Catalog: Archives: Regional Art: Asian: Japanese (581)

Starting with the famous verse by Chinese Scholar YoYu (AD 53-18) ”The written character is a picture of the heart” (Sho kokoro Ga nari) here are written 42 rules of calligraphy spread over 10 narrow panels by the famous calligraphist Ide Gakei dated 1677. The verses appear to have been written in one sitting, the style going from crisp perfect Kaisho characters through Gyosho stylized characters and into the elegantly running Grass script (Sosho). The way the artist allows his hand to flow ever more freely with each line is captivating when taking in the whole, and creates a dynamic not often found. The calligraphy work is mounted on ten gold panels bordered in black lacquer. The screen is 150 x 19-1/2 inches (382 x 49.5 cm).
The rules of writing reflect the scholar ideas which came from Ming China and the humble nature of the Japanese Tea Ceremony (Sado, the way of tea). A great writer must be a small man, the written hand is a window to the soul, The heart must be right or the verse will not flow etc.
Ide Gakei (b. 1644) was a well known and published calligraphist studied under Sasaki Shizuma and Uchida Teshu. He lived his early life serving the powerful Kaga fief, where his calligraphy became known throughout Japan. He later moved to Kyoto where he passed on his unique style to Suzuki Shosui. Gakei was also known as, Shosui and or another Shosui using alternate characters. Several of his original published books, including Zoku Senjimon and Sosho Enkai, are held in the Waseda University Library

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.

An exquisite Murashi-Do Bronze vase signed Shuho and enclosed in the original wooden box. The baluster form is interrupted by three ribs starting at the shoulder and running partially down the sides. The vase is otherwise entirely undecorated, leaving all impression to shape alone. A fantastic piece, it is 12 inches (30 cm) tall, 7-1/2 inches (19 cm) diameter and in fine condition. It dates circa the first quarter of the 20th century.

Brilliantly colored riders charge into rushing water on the gold leaves of this 18th century six panel screen relating the famous charge at the Battle of Uji Bridge. Tatsuna and Kagesue charge forward into the waters riding toward the enemy lined up on the opposite shore of the Uji River; the skeleton of the bridge visible in the back-ground. The screen measures 173 x 377 cm. (68 x 148-1/2 inches) each and retains the original Edo backing paper, with strong hinges and a good brocade border. It does need some surface repairs and restoration, mostly cosmetic as the screen itself is solid. We are offering this screen as is to allow the buyer to choose the level and quality of restoration desired. See The Art of the Japanese Folding Screen (ISBN , 1 85444 103 5) image 2 for a similar composition held in the collection of the Victoria and Albert Museum, London.

A set of 12 Kogo incense containers representing the 12 animals of the zodiac by Suwa Sozan I enclosed in the original signed wooden stacking-box. Each is roughly between 2 and 4 inches (5-10 cm). The Inoshishi (wild boar) has a small chip, otherwise all are in superb condition. In twenty years I have never seen a set like this and it certainly belongs in a museum.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A very rare painting of a skull and scattered bones lost to autumns dead grasses by important 20th century Zen priest Takeda Mokurai. Ink on paper bordered in brown cloth with gray extensions; dark wood rollers. The scroll is 16 by 68 cm (40.5 x 172.5 cm) in fine condition.
Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

A man-headed snake coils atop this incredible mid Edo period (18th century) image of Benzaiten (Saraswati) inside a mountain shaped reliquary of dark wood. Inside the gilded cave she sits on a gilded lotus base. The figure holds a variety of sacred implements in her 8 hands. Riding on the benevolent figures head is the snake seated behind a Torii-shaped Crown settled between two Buddhist jewels. The image is 8 inches (19.5 cm) tall, the mountain shaped receptacle 19 x 14 x 23 inches (48 x 35 x 58 cm). There are broken fingers on the right hand, and missing tama on the left hand lotus base, but overall it is in surprisingly good condition. Benzaiten is a Japanese Buddhist and Shinto Goddess from the Hindu goddess Saraswati, and has been worshiped in Japan since at least the 6th century. One of the central figures in the Sutra of Golden Light, she is the god of all that flows, including water, music and language. In Japan she has become the protector deity of the state, and therefore the Japanese people. In Shinto she is known as Ichikishima-hime, and in Tendai beliefs represents Ugaijin represented by a Shinto Torii and there (as in this figure) is known as Uga Benzaiten. This piece is from Shiga prefecture, home of one of the three great Benzai Shrines on Chikubu-shima Island in Lake Biwa.

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.

An exquisite large vessel by Seifu Yohei III (1851-1914) enclosed in the original signed wooden box. The mirror smooth surface is lightly tinged pink, a delicate touch only Seifu could create. The Fretwork about the center is absolutely perfect. The vase stands just over 12 inches (31 cm) tall, 5-1/2 inches (13 cm) diameter and in excellent condition. It is signed on the base Dai-Nippon Seifu Zo. Seifu, unlike many potters of his time, was low production and tenacious in his approach to perfection. What makes this piece so exceptional is not just the artist associated with it, but that the artist rarely made such large works. For his accomplishments he was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

Forty sections of various antique katana scabbards have been set about the circumference of this antique suiban basin for use in Kado and Keido (flower arranging or bonseki sand gardens). Striped, mottled, textured, engraved and polished; covered in sharkskin, snakeskin or lacquered cloth. All lie between belts of tiger striped ebony-like hardwood around a removable copper basin. The handles (on each end) are the actual tie points of the scabbard. One bronze button decorated with shells in silver and brass can be seen on one of the scabbard sections, and another is cut to receive the Kozuka (small knife) used by Samurai. The basin is 22-3/4 x 13 x 3-1/4 inches (57.5 x 33 x 9.5 cm) and is in excellent condition. Very rare!

A set of scholars desk items, including a Chinese Qing dynasty crystal brush rest in the form of two mountains, Chinese crystal stamp carved with four characters between dragons, and an unusual obelisk written with the Nichiren Buddhist epitaph Na-mu Myoho-ren-ge-kyo in radical script over textured surface, glass or crystal. We have been unable to find a single inclusion in the obelisk, making it either a perfect crystal, suiting a religious object, or glass. The stamp is four immaculately cut characters between two scrollwork dragons (I am not versed in Chinese, but the Japanese reading seems to be Min Zan Chu In). The obelisk is 3 inches tall, the stamp 1-3/4 inches (4 cm) tall and the brush rest roughly 2-1/2 inches (6 cm) long. All pieces are in perfect condition.

A small round gourd: polished, cut and decorated inside with delicate fronds in gold on black maki-e. This is superb. It is 3 inches diameter (7.5 cm) and in perfect condition, enclosed in a quality old kiri-wood box. .

Villains and travelers, Goblins and Priests, Various tales play out in 3 dimensions around the trunk and among the leafy branches of a massive tree forming the core and backdrop of this amazing 19th century altar bell stand. The piece is 6 inches (15.5 cm) tall, the same diameter. It comes enclosed in an old wooden box. This matches the Maezukue Altar table previously listed. One of the most elaborate I have ever seen.

A typical Muromachi style Sansui screen showing scholarly travelers in a ragged landscape of precipitous hills and temples dusted with clouds of gold flake likely dating from the late 16th century. It is bordered in fine antique patterned brocade with a black lacquered frame. The gold mist engulfs the scene, giving life to the unusually large figures, a Muromachi-Momoyama trait. In the area about the travelers’ path, gold has been rubbed into the paper, giving it a soft sheen. The screen measures 64-1/2 x 142 inches (164 x 361 cm) and is Completely Restored.

Pine boughs laden with snow shelter a pair of foraging raven in a spectacular scene reminiscent of paintings of the Kyoto school masters which decorates this Meiji period cloisonn$B!&(Bvase. The unusually tall tapered form swells at a tight shoulder to close about the wide neck wrapped with a band of darkly patinated silver. Silver wire defining the color is so thin as to be almost invisible. On the copper colored base drift three blue and white snowflake dials, the color matching that inside the mouth of the vase. There is an old repair of the highest quality visible upon close inspection (to the trained eye) in the blank of the undecorated side, as well as a number of fine cracks which seem to blend into the erratic branches of the pine tree above the dark birds. The vase sits on a custom made rosewood base with five scrolled feet and comes with an unusual custom made lacquered lid decorated with a peony (botan) in gold maki-e. Total height with base 16 inches (40 cm), the height of the vase alone 14 inches (35.5 cm).

A gold tree laden with peaches accompanied by a poem drapes over the sides of this large porcelain bowl made by Miura Chikusen and decorated by Hashimoto Kansetsu enclosed in the original signed wooden box. It is 7-1/2 inches (19 cm) diameter, 3-3/4 inches (9.5 cm) tall and in fine condition.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Southern School). He traveled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.
Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883, establishing the name on a grand scale. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist.

A beautiful large black Seto Guro Hikidashi Chawan with undulating rim sculpted to perfectly rest in the hands by some anonymous 17th to 18th century potter. It is 5 inches (13 cm) diameter, 3 inches (8 cm) tall and in fine condition.

An elegant rendition of the famous Rimpa Crane standing alongside a swirling river of silver created by Shoun for the Shobido Art Studio enclosed in the original wooden box. Extremely well crafted, the creature stands 11 inches (25 cm) tall and is signed Shoun Saku. The black lacquered table is 18 x 13 inches (45 x 33 cm) and is in fine condition.
Shobido has been commissioning works with first rate artists and craftsmen for its own facilities and top Department stores since 1900. Founded by Eto Eikichiro at the height of the salon era, it served as a focal point for art, and they scoured the country for artists and craftsmen in all fields. During the strict war years their business suffered under the laws against excess, and finally the studio was completely destroyed in the bombing of Osaka in 1945. The second generation took over in 1946, working to re-establish the company and connecting with Hanshin Department Store, slowly growing while promoting the cultural heritage of Japan. They are now in the 113th year.