gregg baker asian art
gregg baker asian art
2015
1 I A sIx-fold pAper screen wIth scenes from the Tsurezuregusa (essAys In Idleness) painted in ink and colour on a gold ground Japan 17th century edo period dimensions: h. 65¾“ x w. 148¼“ (167cm x 376cm) label on screen: Jidai Tsurezuregusa monogatari byobu (period folding screen with the story of essays in Idleness)
Tsurezuregusa (essays in Idleness), is a collection of opinions and anecdotes written by the monk yoshida Kenkō (c.1283 – c.1352) between 1330 and 1332. the work, along with Makura no sōshi (the pillow Book) and Hōjōki (An Account of my hut) is widely considered a classic of medieval Japanese literature known as zuihitsu, a genre consisting of loosely connected personal essays and fragmented ideas that typically respond to the author’s surroundings. Kenkō a poet, essayist and noted calligrapher joined the priesthood in his late twenties and underwent a period of monastic training. however, he continued to remain involved with life in the capital. the depiction of episodes of the essays in Idleness in painting, drawing or prints is called tsurezure-e. Appreciation of classical literature flourished in the early edo period during the 17th century and, with the rapid increase in demand for paintings with relevant themes, large numbers of tsurezuree were produced. responding to that growing demand, several schools of painting including the Kanō, tosa and sumiyoshi schools turned to creating their own tsurezure-e. As a result, there is no discernible correlation in style or motif between their works and artists seemed free to choose which episodes to depict. they also worked in a variety of formats from handscrolls and folding screens to albums of paintings and illustrated books in response to demand.
2 I A two-fold pAper screen wIth A restIng HanaguruMa (flower cArt) lAden wIth whIte, red And pInK kiku (chrysAnthemums), Hagi (Bush clover) And kakiTsubaTa (IrIs). painted in ink and colour on a gold ground. some details of the cart and the chrysanthemums are rendered in moriage (raised design). Japan 19th century edo period dimensions: h. 66¼” x w. 73¾” (168cm x 187cm) provenance: holcombe house, painswick, gloucestershire, u.K.
3 I A two-fold pAper screen wIth two Hanako (flower BAsKets) contAInIng the followIng flowers AssocIAted wIth sprIng And summer; boTan (peony), nadesHiko (frInged pInK), A BrAnch of sakura (cherry Blossom) And whIte kingyōsō (snApdrAgon) painted in ink and colour on a gold ground Japan 19th century edo period dimensions: h. 65¾“ x w. 74“ (166.5cm x 187.5cm) provenance: holcombe house, painswick, gloucestershire, u.K.
4 I A sIx-fold pAper screen wIth the sun settIng Amongst kiku (chrysAnthemum), boTan (peony), Hagi (Bush clover), kikyō (Bellflower), nadesHiko (frInged pInK) And other AutumnAl grAsses upon the plAIn of musAshI painted in ink and colour on a gold ground Japan 17th century edo period dimensions: h. 49¼” x w. 108¼” (125cm x 274.5cm)
In the realm of meisho-e (pictures of famous scenic places),
this famous location also appears in chapter 12 of the
for other examples of this subject matter in the collection of the chicago
the portrayal of a large full moon or sun viewed through au-
10th century novel ise Monogatari (tales of Ise) where a
Art museum see: Japanese design in art vol.12 p.32-33, pl.25 and another
tumnal grasses represents musashino (the musashi plain).
young couple elope and hide amongst the tall grasses of
the plain of musashi was a large flat expanse of land west
musashino. when their pursuers threaten to set fire on
of edo, most famous for the illusion of the moon rising
the grasses the lady pleads for mercy with the waka poem
straight out of the grasses which grew there and similarly
that reads:
the sun appeared at its largest size and its deepest shade of red just before setting into the horizon.
musashino wa
oh no, please, today
A poem celebrating this famous landscape was written by
kyo wa na yaki so
do not burn the musashi plain!
the aristocrat minamoto michikata (1189–1238) and is in-
wakakusa no
tender as young grass,
cluded as no.425 in the imperial poetry anthology of
tsuma mo komoeri
my beloved is hiding here,
c.1265, the shokukokin Wakashu (collection of Ancient and
ware mo komoeri
and I too am hiding here.
modern poems continued). during the edo period musashino was frequented by picmusashino wa
on the musashi plain
nickers inspired by its haunting beauty, poetic references
tsuki no irubeki
there is no peak
and spectacular views of mount fuji. After the recent era
mine mo nashi
for the moon to enter
of industrialisation musashi lost its original landscape and
obana ga sue ni
white clouds catch in
is currently an area located in the centre of the metropolis
kakaru shirakumo
the tips of the flowers.
of tokyo.
pair in the collection of the nezu museum see: Catalogue of selective Masterpieces from the nezu Collections, Painting and Calligraphy, p. 162-163, pl. 138. Also for a further pair of six-fold screens in the collection of fujita museum see: nihon byĹ?bue shĹŤsei, vol.9: shiki keibutsu (natural Features of Four seasons), p.86, pl.77 & 78.
5 I A two-fold pAper screen wIth A Tora (tIger) crouchIng BeneAth A rocKy outcrop on the seAshore wIth arauMi (crestIng wAves) painted in ink on a buff and gold ground Inscribed: eishin Hōgen hitsu (painted by eishin hōgen) kojakuan kaō shō (authenticated by Kojakuan* with monogram) Japan 17th/18th century edo period dimensions: h. 69¾“ x w. 77“ (177cm x 195cm)
Kanō yasunobu (1613-1685). fa-
landscapes, figures, kachōga (birds and flowers) and Bud-
In the traditional cosmology of china, the tiger is one of
miliar names: genshirō, shirojirō,
dhist subjects.
the four sacred creatures, representing autumn, the
ryōfusai,
*Ōkura Kōsai (1795-1863). gō (art name): Kojakuan. An art
the complement of the dragon, which represents the
seikanshi. yasunobu was the son
connoisseur and authenticator who served the tokugawa
east, spring, and water. the interaction of the two, repre-
of Kanō takanobu, who died
family in Kishu province. In 1825 Ōkura Kōsai became a
senting the play between wind and water, is thought vital
when yasunobu was a child. he
monk and took the art name Kojakuan. In 1851 he was
for creating the nurturing weather that makes soil fertile
studied under Kanō Kōi and his
granted the title of hokkyō (lit. Bridge of the law) the third
and crops prosper.
elder brother tan’yū. yasunobu
highest honorary title bestowed upon Japanese Buddhist
Japan’s artistic treatment of tigers
began working in Kyoto, then
priests.
is usually highly stylised. with no
freely drawn representations of cresting waves, foam and
artists of the pre-modern period
ukyōnoshin. gō (art names): Bokushinsai,
eishin,
western direction, the wind and the colour white. It is thus
moved to edo with tan’yū, who founded the Kajibashi branch of
indigenous
specimens to study,
the Kanō family. he became goyō eshi (official painter)
sea spray are known as araumi (lit. rough sea) motifs. fol-
constructed their notions of the
to the shogun’s court, founding the makabashi Kanō
lowing in the artistic traditions of t’ang china, such seas
tiger from skins imported into the
school. yasunobu was later adopted by Kanō sadanobu
were initially portrayed with fearsome animals among the
country. this has resulted in a
as his heir; hence also regarded as the eighth-generation
waves as depicted on this particular screen.
rather cat-like depiction of this
head of the main Kyoto Kanō line. A connoisseur of paint-
Tora (tiger), in chinese thinking, is supreme among the
noble feline beast.
ings, yasunobu signed many certificates of authentication
land beasts and is sometimes depicted with the ideo-
for Kanō paintings. he was awarded the honorary title of
graph for the word ‘king’ on its forehead. Although
nb. whilst painted by a member of the
hōgen (lit. eye of the law) in 1662. one of his greatest
viewed as dangerous, it is a symbol of strength, courage
Kanō school I do not believe this screen to
accomplishments was painting the walls of the shishinden
and longevity and is also accredited with the ability to
seiken of the Imperial palace, Kyoto. he also painted
fend off demons, ill-fortune and disease.
be a work by Kanō yasunobu.
6 I A two-fold pAper screen wIth A ryū (drAgon) Amongst clouds painted in ink on a gold ground signed: Meiji kanoe-ne koharu-zuki, Tenryu-sō shōnen-hitsu (painted by shōnen, the old man tenryū, in the *10th month of the year of Kanoe-ne, meiji period) seals: upper: Tenryū-sō shōnen (shōnen the old man tenryū), lower: ikkyo kyūmangyoku (lit. single lift, ninemillion jades) Japan 20th century meiji period *november 1900 dimensions: h. 67½” x w. 74½” (171cm x 189cm)
suzuki shōnen (1849-1918) gō (art name): chikuson.
lightning; his scales begin to glis-
shōnen was born and lived in Kyoto. he was the son and
ten in the bark of rain-swept pine
pupil of suzuki hyakunen (1825-1891), a leading painter of
trees. his voice is heard in the hur-
the shijō school who established his own style of painting
ricane which, scattering the with-
without adhering to any of the established styles such as
ered leaves of the forest, quickens
the shijo-maruyama, nanga or Kano schools. due to his fa-
a new spring.
ther’s position, and his own talent, which was apparent from an early age, shōnen was able to study at the imperial
the shuo wen dictionary states
palace and also at Kyoto prefectural school of painting.
that the dragon is the chief of the
from 1881 to 1888 he taught chinese painting at the
scaly reptiles. It wields the power
northern division of the Kyoto Art Academy, taking the po-
of transformation and the gift of
sition vacated by Kōno Bairei (1844-1895).
rendering itself visible or invisible at will. In the spring it ascends to
he specialised in landscapes and kachōga (bird and flower
the skies and in the autumn hides
painting) as well as traditional and Buddhist subjects. shō-
in the watery depths of the ocean.
nen never worked from preliminary sketches (shita-e) but
It covers itself with mud in the au-
painted quickly and directly, in a bold, individual style. he
tumnal equinox, and emerges in
painted the famous dragons in the main building of the
the spring, thus announcing by its awakening the return of
Japan took from china the habit of associating ryū (drag-
Tenryū-ji and several landscape screens in the ryōgen-in of
nature’s energies.
ons) with the imperial institution, Buddhism and the virtue of vigilance. By the late 7th century dragons were popular
daitoku-ji. In his later years his work had a great influence on the Kyoto art world, his best known pupils being shōshū
In the traditional cosmology of china, the dragon is one of
as painted images in Buddhist temples while later they as-
saitō (b.1870), Kimura Kōnen (b.1877) and uemura
the four sacred creatures, representing the east, the spring
sumed secular applications in paintings and other arts.
shōen (1875 –1949).
and water. It is thus the complement of the tiger which rep-
depending on the context dragons are teamed with a vari-
resents autumn, the western direction, the wind and the
ety of motifs, however the most common design pairings
colour white. this pairing in Japanese art is known as
are with stylised cloud or wave motifs, reflecting the ani-
dieval imagination, but the genius of strength and good-
ryukozu. the interaction of the two – the play of wind and
mal’s association with both the sky and the oceans.
ness. he represents the spirit of change, and therefore life
water is thought vital for creating the nurturing weather that
itself. hidden in the caverns of inaccessible mountains, or
makes soil fertile and crops prosper.
the eastern dragon is not the gruesome monster of me-
works by the artist can be found in the collections of: Ashmolean museum, oxford; British museum, london; daitoku-ji (ryōgen-in), Kyoto; honolulu
coiled in the unfathomed depths of the sea, he awaits the time when he slowly rouses himself into activity. he unfolds
dragons are a traditional subject-matter of the kanga or
himself in the storm clouds and washes his mane in the
chinese style of paintings. they were often painted on
blackness of the seething whirlpools. his claws form forks of
large format surfaces such as ceilings and walls.
Academy of Arts, hawaii; sanzen-in, Kyoto; tenryū-ji, Kyoto; victoria and Albert museum, london.
7 I A pAper kakeMono (hAngIng scroll) wIth An ensō (cIrcle) contAInIng cAllIgrAphy painted in ink Inscribed: yo no naka no maruki ga nakani umarete wa hito no kokoro mo maruku koso mote (Born within the ensō of the world the human heart must also become an ensō). signed: *nanajyūkyū ō nantenbō sho (painted by nantenbō at the age of 79) seals: right: nantenbō left: upper: tōshū lower: hakugaikutsu Japan 20th century taishō period *1918 dimensions: scroll: h.43¾” x w.12½“ (110.5cm x 31.5cm) painting: h. 12½“ x w.11¾“ (31.5cm x 29.5cm)
nakahara nantenbō (1839-1925). priest name: tōjū Zenchū. gō (art name) hakugaikutsu. Born in nagasaki to a samurai family he entered the priesthood at the age of 11. he received his first strict Zen training at empuku-ji, Kyoto and in 1857 at the age of 18 he managed to unravel the first koan (Zen dictum) he had been set. After this accomplishment he devoted himself to more koan practice visiting various temples seeking to receive koan tasks from noted masters with whom he tested his understanding. In 1859 he met razan genma (1815-1867) head priest of Bairin-ji, Kurume and decided to return to his native Kyushu along with genma to further his studies. there he went through many years of meditation finally reaching enlightenment at 26. this accomplishment earned him the position as the head of daijo-ji, tokuyama prefecture in 1869.
during his travels in the mountains of Kyushu in 1873 he dis-
tesshū (1836-1888) and important military generals of the Im-
also symbolise the Japanese aesthetic itself. As an ‘expres-
covered an ancient nanten (barberry) bush and asked permis-
perial Japanese Army such as count nogi maresuke (1849-
sion of the moment’ it is often considered a form of minimal-
sion to cut a branch from it while promising the owner that
1912) and viscount Kodama Kentarō (1852-1906). nantenbō
ist expressionist art.
this nanten bō (staff) would resound for countless generations
guided them and helped them to complete their personal Zen
and that in his hand will become an instrument of the dharma.
training and meditation studies.
should the owner not agree the bush would eventually simply
In Zen Buddhist painting, ensō represents a moment when the mind is free to simply let the spirit create. the brushed
wither and die. from this point on nantenbō always carried
nantenbō was given his most prestigious appointment in 1891
ink of the circle is usually done on silk or paper in one move-
this staff using it to encourage disciples and challenge less
as head of Zuigan-ji, matsushima. unfortunately this appoint-
ment (but sometimes the great Bankei used two strokes) and
enlightened priests with dharma battles, beating them with
ment came to a sudden end when nantenbō was unjustly
there is no possibility of modification: it shows the expressive
his staff and chasing them from their temples if they lacked
blamed for the accidental damage of an ancient statue of the
movement of the spirit at that time. Zen Buddhists believe
true understanding. It resulted in a great deal of notoriety
famous 17 century warrior date masamune. shocked and dis-
that the character of the artist is fully exposed in how he or
and gave him the sobriquet nantenbō (barberry staff).
heartened he resigned and went into self-imposed seclusion
she draws an ensō. only a person who is mentally and spiri-
in the nearby dilapidated temple of daibai-ji where he re-
tually complete can draw a true ensō. Achieving the perfect
mained for the next two years. this period helped him reach a
circle, be it a full moon or an ensō is said to be the moment
Buddhism and a tireless teacher known for his exacting stan-
greater level of maturity through quiet introspection. he aban-
of enlightenment.
dards and impatience with mediocrity. In his determination
doned the use of his cherished staff and although his Zen spirit
to restore Zen to its former purity and brilliance, he emulated
remained fierce, he ceased the zealous rampages of his
while some artists paint ensō with an opening in the circle,
the severe methods of legendary Zen masters from the dis-
younger years. In 1902 he moved to Kaisei-ji, nishinomiya
others complete the circle. for the former, the opening may
nantenbō was a zealous reformer of the rinzai sect of Zen
tant past. his un-
th
where he spent his later years.
shakable sense
express various ideas, for example that the ensō is not separate, but is part of something greater, or that imperfection is
and
nantenbō produced more than 100,000 paintings and works
an essential and inherent aspect of existence (the idea of bro-
wrong and fear-
of calligraphy during the last thirty years of his life. he created
ken symmetry). the principle of controlling the balance of
of
right
less devotion to
a vibrant and explosive style in both painting and calligraphy
composition through asymmetry and irregularity is an impor-
Zen often led to passionate
which marks him as a genius of Zen painting. nantenbō’s use
tant aspect of the Japanese aesthetic Fukinsei, the denial of perfection.
disputes, especially when
of the brush was a form of Zen practice and an opportunity
challenging those above him
for concentration. he preached that the execution of callig-
such as the governing priests
raphy should be made with total concentration of one’s mag-
this particular ensō features an inscription and signature con-
of myōshin-ji, the head tem-
nified spirit and that when writing a large character it should
tained within itself as well as smaller circles used to indicate
ple for his branch of the rin-
be written speedily and in one breath so as not to lose any
the words ‘circle’ and ‘round’ thus symbolising the infinite
zai sect.
of its potential power.
movement of the circle and its birth within itself, the world
the uncompromising deter-
ensō is a Japanese word meaning circle and a concept
mination of nantenbō in the
strongly associated with Zen. ensō is one of the most popular
face of conflict attracted the
subjects of Japanese calligraphy even though it is a symbol
attention of the famous
and not a character. It symbolises the Absolute, enlighten-
samurai swordsman yamaoka
ment, strength, elegance, the universe, and the void; it can
and the human psyche. works by the artist can be found in the collections of: freer and sackler, the smithsonian’s museum of modern Art, washington d.c.; the Asian Art museum, san francisco; gitter-yelen, new orleans museum of Art.
Keishū dōrin (1714-1794) 221st Abbot of Tenryū-ji temple
Kyoto’s so-called five mountains (hierarchical order of rin-
(rinzai Zen) in Kyoto. gō (art name): gankyoku, raihōken,
zai Zen monasteries modelled after the chinese system).
calligraphy the most common subjects are
iryū dōjin.
In 1994 it was registered as a unesco world heritage site
Zen poems and conundrums. the style of the
and is one of the historic monuments of Ancient Kyoto. Tenryū-ji, more formally known as Tenryū shiseizen-ji, is the
zenga (Zen painting) is a form of teaching: in
brushwork is dramatically bold, seemingly impetuous and bluntly immediate in effect. the transition
head temple of the tenryū branch of rinzai Zen Buddhism
Mu is a Japanese word meaning: not, absence, nothing,
from mind to paper is spontaneous and finished works dis-
located in susukinobaba-chō, ukyō ward, Kyoto, Japan. the
void (also: not having, without, nonbeing, emptiness). It is a
til the essence of the Zen experience with simple strokes
temple was commissioned by Ashikaga takauji in 1339 to
key word in Buddhism, especially in Zen traditions. In mod-
of the brush. the logic-destroying potential of a Zen kōan
commemorate the death of emperor go-daigo. the first
ern Japanese it is commonly used in a combination of words
(riddle) becomes visible in the movement of roughly
Abbot musō soseki (1275-1351) designed
as a prefix to indicate the absence of something. the Japan-
brushed calligraphy.
the garden which incorporates an extensive
ese rinzai school classifies the Mu kōan as hosshin (resolve
rock landscape and a large pond with the
to attain enlightenment) that is appropriate for beginners
the kōans consist of anecdotes, conversations with and say-
backdrop of Arashiyama mountain. As a
seeking keshō (Buddha nature).the inscription is a Zen dic-
ings of the great patriarchs, some legendary and some bi-
temple related to both the Ashikaga family
tum challenging the greatness and peace that Buddha and
ographical. they were designed to serve the pupil as a tool
and emperor go-daigo it is held in high es-
his disciples may offer and denouncing conventional notions
in his own religious practices and lead him in the long run
teem and is ranked number one among
of religion.
to enlightenment.
8 I A pAper kakeMono (hAngIng scroll) wIth cAllIgrAphy painted in ink signed: gankyoku keishū sho (written by gankyoku Keishū) seals: upper right: kaishin (to awaken the mind) lower left: upper: keishū dō-in (seal of Keishū dō), lower: iketsu sanjin (man of a mountain cave, dressed in a Buddhist robe) Inscription on scroll painting: Mu. busso ya nanzo yasuraka zu (nothingness. Alas the Buddha and patriarchs are not great!) Inscription on reverse of scroll: Mu (nothingness) keishū wajo (priest Keishū) Japan 18th century edo period dimensions: scroll: h. 40¾“ x w. 14¼“ (103.5cm x 36cm) painting: h. 10¼“ x w. 13½“ (26cm x 34cm)
9 I A cerAmIc Te-aburi (hAnd wArmer) wIth A retIculAted sIlver cover the body is decorated with seventeen rakan (saintly ascetics) incised and painted in coloured enamels. All are seated wearing loosely fitting robes, a halo surrounds each of their shaved heads and some hold alms bowls whilst a few rest on straw mats. signed: bunsei kanoetora* shugetsu rōbei zō. (made by rōbei during an autumn month in the year 1830 of the Bunsei period) seals: right, upper: undeciphered left, lower: mokubei stamped upside down Japan 19th century edo period *1830 dimensions: h. 12½” x diam. 14” (30.5cm x 35.5cm) awasebako (fitted box) inscribed: lid: Te-aburi (hand warmer) label on box lid: Mokubei zo. Jyūroku rakan bori tsubo. ryōro. yonju yon go (made by mokubei. A hand warmer carved with the design of the sixteen rakan. number 44) lid interior: Jyūroku rakan te-aburi. genjū kyokuken zuidai, kiyo aoki Mokubei jisaku Jokoan jūbutsu (sixteen rakan hand warmer. this piece, made by Aoki mokubei, was donated to the Jokoin temple. written by the current abbot Kyokuken Zuidai.
Aoki mokubei (1767-1833). gō (art names): hyakuroku san-
Japanese ceramic techniques such as iroe (polychrome over
to have originally numbered twelve hundred but in various
jin, Kokikan, Kukurin, mokubei, rōbei, teiunrō. A nanga
glaze enamels), sancai (chinese three-colour ware), somet-
types of Japanese artistic representations a smaller group
(literati painting) painter, potter, calligrapher and scholar, he
suke (late ming blue and white), aoji (celadon), k’ang-hsi
of sixteen rakan is the focus. following chinese tradition
is also considered the reviver of Kyoto ceramics. Born in
famille noire and the so called kōchi ware (polychrome). he
each member of this group is individually named and asso-
Kyoto the son of a restaurant owner, he studied pottery
also made Korean and Japanese style pieces which were
ciated with a particular attribute such as a fly whisk, a gong,
under okuda eisen (1753-1811) and was influenced by the
popular among matcha devotees.
a scroll, a palm-leaf book or a dragon. rakan are usually de-
chinese paintings of the ming and ch’ing dynasties as well as by Ike no taiga (1723–1776).
picted with shaved heads, long earlobes and unadorned the sheer range of mokubei’s work attracted many clients
draped robes leaving one shoulder bare.
and influential patrons even though he was known for his After reading Tōsetsu (ceramics explained), a chinese trea-
low rate of production. It is said that clients and dealers
works by the artist can be found in the collections of: the victoria & Albert
tise of 6 chapters on the history of chinese ceramics written
paid large sums for his work and yet often had to wait years
museum, london; Kyoto national museum of Art, Kyoto; freer and sackler,
in 1774 by chu yen, he decided to specialise in this art form
for their order to be completed.
gaining great recognition and fame during his own lifetime. rakan are Buddhist disciples who having conquered all pas-
in 1807 joined the service of the lord of Kaga, where he
sions are liberated from the burden of rebirth. they are said
Kutani kilns spurring the potters on to do better work. In 1808 he was called into the service of prince shoren’in no miya who sponsored the founding of a kiln in Awata, Kyoto where he began to work as an imperial ceramic master. his ceramics are rich in elements associated with the literati, china, and the sencha tea ceremony leading him to produce numerous teapots, freely potted stoneware tea bowls and cooling hearths. mokubei mastered both chinese and
museum of Art, tokyo; the Ashmolean museum, oxford; Idemitsu museum of Arts, tokyo; metropolitan museum of Art, new york.
In 1801 he worked for the lord of Kii as a potter and then opened the Kasugayama kiln. In 1806 mokubei visited the
the smithsonian’s museum of modern Art, washington d.c.; tokyo national
Accompanying paper notes:
mata fujo rakuyaki no oyobasaru tokoro nari. kore bunsei
envelope: Mokubei tesube kanteisho zaichu (Authentica-
kanoe-tora to areba bunsei no matsunen Tenpo to kaigen
tion of the work by mokubei enclosed)
arishi toshi nari. o bannen no saku nari. Hako ni Jokoin jubutsu to ari. kore o ga Joko-in no tame ni tsukuri taruya
Inner envelope slip: yonjyū yongo, Miyagawa o hansho
mata yojinga Joko-in e zorashiki no meihin nari. Joko-in
tomoni nitsu, kanteisho, copy (A copy of the two-sheet au-
wa kennin-zenji tattoo matsuji nari. dated: Meiji 41st year.
thentication number 44, written by miyagawa Kōsai pot-
Miyagawa kosaij jutsu, with seal Miyagawa kosai. arisawa
ter).
Chuhei ki with seal Chuhei
the original authentication is also included. Accompanying note 1st page: akashi. ichi rakuyaki tetsub-
(made by the old man mokubei, a hand warmer in the
achigata teaburi. Migi, Mokubei o ga jyūrokurakan
shape of an iron bowl with the design of sixteen rakan.
chokokuni saishiki wo kuwae, yoni marenaru toki seisaku.
this is raku ware made by mokubei to demonstrate his
shoshin machigainakiya. Meiji yojyūyo nen ***gatsu. Toshi
exceptional pottery skills. he has achieved the utmost
Miyagawa kōsai. (Authentication. one rakuyaki style hand
technical supremacy and his character, wit and ingenuity
warmer in the shape of an iron bowl. made by the old man
are exceptional, applying his pottery skills in this example
mokubei with a sixteen rakan carved design and painted
of raku ware. his tremendously versatile technical skill is
in colour. this is a rare piece of pottery and undoubtedly
really astounding; the shape of this work is extremely fine,
an authentic work by mokubei. date: meiji 41 (1908), pot-
and the drawing and colouring of the sixteen rakan is light
ter miyagawa Kōsai)
and elegant. this work dates from the year of Kanoe tora,
seals:
the tempo era. therefore, the work dates from later in his
right, upper: part of the seal Jussui goseki; a seal used by
working life. the hakogaki inscription says it is a treasure
which is the last year of the Bunsei era and the first year of
the miyagawa Kōsai kiln
at the Jokoin temple, which might mean that either
left, lower seal: miyagawa Zen’ō
mokubei made this work for the temple or it was donated
2nd page: Mokubei o saku. rakan ga tetsubachi-gata te-
temple is one of the sub-temples attached to the Ken’nin-
aburi. kore raku-yaki to shite o ga ginou wo yo ni shime-
ji Zen temple (Kyoto). Inscribed by: miyagawa Kōsai.
by the artist to the temple. such a fine work. the Jokoin
saru mono nari toho no giichi to shite nasazarunaki o wa kotsudatsu share tenpu no saino wo rakuyaki no togi ni
seals:
oyo shitarumono. o no tagi kyotan no hoka nashi. keishiki
left, lower: miyagawa Kōsai (1845-1922) and Arisawa
yoku totonoi juuroku-rakan no gaho keimyi ni shite in ari,
chūhei (dates unknown).
shikashite takumini shikisai wo hodokoshi-taraba giryo
10 I A wood HibaCHi (BrAZIer) InscrIBed wIth cAllIgrAphy In whIte And A cArved detAIl of An oni (dAemon) Japan 20th century taishō period *1912 dimensions: h. 11¾" x dia. 21" (30cm x 53.5cm)
Born in Kyoto to a wealthy merchant family he is regarded
maining an important member until his death in 1924. he
as the last major artist of the nanga (literati painting) tradi-
was also a member of the Art committee of the Imperial
tion. due to a hearing impairment as a child his family de-
household and of the Imperial fine Arts Academy.
cided to educate him as a scholar in classical chinese
*the diary referred to here is the gaun nikken-roku written
philosophy and literature under the famous kokugaku (na-
by the Zen priest Zuikei shūhō (1392-1473). shūhō was the
tional revival of Japanese philology and philosophy) scholar
50th abbot of shōkoku-ji, a rinzai sect temple in northern
Ōkuni tadamasa (1793-1871). After his father’s death in
Kyoto founded in 1382. the diary is comprised of seventy
1843 and the subsequent decline of his family’s fortunes he
four books written between 1446 and 1473. It provides us
was sent to the rokunshonō shintō shrine where he gained
with a historical record of ideas on Zen Buddhism and the
a profound knowledge of the shintō religion as well as Bud-
liberal arts as well as being a rich source of information on
dhism, confucianism and classical Japanese literature.
the social climate of the time.
Inscribed: Fuku (wa) uchi, oni (wa) soto (come in good for-
At the age of 18 tessai was placed in the care of Ōtagaki
A traditional shinto celebration, setsubun marks the first
tune! get out daemons!)
rengetsu (1791-1875), the famous female poet, calligra-
day of spring according to the ancient Japanese lunar cal-
followed by a text in kanbun (chinese characters):
pher and potter. As a mentor she had a profound effect on
endar. on this day it is customary to throw roasted soy-
I read and copied the following passage as recorded in the
tessai’s personality and enabled him to develop his own
beans whilst chanting fuku (wa) uchi, oni (wa) soto in the
*diary gaun nikken-roku.
painting style whilst studying under various accomplished
belief that this practice expels evil ogres from one’s house
‘22nd of the twelfth month, on the eve of the spring equi-
painters of the time.
and allows good fortune in.
nox, scattering roasted beans in each room, chanting the
In 1861 he opened a private painting school and in 1868
four words fuku uchi oni soto. this is known as Tsuina’.
he was given a teaching position at Kyoto’s newly inaugu-
works by the artist can be found in the collections of: chion-in treasure
written on the day of the spring equinox, in the year of
rated ritsumeikan university. closely allied to those sup-
house, Kyoto; musée guimet, paris; hakutaka museum; tokyo national mu-
mizunoto-ne of the taishō period*, by the old master tes-
porting the meiji restoration (an underground movement
sai gaishi.
designed to overthrow the shogunate) tessai fled to nagasaki in 1859 to escape arrest. this gave him the oppor-
seals: tomioka hyakuren and tetsujo
tunity to further concentrate on nanga painting and to serve
ishū
as a shintō priest. After the meiji restoration he travelled extensively throughout Japan, mainly on foot, visiting and
tomioka tessai (1837-1924). given
painting famous scenic places from nagasaki to hokkaidō.
name: tomioka hyakuren. azana (formal
After his brother’s death in 1881, he decided to return to
name with chinese reading): muken. gō
Kyoto and care for his mother. In 1893 he was appointed
(art names): tessai, tetsugai, tetsujin,
to teach ethics at the Kyoto city Art school and in 1896 or-
tetsushi, tetsujo ishū, yūken.
ganised the nihon nangakai (Japan nanga Association), re-
seum, national museum of modern Art, tokyo; Kyoto national museum; museum of fine Arts, Boston; seattle Art museum, washington; victoria and Albert museum, london; Adachi museum and seichōji tomioka tessai gallery, takarazuka, hyogo. provenance: previously in the collection of sue Kōda, nagoya. An almost identical hibachi by tessai was auctioned in 1934 at the Kyoto Bijutsu club as part of the Kitamura collection. note: the piece is accompanied by a pair of metal ohashi (chopsticks) inscribed: Myōchin Muneyuki saku (made by myōchin muneyuki) gojūichi dai (51st generation). myōchin muneyuki II (b.1908) is known to have been active during the 1980’s. he lived and worked in himeji city, hyogo prefecture.
tōrei enji (1721-1792).
At 23 he visited hakuin (1686-1768) at shōin-ji,
Born in omi province he
hara, suruga province. this meeting proved piv-
lion ignorant fools, and the lion
began his monastic life at
otal and enji eventually became hakuin’s best
roars at a million ignorant fools).
(A lion appears in front of a mil-
the age of 9 and began
pupil. At 35 he became a priest at myōshin-ji and
In essence, this dictum encour-
his studies under ryōzan
was first referred to as tōrei. After serving at var-
ages lay believers to dispel
erin (unknown dates) at
ious temples across Japan tōrei finally resided at
delusions with a mind awak-
daitoku-ji, Kyoto. At 17
Zuizen-ji, nagoya and reisen-ji, omi prefecture.
ened by the sight and sound of
he
went
to
miyazaki
daikō-ji,
prefecture,
a roaring lion (Buddha). throughout his life, tōrei retained a strong inter-
Kyushu where he trained
est in shinto, confucianism and Buddhism even-
the hossu is one of the many accessories used
under the important Zen
tually writing a treatise on the theory of all three
by Buddhist monks and is believed to help over-
master Kogetsu Zensai
stating his belief that they are basically identical.
come ill fortune, remove obstacles and dispel
(1667-1751) and his suc-
this Zen dictum referred to here is adapted from
delusion. Its practical use is to whisk away flying
cessor
suigan
(1683-1773).
Jūshin
the death poem of the prominent Zen priest mu-
insects, preventing the devotee from acciden-
gaku sogen (1226-1286) which reads: hyakuoku
tally killing any life form and therefore abiding
mōtō ni shishi genji, hyakuoku mōtō ni shishi hoyu
by Buddhist law.
11 I A pAper kakeMono (hAngIng scroll) wIth A Hossu (fly whIsK) And cAllIgrAphy painted in ink signed: Tōrei sho (written by tōrei) with his kao (a clam shaped insignia) seals: right: uzuike sakamizu (pond with an anti-clock-wise eddy) left: upper: yūhei lower: tōrei Inscription: Hyakuoku mōtō
A million ignorant fools A million lions appear hyakuoku shishi arawaru Japan 18th century edo period
dimensions: scroll: h. 78¼“ x w. 12¼“ (198.5cm x 30.5cm) painting: h. 52“ x w. 11“ (132cm x 27.5cm) Tomobako (original box) inscribed: lid: Tōrei zenji hossu no zu (painting of a hossu by Zen priest tōrei) lid interior: Taishō kanoe saru baigetsu, zen-jūji koku koshu daikan (written and authenticated by priest Koku Koshu 1920)
12 I A pAper kakeMono (hAngIng scroll) wIth dArumA painted in ink signed: hakuin seals: right: Kokani left: upper: hakuin lower: ekaku Inscription: yoshi ashi o sutete okiagari kobōshi kana (whether good or bad, just like an okiagari kobōshi* doll) Japan 18th century edo period dimensions: scroll: h. 47¼” x w. 23¼” (119.5cm x 58.5cm) painting: h. 14” x w. 19¼” (35.50cm x 48.5cm)
hakuin ekaku (1686-1768) given name: nagasa ekaku.
tant signifier of meditation and this became one of hakuin’s
having once been tempted by sleep he
priest name: hakuin dōjin. Born in hara, suruga province,
most recognisable and iconic subjects. with his widespread
cut off his eyelids as a penance and
he entered the Zen temple shōin-ji in 1700 at the age of
popularity, hakuin was undoubtedly called upon to create
tossed them aside, where the lids
15 where he studied with tanrei (d.1701) and was given the
numerous images for followers who benefited from this tan-
landed on the ground the first tea plant
Buddhist name of ekaku. this temple remained his base
gible reminder that only by the rigorous discipline of med-
is said to have grown and to this day
throughout his long life of teaching and travelling. In 1717
itation could enlightenment be attained.
Zen monks drink tea to ward off sleep.
hakuin became abbot of the myōshin-ji, Kyoto and later visited a series of temples, wandering through many
daruma (Bodhidharma) is the sage who founded the Zen
provinces, teaching Zen to the common people. finally in
sect of Buddhism in china. he is said to have retired to
1758 he founded the ryūtaku-ji in Izu.
lo yang in the year 520 Ad where he remained seated, absorbed in meditation for nine years, during which temp-
hakuin was one of the most impor-
tations were heaped upon him by evil spirits without any
tant Zen masters of his time, cred-
result. At the end of this period his legs were said to have
ited with reinvigorating the rinzai
atrophied and he is often depicted as entirely enveloped
sect. he established the transition
in his robes, shaped like a bag, from which his swarthy
from the institutionalised religion of
scowling face emerges. staying true to this image of no
works by the artist can be found in the collections of: Brooklyn museum, new york; museum of fine Arts, Boston; seattle Art museum, washington; and the Buddhist temples of: daikō-ji, miyazaki; dairyū-ji, gifu; empuku-ji, shiga; hōrin-ji, yamanashi; Keiun-ji, himeji, hyōgo; myōkō-ji, Aichi; ryūgaku-ji, nagano; ryūtaku-ji, shizuoka; shōfuku-ji, Kōbe; shōin-ji, shizuoka; Zenshō-ji, Kyōto. for a similar daruma ink painting by hakuin in the collection of ryūun-ji, tokyo see: Hakuin, the Hidden Messages of zen art, the Bunkamura museum of Art, p.74, pl. 22 and for other examples of this subject matter by hakuin in the collections of sanso, doris and peter f. drucker, george gund
previous periods to a more informal
feet and the philosophy of perseverance is the popular
one, aiming to teach directly to the
Japanese toy of the round - based *okiagari-kobōshi or
20th Centuries, Asian Art museum - chong-moon lee centre for Asian Art
people especially in remote regions.
daruma doll which cannot be knocked over. “seven times
and culture, p.10, pl.3; p.11 pl.4 and p.12 pl. 5 respectively.
down eight times up.” the inscription on this particular hakuin painted hundreds of daruma
scroll draws a direct connection to this image and idea and
images, as befitted the Zen patri-
uses the metaphor of the okiagari-kobōshi doll to enhance
arch’s role as the single most impor-
the analogy.
collection and gitter-yelen collection see: Zen Painting and Calligraphy 17th-
13 I A cArved wood fIgure of JIZŌ BosAtsu stAndIng on A lotus BAse Japan 9th century heian period dimensions: figure and stand: h. 30¾” (77.5cm) figure: h. 23½“ (59.5cm)
Jizō Bosatsu, represented as a simple monk, has existed
fall that originated in Indian Buddhism and later became
in Japan since the eighth century, becoming widely wor-
widespread in china and Japan. It foretold the world’s ul-
shipped by the masses at the end of the heian period
timate decay and the complete disappearance of Buddhist
the naturalistic treatment of the figure represented here
(794-1185) with the rise of pure land (Amida) Buddhism.
practice. At the time, the days of the dharma in Japan
stems from a tradition of Japanese portrait sculpture which
he is usually shown in the guise of a shaven-headed priest
were divided into three periods.
developed in a Buddhist context and was never com-
the first phase, the Age of shōbō, was said to last 1000
ginning the majority of the subjects portrayed were
with a kyōshoku (breast ornament) and carrying a hōju (a jewel which grants desires) in his left hand and a shakujō
relief from pain in this life and the next.
pletely separated from the religious setting. from the be-
(priest staff) in his right. As an attendant of Amida his pow-
years after the death of the Buddha. It was believed to be
religious personages, whether legendary or historical.
ers include the saving of souls condemned to the various
a golden period during which followers had the capacity
the portraits of venerated monks, which form the body
Buddhist hells and the intervention with yama, the master
to understand the dharma. the second phase, the Age of
of Japanese portrait sculpture, were appreciated as ob-
of hell, on behalf of those reborn in each of the six realms
Zōhō, was also to last 1000 years during which Buddhist
jects of aesthetic value from as early as the nara period
of transmigration. he guards travellers safely on their way,
practice would begin to weaken. the third and final phase,
(645-781). this tradition of naturalistic representation can
protects warriors in battle, watches over the safety of chil-
the Age of mappō, lasting 3,000 years was when Buddhist
also be seen in sculptures of Buddhist deities produced
dren, families and women during pregnancy.
faith would deteriorate and no longer be practiced. In
at the time.
Japan the Age of mappō was said to begin in 1052 Ad, heian beliefs about Jizō, a compassionate Bodhisattva, in-
and a sense of foreboding thus filled the land, with people
volved widespread belief of the three periods of the law
from all classes yearning for salvation. this belief lead to a
known as the days of the dharma (the Buddhist teachings).
comprehensive increase in the popularity of Jizō as the
this was an all-encompassing concept of society’s rise and
only deity man could petition in these lawless centuries for
for other examples of figures treated in a similar style held in the collection of Kōfuku-ji, nara see: Japanese Portrait sculpture, p.54-55, pl.39-42. radio carbon dating ref: rcd-8428
14 I A wood And gIlt lAcquer sculpture of AmIdA nyorAI (AmItāBhA) the eyes inset with crystal. the head is adorned with crystals representing the byakugō (white spiralling hair) on the forehead and the nikkei-shu (red jewel on the protrusion on top of the Buddha’s head). the right arm raised and the left arm extended with the forefinger and thumb of each hand forming a circle represent the raigōin mudra, welcoming the believer into Amida’s great western paradise. Japan 15th/16th century muromachi/momoyama period dimensions: h. 20½” x w. 17½” x d. 14” (51.5cm x 44cm x 35.5cm)
Belief in Amida as lord of the western paradise rose in popularity during the late 10
Buddhist practice. At the time, the days of
th
the dharma in Japan were divided into three
century. Based primarily on the concept of
periods. the first phase, the Age of shōbō,
salvation through faith, it was not only a reli-
was said to last 1000 years after the death of
gion appealing to a broad range of people,
the Buddha. It was believed to be a golden
but also a direct assertion of piety against
period during which followers had the ca-
the dogmatic and esoteric ritual of the more
pacity to understand the dharma. the sec-
traditional tendai and shingon sects. In
ond phase, the Age of Zōhō, was also to last
Amida’s western paradise the faithful are re-
1000 years, during which Buddhist practice
born, to progress through various stages of
would begin to weaken. the third and final
increasing awareness until finally achieving
phase lasting 3,000 years, the Age of
complete enlightenment.
mappō, was when Buddhist faith would deteriorate and no longer be practiced. In
Another factor that engendered faith in
Japan the Age of mappō was said to begin
Amida was a widespread belief of the three
in 1052 Ad, and a sense of foreboding thus
periods of the law known as the days of the
filled the land, with people from all classes
dharma (the Buddhist teachings). this was
yearning for salvation leading to a wide-
an all-encompassing concept of society’s rise
spread practice of continuously repeating
and fall that originated in Indian Buddhism
the mantra of Amida Buddha.
and later became widespread in china and Japan. It foretold of the world’s ultimate decay and the complete disappearance of
radio carbon dating ref: rcd-8312.
15 I A pAIr of sIx-fold pAper screens wIth red And whIte kiku (chrysAnthemum), Autumn flowers And A BAmBoo trellIs next to rocKs. painted in ink and colour on a gold ground A body of deep blue water can be glimpsed at the edge of the right hand screen. the golden clouds and white kiku are rendered in moriage (raised design) Japan 17th century momoyama period dimensions: h. 68“ x w. 151½“ (172.5cm x 384.5cm) provenance: private collection Karizawa nagano Ken, Japan for a pair of six-fold screens with a similar subject matter in the collection of the tokyo national museum see: kano eitoku, Momoyama Painter extraordinaire, p.194-195, pl.57 and for a similar pair of two-fold screens by Kano eitoku in the collection of the Imperial household Agency, tokyo see: nihon byōbu e shyūsei, Vol.7 kachō ga, Plants and Flowers of the Four seasons, p.18-19, pl. 4-5.
16
I
A pAIr of sIx-fold pAper screens painted in ink on a gold ground. the right hand screen depicts a dragon amongst clouds above cresting waves and the left hand screen shows a rocky landscape with bamboo and a leaping tiger before a waterfall. signed: Hōgen Tansaku gyōnen rokujūgo-sai hitsu (painted by tansaku with the title of hōgen at the age of *65) seal: kakusai Japan 18th century edo period circa *1794 dimensions: h. 66¼” x w. 146¼” (168cm x 371cm)
tsuruzawa tansaku (ca. 1729-1797) given name: tsuruzawa moriteru, gō (art name): tansaku tansaku was the son of the court painter tsuruzawa tangei (1688-1769) and painted in a traditional Kanō style. he was one of maruyama Ōkyo’s first teachers and later in his career received the title of hōgen, the second highest honorary title bestowed upon artists. In the traditional cosmology of china the tiger is one of the four sacred creatures, it represents autumn, the west, the wind and the colour white. It is thus the complement of the dragon, which represents the east, the spring and water. the interaction of the two, the play of wind and water – is thought vital for creating weather that makes soil fertile and crops prosper. works by the artist can be found in the collection of: the fine Arts museum, Boston; Indianapolis museum of Art, Indianapolis. for a similar single six-fold screen showing a dragon amongst clouds see Indianapolis museum of Art, acquisition number 79.350 and for a pair of screens with the same subject matter painted by Kanō tan’yu see: nihon byōbu-e shūsei, vol.16: soju ga (wild Animals)- dragons, tigers and monkeys, p.34-35, pl.22 & 23.
17 I A two-fold pAper screen painted in ink and colour on a buff ground with gold sunago (powdered gold) clouds. the scene depicts two geese in a river landscape with reeds. signed: gyokkei seal: gyokusen Japan 20th century meiji/taishō period dimensions: h. 67½” x w. 74” (171cm x 187.5cm)
mochizuki gyokkei (1874-1938) gō (art names): gyokusen Born mochizuki shigenobu, he lived and worked in Kyoto and was the fifth generation of the mochizuki school. gyokkei studied painting under his father mochizuki gyokusen (1834-1913); he painted in the traditional yamato-e style and was well known for kachōga (bird and flower painting). In 1896 he was awarded 2nd prize in the 1st Kaiga Kyoshinkai ten (painting society exhibition) and in 1900 his work was exhibited at the paris expo. he later taught at the Kyoto fine Art university and was an active member of the kyoto bijutsu kyokai (Kyoto fine Arts Association), the nihon bijutsu kyokai (Japan fine Art Association) and nihonga kai (Japanese painting Association). works by the artist can be found in the collection of: the metropolitan museum of Art, new york.
18 I A two-fold pAper screen wIth A pAIr of kogaMo (teAl ducKs) In A lotus pond painted in ink and colour on a silver ground signed: hokusai seal: hokusai Japan 20th century shōwa period dimensions: h. 68¼” x w. 74½” (173cm x 189cm)
Irie hokusai (1900-1995). Born in okayama but lived and
the symbolism of hasu (lotus) has its roots in the Buddhist tra-
worked in osaka. he was a student of Insho domoto (1891-
ditions of India and china later transmitted to Japan and it is
1975) and ryūshi Kawabata (1885-1966) and became well-
considered a sacred flower and a metaphor for purity. Hasu
known for his skill in kachoga (bird and flower painting).
however has many other auspicious meanings including har-
he was the first member of the nihonga (Japanese style paint-
mony, love, sympathy and prosperity but when the plant is
ing) art circle known as seiryūsha which was founded in 1928
combined with other motifs the visual messages become quite
by ryūshi Kawabata in protest against the increasingly rigid
specific. for example, mandarin ducks and lotus express a wish
rules of the Inten (Japan Art Institute exhibition), a previously
for both a happy marriage and the prosperity of one’s descen-
established non-governmental group promoting nihonga. In
dants, while wild ducks swimming among lotus flowers con-
competition to the Inten, seiryūsha held exhibitions twice a
note future professional success.
year from 1929 to 1965 in tokyo and later evolved into the nipputen (the major nihonga exhibition) where hokusai Irie
works by the artist can be found in the collection of okayama prefectural mu-
exhibited as a member of the ryūshi group.
seum of Art.
19
20
21
22
19
I A BronZe flower vessel of ABstrAct form
21
signed: tsuda eijyu Japan 20th century shōwa period *1959 dimensions: h. 36¾” x d. 8¼“ (93cm x 20.5cm)
decorated with three tear shaped disks on its short neck, the textured body with a central abstract design in gilt on a green and brown patinated ground. Japan 20th century shōwa period dimensions: h. 25½“ x w. 8½” x d. 5¾” (64.5cm x 21cm x 14.5cm) Tomobako (original box) inscribed: lid: seishō (dressed in green) lid interior: tanaka Isamu with seal
this flower vessel was exhibited at nitten (the Japan fine Art exhibition) no. 22/2 *showa 34 (1959) and published in Compilation of new nitten 2 p.245 pl.194.
20
I A forged copper sculpture of ABstrAct geometrIcAl
provenance: Acquired directly from the artist’s family collection by the previous owner.
form
decorated with a gilt and etched design signed: tanaka Japan 20th century shōwa period dimensions: h.20¼“ x w.12” x d.4¾” (51cm x 30cm x 12cm) provenance: Acquired directly from the artist’s family collection by the previous owner.
I A copper ABstrAct sculpture
22
I A sHibuiCHi (copper And sIlver Alloy) sculpture
In the form of a stylised peacock, entitled rei (elegance). the eyes and crest gilded and the tail with shakudō (copper and gold alloy), silver and gilt details rendered in hirazogan (low relief inlay) signed: tanaka Isamu Japan 20th century shōwa period *1960 dimensions: h. 28½“ x w. 6¾” x d. 9“ (72cm x 17cm x 22.5cm) this piece was first exhibited in the 3rd nitten (the Japan fine Art exhibition) *1960 and is illustrated in the accompanying nittenshi catalogue p.247, pl.164. provenance: Acquired directly from the artist’s family collection by the previous owner.
tanaka Isamu (b.1920). After finishing his studies at the tokyo fine Arts school in 1948 tanaka became an assistant professor of metalwork at tokyo university of fine Arts in 1950. In the same year he also helped with the restoration of the eastern pagoda of yakushi-ji temple, nara. from 1967 he travelled extensively in europe and Asia before returning to Japan in 1968. throughout his career he received numerous commissions to help in the restoration of important antique art objects and he contributed greatly to the study of metalworking by examining historical artworks. In 1973 he repaired a cloisonné frame in the Akasaka palace, tokyo which was built in 1909 and in 1975 he furthered his expertise when given the opportunity to research the lotus petals of the 8th century great Buddha of tōdai-ji, nara. having trained under shimizu nanzan (1875–1948) and unno Kiyoshi (1884 – 1956) tanaka Isamu transferred his knowledge of traditional metalwork techniques to the crafts course at tokyo university of fine Arts when he was appointed professor in 1978. At this time he became a regular member of the nihon Kōgeikai (Japan crafts Association) and exhibited annually at the nihon dentō Kōgeiten (the Japan traditional Arts exhibition) and the nihon dentō Kōgei Kinkō shinsakuten (the Japan traditional Arts metalwork exhibition) until the end of his career. In 1979 he participated in the conservation of the famous Inariyama iron sword, which was unearthed in 1968 from the Inariyama burial mound, saitama and is now considered one of Japan’s national treasures. In 1981 he received an award of appreciation from yakushi-ji temple for his help in producing a gilt bronze reliquary which was placed in the base of the central pillar of the western pagoda. tanaka also participated in the creation of a film on metalwork commissioned by Bunkazai (Agency of cultural Affairs) and in 1984 he became a member of the judging committee for the design of the 500 yen coin. he retired in 1987 with the honorary title professor emeritus.
tsuda eijyu (1915-2000) studied under shinobu tsuda (1875-1946) and later inherited the tsuda family name. during his illustrious career eijyu received various awards including the crafts exhibition export Award, the ministry of commerce and Industry Arts and crafts exhibition Award, the metal casting masterpiece Award and the 5th nitten (the Japan fine Art exhibition) special hokuto Award. he was also a member of the fukushima Art exhibition jury.
23 I A two-fold soMe-e (BAtIK) sIlK foldIng screen with the landscape of a sunrise at uji Kyoto. Byodoin temple can be seen on the lower right hand side seal: tai Japan 20 century shōwa period dimensions: h. 75” x w. 68¾” (190.5cm x 174.5cm) Tomobako (original box) inscribed: lid: uji chyōton (round sunrise at uji) lid interior: Taizō saku (made by taizō) seal: tai th
minagawa taizō (1917-2005). Born to a Kyoto family of textile dyers and weavers, he graduated from Kyoto city school of Arts and crafts in 1935 and devoted his career to the resist dying technique (batik). Also noted for his woodblock prints, in 1940 he was successfully accepted in to the Bunten (the Japan fine Arts exhibition) as an exhibitor and in 1949 he won the special prize in the nitten (previously Bunten). minagawa travelled the world extensively, gathering inspiration which he later expressed in artworks depicting landscapes of gardens, parks, temples and the interiors of traditional folk houses. having a good command of techniques new and old, he developed an original style using strong colours and stylised, geometrical compositions. After a lifetime dedicated to art, both as an artist and a teacher, minagawa won many awards among them the order of the chrysanthemum from the ministry of education. In 1993 minagawa became Board chairman of the nitten conference and also received the 4th class of the order of the sacred treasure. the order was established during the meiji period (18681912) and is awarded to those who have made distinguished achievements in research, business industries, healthcare, social work, state and local government fields. note: the back of the screen bears a label which reads: uji. minagawa taizō. seal: tai
24 I A wood And polychrome pAInted sculpture of A seAted biJin (BeAuty) looKIng down At A kōro (Incense Burner) held wIthIn the folds of her KImono. the kimono is decorated with various patterns emulating kanoko shibori (Japanese tie-dye) signed: nakatani gankō entitled: Kaori (lit. fragrance) Japan 20th century taishō period dimensions: h. 23¼“x w. 26¼“ x d.17¾” (59cm x 66.5cm x 44.5cm)
nakatani gankō (1868-1937) Born in hiroshima, he moved to osaka in 1873 and studied ukiyo-e painting under suzuki toshimoto (dates unknown) and sculpture under his father nakatani shyōko (d. 1912). In 1893 he moved to tokyo and entered the artistic circle of takeuchi Kyūichi (1857-1916) and exhibited his work at the chicago International expo in the same year. he exhibited regularly throughout his career at Teiten (the Imperial fine Art exhibition), nihon bijutsu kyōkai (Japan Art Association) and kyoto bijutsu kyōkai (Kyoto Art Association) winning numerous prizes. he was also a member of both the tokyo and Kyoto Chyōkōkai (sculpture Association). nakatani was best known for his painted wood sculptures of bijin (beauties) and his use of mineral pigments for their elaborately decorated robes. this piece is illustrated in a retrospective catalogue entitled nakatani ganko sakuhinsyu (the concise works of nakatani ganko), 1971, pl. 29.
gregg baker asian art
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