Catalog: Archives (589)

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.

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.

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).

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.

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.

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.

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.

A pair of small gold doors depicting Asian Civets (Jakoneko) in a flower strewn garden dating from the early to mid Edo period (17th to 18th century) reminiscent of the famous pair of screens heralding the same image by Kano Yukinobu (Utanosuke, active Muromachi period). The handmade bronze handles are in the shape of hollyhock leaves, intimating connection to the Tokugawa clan, head of the Shogunate. The painted panels are 45 x 28 cm each (17-1/2 x 11 inches), the doors roughly 48.5 x 32 cm (19 x 12-1/2 inches) and are in remarkably good condition considering age. There is some soot built up on the gold surface as might be expected of a painting exposed to wood heat and cooking for two centuries.

A set of two 18th century screens showing through an assortment of amicable characters, the traditional production of silk. Depicted with ink and light color on paper, every aspect of the process is visible in high detail from the sorting of the worms to spinning, dying, weaving, and the selling of thread and bolts of cloth. An exciting screen both from the quality of the art and from the historical narrative contained. Each screen is 67-1/2 inches by 12 feet (171 x 378 cm). It is bordered in a thin band of cream with a wide band of dark blue patterned with check-work boxes containing fortuitous symbols and has a black lacquered wooden frame. It has been remounted at some time in the long distant past, and is in fine condition.

An 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.

A fine rendition of a plum by Tanaka (Zuitai) Ryurei (commonly known as Ryudojin, 1740-1804)). Ink on paper, it has been fully remounted in a silk frame with wooden rollers reflecting the original style. The scroll is 12-1/2 x 70 inches (31.5 x 178 cm).
Ryudojin was born in Owari, near modern day Nagoya. He is referred to also as Ryurei Zuitai and or Ryudo Reizui or simply Ryurei. Born into the Tanaka family, he was sent to the priesthood at Reigenji at the age of 11. Then he went to the capitol, Edo (modern day Tokyo) to study at Sengakuji. Returning to Owari he was put in charge of Heidenji. Proving his worth he was promoted to larger temples, eventually becoming the head of Manshoji. H was then put in charge of establishing temples, and worked to create three in the Owari area.

A 17th – 18th century Neko-tora Tiger by Nagasaki school artist Watanabe Shuseki performed with ink and color on paper in yellow bronze silk border with bone rollers. The parchment is aged and gray, giving the sense of a wall painting in some ancient tomb. The scroll is 14 x 63 inches (36.5 x 160 cm). There is some damage to the lower extremities of the paper, and minor cupping. Watanabe Shuseki (1639-1707) lived in Nagasaki and was a proponent of that school trained under Itsunen. Works by the artist are held in the collection of the Kobe Municipal Museum of Nanban Art and Nagasaki Municipal Museum.

A set of early wood panels, once doors on a votive shrine, painted with guardian shishi lions (Also called Fu-dogs) in polychrome colors, much worn with time. The doors are of clear grained hinoki (Japanese cypress) and have shrunk horizontally over the centuries, evidenced by the ari (wooden support) which is inset into them. On back one can see clearly the silhouette of the original metal-work. Momoyama to early Edo period, they are 37.5 x 47 cm (15 x 18-1/2 inches) each and would be fabulous framed as a set or individually.

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

A bronze bell dated Kanbun 10 (1670) which would have been suspended in front of a Shinto shrine worship hall, and struck with a knotted rope to awaken the gods to listen to one’s prayers. Inscribed in the surface around dials of lotus flowers is: An auspicious day in the 7th month of Kanbun 10, followed by the names Honda Yasutoki Ko and Hiramoto Sukeyuki opposite a dedication to the god of water the Hachidairyu-jin followed by a place name near Awazu in modern day Shiga prefecture. The Hachidairyu-O or eight headed dragon king (god) is a creature who controls water and is enshrined in the sacred place of Takachiho, in Kyushu, with branch shrines throughout Japan. Roughly 26 cm (10-1/2 inches) diameter and weighs 3.4 kg (7.5 pounds). There is a scratch in the backside, (see close-up photos) otherwise it is in excellent original condition with two casting flaws which have become pin holes in the upper back. The combination of Buddhist and Shinto Iconography is certainly a point of interest with Japanese religious ideology.

Early Edo Myochin Signed Nimai Do with Nanban influence featuring gilded kusazuri and sode laced with blue chord dated Genwa 3 (1620). There are rows of Prominent rivets all about with nobori-kiri crests on the top of the munaita. Comes with an old wrapping cloth dyed with the same crest. The Hon-kozane Kusazuri are removable, attached to two leather belts suspended from iron tongs about the waist. The takahimo shoulder straps are wrapped in leather. The shaped horn clasps are extant but one is broken, the other delicate. The signature and date along with another illegible cartouche are inside the Do exposed through squares cut through the gilded leather lining. Made for an adult, it comes with a set of gilded Sode shoulder guards laced with the same indigo chord.

A misshapen bowl excavated and assembled from several pieces using the kintsugi gold technique. Originally a kiln flaw, it was likely destroyed after creation, later to be excavated and assembled as was popular in the later Edo period. Misshapen,and with a large kutsuki on one side, it is 4 x 5 x 3 inches (10 x 12.5 x 8 cm) and comes in a wooden box.

A lovely roku-yu glazed form from the kilns of Korea mounted on a tri-pronged rosewood stand and enclosed in a period kiri-wood box. It is 12 inches (30 cm) tall plus the stand. There are minor chips about the rim. An excellent piece for use in the tea room. Likely 15th to early 17th centuries (Possibly later Goryeo likely early Joseon).