Catalog (105)

A fabulous Toyoraku-yaki pottery bowl covered in colorful lacquer dating from the Mieji period enclosed in an old wooden collectors box. Insed Oribe green flows down from the rim to garden scene of iris and ya-giku (wild chrysanthemum) growing along a rived on the white crackled glaze. Outside geometric patterns in alternating gold green and red supported on three black bamboo shaped feet. It is 13.4 cm (5-1/4 inches) diameter, 10 cm (4 inches) tall and in excellent condition but for a very small chip in hte glaze inside the wall of the bowl (see close-up for details).
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 very thin cast bronze image of a hunched female crow in dark olive patina with an incised signature on the underbelly Takayo dated Bunan 2 (1445). The image is made in several parts, the upper and lower halves of the body joined along the neck and under the wings, the feet separately cast and attached where they join the body. There is some form of plug, or possibly spur mark, on the breast above the signature. It is 23 x 16 x 10 cm (9 x 6 x 4 inches) and weighs 616 grams (1.3 pounds), in overall excellent condition.

A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

An oki-goro incense burner made up of a hollowed burl of wood set onto a beautiful exotic dark-wood stand in the manner much appreciated by scholars of the 19th and early 20th centuries. Incense burnt inside on a metal stand would have produced smoke which drifted out through holes in the high peak of the burl, and around the base, like a mountain visible in the mist. It is 17 x 10.5 x 9 cm (7 x 4 x 3-1/2 inches) and is in overall excellent condition.

A ceramic container sculpted with Buddhist figures by Saito Kairaku enclosed in the original signed wooden box titled Ao-Kochi Koro (Blue Kochin Style Incense Burner). Kochi pottery is made in the style of Kochin ware from China, in this case Ao refers to the green visible under the gold. The entire piece has been glazed in green, which is in turn covered in gold. It is 10 x 10 x 13 cm (4 x 4 x 5 inches) and in excellent condition.
Sagano ware is one of the types of pottery that originated from a kiln located in front of Daikaku-ji Temple in Sagano led by the potter Saito Kairaku from the Meiji to Taisho periods. Kairaku was born at the end of the Edo period and worked as an assistant to Eiraku Wazen. After Wazen's death, Kairaku became independent. Mitsui Takanao, who was the most enthusiastic about pottery among the Mitsui family—a clan of tea ceremony enthusiasts during the Meiji era—collaborated with and received guidance from Kairaku for the kiln at his residence, as recorded in the Mitsui family archives. Though now forgotten, Kairaku was highly regarded in Kyoto as a skilled potter, and he is said to have received many orders from temples and shrines.

A wildly crafted bronze image of a shishi lion breathing out a cloud forming the basin for a flower arrangement (known as an usubata). The curly hair has been somehow flaked off and maintained during the casting process, quite an exceptional example. The basin can be removed from the mouth of the creature. Assembled it is 32 x 28 x 33 cm tall (12-3/4 x 11-1/4 x 13 inches) and weighs 4390 grams (9.5 pounds). It is in fine original condition.

A set of 10 brilliantly gleaming golden sake cups decorated with seasonal flowers dating from the early part of the 20th century enclosed in an age darkened kiri-wood box. Each is turned from wood, covered in lacquer mixed with powdered gold, and decorated with delicate Maki-e of florals denoting the various flowers of the seasons. They are 6.5 cm (2-1/2 inches) diameter, 3 cm tall and in excellent condition.

The gaze is stern on this Edo period image of the divine general Shori Ken (Chinese: Zhongli Quan or Han Zhongli), god of war and one of the eight immortals in the Daoist pantheon. This character is most discernable by his feather fan which was said to be able to resurrect the dead and here he holds out prominently in front of himself. Astride a typical stocky Japanese horse in full trappings, he would have looked down on visitors from a gate or the eaves of a palace or shrine. The tassels on the horses trappings and a few facial highlights are done in soft color, the rest in natural wood. The figure is 19 x 20 x 40 cm (roughly 8 x 8 x 16 inches) tall, carved of hardwood, and is in overall excellent condition but for one chipped finger on his right hand.
Taoism is ever present in the background in Japan, its rituals, superstitions, and symbols. As well it is certain that Taoism and its symbolisms are prominent in Japanese art, much more so than Confucianism. However it has been here so long and become so intertwined with the culture it is difficult to distinguish. According to Jeffrey L. Richey: Though there is no dispute that Daoism is present in Japanese culture, the degree and importance of its influence has been the subject of ongoing scholarly debate. One problem has been dislodging its specificity from the broader mass of Chinese culture that has entered Japan over 15 centuries. This very span of time admits a complicating plurality: Daoism in China was multilayered and changed over time, while its products, which first arrived in Japan as part and parcel of the ritsuryō state (7th century), went on to appear piecemeal chiefly through textual sources over the centuries.

A sake cup stand (Haidai) in sometsuke blue and white pottery decorated with festive lobsters stamped on the base Momoen-zo and enclosed in an older wooden collectors box. It is 9 cm square, 6.8 cm tall and in perfect condition, dating from the later 19th century.

Two long eared Rabbits, one rising up on the back of the other, together form an adorable incense burner dating from the later 19th to early 20th centuries. Together they are roughly 22 x 14 x 16.5 cm (9 x 5-1/2 x 6-1/2 inches) and are in overall excellent condition, with some wear on the patina revealing the bright yellow bronze where they rest on the table evidencing age.

A wild Edo period figure of a devil bent over backwards in the bridge position, a Sharito Tower balanced on his abdomen, a bell dragging him down suspended from his back. What awful crimes did he commit to be punished so!?! The bronze bell is either from, or at the least pays homage to, Korean styles. Dating from the Edo period, the unusual image is 22 x 14 x 66 cm (9 x 5-1/2 x 26 inches). Some minor losses to the polychrome consistent with age. The crystal ball and brass fitting inside the tower are later additions.

A 19th century fan shaped dish from Southern Kyoto decorated with sailboats passing the pines of Matsushima in front of Mt. Fuji enclosed in an old wooden collectors box. It is 23.5 x 16 x 2.5 cm (9-1/2 x 6-1/4 x 1 inches), with minor chips to the edges typical of the softer clay of Awata. It is stamped on the underside Rakunan, Junzan. Rakunan refers to the southern part of Kyoto city.

Tile images on cracked pale glaze decorate this squared bowl stamped on the bottom Fuji from the Fujimiyaki Kiln of Nagoya enclosed in an old wooden box. There is one tiny gold repair on the rim, otherwise is in perfect condition. 13.5 cm (6-1/2 inches) square, 9 cm (3-1/2 inches) tall.
The founder of Fujimiyaki, Murase Hachiroemon I (Miki) was a samurai of the Owari Domain who served in various positions, regional magistrate and head of the domain school. He was also skilled in many arts, including seal carving, tea ceremony, poetry, and haikai (Japanese linked-verse poetry). His house was adjacent to a kiln belonging to the potter Keisuke (of Keiraku ware), and he married Shige, the daughter of Hozo Ichie, an Owari samurai. Because of these connections, he learned pottery techniques from Hozo and enjoyed making his favorite ceramics around Kaei 5 (1852). In 1879 (Meiji 12), they built a kiln in the garden of their villa in Kamimaezu (Fugetsuso Seisonsha) and began their pottery business with six people, including four technicians invited from Seto. Some of the works from Mika’s pottery hobby up until this time, including tea bowls, water jars, and flower vases, are part of the Morse Collection at the Museum of Fine Arts in Boston. They are also included in the Clemenceau Collection at the Montreal Museum of Fine Arts.

A ghost rises from the darkness pulling on her hair, a wry grin as she looks sideways at the viewer on this antique painting by Moriwaki Unkei. Ink on paper completely cleaned and remounted in vine patterned blue silk with dark wood rollers. There are old age stains on the paper, which appear much stronger in the photos than in life. It is 40 x 200 cm (15-3/4 x 78-3/4 inches) and in excellent condition.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.

A pale porcelain dish on a raised foot decorated with wild chrysanthemum (Ya-giku) from the kilns of Hirado on the Southern Island of Kyushu dating from the 19th century. It is 15.5 cm (6 inches) diameter, 4.5 cm (just less than 2 inches) tall and in excellent condition. It comes in a contemporary kiri-wood collectors box.
The story of Hirado porcelain begins with the Matsura clan, who ruled over the Hirado domain during the Edo period (1603-1868). The feudal lord Matsura Takanobu, played a pivotal role in the development of the industry. In the early 17th century, Takanobu, inspired by the burgeoning popularity of continental ceramics, sought to establish a local porcelain production center on the island. To realize his vision, he invited Korean potters, renowned for their expertise in ceramic artistry, to migrate to Hirado and share their knowledge. This influx of Korean artisans infused the local ceramic industry with new techniques, designs, and aesthetic sensibilities. Under the guidance of these Korean masters, Hirado kilns began producing exquisite porcelain wares that reflected both Korean influences and indigenous Japanese artistic elements. The early Hirado pieces often featured delicate forms, refined decoration, and a distinctive creamy white glaze that set them apart from other ceramic styles of the time. Hirado porcelain quickly gained favor among the Japanese aristocracy and became highly sought after for its exceptional craftsmanship and aesthetic appeal. Throughout the Edo era, Hirado porcelain flourished, enjoying patronage from feudal lords, samurai elites, and wealthy merchants. The Matsura clan's support and encouragement further fueled the growth of the local ceramic industry, leading to innovations in techniques and designs. In fact one of the defining characteristics of Hirado porcelain was its ability to adapt and incorporate various influences while maintaining its distinct identity. While initially inspired by Korean and Chinese ceramics, Hirado porcelain gradually evolved its own unique style, blending elements of traditional Japanese aesthetics with innovative approaches to form and decoration. This fusion of influences contributed to the allure and enduring appeal of Hirado porcelain both domestically and internationally.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

A fantastic Meiji period tray used for serving sake featuring crows in a leafless tree under the full moon enclosed in an old wooden box signed Shunso. The tray is constructed of wood covered in a layer of cloth with dark red lacquer, the decoration fo crows in a tree performed in black under a moon of silver powder. It is 42.5 x42.5 x 4.5 cm and is in fine condition.

A set of three spouted nesting bowls decorated in the traditional Mugiwara pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. The larger bowl is 9.5 cm (just under 4 inches) diameter, 5.5 cm (2 inches) tall. The smallest is roughly 7.5 diameter, 4.5 cm tall and all 3 are in excellent condition, enclosed in an old kiri-wood box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.