Copyright 2019 The Yuko Nii Foundation
THE HISTORICAL JAPANESE COLLECTIONS OF THE YUKO NII FOUNDATION
Curated by Yuko Nii and Terrance Lindall
KINGS COUNTY SAVINGS BANK BUILDING In late October 1996, Yuko Nii founded the non-profit The WAH Center (Williamsburg Art & Historical Center) based upon her Bridge Concept. That concept envisions a multifaceted, multicultural art center whose mission is to coalesce the diverse artistic community, and create a bridge between local, national and international artists, emerging and established artists, and artists of all disciplines. Thus through the international language of art we come to understand each other to create a more peaceful and integrated world. The WAH Center is a force for peace and understanding and it’s concept is incorporated in its acronym: “WAH” in Japanese means “peace” or “harmony” or “unity.” Yuko also wanted to preserve the WAH Center’s building, a French Second Empire masterpiece, and make it a functional part of the cultural community of Williamsburg, Brooklyn, New York.
In April and May, the Yuko Nii Foundation will display many items from its rich Japanese Historical Collection dating from the 16th through the early 20th centuries. Nearly 200 objects will be on display, including a complete set of Edo period armor and sword fittings and saddle (p. 49-‐52) , prints, furniture, lacquer, vases, bronzes, books and more. In this catalog that we are only beginning to develop we see a few of the items. One of the most important pieces that one cannot see outside of Japan is the Uncho temple lintel (p. 24-‐27) that would be considered a national treasure if it were in Japan. The vast body of the collection exists as hand painted scrolls and illustrated books. In this brief presentation on ISSUU many of the descriptions have not been included as of yet. This on-‐line catalog will be updated frequently as we develop the show. Terrance Lindall, President & Executive Director
Kanzashi (total 6pcs) Meiji era. Material : Metal. (Minimum kanzashi) length 143mm (Maximum kanzashi) length 175mm Weight : 79gram (2.8oz) Â
THE EMPEROR OF JAPAN OLD ORIGINAL PRINT BY MALLET 1683 FROM "DESCRIPTION DE L'UNIVERS CONTENANT LES DIFFERENTS SYSTEMES DU MONDE" ALAIN MANESSON MALLETPARIS 1683 ABOUT 19 X 13 Cm. Yuko Nii Foundation Library
As one can see by the engraving by Mallet, the Europeans idea of what the Japanese were like was sometimes no accurate. The Japanese Monarchy has reigned over Japan for over 2,600 years. It is the world's oldest continuous hereditary dynasty. The Monarchy has existed since 1660 BC although the functions have changed. Emperor Jimmu is considered the first emperor of Japan who reigned in 1660 BC although he is believed to have been a legendary and symbolic figure.. The descendants of Jimmu expanded the Kingdom over the centuries.. In 1868, emperor Meiji moved the Monarch's capital from Kyoto to Tokyo, centralized power, and transformed the role from a symbolic to a political figure with imperial power. The Nanban trade (南蛮貿易 Nanban bōeki, "Southern barbarian trade") or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, "Southern barbarian trade period") in the history of Japan extends from the arrival of the first Europeans – Portuguese explorers, missionaries and merchants – to Japan in 1543, to their near-‐ total exclusion from the archipelago in 1614, under the promulgation of the "Sakoku" Seclusion Edicts. Nanban (南蛮, "southern barbarian") is a Sino-‐Japanese word, Chinese Nánmán, originally referring to the peoples of South Asia and Southeast Asia. In Japan, the word took on a new meaning when it came to designate the Portuguese, who first arrived in 1543, and later other Europeans. Renaissance Europeans were quite fond of Japan's immense richness in precious metals, mainly owing to Marco Polo's accounts of gilded temples and palaces, but also due to the relative abundance of surface ores characteristic of a volcanic country, before large-‐scale deep-‐mining became possible in Industrial times. Japan was to become a major exporter of copper and silver during the period. Japan was also noted for its comparable or exceptional levels of population and urbanisation with the west and at the time, some Europeans became quite fascinated with Japan, with Alessandro Valignano even writing that the Japanese "excel not only all the other Oriental peoples, they surpass the Europeans as well. After the country was pacified and unified by Tokugawa Ieyasu in 1603 however, Japan progressively closed itself to the outside world, mainly because of the rise of Christianity.
(Royal Counsel, Noblemen, Watchtower, Gallery Full of Soldiers, Overseer of the Inner Court, Japanese Royalty), Issued 1853, by Gleason's Pictorial Drawing Room Companion. A visually appealing antique wood engraved print. It is an original pictorial sheet extracted from a scarce 19th century illustrated popular periodical. Yuko Nii Foundation Library
The Narrative of the Expedition of an American Squadron to the China Seas and Japan: performed in the years 1852, 1853, and 1854, under the command of Commodore M.C. Perry, United States Navy, by order of the Government of the United States is a printed history, in 3 volumes, of the Perry Expedition, written by Francis L. Hawks, under the supervision of Commodore Matthew Calbraith Perry, and using the written materials compiled by Perry and his colleagues on the expedition. The series was first presented as a report to the United States Senate, then published commercially, in 1856. There is a copy of the 1856 book in the Yuko Nii Foundation Library. During the Meiji period (1868–1912), Japan underwent a rapid transition towards an industrial economy. Both the Japanese government and private entrepreneurs adopted Western technology and knowledge to create factories capable of producing a wide range of goods. Some of Japan's most successful new businesses and industries constituted huge family-‐owned conglomerates called zaibatsu, such as Mitsubishi and Sumitomo. The phenomenal industrial growth sparked rapid urbanization. The proportion of the population working in agriculture shrank from 75 percent in 1872 to 50 percent by 1920. Subsequently Japan built a navy that became the greatest and most powerful fleet in the world, a remarkable achievement in a short period of time, a statement to organizational ability and power of the will. Although defeated in the Second World War, Japan had the faster warplane during the war, the Zero, and at the end of the war, the largest carrier, the Shinano. At 840 feet long at the waterline, Shinano was set to become the world’s largest aircraft carrier, with a huge flight deck to support air operations and a cavernous hangar to store and repair fighters, dive bombers, and torpedo planes. Such a ship could carry well over a hundred fighters, the equal in aircraft to nearly two American carriers
Russo-‐Japanese War (1904–1905) One of these battleships, Mikasa, which was among the most powerful warships afloat when completed, was ordered from the Vickers shipyard in the United Kingdom at the end of 1898, for delivery to Japan in 1902. Commercial shipbuilding in Japan was exhibited by construction of the twin screw steamer Aki-‐Maru, built for Nippon Yusen Kaisha by the Mitsubishi Dockyard & Engine Works, Nagasaki. The Imperial Japanese cruiser Chitose was built at the Union Iron Works in San Francisco, California. These dispositions culminated with the Russo-‐Japanese War. At the Battle of Tsushima, Admiral Togo (flag in Mikasa) led the Japanese Combined Fleet into the decisive engagement of the war. The Russian fleet was almost completely annihilated: out of 38 Russian ships, 21 were sunk, seven captured, six disarmed, 4,545 Russian servicemen died and 6,106 were taken prisoner. On the other hand, the Japanese only lost 116 men and three torpedo boats. These dispositions culminated with the Russo-‐Japanese War. At the Battle of Tsushima, Admiral Togo (flag in Mikasa) led the Japanese Combined Fleet into the decisive engagement of the war. The Russian fleet was almost completely annihilated: out of 38 Russian ships, 21 were sunk, seven captured, six disarmed, 4,545 Russian servicemen died and 6,106 were taken prisoner. On the other hand, the Japanese only lost 116 men and three torpedo boats.
Fine lacquered Comb and Hairpin set, Kanzashi, the Comb & Hairpin are beautiful top quality examples depicting wild flowers and Rooster, the depth of detail to the pieces is amazing and of the finest quality, as one would expect from such a piece it is signed by the artist, the lacquer is in very good condition, dating from the late 19th century, Meiji period, serious collectors item. SIZE: 4 by 9 CM Comb. 16 by 1.5 CM Hairpin.
Late Meiji/Taisho period Grecian urn form satsuma landscape vase signed Makuzu Kozan in the very unusual form of a lidded Grecian urn with elaborate scrolling handles, a flared raised foot and a domed lid. The viewer peering through a beautiful circle of irises and looking into an extensive landscape with men, women and children surrounded by flowers, blossoms, birds, buildings, hills, mountains and a lake; the neck, lid, scrolling handles and foot with further extremely elaborate gold gilt floral and bird decorations. The underside has a black and gold Kozan mark. 6 1/4 inches high and about 5 inches across.
Vintage Japanese Satsuma Vase Hand Painted Scenes Gilt Pattern Rare Stamped. Approximate weight: 264.5 grams Approximate measurements: 1.25 inches opening diameter by 1.75 inches base diameter by 5 inches high Material(s): porcelain/ceramic, paint, gilt
Three Woodblock print books by Hokusai
The Queen Mother of the West by Sataki Eikai
Primary Information Source: Wikipedia and Bonhams Auction House: The Queen Mother of the West is a goddess in Chinese religion and mythology, also worshipped in neighboring Asian countries such as Japan from ancient times. The first historical information on her can be traced back to oracle bone inscriptions of the fifteenth century BC that record sacrifices to a "Western Mother". She predates organized Taoism. From her name alone some of her most important characteristics are revealed: she is royal, female, and is associated with the west. She was the dispenser of prosperity, longevity, and eternal bliss that took place during the second century BC when the northern and western parts of China were able to be better known because of the opening of the Silk Road. Because she was the embodiment of yin, highest goddess, and ruler of female Transcendents, The Queen Mother was seen to have had a special relationship with all women. In the beginning section of Tu Kuang-‐ting's hagiography, he lists the most important functions of the Queen Mother: "In heaven, beneath heaven, in the three worlds, and in the ten directions, all women who ascend to transcendence and attain the way are her dependents." One might consider her as Mary, the Queen Mother of Christianity, or as Eve, Mother of Mankind. The Asian Queen Mother of the West was said to care for all woman Daoists in the universe, both perfected and aspirants. Tang writers frequently refer to her in poems about Daoist women. In accordance with the Shang Ch'ing vision expressed by Tu, she appears as teacher judge, registrar, and Guardian of female believers. Her forms reflect Tu's definitions. The Queen Mother was held in especially high regard by Chinese women who did not represent the societal norm of the submissive woman. in 2016 a Japanese Scroll by Satake Eikai Sold for £16,250 (US$ 21,526) inc depicting the Queen Mother of the West Born to a family of lacquerers in Wakamatsu, Mutsu Province, Satake Eikai started his studies under a local artist before travelling to Edo, becoming chief pupil of Tani Bunchō. From 1838 he served as a retainer of the Ii Family, Lords of Hikone, rising to the honorary rank of Hōgen and continuing his association even after the assassination of Ii Naosuke in 1860. Like Bunchō he mastered a range of different painting styles including the Maruyama-‐ Shijō-‐inflected sinified landscape manner seen here.
JAPANESE HANGING SCROLL ART Painting "Qin Gao Xianren"
JAPANESE HANGING SCROLL : KOHO "Ama / Female Diver" Primary Material = Silk. Technique = Handpainted. Roller Ends = Wood. Size 53.5cm x 181.5cm / 21" x 71.4"
Japanese Satsuma bottle vase dating to the late 19th or early 20th century. The vase is decorated with two large reserves of figures around the body accented with raised enamel. The neck with two scenes of monkeys and is signed on the underside. It stands 6.25 inches tall and is in very good condition
JAPANESE HANGING SCROLL "Sugawara no Michizane" 58cm x 171cm / 22.8" x 67.3"
Japanese lacquer jewelry box early 20th c.
An inrō (印籠) is a traditional Japanese case for holding small objects, suspended from the obi (sash) worn around the waist. They are often highly decorated, in a variety of materials and techniques, in particular often using lacquer., the Inro is a beautiful example depicting Dragons flying amongst clouds, one dragon is inlayed carved silver, the other in black horn, both are against a ground of gold lacquer, the depth of detail to the piece is amazing and of the fine quality, the Netsuke is a Mask piece showing a old man, careful carved features full of intricate detail, dating from the mid 19th century, edo period,
Noh mask, 16th century Artist/Maker: Circle of Deme Yukan, Mitsuyasu, traces of red and black paint Materials and Techniques: Carved and painted Japanese cypress (hinoki wood) Noh is the classical theatre of Japan which was codified in the 14th century by the father and son actors Kan'ami and Zeami under the patronage of the Shogun (supreme military leader) Ashikaga Yoshimitsu. Under Yoshimitsu the Zen principles of restraint, understatement, economy of movement and frugality of expression became incorporated into the performance. By the early seventeenth century Noh had become an even more austere and formalised drama reserved almost exclusively for the Tokugawa family, the ruling military elite. The demonic mask of Shikami, which is traditionally used in conjunction with a wig of long, bright red hair, is used to express the violent emotions of the characters found in Noh plays such as Rashomon; this is a particularly dramatic play which relates the story of a demon which lives in the Rashomon, one of the gates to Kyoto. The demon is eventually defeated by a warrior hero of the late tenth century. The mask is dramatically and powerfully carved from a block of Japanese cypress and then painted a striking red colour, with features highlighted in black ink. The teeth and eyes would originally have been covered with a sheet of gilded metal.
Katsushika Hokusai October 31, 1760 – May 10, 1849) Hokusai was a Japanese ukiyo-‐e painter and printmaker of the Edo period.Hokusai's influences stretched across the globe to his western contemporaries in nineteenth-‐century Europe with Japonism. He influenced Art Nouveau and the larger Impressionism movement, with themes echoing his work appearing in the work of Claude Monet and Pierre-‐ Auguste Renoir. Many artists collected his woodcuts: Degas, Gauguin, Klimt, August Manet, and van Gogh." In the 1985 Encyclopaedia Britannica, Richard Lane states that Hokusai "since the later nineteenth century impressed Western artists, critics and art lovers alike, more, possibly, than any other single Asian artist.
Signature & Seal Hokusai. Silk, Hand Painted, Roller Ends: Bone, 42 cm X 166cm
Edo period 12 panel screen
Momoyama 16th C. Japanese Box Cover inlay, gilt lacquer, gold
Meiji period cabinet ivory inlay etc.
Lintel, probably for a temple, by Uncho, depicting a clawed, scaly dragon amidst the waves, with turtle. Ishikawa Uncho (1814-‐1883), sometimes called the "Michelangelo of Echigo", was a genius in wood carving. For 13 years he
stayed at Eirinji Temple where he created a great number of sculptures and paintings. They are well preserved and most of them are shown to temple visitors. Born in Edo (now Tokyo) legend tells us that he came to Eirinji Temple in Echigo (now Niigata Prefecture) on the condition that he was given "good sake and chisels for life". He was known to like sake, gambling and women. Some of the beauties he might have visited probably became the models for his sculptures. It seems that we was quite a character. This lintel, if in japan would be considered a national treasure.
The remarkable art of Uncho is that the sinuous waves are fully sculpted out in three dimensional quality and very delicately too. Here is a turtle swimming out of a wave.
Here is the dragon that has glass eyes. You can see his scaly body whipping out In front of him and a claw
Here are two other Uncho examples from a Japanese Temple. Note the distinctive dragon and stylistic waves.
JAPANESE HANGING SCROLL ART Painting "Musha, Busho, Warrior" W60.5 x H203(cm) : W23.82 x H79.92(inch)
Hand painted scroll of Emperor Meiji Emperor Meiji[a] (明治天皇 Meiji-‐tennō, 3 November 1852 – 30 July 1912), or Meiji the Great (明治大帝 Meiji-‐taitei), was the 122nd Emperor of Japan according to the traditional order of succession, reigning from 3 February 1867 until his death on 30 July 1912. He presided over the Meiji period, a time of rapid change that witnessed the Empire of Japan rapidly transform from an isolationist feudal state to an industrialized world power.
WOOD COVER, ACCORDION STYLE 19th century BOOK IN MAGNIFICENT COLOR ABOUT THE JAPANESE IMPERIAL FAMILY 13" X 16", 30 doublesided panels or pages THUS it will unfold to approximately 32FEET LONG Emperor Kōmei, The Meijo emperors father had six children, four daughters and two sons; but the future Emperor Meiji was the only one to survive to adulthood. Below right is the future Meiji emperor.
This is an original rare old of the Emperor. The size is 24.50x19.50 cm. Â
This is a vintage Japanese photo print set of Imperial family from Japan. These are a memorial to crown prince wedding. This set includes 3 of emperor photos,2 of baby crown prince photos, and 1 of girl imperial princes photo. 1 emperor has a family crest for an imperial family. photo These photos are issued around 1935 and in a paper bag. Â
The Yuko Nii Foundation has many rice paper books with hand painted interior. Here is one with a charming tiger.
HANGING SCROLL : SHUZAN "Willow and Kimono Beauty Having Umbrella" @f777
Until the 17th century, the Tosa school painted for the court and aristocratic patrons, which favored such painting subjects as scenes from the classic Tale of Genji (源氏絵), but in later years, the school's range expanded to include bird-‐and-‐flower painting and other Chinese-‐inspired themes and styles. In general, the Tosa style is characterized by rather flat, decorative compositions, fine linework, great attention to detail, and brilliant color.
Extremely fine scroll painting of a monkey holding a cricket.
Pair of 18th C. copper hibachis 12 inch diameter Shishi (or Jishi) is translated as "lion” but it can also refer to a deer or dog with magical properties and the power to repel evil spirits. A pair of shishi traditionally stand guard outside the gates of Japanese Shinto shrines and Buddhist temples. The Shishi are traditionally depicted in pairs, one with mouth open and one with mouth shut. The opened/closed mouth relates to Ah (open mouth) and Un (closed mouth). “Ah" is the first sound in the Japanese alphabet, while "N" (pronounced "un") is the last. These two sounds symbolize beginning and end, birth and death, and all possible outcomes (from alpha to omega) in the cosmic dance of existence. Others say the open mouth is to scare off demons, and the closed mouth to shelter and keep in the good spirits. The circular object often shown beneath their feet is the Tama 玉, or sacred Buddhist jewel, a symbol of Buddhist wisdom that brings light to darkness and holds the power to grant wishes.
Japanese flat topped three legs Bronze wave shape vase / usuhata Dragon Height: 16.2cm (6.37inch) Flat ( caliber): diameter: 24cm (9.44inch) material: Bronze
60cm x 212cm / 23.6" x 83.4"Kusunoki Masashige (楠木 正成, 1294 – July 4, 1336) was a 14th-‐century samurai who fought for Emperor Go-‐Daigo in the Genkō War, the attempt to wrest rulership of Japan away from the Kamakura shogunate and is remembered as the ideal of samurai loyalty. His origin has not been validated and it was merely six years between the start of his military campaign in 1331 and his demise in 1336. He received the highest decoration from the Meiji government of Japan in 1880. "Legend has it that Emperor Go-‐Daigo had a dream in which he was sheltering under a camphor tree ("kusunoki"), and that this dream led him to the surname of the warrior who would support him." Kusunoki "was a well-‐to-‐do member of the rural gentry" in the Kawachi Province. He claimed descent from Tachibana Moroe, "a great nobleman of the eighth century." Kusunoki was a "scholar and a devout Buddhist".:53
JAPANESE FINELY PAINTED (MOSTLY GILDED) SATSUMA VASE. EARLY MEIJI. CHARACTERS OF IMMORTALS WITH HOLOS. NO MAKER'S MARK, IT WAS MANUFACTURED FOR INNER MARKET AT EARLY MEIJI PERIOD LOOKS VERY KOZAN OR MEIZAN STYLE.
This is a n early 20th c. 2 Carp pattern Bronze vase of Shunko (Takaoka doki). Carp is represented with silver inlay and engraving. It is produced very delicately and boldly. There is a signature at the bottom of the vase.(Shunko)
Original 18th Century Kitagawa Utamaro Japanese Woodblock Print
Original 18th Century Kitagawa Utamaro Japanese Woodblock Print Courtesans Kitagawa Utamaro (UK: /ˌuːtəˈmɑːroʊ/, US: /ˌʊt-‐/; Japanese: 喜多川 歌麿; c. 1753 – 31 October 1806) was a Japanese artist. He is one of the most highly regarded designers of ukiyo-‐e woodblock prints and paintings, and is best known for his bijin ōkubi-‐e "large-‐headed pictures of beautiful women" of the 1790s.
Pair of Satsuma Vases Meihi period,Hall marked, dating in the 19th century, Meiji period. Size: 21.5cm (or 8.5") high, approx.
JAPANESE HANGING SCROLL : UNGAI "Ebisu in Seaside" 73.5cm x 207cm / 28.9" x 81.4"
JAPANESE SATSUMA VASE 19TH CENTURY Japanese Satsuma Vase with outstanding workmanship. It is A large and heavy piece measuring 7.5 inches tall. Cobalt blue background decorated with rich flowerheads and scrolling vines. The two panel are beautiful with outdoor landscape scenes. One has Asian ladies amongst rich enameled Cherry Blossoms, bird, gold arbors, and very intricateDaises in an Array of colors. The other panel features multicolored bamboo, Beautiful large Hibiscus, tiny bell flowers. Songbirds fly above the scene. It is surely the work of 'Kinkozan.”
JAPANESE HANGING SCROLL : SUGA TATEHIKO "Samurai on Boat"61.6cm x 201.5cm / 24.2" x 79.3" Suga Tatehiko 菅 楯 彦 (1878-‐1963) Source: Guide to Modern Japanese Woodblock Prints: 1900-‐1975, Helen Merritt, University of Hawaii Press, 1992, p. 138. Suga Tatehiko was born in Tattori prefecture and moved to Osaka. His given name was Totaro. He learned Tosa-‐style painting from his father and studied Japanese and old Chinese literature which strongly influenced his drawing style. He painted scenes of history and customs in the yamato-‐e (Japanese pictures) style. He exhibited at the Nitten and was a member of the Osaka Art Society. He used the kanji seal Tatehiko on his prints.
JAPANESE HANGING SCROLL : KANO HISANOBU "Pine Tree and Benzaiten" 61.3cm x 191.5cm / 24.1" x 75.3" Kano Tsunenobu (1636 1713) Kano style painter at the former part of the Edo period (1603 - 1868).He served the Tokugawa Shogunate.Son of Kano Hisanobu. In 1650, when he was 15 years old, Tsunenobu succeeded to his father, the head of the Kobikicho Kano school in Edo.Tsunenobu also studied painting under Kano Tanyu. Tsunenobu is included in the Kano's Big Four, that are Motonubu, Eitoku, Tanyu and him.Tsunenobu helped earn a good reputation of the Kano school, especially the Kobikcho Kano school. Therefore, he was ordained as Hogen rank in 1704, and was ordained as Hoin rank in 1709 by the Tokugawa Shogunate. Â
Rare UKYO Koshirae TSUKA 18-‐19th C Japanese Edo Antique w Signed Fuchi With Meiji Gilt lacquered sword rest
Stirrups with Chrysanthemum mon of the Emperor of Japan Japan's Edo Period (which lasted from 1603-1868). These heavy stirrups are made of iron and are embellished with silver inlays of flowers and heraldic crests. The foot rests feature the remnants of rich red lacquer. These stirrups measure approximately 11" by 10 1/2" by 5 1/4," and together weigh 9 lbs. 10 oz. . The Chrysanthemum flower is a symbol of Japanese Royal Highness, the Emperor and his family. Only they can use the Seal and the royal order or decree is called the “Chrysanthemum Order”. The Chrysanthemum Seal is called “Kikumon” in Japanese. The Imperial Chrysanthemum Seal generally has 16 petals which represent the authority of the Emperor and it is present on the badges of every Diet (Parliament) member and also on Japanese passports. However, the 14 petal Chrysanthemum Seal is used by the other members of the Royal Family. At the Virginia Museum of Fine Art there is a similar pair described as follows: Pair of Stirrups with Chrysanthemum Design 鐵地菊文銀象嵌鐙一對 善左衛門永國作 江戶時代初期 Zenzaemon Nagakuni, Japanese (Artist), 17th century, Iron with silver inlay This pair of stirrups was cast in the shape of a cradle to support the feet of a rider. Lavishly inlaid silver chrysanthemum designs indicate this pair was intended for ceremonial use rather than for use on the battlefield. A samurai emblem (mon) below the buckle reveals the ownership of the Baba I clan, whose powerful army was known for its cavalry with lancers in the 16th century.
Suit of armor Edo period
NASHIJI KURA (saddle) w/gold Makie of YOROI (armor): EDO : 15.7 × 15.9 × 9.1"
JAPANESE WOODBLOCK PRINT by YOSHITOSHI (32 Aspects of Women) Tsukioka Yoshitoshi (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年; 30 April 1839 – 9 June 1892) was a Japanese artist.[the last great master of the ukiyo-‐e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration.
Japanese Hanging Scroll : WATANABE KAZAN (渡辺 崋山, October 20, 1793 – November 23, 1841) "Moon and Wolf" He was born Watanabe Sadayasu in Edo (now Tokyo) to a poor samurai familyHis family served the lord of the Tahara Domain.. Watanabe himself served the lord of Tahara as a senior councilor. Due to the political turmoil involved in this, Watanabe committed ritual suicide (seppuku).
JAPANESE MAKURI,HONSHI "Blacksmit (Honshi) 121cm x 52.8cm / 47.6" x 20.7"
Pair of Meiji Era Japanese Hina Dolls Excellent and ornate examples of the Emperor & Empress, two of the fifteen at court. Both seated and in ornate silks. Empress has a metal crown headdress and emperor has a fully functional metal sword Both inside a 16" x 7" x 10" Box Condition: Very good antique condition. Both are ready for many for years of Hina Matsuri display.
JAPANESE HANGING SCROLL ART Painting "Rokkasen"
Japanese Hanging Scroll : RYUZAN "Fierce Tiger Drinking Water" 112cm x 227.5cm / 44" x 89.5"
Thought to be Miyamoto Musashi (宮 本 武蔵, c. 1584 – June 13, 1645), also known as Shinmen Takezō, Miyamoto Bennosuke or, by his Buddhist name, Niten Dōraku,was a Japanese swordsman, philosopher, strategist, writer and rōnin. Musashi, as he was often simply known, became renowned through stories of his unique double-bladed swordsmanship and undefeated record in his 61 duels (next is 33 by Itō Ittōsai). He is considered the Kensei, sword-saint of Japan. Right hand holding sword missing, measures 42 cm high and weighs about 2 kilograms. Probably made in the Edo period
Thoght to be Early Muromachi Period (1392-‐1568), mid 16th century. Amida Nyorai (Sanskrit: Amitabha Tathagata), the Buddha of Limitless Light, stands upon a lotus pedestal. This statue depicts Amida Nyorai, rendered entirely in glittering gold and making the mudra hand sign for the most exalted of the nine forms of raigo (descent to take someone to the Pure Land.). Amida presides over his own paradise, the Western Pure Land, to which he welcomes any being who calls upon his name. His benevolent gaze, directed toward the viewer below, is symbolic of this boundless compassion. The Pure Land sects of Buddhism, with their emphasis on salvation through faith, stirred the imagination of both courtiers and commoners alike, and temples dedicated to Amida were constructed throughout Japan. Amitabha：22.3cm(8.77inch)×7.5cm(2.95inch)×6.4cm(2.51inch) halo：33cm(12.99inch)×14.3cm(5.62inch) pedestal：12cm(4.72inch)×14cm(5.51inch)×11cm(4.33inch) total weight: 616g The majestic and delicate expressions are very wonderful and I feel strict. Transparent beads are embedded in the Urna.
Exceptional embroidery, 19th c., 35 x 21 inches
JAPANESE HANGING SCROLL ART Painting "Tiger" Kawabata Gyokusho W69 x H206(cm) : W27.17 x H81.1(inch) Born in Kyoto to a family of lacquer artists, Kawabata Gyokusho first studied the Maruyama style with Nakajima Raisho. In 1866, he went to Tokyo to learn Western painting under Charles Wirgman but soon returned to Japanese-‐style painting and became a leading figure in Tokyo Art circles. In 1890 he was appointed a professor at the Tokyo School of Fine Arts' painting division and there, he espoused the Shijo School of painting.
JAPANESE HANGING SCROLL ART Painting "Qin Gao Xianren" W46 x H172(cm) : W18.11 x H67.72(inch)
Utamaro Circa 1780-‐ 1800 "sitting courtesan" aiban
JAPANESE HANGING SCROLL ART Painting Kano Osanobu 1796-‐1846W49.5 x H165(cm) :
JAPANESE HANGING SCROLL : SHIBATA ZESHIN "Apparition" Shibata Zeshin (柴田 是真, March 15, 1807 – July 13, 1891) was a Japanese lacquer, painter and print artist of the late Edo period and early Meiji era. He has been called "Japan's greatest lacquerer", but his reputation as painter and print artist is more complex: In Japan, he is known as both too modern, a panderer to the Westernization movement, and also an overly conservative traditionalist who did nothing to stand out from his contemporaries.
"Five Turtles and Various Tanka" Size 72.5cm x 224cm / 28.5" x 88.1"
Antique Japanese Kakemono Portrait of a Daimyo Depiction from the Kamakura or early Edo periods
Japanese woodblock print showing 4 events from the life of the Immortal Poet Ono no Komachi. 4 Double book pages. Artist unknown. Printed c. 1840. Each 11.8" X 8".
Unusual Japanese Satsuma vase dating to the Meiji period. The vase is finished with an amber colored glaze and has splotched over glaze design. It stands 3.7 inches tall and is signed on the underside.
Sangiri-‐yaki（桟切焼）the baking of the Bizen ware and creates reducing flame atmospheres by the firewood which is put partially and points to the thing which is baked in gray and ash blue. With wooden box and shifuku Diameter: Approx 6.5cm (2.6in) Height: Approx 7.2cm (2.8in) Artist: Touhou Kimura（陶峰 木村） The wooden box with the artist's signature There is an artist's signature near the bottom of the tea caddy. ral glaze attract Japanese people. Sometimes, we represent it with a Wabi-‐Sabi.
Japanese Meiji BIZEN pottery ware statue of two foo dogs. Bizen-‐yaki is pottery and stoneware made in Bizen area, Japan. Bizen area is currently the Okayama Prefecture. That history is very old. The origin is the 12 century. And Bizen is one of the Six Ancient Kilns. It does not rarely use the gBizen Sangiri-‐yaki Bunrin-‐chaire（備前 桟切 焼 文琳茶入）Touhou Kimura made（陶峰 木村 作
Japanese Bizen Sake bottle Tokkuri w/signed box by famous Koken
Japanese Tea plate, Seto ware by 1st class potter, Kasen Kato, 11.1" x 8.6"
Japanese Tea Plate, Hagi Ware by Famous Potter, Seigan Yamane,
Japanese Sake bottle & cup, Bizen by Famous potter, Katsushi Suzuki
Japanese High tea bowl, Raku ware by Famous potter, Koraku Watanabe
Japanese Pottery Tea bowl, Bizen ware by Famous potter, Bifu Kimura
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Japanese Pottery Sake Bottle, Mino ware by Famous potter, Keisuke Wakao
Japanese Pottery Tea Plate, Hagi ware by Famous Seigan Yamane, Galaxy glaze
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Japanese pottery Bowl Bizen Ware by Human Cultural Treasure, Sozan Kaneshige
Vintage Japanese pottery IDO Tea Bowl by Great potter, Shoho Suda
JAPANESE FLOWER ARRANGEMENT VASE IKEBANA BAMBOO HANDMADE BASKET KABIN