Catalog: Archives: Regional Art: Asian: Japanese (581)

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.

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 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.

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

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 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 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 Kamakura period Enso-ga in cream-colored patterned brocade with maple brown extensions and featuring rosewood rollers signed Renshabo. Renshabo was a high ranking samurai named Jiro Naozane and confidant of 13th century General Minamoto no Yoritomo. After losing a son at the battle of Ichinotani, and killing the great Heike warrior Atsumori, he became saddened by Bushido (the way of the warrior) and became a disciple of the priest Honen Jonin in Kurodani, Kyoto, whereupon he was given the name Renshabo. The scroll measures 21-3/4 by 48 inches (55.5 x 122 cm). The ink work was already ancient when mounted in this cloth in the Edo period as evidenced by wormholes and damage in the painting repaired from the back.

The character Take (bamboo) is struck with six brisk strokes of dark ink on this Chagake tea scroll signed Mitsuhiro (Karasuma Mitsuhiro, 1578-1638) and dated 1631. The calligraphy is exquisite. Mitsuhiro was born the son of Karasuma Mitsunobu (1543-1606) and, like his auspicious father, was a well known poet and songwriter accomplished in calligraphy. The paper is, as might be expected, repaired in several places and has marks and yellowing consistent with age, however is still supple and easily displayed. It is bordered in crushed blue paper, dating to the Meiji period, and came from the same collection as the two scrolls by Genryu. The scroll measures 22-1/2 by 44 inches (57 x 112 cm). There is one crease penetrating from the left side through the first character of the signature. Otherwise the scroll is in surprisingly good condition.

A vermilion Negoro lacquered tray with fluted corners on an elongated stem with heavy round foot in black lacquer dating from the Muromachi period with the temple name Zentoku-in written in red on the base. It is 27 x 27.5 x 25 cm tall (10-1/2 x 10-3/4 x 10 inches). Originally undoubtedly square, the discrepancy in width is due to shrinkage against the grain over the centuries. It comes in a late custom made wooden storage box. There are chips along the edges and a repair visible on the underside of the tray on one side. A crack directly across the center of the tray, a crack in the lacquer at the joint with the base, and a vertical crack in the base. This is all consistent with age. For similar examples see: Negoro, Efflorescence of Medieval Japanese Lacquerware (Miho Museum, 2013). One tray on page 39 figure 022 dated 1535 is nearly identical including the joinery.

What a pleasure it would be to drink from this haunting 17th century (Momoyama to early Edo) Karatsu Guinomi Sake cup with gold lacquer repairs. It is 2-1/2 inches (6.5 cm) dimeter, 1-3/4 inches (4.5 cm) tall. There are 2 tiny gold repairs gleaming softly on the rim like a yellow moon peering through clouds on a dark night. .

Copper green and dark iron decorate the pale glazed sides of this exquisite box dating from the early Edo period (17th century) wrapped in a silk lined sarasa bag and enclosed in a black lacquered wood box. It is 1-3/4 inches (4.5 cm) square, roughly 3 inches (7 cm) tall and in overall fine condition.

Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).

Namiamidabutsu sho (Praise to the name of Amiddha Buddha) is scrawled in faint verse down the upper right, while on the left is a warning, kono tori, minasama goyojin goyojin (all those on this path, be wary be wary…) The two scripts are separated by a grave marker at the base of which lies a skull and scattered bones among the unkempt dried grasses. A very unusual seal in the shape of a Buddhist ewer hugs the right edge. Early to mid Edo period in the style of Hakuin Eikaku (1686-1768). Ink on paper, it has been fully restored with a thin black border in a field of dark brown and retains the original bone rollers. The scroll is 42.5 x 165 cm and in excellent condition

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 16th to 17th century (Momoyama to early Edo period) candle-stick of vine or root set onto a hollow carved base and covered in black and red lacquer with a metal stud and drip pan. It is 11 inches (28 cm) tall and in overall fine condition, with wear typical of centuries of use.

A beautiful large black Seto Guro Hikidashi Chawan with undulating rim sculpted to perfectly rest in the hands by some anonymous 17th to 18th century potter. It is 5 inches (13 cm) diameter, 3 inches (8 cm) tall and in fine condition.

Hints of the finest powdered gold gleam on the edges of this ghostly white tea bowl dating from the early Edo period. Iron-like freckles pepper the surface which is subtly clouded with soft color. The base is almost entirely covered in glaze, the glimpses of earth worn dark with age and use. It comes wrapped in a silk bag with an age darkened kiri wood box titled Hagi Chawan and named within Kan-no-yuki annotated by Yabunouchi Chikusojochi (1864-1942) 11th head of the Yabunouchi school of tea. The bowl is 5 inches (13 cm) diameter, 3 inches (7.5 cm) tall with 4 gold repairs to glaze losses in the rim, otherwise is in excellent condition.