Catalog: Archives: Regional Art: Asian (588)

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 large futamono (covered dish) in the shape of a Tai-fish by Ninnami Dohachi enclosed in a triple wood box signed and annotated by renowned potter Miura Chikuken (Chikken). The Tai fish (Red Snapper) is a popular motif and commonly served in celebratory occasions because its name (Tai) is a homophone for Medetai (celebration). The stomach section is removable to reveal a compartment where fish might be served. It is 36.5 x 23 x 20 cm and is in excellent condition. The piece comes wrapped in padded yellow pillows, inside an ancient wooden box to which is affixed a paper reading Ninnami Doachi Sei O-Tai Futamono (Covered Dish of Large Red Snapper by Ninnami Dohachi) ad is annotated by Chikuken. The Secondary box is also annotated by Chikuken, dated 1949. The third box is a black lacquered cover to protect the first two.
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. Following the early death of his older brother he succeeded the family name, opening 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. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.

A massive tiger defensively nudges the female deity on this amazing 19th century silk Fukusa. Hand-painted and composed from patchwork patterns of lavish antique brocades and featuring glass eyes and metal teeth and claws sewn into the fabric of the creature. The piece is backed with red rinzu silk patterned with cranes and plum blossoms. It is 23-1/2 x 25-1/2 inches (59 x 64 cm) and is in fine condition. It comes wrapped around a pillow in a large kiri-wood box.

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.

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.

Unlike in the west, the rat has long been a symbol of fortune in Asia (it is after all one of the animals of the Zodiac). Here we see an interesting play on the animal. He stands on his back legs pulling a sack of treasure and magic mallet, perhaps having relieved these two articles from Hotei and Daikoku, two gods of fortune always pictured with them. Great detail and very clever, the piece is 6 inches (15 cm) long, 4-1/2 inches 811.5 cm) tall and in fine condition, likely dating from the first half of the Meiji period (later 19th century).

An antique Japanese saddle pad covered with a Korean tapestry of two frolicking lion-dogs in green and white. It features gilded leather piping (which has come loose in some places, see photos), and typical Japanese backing cloth with deer-leather ties. The pad is roughly 116 x 56 cm (46 x 22 inches). Exceptionally rare,

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.

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.

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 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.

On the 9th day of the 6th month of 1775, 3 artists, Reisen Uno (Motoaki/Gensho, a songwriter, poet and calligrapher), Keiho Takada (Kano Chikuin, a Kano trained painter of budhist images and calligrapher) and the master of the Chikudo, Teiun held a songwriting party. This scroll is a recording of the scene, with the subsequent song written along the top, followed by a poem by Chikuin and Reisen, recorded by Teiun. This is a truly fine scroll, recently restored from its worn Edo mountings. It is set in a quiet olive brocade with dark wooden rollers and measures 27 1/2 by 77 inches. This is truly a phenomenal work in both scale and condition.

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

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 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.

Veins of green Kai-yu meander over the body of this spectacular example of Edo period Tamba Pottery capping rich red clay rising from an abrupt base. A few bubbles in the clay reveal character about the torso, the lip powerfully rendered over the shoulder, which slumps to one side like some haggard but still proud old soldier. Four looping handles (mimi) would allow the lid to be tied down. Between two a drip from the roof of the kiln has adhered to the clay forming a point of interest. Retaining the character of Momoyama firing techniques, and easily classified as such, I believe this dates from the early Edo period, 17th century. The Tsubo is 18 inches (46 cm) tall, 13 inches (33 cm) diameter, and without cracks or repairs. Due to size the cost of shipping will be accrued separately.

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 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.