young crane
yukusue tooki his timeless voice heard from afar—
koe kike ba an imperial reign
miyo wo chitose to for a thousand generations
utau nari keri to celebrate in song.
According to the book Black Robe White Mist one of Rengetsu’s best known ceramic collaborators was Isso (dates unknown). A number of pieces bear his stamp, indicating that h produced the hand formed vessels while Rengetsu decorated them.
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.

An amazing pattern of gold and silver maki-e decorates this lidded Tea Cup and stand dating from the later Edo period decorated with a samurai clan crest in gold. Assembled it is 7 inches (17.5 cm) tall, 6 inches (15.5 cm) diameter and in excellent condition, enclosed in a custom- fitted Kiri-wood box.

A superb later 19th century (Bakumatsu-Meiji period) celadon image of a Rakan enclosed in a high quality wooden display box. The rather brutish features harken back to older styles seen in Korea and early Edo Japan. A stand has been carved to fit the base of the deity and slides into the box, and the figure stands6-3/4 inches (17.5 cm) tall. It is in excellent condition. The Rakan (also Arhat Arahat, Arhant) is a perfected one, or a being which has overcome the three poisons of desire, hatred and ignorance, and at the end of his present life, will not be reborn, but will be freed from the cycle of death and rebirth and attain Nirvana.

Two Meiji period Ostrich eggs hollowed and decorated with rich lacquered Maki-e designs of Uminosachi (treasures of the sea) on one, and Royal Crests among scrolling vines on the other. They come in a custom collectors compartmentalized kiri-wood box, one with the original Meiji period stand, the other with a more modern brass wire stand. They are roughly 6 inches tall each (16 cm). The Tai fish has cracks in the thick lacquer, but it is stable, and features a glass eye. More photos availableuponrequest.

A lacquered and iron bound round lidded box called a kubi-oke made to carry the head of a man taken in battle or that of a man after committing ritual suicide for offering to the lord. It is 13 inches (33 cm) diameter, 11-1/2 inches (29 cm) tall with large handles from which it could be carried on a pole. There is mouse damage on one part of the bottom, but has not eaten through to the inside.

A beautiful Meiji period basin of light weight metal gilded with genuine gold leaf with each individual petal rising to form the fluted rim. Much worn from handling, the bowl measures 25 cm (10 inches) diameter and is 12 cm (5 inches) tall.

Waves thrash about in a playful frenzy below the calm watchful eye of a full moon partly blanketed by dark clouds in this extraordinary painting signed Kagyo dating from the later 19th century. It is bordered in ivory colored brocade embellished with clouds extended in golden brown silk and features ivory rollers. The scroll is 21-1/2 by 79 inches 855 x 200 cm) and, aside from minor bands of yellowing of the silk expected of age, is in fine condition. It comes enclosed in a period wooden box.

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 plum by Yumei Sosho of Sokokuji temple timidly opens its blossoms under a brief epithet by Taishitsu Sosho of Daitokuji temple. A rare gassaku work by these two priests. Ink on paper in original border, ivory rollers dated 1808. The ivory rollers will be replaced if shipping overseas. The scroll is 12 x 71 inches (31 x 180 cm). Overall it is in fine condition considering the age, however does cup some in the center and there are some marks mostly visible in the upper and lower borders. For copies of Taishitsu Seals see Daitokuji Rekidai Bokuseki Volume 3.
Taishitsu Sosho (1763-1847) served as head priest of Daitokuji Temple in Kyoto, the city of his birth. He entered the priesthood at the age of six when he studied under Unkei at Daitokuji, and studied calligraphy under Nagata Kansho. He was famous for his knowledge and sensibility in the Way of Tea, incense, I-go and the courtly sport known as Kemari.
Yumei Sosho (1731-1808) was born in Wakasa in Gifu prefecture, and wandered as a youth from temple to temple before settling at Sokokuji in Kyoto. There he studied painting under Ito Jakuchu and other studies under Baiso. Later in life he chose a dilapidated temple to rebuild and spend his waning years, but the same year was appointed the 115th head of Sokokuji. He was well remembered for his paintings of plums and birds.

An unusual decorative wooden sword (tea room sword) carved of hardwood in the shape of a dried fish signed on the belly pierced and wrapped with a faded silk chord. An excellent example of the genre it is 13-1/2 inches (34 cm) long and in fine condition.
It is said that these wooden swords were produced from the mid to late Edo period, in lieu of swords for those not allowed to carry weapons (all but samurai). During the Edo it is true that commoners wore them to ward off evildoers at night, generally heavier versions which would double as a truncheon, and later as statements of fashion akin to other sagemono. We have found however that their production lasted through the opening years of the 20th century, as long accustomed ornaments of fashion in the tea room (where even samurai were not allowed bladed weapons). To the repertoire of bokuto and doctors sword, we thus add the name Chato, or tea sword, as they were commonly referred to in Kyoto. As with other members of the sagemono group, they were most often made by carvers of Netsuke.

A breathtaking pair of 19th century (Meiji period) sake cups decorated with hawks stored in silk pouches and enclosed in a red lacquered period wood box. In the basin two hawks, one perched in a pine accented with inlayed mother of pearl, the other soaring high overhead, are depicted in minute detail in raised gold designs. Opposite waves crash over rocks speckled with solid gold lichen. The cups are 10.5 cm (4-1/4 inches) diameter and in excellent condition.

A whimsical tiger exhales incense smoke, his body glimmering with gold on black ripples; an antique oki-koro incense burner enclosed in the original Kikko signed wooden box. The tiger bears the Kikko mark on his butt. The piece is 15 x 10 x 13 cm (6 x 4 x 5 inches) and is in excellent condition. The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

A Boro cover textile of sewn together bits of worn out Asa (Hemp) fabrics resist died with various patterns. 146 X 163 cm (57-1/2 x 64 inches).

A variety of saya lacquer-style samples enclosed in a set of stacking boxes titled Nuri-Hon. Thirty samples covering inlays, various techniques such as nejiri, powdered shell, byakudan, wakasa, and tsugaru techniques. Each sample is roughly 3-1/2 inches (9 cm) lng, the boxes 7-1/2 x 4 x 1 inches (19 x 10 x 2 cm). Very rare and overall in fine condition, dating from the later Edo. This is from a collection of scholar items we are currently offering from the estate of a Kyoto family involved in literati and art movements from the later Edo period on.

A Tokkuri decorated with an Otsu-e image of a sword bearer and a poem by Otagaki Rengetsu enclosed in a wooden box annotated by the head of Jinkoin Temple and titled Rengetsu-ni saku, Otsu-e Tokkuri, The poem reads:
Furi tate shi As if raising and lowering
mameshi gokoro no his true heart like a standard
hitosuji ni in one line
koyuru ka imo ni will he pass through to meet his love
Osaka no seki. beyond Osaka Gate?
This may be an especially poignant piece for a woman who lost so much love in her lifetime. It is 4-/12 inches (11.7 cm) tall. There is a tiny lacquer repair to the rim.
Much has been written about the life and work of poet/artist Otagaki Rengetsu. 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.

Antique Japanese Mingei Flat Pounding Board An exquisite patina covers this heavy pounding board from Northern Japan used for working rice into dough. It is 53.5 x 31 x 9 cm (21 x 12 x 3-1/2 inches) and is in excellent condition.

A mellon shaped red-Raku Kogo incense case enclosed in the original signed wooden box by Raku Ryonyu (1756–1834), 9th generation head of the Raku family. It is roughly 2 inches (5 cm) tall and in excellent condition.

A raw earthen bottle hand formed for sake and engraved with a poem by Otagaki Rengetsu. It is 5-1/4 inches (13.5 cm) tall and in fine condition. The poem reads:
Fuyubata no On the Daikon Leaves
Oone no kuki ni In a winter field
Shimo Sae Te Frost gleams
Asatode Samushi Going out in the morning I feel cold
Okazaki no sato Here in Okazaki village
Much has been written about the life and work of poet/artist Otagaki Rengetsu. 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.

Ame-yu graces the rough textured clay of this large Mingei platter from Aizu in the Northern reaches of Japan on the border between Fukushima and Yamagata. Often mistakenly identified as Tamba due to the similarity in the coloring of this particular glaze, the underlying granular white clay gives it away. About the rim is a ring of fire-colored tendrils trapped in a groove, an interesting added feature. It is 31.5 cm (12-1/2 inches) diameter and dates from the later 19th century. There are some old chips in the rim darkened with age, typical of use for a utilitarian piece like this, otherwise it is in fine condition.
The development of the Aizu Hongo pottery tradition dates back to the Sengoku period (1428-1573), when tiles were locally fired for the roof of Aizuwakamatsu castle. But it was during the Edo period when Lord of the Aizu clan Hoshina Masayuki oversaw the promote and patronize pottery production of what became Aizu Hongo Yaki ware, and it flourished under the supervision of the clan. This subsequently led to the making of everyday pieces of pottery for use by people at large by the closing years of the Shogunete. Fighting during the Meiji Restoration in 1868 and a devastating fire in the Taisho period (1912-1926) caused significant disruptions however; the industry recovered and is still thriving today. It has the distinction of being the oldest area where white porcelain is produced in the whole of northeastern Japan.

An Edo period sumi-e painting stamped Shundo-no-in on very rough silk depicting Daruma heir Kensu Osho, an eccentric Chinese beggar-monk who lived on shrimp and clams. The painting is certainly no less eccentric than its subject, unique among paintings I have seen from the Edo era. It retains the original faded border of dragon dials and lucky symbols extended with beige and features bone rollers. The scroll measures 14 1/2 x 56 inches (37 x 142 cm) and is in original condition, with some wear to the border extensions. The box is titled:Kensu Osho Ink Painting, From the Ihotei Collection. The Hakogaki refers to the life of Kensu as one who exists unmoored and inscrutable, living freely beyond rules and regulations, and although the behavior of those like him may appear profane, it is actually sacred. The writing could refer to the rare stance of the artist as well, in a society where mediocrity was enforced from above, what artist dared to stray so far from accepted norms? Some eclectic monk himself, seeking to understand the daruma through his own art? A most intriguing work.

A wily fox stands, head cocked to one side wrapped in the robes of a nun, something to be wary of this ceramic Okimono by Takahashi Dohachi enclosed in the original wooden box titled outside Dohachi Zo Hakuzoso, and signed within Kachutei Dohachi Zo followed by the artists stamp. It is 8 inches (21 cm) tall and in fine condition. This dates from the later Edo or first half of the Meiji period (mid 19th century), a time spanning two generations of Dohachi when both ceramic sculptures and imagery of the supernatural were both popular.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto.
Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I in Kyoto. He opened a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles, along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. He is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among others.
The third generation (1811-1879) was known as Kachutei Dohachi and continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the anals of Kyoto ceramics well into the Meiji period.

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.

A bridge and weeping-cherry (shidare sakura) draped over swirling eddies on this silver lidded Meiji period Koro incense burner on its original matching table. On the table a waterwheel is visible downstream from the same scene, tiny silver beads floating on the crests of the ripples. The incense burner has a silver lid and removable liner, with a nashiji gold-flaked bottom. It is 4-1/2 inches (11.5 cm) diameter and in fine condition. The table is 14-1/2 x 7 x 2-1/2 inches (37 x 17.5 x 6 cm) and is also in overall fine condition. There were originally many more silver flecks on the waves, which have been lost to time. Both come inclosed in period Kiri-wood boxes.

A ceramic cover for a tea room brazier in the shape of a devil dressed in priests robes dated and annotated within. Dating from the Ansei era, inside it is annotated by Daiko Sogen (1772-1860), 435th head of Daitokuji. Well known for his poetry and mastery of the Tea Ceremony, he taught Zen to Eiraku Hozen, and was compatriot to Gengensai. It is 34.5 x 34.5 x 30 cm (13-1/2 x 13-1/2 x 12 inches) and is in fine condition.

A refined set of 5 later Edo Sake cups in a hybrid E-gorai style from the Kosobe kiln of Igarashi Shinbei decorated with pale blue designs (gnarled plum trees?) under thick cream colored glaze on very thinly potted clay blended with shiseki for great effect. This is likely the work of the second or third generation Shinbei, both known for their Korai-Utsushi (Korean style) wares. Each cup is 2-1/2 inches (6.5 cm) diameter. They are in surprisingly good condition, with no cracks. There are a few losses to glaze at the rims typical of sake cups (Kampai!) and one has a chip in the foot visible when the cup is upside down. Finding such a delicate set in such good condition from the Edo period is exceedingly rare.
The Kosobe kiln was established in Takatsuki, along the route between Osaka and Kyoto by Igarashi Shinbei sometime around 1790, The first generation (1750-1829) was known for Raku wares, Tea Utensils and Utsushi wares among more common household items. The second generations (Shinzo, 1791-1851) is remembered for Takatori, Karatsu, Korai and other continental styles. Shingoro, the third-generation head of the family (1833-1882) continued in that line, but secured a route to use Shigaraki clay and blended that with his local clays. He was known for Mishima and E-gorai styles. Into the Meiji period, the 4th generation head Yasojiro (1851-1918) saw the kiln close due to health problems of his successor Shinbei V, (Eitaro) in the late Meiji or early Taisho period.

A Mingei style sculpture of a sake-sprite (Shojo) making off with a barrel of rice wine on his shoulder dating from the 19th century. This architectural work was likely originally part of a gate, and would have been a welcome sign to thirsty fellows after a day of work. Carved from a single piece of hard Keyaki wood, It is in excellent condition. 28 x 12 x 5 inches (71 x 13 x 13 cm). Keyaki as a wood is known for its hardness, beautiful grain and pest resistance.

A surreal ink on cloth landscape by Kyoto artist Nakanishi Koseki (1807-1884) bordered in rich blue patterned silk and featuring radical flaring rosewood rollers. Soft ink tones and heavy washes of gray clash with the brisk strokes and jagged lines of the painting, creating a vivacious scene. The stamps on this match those on the next listing, a second scroll by Koseki. This scroll measures 19-3/4 by 76 inches (50.5 x 194 cm). There is one hard crease crossing the scroll above the large lower tree, and several minor wrinkles to be noted. Koseki was born in Osaka and studied under the great artist Oda Kaisen in Kyoto, where he established himself as a top rated artist. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

An awesome mid 19th century scroll depicting 2 highly detailed dragons battling in the clouds. The scene, signed Koun Teruhiro, is depicted in watercolor on 21 sheets of paper joined to form the canvas. Beside the signature is the words Hobun Utsushi, which means written in the style of Hobun. The huge scroll, measuring 45 by 90 inches (114 X 229 cm), has been fully restored and remounted in a border of green silk decorated with large flower mon (medallions) and ending in heavy, solid ivory rollers measuring 1-3/8 inches in diameter. The scroll dates to what the Japanese call BAKUMATSU, or end of the Edo government, roughly the 20 years preceding the Meiji Restoration. It comes in a large wooden box inscribed with the words Hontokuji Ihin (A gift to Hontoku temple).

A stunning Suzuri bako covered in gold lacquer and minutely detailed with scenes of the 53 stations of the Tokaido. Mountains and ocean views, famous temples and castles are all populated by travelers in various shades and degrees of gold. It is decorated inside entirely with fronds over gold nashiji. A superb work of art that would have taken months or perhaps even years to complete. The box measures 33 x 25 x 14 cm (13 x 10 x 6 inches) and is in overall fine condition. There is a small repair to the lip inside the box (see close-up) and some abrasions beneath typical of use.
The Tôkaidô (The Eastern Sea Route) was the most heavily travelled road in old Japan, running along the eastern coast of the main Island of Honshu and connecting the cultural capitol of Kyoto with the Military and Governmental Capitol of Edo (Modern Tokyo). Along this road were 53 different stations which provided stables, food, and lodging for travelers. It was an immensely popular subject in various media of art, the most famous of which may be the woodblock print series designed by Hiroshige.

A double sided accordion album bound in iridescent cloth from the Meiji period containing 57 total pages covered in ancient cloth samples. 18th -19th centuries. The album is 19 x 24 cm (7-1/2 x 10 inches). Generally in good condition but the covers have some wear and damage

An Edo period suit of raw iron with all matching parts, featuring 16 plate helmet with two lame shikoro and large fukigaeshi. The mask is fantastic, a real stunner with dramatic features and a large mustache. It has five plate sode and a go-mai-do cuirass of five iron plates, with kusazuri of leather scales. The sangu are all matching, very nice on dark silk tightly woven iron scales, with a crest in brass on the back of the hands. The original Maedate is in the form of a box and would likely have once held a charm for protection inside, perhaps a copy of the lotus sutra. A fine and unique armo dating from the mid to later Edo. The only damage of note is a general loss of lacquer on the leather kusazuri scales. It comes in the wooden box pictured. Stand and shipping are not included in the list price.

A breathtaking cup made from an egg cut and lacquered inside, then gilded with genuine gold, enclosed in the original signed age darkened kiri-wood box. It is 2-1/4 inches (5.5 cm) diameter and in perfect condition, dating from the Meiji period.

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.

This little guy is just about the cutest thing I have ever seen. A tiny mouse rests atop a bulging white radish, bristling blue leaves in full detail attached as if pulled fresh from the ground. Dating from the 19th century (later Edo to early Meiji period), it comes enclosed in an age darkened wooden box titled Daikon Nezumi Futamono (Radish/Mouse Lidded Receptacle). I confess in over 25 years dealing in Japanese art and antiques I have never seen one like it. It is in excellent condition. Unlike in the west, the mouse is viewed as a symbol of fortune, as mice only gather in homes where there is an abundance of food. The Daikon radish as well, is a symbol of fortune as it grows rapidly. If someone does not scream Kawaii I will not be able to take it!

A very rare 19th century elaborate head dress (Kanmuri or crown) of gilded parts inset with glass surmounted by a phoenix flanked by two dragons for use in the Japanese Noh Theater. A golden phoenix takes flight from the peak, surrounded by sun, moon and flaming jewel from which are suspended extravagant chains of glass and coral beads and gilded ornaments. Made of brass, paper, wood and thin wire, the entire is covered in gold with the sun and moon in enamel and burning jewels in glass. On the stand it is roughly 2 feet (58 cm) tall. Overall it is in very nice condition, enclosed in a beautiful 19th century wood box with brass hardware titled Tenkan (heavenly crown). This is the Tenkan which inspires the drama “Hagoromo” or The Feather Mantle.