Catalog: Archives: Regional Art: Asian (588)

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 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 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 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.

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.

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.

Brilliantly colored riders charge into rushing water on the gold leaves of this 18th century six panel screen relating the famous charge at the Battle of Uji Bridge. Tatsuna and Kagesue charge forward into the waters riding toward the enemy lined up on the opposite shore of the Uji River; the skeleton of the bridge visible in the back-ground. The screen measures 173 x 377 cm. (68 x 148-1/2 inches) each and retains the original Edo backing paper, with strong hinges and a good brocade border. It does need some surface repairs and restoration, mostly cosmetic as the screen itself is solid. We are offering this screen as is to allow the buyer to choose the level and quality of restoration desired. See The Art of the Japanese Folding Screen (ISBN , 1 85444 103 5) image 2 for a similar composition held in the collection of the Victoria and Albert Museum, London.

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

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.

A set of shishi guardian carvings from high up on the front of a Buddhist temple, each cut from a single block of wood with fore-paws extended in a leaping motion and vicious snarls. Each is roughly 30 x 30 x 24 cm (12 x 12 x 9-1/2 cm tall and in overall excellent condition. These date from the Edo period.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

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.

A large Korean Buncheong (Pun-Chong) pottery bottle from the Joseon period (16th-17th century) covered in a creamy white glaze decorated on the flat sides with exaggerated floral scrolls on a dark ground; carved ringlets filled with dark slip on the sides. Color built up over the centuries fills the crackled glaze. The foot ring is rough with sand and excess glaze, and occasional windows in the glaze about the foot reveal the dark clay beneath. The vase is 8-1/2 inches (21 cm) tall, and comes enclosed in a fine old Kiri-wood box. Although not a chip in the clay, there is a loss to the porcelain on the edge of the rim (see close up photo). The Japanese have long esteemed crafts from other Asian countries and over the centuries many of these items have made the journey to this land. For a brief change of pace we will be listing a few in our catalog. For similar pieces see the collection of the Koryo Museum.

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.

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.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.

Silver canines gleam menacingly in the corners of the mouth of this terrifying Edo period sabiji-nuri iron Menpo face mask. It has a three lame nodokake also with sabiji-nuri, laced with tight blue chord. The mustache is a bit ragged and there are typical chips around the edges from use.

Waves lap at the dark shore crowded with cranes on this elegant 18th century paper screen embellished with clouds of gold flake signed Hokkyo Shunboku (O-oka Shunboku, 1680-1763). A bramble of dried bamboo hides one sleeping form, the others strut about oblivious to the frigid winter air. Turgid blue water rolls slowly behind, waves licking at the near shore. A fine example of the mid-Edo aesthetic; the screen is 67-1/2 by 148 inches (172 x 376 cm) and is in excellent condition, recently fully re-mounted. It is bordered in green silk with a black lacquered wooden frame reflecting the original, backed with dark blue paper embellished with black crests. As might be expected there is loss to the white gofun coating on the birds, and some repairs performed during restoration. This screen was bought personally by us in Kagoshima from the house of a former high level retainer of the Satsuma Fief. It was likely purchased or commissioned during the procession from Edo to Satsuma performed every three years by the Daimyo of that powerful fief. O-oka Shunboku was born in the merchant city of Osaka. He was a largely self taught artist, initially mastering the rules of the Kano school, then moving into Chinese style painting of the Yuan period. A talented painter, he was equally well known for his mild personality and mastery of the cultured doctrines of Tea Ceremony, Incense Testing, Dance, Song and Poetry. He was popular from a young age, and patrons fought for their place in line at his studio door (according to Araki) He is very well known for his reproductions of Chinese painting manuals and the large number of art books he published. He eventually rose to the level of Hogen, very rare for an artist with no lineage behind him. He died at the age of 84, and is buried in Komyoji Temple. He was survived by an adopted son, and is accredited with being an early influence on Ito Jakuchu (according to Daiten Kenjo) with his emphasis on Yuan painting, as well as Katsushika Hokusai with his colorful publications. A set of painted doors in the Mie prefectural Museum of Art, formerly in the Nagashima household, featuring a cow at rest, were painted by Soga Shohaku in a style based on Shunbokus 1740 six volume compendium of Kano techniques, Gako Senran (An Exploration into the Techniques of Paintings). His paintings adorn the doors of Myoshinji, one of the most famous temples in Kyoto, as well as Myokoji in Osaka among others. He also helps fill the collections of the Fukuoka Prefectural Museum of Art, Seattle Art Museum and British Museum in London.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.