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Crane
Catalogue:
Fine Art:
Sculpture:
Ivory:
Contemporary item# 706726
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click for details
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yasumi bijutsuya
808.368.5275
Donated to the Honolulu Academy of Art
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Elegant katabori netsuke depicting a recumbent crane with inlaid amber eyes; signed Keiun (1912-), 1.9 inches long. In Japan, a crane is considered auspicious and representative of long life. The crane (tsuru) is often pictured with other symbols of longevity such as the pine, bamboo, and the tortoise. Children are told to behave like the crane because cranes never fight over food, are well-mannered, and mate for life. Also, young cranes follow their parents in an orderly manner in the wild. Cranes are very devoted; if one crane becomes ill or crippled, its mate will stay by its side and care for it, even through the winter months. Cranes also relate to peace. In Japan in 1955, Sadako Sasaki, a girl suffering from leukemia arising from radiation from the atomic bombs, was inspired by a Japanese saying that one who folded a thousand origami cranes is granted a wish. She began folding a thousand cranes while in the hospital. Sadako had been living one mile from the site where the atomic bomb was dropped on Hiroshima, and in 1955 had been given less than a year to live. Legend says that she was unable to finish all thousand cranes before her death, but that her friends finished them for her and buried all of the cranes with her. Sadako has become a symbol of the impact of a nuclear war, and the story of her folding the cranes day after day inspires hope for world peace. Origami paper cranes are now offered up at shrines for peace. The crane was protected by the ruling classes in feudal Japan, and feudal lords even had these birds occupy their grounds to bring them good luck. When the cranes migrated, the feudal lords would install cast iron cranes. However, the protection of the cranes was abolished along with feudalism in the 19th century. Cranes have been brought back from near extinction, and are much loved in Japan. The Japanese see these majestic birds as sacred, and have even named one of their satellites after the crane. This netsuke was carved by the contemporary artist Keiun, born in Kyoto in 1912. He moved to Uji, studied carving and worked primarily by himself. Kaigyokusai is a main artistic influence. Keiun’s subjects include 'Cleaning the Buddha', sennin, and characters from folk tales. This work is a fantastic example of contemporary netsuke: powerful technique, traditional subject matter, and impeccable skill combine to make a bold, contemporary design; includes appraisal; cannot be shipped out of the United States due to CITES restrictions.
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Bears
Catalogue:
Antiques:
Regional Art:
Asian:
Japanese:
Okimono:
Pre 1920 item# 705631
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click for details
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yasumi bijutsuya
808.368.5275
Donated to the Honolulu Academy of Art
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Early 20th century Tokyo school elephant ivory carving of three bears on a walrus ivory log, with wooden stand. 11 inches (28 cm) long. During the late 19th and early 20th century , the Tokyo school of ivory carvers were heavily influenced by the works produced by teachers and students at the government-supported Tokyo Geijutsu Daigaku (Tokyo Art College). These ivory sculptures were generally quite realistically-modeled, with careful attention to minute details and finish. Recent years have seen a greater appreciation for Tokyo school ivory carvings among collectors. CITES restrictions prevent us from shipping this okimono outside the United States.
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Kannon
Catalogue:
Archives:
Pre 1900 item# 705423
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click for details
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yasumi bijutsuya
808.368.5275
Donated to the Honolulu Academy of Art
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"Kannon" is the Japanese pronunciation for the Chinese "Guanyin", the Bodhisattva of Compassion. Kannon is a bodhisattva; she has nearly reached enlightenment, but has elected to return to earth and spread spiritual teachings and assistance. She thus represents unconditional love, compassion, and kindness. Kannon is thought to have originated in India as Avalokiteshvara, the bodhisattva who represents the compassion of all bodhisattvas.
Many traditional images of the White-Robed Kannon show her standing calmly on a rock, gazing down at moving water as if the struggle of human existence swirls beneath her. Water, the moon, bamboo and a willow branch are the most common attributes of the White-Robed Kannon. In this sculpture, Kannon stands on a rocky ledge, holding a willow branch and a jar of pure water.
The White-Robed Kannon is tied to Zen Buddhism, which emphasizes sudden enlightenment and insight into the nature of things. The whiteness of the figure, the few adorments, and the lack of very specific surroundings create an almost blank slate for the figure, which agrees with Zen Buddhism’s intuitive and swift enlightenment. Her kind and gentle expression is calming and otherworldy.
This sculpture is an okimono. While netsuke are the best-known Japanese miniature sculptures, okimono are larger and, like netsuke, somehow depict aspects of Japanese life, habits, mythology, and religion. Typically made in the Meiji period of wood and ivory, okimono were made to stand in the tokonoma, or alcove, in a Japanese household. Elephant ivory; Meiji period (1868-1912), Japan; 7.5 inches high, 11.25 inches long. CITES restrictions prevent us from shipping this okimono outside the United States.
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