10 minute read
JAPAN
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Karamono utsushi hanaKago
Flower basket in Chinese style Omori Chikuyusai Nagoya, Japan dated: Shōwa 38 (1963) Madake bamboo & rattan 40,1 cm (h) x 21 cm x 16,2 cm Price on request
ObJeCt PReSented by:
Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
Shikibako, written by Matsuo Fusensai, Matsuo school Tea master, whose dates were 1899-1980. otoshi
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Written on the box Top: shikibako (& otoshi) written by Matsuo Fusensai (1899-1980), Matsuo school Tea master Back: Karamono utsushi, tetsuki hanakago, shokaken denrai o utsusu, Chikuyusai saku (This is made in Chinese style, copied from a collection at the Shokaken, made by Chikuyusai)
A piece of paper on the side of the box: Chikuyusai saku, sekido shokaken denrai karamono utsushi tetsuki hanakago, Fusensai kakitsuke (This is made by Chikuunsai, copied from a collection at the Sekido Shokaken (1823-1900) collection, written by Fusensai)
There is little known about Omori Chikuyusai who was active in the Showa period, Nagoya. Some of his works date from the 1960s and authenticated by tea masters such as Matsuo Fusensai (1899-1980) and Kobori Sokei (1923-2011).
Similar hanakago in “Baskets: Masterpieces of Japanese Bamboo, 1850-2015 – The NAEJ Collection”
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amida bUddHa
Japan Nambokucho/Muromachi period 14th - 15th century Gilt bronze Height: 16 cm (figure) and 3 cm (Stand) Provenance: Collection Dr. Franz Haniel (18831965), then by decent via the family estate. Price: 9.800 euros
ObJeCt PReSented by:
Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
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A gilt-bronze repoussé figure of Amida buddha (Amitābha) in jō-in (meditation mudra) seated on a lotus base, with a wood stand
This figure was originally mounted as a Kakebotoke (hanging Buddha), which are generally circular votive plaques symbolising mirrors which represent the sacred body of kami (Shinto deities). They originate from the practice of shinbutsu-shugo (syncretism of kami and buddhas) which was established in the Heian period. One of the few forms of Buddhist art unique to Japan, they can be found both at Shinto shrines and Buddhist temples and are presented as offerings to safeguard the compound and to ensure the prosperity of the Buddhist faith. In the Buddhist context they were hung from the eaves above the main entrance to an Image Hall, or above the frieze rail between the outer and inner sanctums of the shrine for the deity that protected the temple compound. They may also be used to represent hibutsu (hidden Buddha) which are not generally on show to the public.
Belief in Amida as Lord of the Western Paradise rose in popularity during the late 10th century. Based primarily on the concept of salvation through faith, it was not only a religion which appealed to a broad range of people, but also a direct assertion of piety against the dogmatic and esoteric ritual of the more traditional Tendai and Shingon sects. In Amida’s Western Paradise the faithful are reborn, to progress through various stages of increasing awareness until finally achieving complete enlightenment.
For examples of kakebotoke see: Anne Nishimura Morse et. Al. eds., object as insight, Japanese Buddhist Art and ritual, Katonah Museum of Art, p. 46-47, pl. 9/10. Nara National Museum, Bronze sculpture of the Heian & Kamakura periods (special Exhibition), (Kyoto, 1976), p. 49-53 For more about kakebotoke and further examples, see Naniwada Toru, nihon no bijutsu (Art of Japan), No. 284 Kyozo to Kakebotoke (Votive Buddhist mirrors and plaques), (Tokyo, 1990).
For details, visit http://japanesescreens.com/catalogue/religious-objects/7785/
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Kiyomizu Rokubei V (1875-1959) and yamada Kaidō (1870-1924). Stamped underneath with potter’s mark. Signed on the bowl’s wall: Kaidō Comes with original, double-inscribed wooden box Bowl with Pine and Rose Decor Japan Taishō period 1919 Iron-oxide painting on stoneware with gohonde glaze Height: 8 cm Diameter: 18,6 cm Inv. No. 21.003 Price: 5.800 euros
ObJeCt PReSented by:
Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com
When speaking about Japanese pottery, Rokubei is possibly one of the most famous names within the Kyōto ceramic sphere. with over 240 years of history and currently working in its eight generation, the family were most influential in the development and survival of Kyō ware. One of the secrets of their success possibly lies in the continuous active involvement in Kyōto’s art circles. All Rokubei potters were friendly with some of the most important artists of their time. Kiyomizu Rokubei V, born 1875, studied painting under Shijō master Konō bairei (1844-1895) and later together with Takeuchi Seihō (18641942). As a potter, he apprenticed with his father, Rokubei IV (1848-1920), who is famous for his subtle collaboration works with Tomioka Tessai (1837-1924) and Kamisaka Sekka (1866-1942), as seen, for instance, in a bowl from 1910 with orchid and mushrooms by Rokubei IV and Tessai in the National Museum of Asian Art, Smithsonian (F2020.4.1a-g). Rokubei V successfully continued these collaborations and moved on to the following generation. The bowl presented here was painted and inscribed by Tessai’s talented student, yamada Kaidō.
Kaidō, born in 1870 as Tomosaburō in fukui prefecture, has been an influential figure in his own right. He was involved in the establishment of the Japan Literati Painting Institute (nihon nanga-in) together with Tajika Chikuson (18641922) and Ikeda Keisen (1863-1931) and known as one of the three famous painters from fukui, called the “Three dōs” (Fukui sandō).
This bowl, used for serving sweets within the seventeenth-century Chinese-inspired tradition of brewing steeped tea, was named Furō chōshun, which can be literally translated as “Never aging, eternal spring.” The name refers to the two plants that are shown on the bowl: the pine tree, a symbol for longevity, and a white rose, known in Japan for its endless flowering throughout the year and which is therefor a symbol for devotion and long-lasting beauty. In Ikebana, the Japanese art of flower arrangement, this unique combination of pine and white roses is used for New Year ceremonies and for welcoming the early spring.
In his inscription, Kaidō also describes a late afternoon on such a clear spring day when he painted the bowl in his studio under pine trees: “On a spring day in 1919, in my hut, protected by pines under dyed clouds.”
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FuKuKai hanaKago
A Bountiful Sea Tanabe Chikuunsai II (1910-2000) Japan Showa 51 (1976) Shichiku (purple bamboo) 12 cm x 31,5 cm x 29 cm Provenance: Tomobako, otoshi and Shiori (a leaflet detailing Tanabe chikuunsai II’s activities and achievements up to Showa 51) Furoshiki cloth with “Chikuunsai” seal Price on request
ObJeCt PReSented by:
Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery Tanabe Chikuunsai II was the son of Tanabe Chikuunsai I and was based in Osaka and Sakai. He was the second artist of the Tanabe dynasty to bear the name of Chikuunsai which means "bamboo cloud".He was famous for his Chinese-style baskets, sometimes called bunjin kago (the scholar basket). Until the middle of the 19th century, locally made baskets were not signed, probably to distinguish them from more expensive imported baskets. On the death of Chikuunsai I, he assumed the name of Chiukunsai II. He changed his style, leaving the karamono baskets a bit heavy, for more open baskets such as In 1952 he received the Tokusen Prize and the Asakura at the nitten’s 8th Exhibition, and in 1959 he won the Osaka Prefecture Arts Prize, and in 1981 the Japanese government promoted him to 4th place in Zuiho. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the name of Ichikusai. Remained active as an advisor to the Nitten, Nihon Shin-kôgei Bijutsu Kyokai Association, and permanent director of the Osaka Kôgei Kyokai Association.
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gama (Toad)
Signed Bunchō hitsu and Sealed gagakusai Hanging scroll Japan Edo period 19th century ink on paper Scroll: 201 cm x 70 cm Painting: 119 cm x 50,5 cm Price: 2.800 euros
ObJeCt PReSented by:
Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
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Tani bunchō (1763-1840), gō (art names): bun’ami, Gagakusai (lit. ‘painting-study-studio’), Ichijio, Muni, Shazanrō, Shōsō.
bunchō was born into a samurai family in Edo (modern day Tokyo); the son of Tani Rokkoku (17291809), a well-known poet and vassal of Lord Tayasu, a descendant of the Tokugawa Shogunate.
bunchō first studied Kanō painting under Katō Bunrei (1706-82) and Kitayama Kangan (1767-1801) before moving on to study nanga with Watanabe Gentai (1749-1822) and Kushiro Unsen (1758–1811). He studied various styles including ukiyo-e and the Chinese school but is generally considered a nanga painter, although his work is wildly eclectic. He was also famous for his realistic portraits. bunchō was one of the most important painters of his period with a tremendous influence on his contemporaries.
In some instances in Japanese legend and art gama (toads) and kaeru (frogs) are interchangeable. However, it is the long lived, terrestrial toad that is most closely associated with myth and magic.
Japanese legend tells of Gama Sennin, also known as Kosensei, a wise old man with a hunched body and a warty face who wanders the land with his toad companion, who teaches him the secret powers of herbs, including the secret of immortality. This tale is similar to a Chinese legend involving a wandering wise man called Liu Hai and his three-legged toad companion ch’an chu. The toad knows the secret of eternal life and, for his friendship reveals the secret to the wise man.
In many ancient Chinese tales and legends, the toad is a trickster and a magician, a master of escapes and spells; he is also the keeper of the real, powerful secrets of the world, such as the secret of immortality. It is such ascribed powers that undoubtedly led the Chinese, and later the Japanese, to associate the toad with Taoists who seek to develop these talents.
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hanaKago (floWeR basKeT)
Suzuki Gengensai (1891-1950) Susudake smoked bamboo, Tomobako & otoshi 52 cm x 17 cm x 12 cm Price on request
ObJeCt PReSented by:
Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery Suzuki Gengensai came from a line of basketmakers and craft artists in the Kansai area and he was active between 1930 and 1950. Gengensai (also known as Gangansai) was deeply involved in tea ceremony, hence he was especially known for traditional Chinese style baskets for sencha Chinese leaf tea ceremony. Perhaps he was more concentrated in that area than any other well-known Kansai basketmaker of his time.
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uroKo-ami, suehiro hanaKago
“Fish-scale” plaiting, “Expanding Prosperity”, flower basket Tanabe Chikuunsai II (1910-2000) Circa 1944-1955 Bamboo madake, rattan & urushi lacquer, Tomobako & otoshi 43,5 cm (h) x 16,5 cm x 16,5 cm Price on request
ObJeCt PReSented by:
Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery Similar hanakago in “Baskets: Masterpieces of Japanese Bamboo, 1850-2015 – The NAEJ Collection”
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