Catalog: Archives: Regional Art: Asian (588)

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

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

Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.

A fabulous mid Edo period bronze brazier with satin luster made up of a basin supported by four small rabbits with two small gourd shaped handles suspended from a belt of archaic designs. The top is a large dome pierced with geometric designs known as incense clock patterns and featuring a large hinged circular opening in front. It is 22 cm diameter, 34.5 cm tall (8-1/2 x 13-1/2 inches) and in excellent condition. It comes enclosed in a wooden box titled: Moku-o Fu-kun I-ai Natsume-Gata Ko-Do Shuro (Tea-Caddy-Shaped Old Bronze Brazier Loved by Moku-o). According to the box it was a beloved possession of Doi Moku-o, the Go or alternate name of Doi Seihei (1660～1726), a Confucian scholar and follower of Sakai Shosai of the mid-Edo period specializing in Shushigaku (Cheng-Zhu) Confucianism.

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.

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.

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.

Rivulets of green glaze descend all sides of this sublime storage jar, the bottom raw red Tamba clay dating from the Edo period. About the rim are four “mimi” ears for tying down the wooden bung. The base is slightly concave and burnt to a rock like texture. The vessel is 12 inches (30 cm) tall, 11-1/2 inches (29 cm) diameter and in excellent condition. Tamba is considered as one of Japan’s six famous ancient kilns, along with Seto, Tokoname, Echizen, Shigaraki and Bizen. It is known for a solemn, austere atmosphere, and for the beautiful green pine-ash glaze. The origins are purported to be in the late Heian period, when it was called Onohara ware. Traditionally it is coil formed, or turned counter clockwise on a wheel. Early pieces were fired in anagama, until the Momoyama period, when the advent of the climbing kiln offered increased production and possibilities and hire firing temperatures.

A museum quality work by 19th century great Oda Kaisen featuring vines burgeoning with ripe fruit under the epitaph “Painted on a muggy date (possibly “by moonlight” as the term keigetsu refers) in 1840”. Ink on silk in brass colored Satin patterned with tendrils of mist and featuring white piping in the Mincho style and ivory rollers typical of literati painting of the 19th century. It is 18-3/4 x 72-3/4 inches (47.5 x 184.5 cm) and is in excellent condition.
Oda Kaisen (1785-1862) was born into a family of in the textile industry in Shimonoseki, Yamaguchi on the extreme western end of Honshu, the Japanese main island. He went to the cultural capitol of Kyoto in 1806, where he was initially trained in the Shijo style of painting under Matsumura Goshun (1752–1811). After Goshun died, he moved to study nanga literati painting with Rai San'yō (1780–1832) and through extensive study of treasured Chinese paintings in various collections. It is during this period he began using the name on this scroll, O-in. He worked as a compatriot of the great masters Uragami Shinkin and Tanomura Chikuden. Work by this artist is held in the collections of the Metropolitan Museum of Art New York, Museum of Fine Arts in Boston, the British Museum, Ashmolean, and in Japan the Osaka Municipal Art Museum and Chofu museum among others.

Oribe Green runs in a curtain over the pale yellow glaze of this Edo period andon-zara oil dish. It is unglazed on bottom, measuring 8 inches (20 cm) diameter and in excellent condition, enclosed in a custom kiri-wood box.

A conical Jingasa battle hat 6-1/2 inches (16.5 cm) high, 14-1/2 inches (37 cm) diameter entirely gilded outside with genuine gold. Inside is lacquered black and retains the tie holds for the liner. There is some writing within, and a maru-ichi crest. There is damage to the peak and edges, but is quite impressive looking, and was likely used by the immediate vanguard of the Daimyo. One of two variations we have, they are from Omi province, just outside of Kyoto in old Japan.

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.

What a fantastic expression worn by this Edo p. Seto Hand warmer (hibachi or properly Shuro/ Te-abure). The dark shiny Seto glaze suits well the beast portrayed. Coals would have been burned inside, heating the surrounding pottery walls, and the piece would have been placed on a step leading into the house for guests to warm their hands on or used within the house in a more formal room. It is 13 inches (33 cm) long and is in fine condition overall. It appears as if when potted the craftsman had allowed for a hole near the top of the opening for storing the hibachi tongs, however had second thoughts and filled that hole with a biscuit before glazing. A hairline stress crack has formed along the left side of that patch of clay; otherwise it is in excellent condition. Rabbits and Daruma are often seen, but the bull is an uncommon theme for this particular implement.

A set of five exquisite Sencha Tea Cups of crackle-glazed pottery covered outside with black lacquer decorated with golden plum blossoms. Each bears an impressed seal in the base reading Toyosuke from the Nagoya studio of Toyoraku (also read Horaku) dating from the later 19th century. Inside each cup is a stylized single plum blossom. This set is exceptional! It is enclosed in a custom made wooden box. Each is 6.2 cm (2-1/2 inches) diameter, 4.8 cm (2 inches) tall and in excellent condition.
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. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

Pure elegance and simplicity of form by Komazawa Risai enclosed in the original signed wooden box titled Mage-Kensui (Round Spent Water Container). It is lacquered outside is tame-nuri opaque wine-red, inside is polished ro-iro black decorated with gold reeds overlapping from all directions. It is 16 cm (6-1/2 inches) diameter, 7 cm (2-3/4 inches) tall and in excellent condition. It is made by Komazawa Risai; head of one of the ten crafts families of the three Senke tea schools adhering to the way of tea as taught by Sen No Rikkyu in the 16th century. The bowl is made of two pieces, the base a thin flat plank cut round, then the vertical is bent around and secured together with binding, the whole then covered in lacquer. The shape is that of a simple Oke or shallow bucket, however the artist has made it so much more than that. This is the epitome of the Japanese Tea Aesthetic.
Taking tea has long spread from its original home of Asia to the rest of the world, spawning in the process distinct and varied customs that deeply mirror the values of the culture that creates them. Japan's history of tea drinking is no different, becoming a focal point for the arts and enlightenment to the point where it became the unique ceremony we now know as chanoyu or the Way of Tea. The name can actually be something of a misnomer to the uninitiated, as although there are similarities in form and structure, there is no singular tea ceremony, and ceremonies can be very varied dependent on season, setting and school, yielding in the process a vast culture that can take a lifetime to become truly aquatinted with. Sen no Rikyu, born in 1522 is largely credited with instilling the quintessentially Japanese values into the custom and codifying the practice into a “Way”. To this very day the three houses of Omotesenke, Urasenke, and Mushakojisenke continue his tradition and teachings every time they perform the tea ceremony, and yet this is no fixed form, but an enduring process of gradual evolution and innovation that continues to reflect Japan beyond the walls of the chashitsu, tea room. In the case of the three Senke houses under Sen no Rikyu's teachings, in their centuries of history we find that their ceremonial tools are all produced by the same ten families, and ever since Mitsukoshi held an exhibition of their works in 1915 the name "Senke Jushoku", or the "Ten Designated Craftsmen of Senke", has entered common usage to describe this small collection of artisans who hold within their lineage the very DNA of the aesthetics of the tea ceremony.
The ten families are: Nakagawa Joeki (metalworker), Okumura Kichibei (scroll mounting maker), Kuroda Shogen (bamboo craftsman and ladle maker), Tsuchida Yuko (pouch maker), Eiraku Zengoro (brazier maker and potter), Raku Kichizaemon (tea bowl maker), Nakamura Sotetsu (lacquerer), Onishi Seiuemon (kettle maker), Hiki Ikkan (papier mache style lacquerer) and Komazawa Risai (woodworker).
The lineage of the Komazawa family began with the first generation Sogen in the later 17th century. The second generation headmaster, Sokei, was recognized by the Sen Tea houses, however, it was after the fourth generation, Risai, that they became more deeply involved in the House of Sen. He established a warm friendship with Kakukakusai, the sixth generation of Omote, and was designated as a regular joiner for tea ceremony and given the name of 'Risai'. The seventh Risai, who worked vigorously in the late Edo period and was also an excellent lacquerer as well as a joiner, and brought great fortune with his innovation and re-visioning of the tea ceremony and its utensils in a modernizing world. After the seventh generation, however, one after another the heads of the family died young. The thirteenth Risai lived up to seventy, but suffered the misfortune of losing his son who was born in his later years. After the death of the thirteenth generation, his wife Namie deicided to become the fourteenth Risai and have her daughter Chiyoko succeed her in the future, but the daughter died young in 1961, and she also died in 1977, leaving the position vacant to this day.

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 rare yari-no-saya of course bristles blossoming tuft-like from a 7 inch black lacquered wooden sheath bound with strips of bamboo resting on a four legged hardwood stand. The Edo period piece is in excellent condition, with only minor damage to the wooden ring about the bottom of the tuft. It is made to take a spear head over 8 inches long.

A stunning box covered entirely in mother of pearl upon which is the crescent moon in lead under maki-e gold florals. Inside Rimpa style dear rest in lead and gold maki-e on a ground of red-tinted Nashiji. The box is in excellent condition, likely dating from the mid 19th century. It measures 22 x 24.5 x 5 cm (8-1/2 x 9-1/2 x 2 inches).