7 minute read
JAPAN
66 - ASIAN ART SOCIETY
20
seiRYu (PuRe sTReAM & PuRe WATeRs)
Tanabe Chikuunsai II (1910-2000) Chikuunsai zo, Made by Chikuunsai Circa 1990, at the age of 80 Shiratake (white/blond bamboo), Tomobako & otoshi 34,3 cm x 33,3 cm x 11,6 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 Hakogaki: Seiryu, hanakago, shiratake, karaito-ami [Pure Stream, a flower basket, white bamboo, in “Chinese thread weaving” (“silk thread weaving”) plaiting] Sanju, Tekisuikuo, with seals “Ta Toshi no in (Denri no in)” “Chikuunsai” [At the auspicious age of 80, Tekisuikyo” Karaito-ami [“silk thread weaving”]
MAY 2022 - 67
68 - ASIAN ART SOCIETY
21
Yachikurin Kyoto, Japan Circa 1950 Henchiku (twisted bamboo), Tomobako 93,8 cm x 9 cm x 33,5 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 Top: Henchiku kekkai [A small free standing screen for Sencha tea ceremony, made of natural twisted bamboo] Back: Otowa sanroku, Yachikurin zo [Made by Yachikurin, at the foot of Otowa-yama] Otowa-san (Otowa yama) refers to the Kiyomizu Temple (Kyoto) or the Mount Otowa which is located in Kyoto and Shiga prefectures.
MAY 2022 - 69
70 - ASIAN ART SOCIETY
MAY 2022 - 71
72 - ASIAN ART SOCIETY
22
TAMbA Tsubo
Japan Momoyama/Edo period 33,8 cm (h) x 26,5 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 Tamba ware, also spelled Tanba, is a type of Japanese pottery produced in Sasayama and Tachikui in Hyōgo Prefecture. Tamba is considered as one of Japan’s six famous ancient kilns, along with Seto, Tokoname, Echizen, Shigaraki and Bizen. The origins are purported to be in the late Heian period, when it was called Onohara ware.
From the early days until the Muromachi period (1392–1573), ceramics made in Tanba, as well as in other parts of Japan, consisted mostly of functional vessels such as jars, urns, and mortars. In the latter half of the Muromachi period and early Edo period (1500s–1600s), sake bottles and tea ceramics (as a result of the popularization of chanoyu, the Way of Tea) were added to this repertoire.
MAY 2022 - 73
74 - ASIAN ART SOCIETY
23
masangin (THRee PounDs of flAx)
Daitetsu Sōto (1765-1828) Japan Edo period 18th/19th century A kakemono (hanging scroll) painted in ink with calligraphy Scroll: 144,5 cm (h) x 108,5 cm (w) Painting: 37,7 cm x 103,5 cm (w) Price: 5.800 euros
ObjeCt PReSenteD by:
Gregg Baker Asian Art M.: + 44 (0) 20 7221 3533 E.: info@japanesescreens.com W: www.japanesescreens.com
MAY 2022 - 75
Inscribed: Masangin (Three pounds of flax) *Daito Kokushi said this: In utter coldness as if the wood has pieced into the rock, I sit under the slanting moon to meditate until dawn overcoming hindrances, chilly clouds are accompanied by penetrating quietude, the gushing splash of a waterfall is heard somewhere along with sudden thundering. *Allegedly a direct quote from Daitō Kokushi (1282-1338) the second patriarch and founder of Daitokuji Temple, Kyoto.
Seals: Right: Manji Hōju-ichi Left, upper: Daitetsu Left, lower: Kaan dojin (The snail studio, a man of Tao)
Daitetsu Sōto (1765-1828) was the 430th abbot of Daitoku-ji Temple, Kyoto. Daitoku-ji was founded in the early 14th century and is the Headquarters of the Rinzai sect of Zen Buddhism.
Masangin appears in an early Buddhist text ‘The Gateless Gate’ by Wumen Huikai (1183-1260) a famous Chinese Zen master from the Song period who compiled and commented on a collection of 48 Kōan.
In koan #18 Dongshan Liangjie (807–869) or Tozan Ryōkai (in Japan) says: A monk asked Tozan: "What is Buddha?" Tozan replied: "Masangin!" (Three pounds of flax)
At that moment Tozan was carrying three pounds of flax, therefore he could not indicate anything else. In fact he is saying that the question is wrong and if you ask a wrong question you will get a wrong answer as it is impossible to say what the experience of being a Buddha (enlightened) is.
However, he is compassionate and polite and chooses not to say: "You idiot! A question about Buddha is not to be asked - it is an experience without any explanation, an experience beyond the mind." He simply gives an absurd answer: “Masangin!”
76 - ASIAN ART SOCIETY
Zenga (Zen painting) is a form of teaching: in calligraphy the most common subjects are Zen poems and conundrums. The style of the brushwork is dramatically bold, seemingly impetuous and bluntly immediate in effect. The transition from mind to paper is spontaneous and finished works distill the essence of the Zen experience with simple strokes of the brush. The logic-destroying potential of a Zen Kōan (riddle) becomes visible in the movement of roughly brushed calligraphy.
Kōan consist of anecdotes, conversations with and sayings of the great patriarchs, some legendary and some biographical. They were designed to serve the pupil as a tool in his own religious practices and to eventually lead him to enlightenment.
MAY 2022 - 77
78 - ASIAN ART SOCIETY
24
HAgi-YAKi vAse gouRD-sHAPeD
Tahara Tobei Showa period Circa 1950 Tomobako 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 Tahara Tobei 十二代田原陶兵衛 primary name: primary name: Tahara Tobei XII other name: other name: Tahara Genjiro 田原源次郎
Ceramic artist. 12th generation. Second son of tenth generation Tobei. Succeeded to the name after his elder brother. Born Yamaguchi. Family follows in the Fukagawa Hagi line of ceramic artists. Lineage founded in 1866 by Akagawa (then Tahara) Kiyozo. 12th generation Tobei pursued independent study of Goryeo (Koryo) Korean ceramics. Specialized in tea ceremony ceramics.
Tahara Tobei (1925 - 1991), dedicated his life to studying Korean styles from the past while furthering the development of certain styles of Hagi-ware. Due to his skill, perseverance, and natural understanding of form and color, today his pieces are held by collectors and museums both domestically and abroad and his works are especially popular with practitioners of the Urasenke school of tea.
MAY 2022 - 79
80 - ASIAN ART SOCIETY
25
bAMboo WATeR gulleY AnD TRAiling PlAnTs
Ikeda Taishin (1825-1930), signed: Taishin Japan Meiji period 19th century Tray Gold, silver and coloured lacquer 16,3 cm x 16,3 cm Provenance: Edward Wrangham collection Price: 9.500 euros
ObjeCt PReSenteD by:
Gregg Baker Asian Art M.: + 44 (0) 20 7221 3533 E.: info@japanesescreens.com W: www.japanesescreens.com A square dry-lacquer tray with a matte shibuichinuri ground lacquered with an angled bamboo water gulley and trailing plants in gold, silver and coloured takamakie (raised lacquer) with delicately engraved details.
MAY 2022 - 81
Ikeda Taishin (1825-1930) studied both painting and lacquer making under Shibata Zeshin (1807-1891) for many years. Widely considered Zeshin’s most important pupil, Taishin was one of the best-known lacquer artists of the Meiji period. From 1859 he was recognised as an independent makie-shi (professional lacquer artist) and had many pupils including Umezawa Ryushi, the youngest of Zeshin’s three sons. Having won various prizes in Japan and abroad, Taishin became an Imperial Household Artist in 1896. Although he often made large works such as the plaque made for the Chicago World’s Fair in 1893, more typical of his finer works are smaller pieces with traditional decoration.
Works by the artist can be found in the collections of various museums including: Metropolitan Museum of Art, NY, and Tokyo National Museum.
82 - ASIAN ART SOCIETY
MAY 2022 - 83
