Gregg baker Asian Art: 2015 Catalogue

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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