Catalog: Archives (589)

Ivy in colored maki-e lacquer drapes over the ro-iro polished black of this museum quality Tankei oil lantern dating from the 19th century complete with oil container, with both ceramic and lacquered-brass oil dishes; enclosed in the original wooden storage box. It is 22 x 18 x 54 cm (8-1/2 x 7 x 21 inches) and is in overall fine condition, with minor wear typical of age and use.
Historically slow burning rapeseed or fish oil would have been used, the long wicks burning on the dish draped over the notch at the top of the back. The orange dish would have been set underneath on the compartment lid to catch soot and drippings.
On the box is written (inside) Suki-e Tankei, Togidashi Maki-e Iwata (name illegible)ei saku (Ivy Decorated Oil Lamp, Togidashi Maki-e made by Iwata (illegible)) followed by the signature Iwata Takumi at the bottom. Outside, is written the same thing (sans signature). The paper up top reads Jidai Maki-e Tankei (Antique Makie Lantern), below is an inventory number (Andon Niban) Koko Saku Tankei. Like all works of art in Japan, several people would have been involved in the production of this piece, a Sashimono-shi who built the wood parts, the lacquer artist, the metal artist and the potter. In this case the pottery bears the stamp of the Raku family, traditional potters in Kyoto.

A lovely late Edo to early Meiji period square footed dish decorated with autumn grass and crosshatching in underglaze iron with a charming lacquer repair in one corner featuring a crescent moon expertly rendered. The dish has been formed on a cloth covered pattern; impressions remain visible in the surface through blanks in the thick white glaze. It was made with fluted corners, with 4 pressed on loop feet. The dish was dipped in glaze from one side, then held on edge, allowing the glaze to run in several thick streamlets across the center, finger marks of the artist as he held the dish after dipping still visible as blanks in the white. A very attractive repair has been performed to one corner using three shades of lacquer, creating a golden moon partially obscured but still visible through silver clouds. The piece comes enclosed in an old wooden box, and measures 8 by 10 inches (21 x 25.5 cm).

Gold clouds border a spectacular and rare scene of birds flying amid wisteria (fuji) on this fine 19th century gold screen. The screen is roughly 68 by 148 inches (172 x 376 cm). We are offering this screen as is, to allow the buyer to pursue restoration to a level they deem satisfactory. In need of restoration, there are scratches in the gold over the birds, three marks low in panel three and a number of thin tears along the lower portions of the 6 panels. For detailed photos please inquire.

A 19th century (early Meiji) period Buddhist image we believe to be a thousand armed version of Yakushi Nyorai accompanied by two sages carved entirely of fragrant sandalwood on a gilded wooden base. The group is in total 15-1/2 inches (39 cm) tall, the image alone 5-1/2 inches (14 cm) tall. Both sages are missing an arm, as well as one lotus blossom rising from the wave patterned base. The holy figure itself also once had a greater number of arms, which have been lost over the last 150 years.

A magnificent and seldom found set of Ao or Blue-Bizen Tokkuri Sake decanters dating from the Edo period enclosed in an ancient kiri-wood box. The hand-turned pieces are in excellent condition, with no chips or cracks. The undecorated clay of each pinched vessel is an unusual shade of blue/gray, thus the name. Each piece measures roughly 6 inches (15 cm) tall. An exceptional and highly sought after addition to a collection of Japanese ceramics.

Perhaps the best dragon carving we have ever owned, here is a solid Keyaki carving taken from the interior of a temple with glass eyes glaring fiercely out at anyone who threatens the sanctity of Buddhism. Flames leap from the body blown by fierce winds as it rises from the Churning ocean. The carving practically roils out from the wood panel, fully in three dimensions. It is 78 x 26 x 10 cm (31 x 10 x 4 inches). Please notice the yellow arrows in the last photos, as the whisker of the creature has been cracked and broken off. It is otherwise in surprisingly good condition. The carving is from a Temple in Osaka which is currently being re-built.

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.

A pair of powerful Shishi guardian carvings dating from the later Edo period, 18th-19th century, in the Ah-Un expression (Exhaling and inhaling). Ah-Un has many allusions, it is the beginning and end of the alphabet, summarizing all in between, and is said to be inhaling good fortune, and exhaling bad. Glass eyes inset into very human faces. They are 10-1/2 inches (26.5 cm) tall, 9-1/2 x 5-1/2 inches (24 x 14 cm). Ah has a chip in the foot and tip of the tail whereas the end of the tail has been broken off of Un.

Wild chrysanthemum rise along a brief poem on the cream-colored sides of these Tokkuri by Seifu Yohei enclosed in the original signed wooden box titled Seizan Sakabin. They are 15 cm (just under six inches) tall and in excellent condition. There is a pre-firing imperfection in the rim of one of the Tokkuri.
Seifu Yohei I (1803-1861) founded the Seifu dynasty in Kyoto. He was born in powerful Kaga-kuni, modern day Kanazawa prefecture. After apprenticing with the second generation Dohachi, he established his own kiln in the Gojo-zaka pottery district of Kyoto. Seifu Yohei II (1844-1878) took over that world upon his father’s death and continued to elevate the family name. His work was presented at the Philadelphia Worlds Fair in 1876, that piece was purchased at the time by the Victoria & Albert Museum in London. He held the reigns for only a short time, and died at the very young age of 34, leaving the kiln to brother in law, who would hurl the name of Seifu onto the annals of history recording the highest qualities of world porcelain artistry. For more on this illustrious lineage see the book Seifu Yohei by Seki Kazuo (2012).

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.

A colorful and impressive scroll featuring a bushy tailed neko-tora, or cat tiger from the late Edo period. The neko-tora is a by-product of the Japanese closed border policy, rigorously enforced during the Edo period, which eliminated outside trade and influence. Therefore, Japanese artists were forced to come up with their own ideas of what a fearsome tiger looked like based upon older paintings and skins. This is one of the most imaginative and detailed I have yet seen, with each standing hair individually painted. The cat, stopping to drink from a stream, stands before a crooked pine, caught at the moment it sights an enemy, its bulbous green eyes staring past twitching whiskers, ears flattened against its head. The sinewy creature is well depicted as is the Kano style lines in the background plants trees and waterfall. The scene is framed in dark, purple silk embellished with fan shapes, and ebony rollers. Despite some creasing, the scroll is still very presentable and would be an eye-catching hanging. It measures 29-3/4 by 69-1/4 inches (75.5 by 176 cm)

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 troop of Shishi lion dogs sewn with couched gold thread. frolic among the blossoms and crashing falls embroidered on the re-purposed rich blue patterned Edo period silk of this altar cloth. The original form was likely an uchikake kimono, assembled as an altar drape as a tribute to the owner at a Buddhist Temple. Embroidered up high is the Mitsuba-aoi crest of the Tokugawa Shogun, indicating this was from an aristocratic family as the quality of the embroidery presmes. The dimensions are roughly 150cm (59 inches) x 170 cm (67 inches) tall, and it is in remarkably fine condition. The kimono was re-fitted into its current form dated on back Meiji 13 (1880) followed by the name Okawa Yoshiuemon

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 rare set of five tiny Gosu cups for drinking Gyokuro steaped tea from the Shidehara kiln of Sanda in Hyogo prefecture dating from mid to later 19th century (Late Edo to Meiji). Fish circle the cups as they swim among water plants. Each cup is 2 inches (5 cm) diameter and in great condition.
Shidehara was a kiln established in the Sanda district of Hyogo prefecture in the mid 18th century. They created works based on continental styles of Gosu, Sometsuke, aka-e and later celadon. It is from this kiln that Sanda-yaki was born, to become a major production area for celadons and other pottery styles starting in the late 18th century.

A skeleton sits in meditation, dried autumn grasses rustling in the wind the only sound on this unusual Edo period scroll. Above is an epitaph reading: Impermanence takes life like wind strips the petals from a flower, Neither Gods nor Saints can evade, Evil within mars the spirit, Lofty stature or humble servitude, All fall prey, Yet all can be forgiven. To the right of the seated figure is a tablet covered in Sanskrit characters. The age darkened paper is bordered in sumptuous copper brocade with an inner frame of gold laced plum and features black lacquered wooden rollers. The scroll has been completely remounted, reflecting the original design. It is 18-1/2 by 53 inches (47 by 134 cm) and is in good condition for the age, with some minor insect damage to the paper surface, and loss to the white gofun powder forming the seated figure.

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.

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 fabulous large Mingei Tokkuri from the Satsuma region in the shape of an eggplant, glazed in black with crystalline blue about the neck over iron rich glazed clay. Likely from the Hirasa kilns, one of the great Satsuma production centers on the southern Island of Kyushu, 18th to early 19th century. It is 24 cm (10 inches) tall and in overall excellent condition, enclosed in a kiri-wood collectors’ box.
The history of Satsuma ware goes back to the 16th century when Japan fought in the Imjin War, ( also known as the Porcelain War), in which Yoshihiro Shimazu, Lord of the Satsuma domain, brought back eighty Korean potters, giving birth to a new ceramic tradition on Japanese soil. There are four main historical lines of Satsuma ware: Tateno, Ryumonji, Naeshirogawa, Hirasa. They are roughly separated into white wares, black wares and porcelains. Kuro Satsuma (black ware) is made by using combinations of black or brown colored glaze. The body itself is dark brown since the clay contains iron from the local soil enriched by the volcanic ash of Sakurajima.

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.

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.

A very unusual Toyoraku Usubata vase covered outside in black lacquer decorated with geometric gold maki-e designs, the inside nearly swamped by organic green flowing to the center. It comes enclosed in the original somewhat dilapidated wooden box signed: The 75 year old man Toyosuke. This appears to be the signature of the third generation, and so would date from 1854, only a few years prior to the death of the fourth generation who began the technique of lacquering pots. It is 25.5 cm (10 inches) diameter at the top, and stands21 cm (8-1/4 inches) tall, in overall excellent condition. Lacquer has been re-applied to the foot ring and there is a small loss in the bulbous center of the vase.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A most exciting find, a scroll by five of the greatest scholar-painters of the Meiji period, Tanomura Chokunyu, Suzuki Hyakunen, Tomioka Tessai, Nyoi Sanjin and Yamanaka Shinten-o; all of whom resided in Kyoto during the Meiji period. Ink on paper in a brown cloth border befitting the Daoist figures. It comes in an annotated by by Tessai from 1911. The scroll is 29-1/4 x 75-1/2 inches (74 x 192 cm) and is in excellent condition.
Nyoi Sanjin (Tani Tetsuomi, 1822-1905) was born the son of a Doctor serving the powerful Ii clan of the Hikone fief on the Tokaido road between Kyoto and Tokyo. Trained as a samurai and a doctor (including Western medicine in Nagasaki), he sided with the imperialist cause during the troubled times of the 1850s and 60s while working as a Doctor in Hikone. He served in governmental posts after the restoration of the Emperor in 1867, retiring to Kyoto in the 1880s.
Suzuki Hyakunen (1825-1891) was born in Kyoto and studied under Yokoyama Kakei. He served as a professor at the Kyoto Prefectural School of Painting (modern University of Art) and thus mentor to many young artists of his day, including his own son Suzuki Shonen. Works by him are held in the V&A, Ashmolean, Museum of Fine Arts Boston, Philadelphia Museum of Art, University of Michigan as well as a host of Domestic institutions.
Tanomura Chokunyu (1814-1907) was born in Oita (the Oka Feif) and studied initially under Okamoto Baisetsu before moving to paint under the famous literatus Tanomura Chikuden (1777-1835), who adopted him as a son and had a very strong influence on the young artist. Upon Chikudens death he also studied briefly under Oshio Chusai (1792-1837) then finally ventured out on his own upon that teachers passing. He moved to Kyoto, where he helped found the Kyoto Municipal School of painting and eventually withdrew from the world, becoming an Obaku Zen Monk in 1902.
Tomioka Tessai (1837-1924)was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Yamanaka Shinten-o (Seittsu 1822-1885) was born near Nagoya in the village of Higashiura, the second son of a wealthy farming family. After studying in Osaka with scholar Shinozaki Shochiku (1781-1851), he moved after to Kyoto where he became a member of the anti-governmental movement supporting restoration f the Emperor. Following the repression of 1858 when many opposition figures were arrested and executed, Shinten’o went to Ise and studied with Saito Setsudo (1791-1865) for three years before returning to Kyoto. He was an active supporter of imperial loyalists, providing food and money to the troops fighting to establish the new regime. In recognition of his support he was appointed to a series of governmental posts. In 1873 he quit the world of politics to begin a quiet life of scholarly pursuits in the Shimogamo area of Kyoto and established a sprawling villa in Arashiyama so well regarded was that the Meiji Emperor stayed there during his 1877 visit to Kyoto.

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

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).

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 fine wakizashi in saya of crushed aogai shell in lacquer with engraved silver fittings adorned with a family crest wrapped with matching Kozuka. Kyoto license number 59007 Heisei 9.
blade length: 38.9 cm
sori:0.7 cm
motohaba:2.4 cm
motokasane: 0.6 cm It is in excellent condition.

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.

A dry ink on paper image of mushrooms growing up along a garden stone dated 1874 by Tani Nyoi (1822-1905). The scene is signed Nyoisanjin, and dated the second month of 1874 hemmed in by origami cranes on cream satin in a field of rough pale green silk and features dark rosewood rollers. The style is very much in the literati tradition predominant during the early Meiji. The dry vigorous strokes evoke a sense of fleeting solidity, as if wind were about to blow the light paper away. And certainly it must have felt that way for a scholar/artist born in the late Edo who had experienced the unrest and upheaval of the Meiji restoration and ensuing battles, and the sudden influx of technology from the West. The artist Tani Ryutaro also went by the name Tani Tetsujin, Hyakuren and Taiko. He was a ranking figure from the Ii fief of Hikone, but studied philosophy and the scholar arts throughout Japan. In 1870 he was involved in problems of state but was promoted the following year, and later appointed the rank of minister of the left, finaly receiving appointment of Seigo-I by imperial decree. He left his post in 1874, for a period of reflection during which time he lived a quite life in Kyoto. It was during this period he was called Nyoisanjin, and it is from the first year of this period that this scroll hails. It measures 33-3/4 x 48-1/2 inches (85.5 x 123.5 cm) and is in fine condition. There is no box however we could have one made if desired.

Green or Blue, which will win this contest? Two shishi lions vie for our attention on this absolutely fabulous pair of 19th century screens. The images are performed with pigment on applied silver, not an easy medium from the start. One creature pounces, mouth open, teeth barred while the other crouches, mouth shut, ready to leap. Peony, a flower typically associated with the creatures, grows about them. Each screen is 68 x 137 inches (173 x 348 cm). They have been fully remounted at some time in the near past (latter 20th century, 1970-80s?) and are in fine condition. Some repairs were affected at that time. A most impressive set of images, incredibly rare. Open and Closed Mouths of Guardians: Japanese Shishi (Shisa in Okinawa) Fu-dogs or Pinyin in China, Inari (fox guardians in front of shrines) as well as the Buddhist Niomon images are almost always depicted one with mouth open (Agyo) the other mouth closed (Ungyo). As a pair, they complement each other. One represents latent power, mouth held tightly closed in wait, while the other represents overt power, baring his teeth in action. The most common explanation of this imagery is the open mouth figure (feminine in Japan) scares away evil with its cry, while the closed mouth figure (masculine) keeps inside fortune and good spirits. Most Japanese adaptations state that the male is inhaling, representing life, while the female exhales, representing death.

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.

A very rare Nana-sun plate with swirling hake-me design from the kilns of Utsutsukawa dating from the early to mid Edo period wrapped in a ragged bit of sarasa dyed cotton cloth and enclosed in an age darkened wooden box titled Utsutsukawa-Yaki Kashibachi - Ikko (Sweets dish-1) It is 7-1/2 inches (19 cm) diameter. Thinly potted, there is a tiny chip in the rim, otherwise is in perfect condition; exceedingly rare for this type of pottery.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A large 17th to 18th century Buddhist sculpture of a Rakan (arahat), well sculpted, his naked torso gilded in gold with robes and shoes in black lacquer, carrying a large urn which is an active incense burner. The sculpture is 2 feet (61 cm) tall and in overall fine condition. There are minor losses to the lacquer and gilding typical of age, and a repair to his left foot. Both little fingers are missing from his hands; these could be repaired if desired at additional cost.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

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.

An Edo period image of plums blossoming on thick branches by Kitayama Kangan. Ink on paper in a patterned cloth mounting with beige piping in the Mincho style so popular int eh 19th century and featuring bone rollers. It is 21-1/2 x 78-1/2 inches (55 x 199 cm). Some minor loss to the piping at the top of the scroll, otherwise in surprisingly good condition.
Kitayama Kangan (Ba Moki, 1767-1801) was the grandson of a Chinese émigré. He studied painting under his father Ba Doryo (Also used the Japanese name Sugawara Doryo) and furthered his own education with self study of Chinese Northern School painting thus was accomplished in many styles of painting, including Chinese and European styles. His eclectic style was quite striking in mid-Edo Japan, and he attracted as a student one of the greatest later Edo painters Tani Buncho. He and his father also heavily influenced Shiba Kokan in his map making (for more on that see “A study of the background to Shiba Kokan's celestial map: the roles of Ba Doryo and Ba Moki”. Unforutnately he died quite suddenly at the age of 35. The great literatus Tanomura Chikuden stated that had Kangan lived longer he would have vied with Buncho in greatness and fame.

An elegant Edo period Mokko-Gata bowl decorated in gosu floral motifs over yellow under a clear glaze from the kiln established by Chinese Ming émigré Chin Genpin (Chen Yuanyun 1587-1671) around 1660 in Nagoya under direction of the Daimyo of Owari Province Tokugawa Mitsutomo. The piece makes use of Seto clay covered in a combination of imported yellow glaze and local glazes mimicking the popular Annan Yaki of Southern China and Vietnam. It is 15.5 x 11 x 7 cm (6 x 4-1/2 x 3 inches) and is in excellent condition.
Chen Yuanyun (Jap. Chin Genpin) was born in Zhejiang and studied at the Shaolin Temple in Heinan. He traveled to Japan on more than one occasion, the first in 1619. A gifted linguist, he became affiliated with many of the growing literati class in Nagasaki and would later travel to Kyoto and Edo where he became a favorite of the Shogun. He taught Confucian doctrine at the Domain School of Owari province from 1638, and with the fall of the Ming Dynasty shortly after remained in Japan. For more on Chin Genpin (Chen Yuanyun) see Articulating the Sinosphere by Joshua A. Fogel

An antique cast bronze waniguchi bell or gong, the type used to hang in front of places of prayer and under temple eaves dated 1710. Often these can be found hanging over saisen-bako where the bell is rung by clanging a dangling rope with wooden corbel against the bell to awaken the gods; coins are tossed and a prayer given. Anyone who has been to a Japanese Temple or Shrine may have noticed one. A much thinner cast than the later bell we are offering

An haunting 17th century sumi-e image of a goose at twilight by Kano Toun (1624-1694) in the original Edo silver threaded brocade border patterned with clouds, upper and lower extensions of heavy coffee colored cloth ending in ivory rollers. The almost complete dominance of white seems to convey a passage through space, from clarity into obscurity, leaving the viewer with a slight sense of loss echoing in ones memory. Kano Toun, (born Masanobu, 3rd son of Goto Mitsuyori) first learned painting under Hogan, then became the pupil of Kano Tanyu (1602-1675). The influence of Tanyu on the painter is obvious. This is one of the finest scrolls we have owned. It measures 10 1/2 inches by 56 inches and is in fine condition.

A boxed set of fifteen unique bowls with lids for clear soup made for the Lord of the Yanagisawa family enclosed in a wooden box dated the 7th month of 1730. What makes this set quite unique is that each bowl is singular, a different design, color, shape or technique. But throughout is the one continuous symbol, the four petaled crest of the Yanagisawa clan.　The box is titled Yakatasama, Go Suimono wan, Yangisawa Shimono and on the side Jugonin-mae. Yakatasama, means a nobleman's house such as a public house or a samurai house. Under the Shogunate it was a title or honorific granted to the head of a prestigious or meritorious samurai family or feudal lord of a Great Clan. Suimono Wan are bowls for clear soup served between parts of the meal to clean the palette. Yanagisawa Shimono is the name of a member of the Yanagisawa clan. On the side is written Jugonin-mae or service for 15. The box is divided into three compartments holding five bowls and lids in each compartment. Each bowl is roughly 12.5 cm (5 inches) diameter and they are in overall excellent condition with some browning of the lacquer inside due to heat from use.
Kawagoe-jo Castle in Musashi Kuni in modern Saitama Prefecture was given to the Yanagisawa clan by the fifth shogun in the 7th year of Genroku (1694). In 1724, in gratitude to the family’s service and recognition of their skill at administration, they were granted control over four domains (Yamato, Omi, Kawachi and Ise) totaling 150,000 Koku of rice. Undoubtedly at that time there would have been a sudden need for furnishings bearing the symbol of the family throughout their four domains, and this set of bowls is one of those furnishings. To this day the crest adorns the Yanagisawa Bunko library a designated cultural property in Yamato Koriyama city housing tens of thousands of antique texts from the era, a testament to the power of this important clan.

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.

Waves lap at the dark shore crowded with cranes on this elegant 18th century paper screen embellished with clouds of gold flake signed Hokkyo Shunboku (O-oka Shunboku, 1680-1763). A bramble of dried bamboo hides one sleeping form, the others strut about oblivious to the frigid winter air. Turgid blue water rolls slowly behind, waves licking at the near shore. A fine example of the mid-Edo aesthetic; the screen is 67-1/2 by 148 inches (172 x 376 cm) and is in excellent condition, recently fully re-mounted. It is bordered in green silk with a black lacquered wooden frame reflecting the original, backed with dark blue paper embellished with black crests. As might be expected there is loss to the white gofun coating on the birds, and some repairs performed during restoration. This screen was bought personally by us in Kagoshima from the house of a former high level retainer of the Satsuma Fief. It was likely purchased or commissioned during the procession from Edo to Satsuma performed every three years by the Daimyo of that powerful fief. O-oka Shunboku was born in the merchant city of Osaka. He was a largely self taught artist, initially mastering the rules of the Kano school, then moving into Chinese style painting of the Yuan period. A talented painter, he was equally well known for his mild personality and mastery of the cultured doctrines of Tea Ceremony, Incense Testing, Dance, Song and Poetry. He was popular from a young age, and patrons fought for their place in line at his studio door (according to Araki) He is very well known for his reproductions of Chinese painting manuals and the large number of art books he published. He eventually rose to the level of Hogen, very rare for an artist with no lineage behind him. He died at the age of 84, and is buried in Komyoji Temple. He was survived by an adopted son, and is accredited with being an early influence on Ito Jakuchu (according to Daiten Kenjo) with his emphasis on Yuan painting, as well as Katsushika Hokusai with his colorful publications. A set of painted doors in the Mie prefectural Museum of Art, formerly in the Nagashima household, featuring a cow at rest, were painted by Soga Shohaku in a style based on Shunbokus 1740 six volume compendium of Kano techniques, Gako Senran (An Exploration into the Techniques of Paintings). His paintings adorn the doors of Myoshinji, one of the most famous temples in Kyoto, as well as Myokoji in Osaka among others. He also helps fill the collections of the Fukuoka Prefectural Museum of Art, Seattle Art Museum and British Museum in London.

A large Korean Buncheong (Pun-Chong) pottery bottle from the Joseon period (16th-17th century) covered in a creamy white glaze decorated on the flat sides with exaggerated floral scrolls on a dark ground; carved ringlets filled with dark slip on the sides. Color built up over the centuries fills the crackled glaze. The foot ring is rough with sand and excess glaze, and occasional windows in the glaze about the foot reveal the dark clay beneath. The vase is 8-1/2 inches (21 cm) tall, and comes enclosed in a fine old Kiri-wood box. Although not a chip in the clay, there is a loss to the porcelain on the edge of the rim (see close up photo). The Japanese have long esteemed crafts from other Asian countries and over the centuries many of these items have made the journey to this land. For a brief change of pace we will be listing a few in our catalog. For similar pieces see the collection of the Koryo Museum.

An absolutely stunning large Chinese carving of a Buddhist Rakan (Arhat or Arahat), the emaciated figure wrapped in billowing robes with a hand scroll clutched in his bony right fist. The detail in the hairs around his face is incredible. The holy figure is chiseled from Ryuganki (dragons eye wood) and comes enclosed in a box dated 1922, likely the year it came to Japan, and is signed by the then owner. The Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art. The figure stands 16 inches (41 cm) tall. There is an abrasion to the back of the head, a chip repaired in his robes at the back, and it appears the small toe on the left foot has been replaced. The Japanese have long esteemed crafts of China and Korea, and this would certainly have been a highly prized possession.

The 1000th piece to be loaded in the catalog! Offered is an 2 18th century (Edo period) Japanese Kano School 6 panel seasonal screen of pigment and applied gold on paper. Egrets gather about a snow laden willow along a stream, flowers blossioming under the snow indicative of the strength and endurance of nature. Clouds of applied gold leaf fill the scene, with open areas covered in a sprinkling of powdered gold mixed with tiny gold squares. Truly fine detail. The painting is bordered in dark blue cloth woven with large dragon dials in silver thread and features a black lacquered wooden frame. The frame is fixed with decorative plates featuring 2 Mon (family crests) and the nail covers are in the shape of the crest of the Tokugawa Shogun. The backing paper dates to the early 20th century (Meiji/Taisho period) and is in good condition except for some abrasions on the outside two panels typical of age. The screen measures 146-1/2 by 68-1/4 inches (376 x 73 cm). Professional packaging and Express Shipping is included in the item price.

A comic scene in ink on paper of boys herding oxen by Nagasawa Rosetsu spreads across these two low screens. The central characters, one in the lead the second astride one of the behemoths crossing a bridge is distracted by a butterfly floating by above while the beast in front steps on its own rope, pulling his head back to the viewer with a quizzical expression. Other oxen and boys populate the background. All is performed in very soft gray tones with abbreviated detail as if viewed through summer haze, with the leads in dark, quick strokes, creating a dynamic juxtaposition and sense of immediacy. Originally either part of a larger scene, or, more likely, taken from Fusuma doors. They bear the artists seal on one edge. The screens are 188 x 97 cm (74 x 38 inches) and are in fine condition considering their age. A lay Zen practitioner, the motif of ox herding was likely very close to the artists heart, for it is often used metaphorically to describe the stages of a practitioner's progress toward enlightenment (reference the 10 ox herding pictures).
There are many unconfirmed stories of the origins of this artist, what we know is Nagasawa Rosetsu (1754-1799) was born somewhere in the Kansai region near the capitol and moved to Kyoto in 1781, where he became a student of Maruyama Ōkyo. He would later leave Okyo, developing a style unique to himself, and would come to be known as one of the Eccentrics of the Edo period, along with Ito Jakuchu and Soga Shohaku. He worked directly for the Lord of Yodo, a castle town between Kyoto and Osaka. His unorthodox style garnered him many fans, and his paintings decorate the doors and ceilings of a number of Temples throughout the region. According to Hillier in The Uninhibited Brush (1974) “Rosetsu's paintings fall into two very clearly defined categories, with no halfway stage in between. On the one hand, there are those of studied finish, and on the other, those--the great majority--that were clearly the work of a very few minutes of intense activity, whatever the preliminary thought and calculation. We are inclined to think of the first type as early and even untypical, but in fact Rosetsu seems to have executed carefully finished paintings at all stages of his career”. Much copied, genuine works by him are decidedly rare.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.

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.

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.

Loops of white decorate the dark pitted glaze of this quashed bowl from the kilns of Kyushu dating from the early to mid Edo period. The small foot is testament to dating, and there is much natural wear to the dark glaze. The vessel is 14 x 10 x 6 cm (5-1/2 x 4 x 2-1/2 inches) with an age darkened chip in the rim where it rolls over on itself. It comes in a silk bag enclosed in a black lacquered antique wood box. It comes from a collection of Edo pottery, and inside the box is a receipt describing the bowl and the price 35.00 yen (about 30 cents today, but a huge sum in the pre-war years, when 1 yen was divided into 100 sen).

Gold glimmers on the rim against pale concrete tones on this rare mid-Edo period tea bowl from the Utsutsugawa kiln in Nagasaki prefecture, late 17th to early 18th century. Waves of brush strokes decorate the outside, while the white slip cascades from the rim in withering streaks within. A kutsuki on the side testifies to some event which happened during the firing, where another piece of pottery collapsed against the side, fusing and causing the bowl to deform. This force created a crack where the bowl bent, which has now been enhanced with gold. It comes enclosed in a custom made modern wooden collectors box titled Utsutsugawa Kama Kutsu-Gata Chawan. The bowl is 8.5 x 14 x 7 cm (3-1/2 x 6 x 3 inches. Originally a kiln flaw, possibly once discarded, it was rescued and repaired with a sumptuous design of gold powder on lacquer.
Utsutsugawa-yaki (also Utsutsukawa) originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon (Soetsu) opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the later Meiji period, when there was an attempted revival, but that too failed to last due to pressures of modernization. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

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.

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 mid Edo period (16th to 17th century) five plate cuirass (go-mai-do) of heavy iron emblazoned on front with a sun and moon in inlayed silver over the fierce god Fudomyo with protective sanskjrit characters in silver damascene on the sides and a five character phrase (The Gotoku or five precepts of Confucianism, also espoused in the book of five rings) on back, also in silver. It is lacquered red inside, and about the waste hang rows of black lacquered scales laced in blue with color fleckedwhite mimi-ito. The lacquer is in rough condition.
The Sode are made of plate iron lacquered black within, also laced in blue with white mimi-ito. The Sode are signed Koshu-nushi Myochin-Ki Nobunawa and dated an auspicious day in the 8th month of Tensho 2 (1574). Perhaps these were heirlooms passed down through the family that were incorporated into a suit of armor in the mid Edo period. It comes with papers from the Japanese Armor Society. A jizai butterfly with the same signature is held in the Musuem 50 in Kaohsiung Taiwan.
The Takahimo and Aibiki Himo (the tie chords connecting the front and back of the do on the right side and at the shoulder) are weak and need restoring, and one of the plates covering the Kohaze on the right shoulder (front) has been replaced. I am offering it in original condition to allow the collector the right to choose the level of restoration desired.
The five precepts of Confucianism espoused on back are not easily defined, but could be:
Nin: Think of others
Gi: Duty, justice, selfless
Rei: The actuation of “Nin”
Chi: Knowledge, wisdom
Shin: Friendship, loyalty, trust

Cranes flock to the shore, greeted by their compatriots grazing among dry winter grasses on the wave lapped beach of this anonymous pair of Mid Edo period six panel screens. Performed with Ink and pigment on paper with scattered gold flake in a blue silk border with kuwa (mulberry) wood frame and sturdy blue cloth backing. Fully remounted, each screen is 65 x 142 inches (165 x 361 cm). A quintessential Kano style Edo period scene.

Exceptional Edo p. Japanese Screen, Demon War An exceedingly rare set of four dramatic paintings divided into segments depicting a variety of battle scenes and supernatural phenomena, each heavy pigment on paper canvas mounted on one of four panels of a gold screen bordered in mulberry. The scenes appear to comprise a fragment of the tale of Daikozan (Oeyama), a Kyoto tale where in a powerful demon was lured to drink, then cut to pieces in his stupor. The screen itself is 20th century; however the paintings would date from the mid Edo. On the far right sword bearing men, priests and women run from monsters with giant heads while a cloud roiling with demonic figures bears down on the scene. A tanuki with the head of a woman can also be found here. Below women perform dance on the balcony of a palace for a long nosed tengu attracting a crowd of onlookers. The second panel is divided into four scenes of women reading a hand scroll to the same tengu from the first panel hidden behind a bamboo fence. Below we see him again seated outside a room awaiting audience with divine figures. Below this he is throttling a sword bearing soldier, a ghostly lute player on the left, and a raucous battle on the steps. On panel three the battle rages. Men hack away at each other while a head is presented indoors, and a man and demon appear ready to draw swords over the decapitated corpse. Below gory warfare rages, samurai and demon fighting indiscriminately. In the last scene a flock of birds attack one fellow, while heads topple hither and yon. The paintings were likely originally part of a larger screen, which have been cut down over time from re-mounting. The fantastic screen measures 107 inches by five feet (272 x 153 cm). There is some loss of paint; and the paintings, due to great age, are somewhat delicate.

A blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.

Lidded crystal eyes gaze serenely down from the Rakans purchase high on the lofty temple walls. The face is expertly crafted, with a distinct Chinese air reflecting the fact the Rakan (Arahat) were all from the Continent. The robes of green, white and red are patterned with scrolling vines and dials. A dedication on back Appears to be Made for/by Konoike-mura Hachiuemon and is dated Ho-Ei 7 (1710). The new wooden base on which it stands states the piece was restored in 1993. One of likely 16 images which would have been set high in the interior of the temple, gazing down on the faithful as they pray and chant to the main deity. The figure is roughly 20 inches (50 cm) tall and in fine condition, with only minor losses to the colored robes to attest to its great age.
Rakan (Sanskrit Arhat also pronounced and written Arahat, Arhan, Rahat, etc.) is translated the worthy one"; one who has attained the highest level in the Theravada school; the fruition of arhatship is nirvana. He is thus a perfected Arya, one exempt from reincarnation; "deserving Divine honours." This was the name first given to the Jain, and subsequently to the Buddhist holy men initiated into the esoteric mysteries. The Arhat is one who has entered the last and highest path, and is thus emancipated from rebirth. The degrees of Arhatship, called respectively Srotapatti, Sakridagamin, Anagamin, and Arhat, or the four classes of Aryas, correspond to the four paths and truths.