Height, including lotus-form dais: 83 cm
Height of Amida figure only: 66 cm
An exquisitely sculpted, impressively scaled Amida Buddha with exceptional presence and in excellent condition. Nanbokucho/early-Muromachi Period ca. 1400, entirely refinished, apparently, ca. 1600.
Formerly property of the C. Philip Cardeiro Living Trust.
Height: 40 cm
Width: 15.5 cm
Depth: 15.5 cm
The gorinto is a uniquely Japanese style of stupa comprising five geometric forms, which correspond (from bottom) to earth, water, fire, wind, and ethereal space. The Japanese Shingon sect of esoteric Buddhism views the gorinto as a symbol of Dai-Nichi Buddha, who, underlying all things, manifests himself in the five elements making up the physical world.
With a tapered bottom surface sculpted for easy insertion into the soil, this piece will require some form of vertical support if displayed indoors on a flat surface.
A notably handsome gorinto showing strong formal balance, significant age, and excellent condition.
Height: 25 cm
Width: 20 cm
Depth: 15 cm
Height, including stand: 57 cm
Height of figure only: 51 cm
Stand: 22 cm square
Height: 23.5 cm
Width: 13 cm
Depth: 8 cm
A small-scale stone with outsize charm.
Height: 62 cm
Width: 47 cm
Depth: 30 cm
Sadogashima, an island in the Japan Sea off the coast of Niigata Prefecture, is famous for its production of a distinctive style of figurally sculpted stone Jizo. This monumentally scaled example shows unusually detailed sculpting. Highly collectible.
Overall height: 47 cm
Width of roof: 34 cm
Depth of roof: 28 cm
Originally employed as a symbolic dwelling for a given clan's ancestral deity, this hokora features an unusually high-pitched roof and a window in the shape of an upside-down heart, a traditional motif called inomemado (lit. boar's-eye window) used in Japan since at least the Heian Period (784—1185) primarily in Shinto- and Buddhist-related architectural applications.
Height: 24 cm
Width: 15 cm
Depth: 9 cm
A charmingly fearsome little Fudo-Myo, stone depictions of which are uncommon.
Height: 34 cm
Width: 34 cm
Depth: 15 cm
According to Buddhist belief, Jizo Bosatsu was entrusted by the historical Buddha with saving all sentient beings during the 5.76 billion years between the time of the historical Buddha's death and the arrival of Miroku, the Buddha of the future. The concept of six Jizo is rooted in the Buddhist idea that all sentient beings plod toward enlightenment through six realms of transmigratory existence, i.e., Hell, Hunger, Animality, Anger, Humanity, and Heaven. Responsible for safeguarding the passage of all beings through these six realms, Jizo is symbolically construed in six manifestations, one for each of the six realms.
The three most commonly encountered configurations of six-Jizo depictions are (1) six separate stones on each of which is sculpted a single Jizo figure, (2) a single stone on which are sculpted six Jizo figures, and (3) two separate stones on each of which are sculpted three Jizo figures, as in this example, which alone constitutes just one-half of a complete six-Jizo configuration.
Height: 29 cm
Width: 29 cm
Depth: 16.5 cm
Heavy-set and of gentle mien, a female Buddhist deity of uncertain identity.
Height: 41 cm
Width: 41 cm
Depth: 17 cm
According to Buddhist belief, Jizo Bosatsu was entrusted by the historical Buddha with saving all sentient beings during the 5.76 billion years between the time of the Buddha's death and the arrival of Miroku, the Buddha of the future. The concept of six Jizo is rooted in the Buddhist idea that all sentient beings plod toward enlightenment through six realms of transmigratory existence, i.e., Hell, Hunger, Animality, Anger, Humanity, and Heaven. Responsible for safeguarding the passage of all beings through these six realms, Jizo is symbolically construed in six manifestations, one for each of the six realms.
The three most commonly encountered configurations of six-Jizo depictions are (1) six separate stones on each of which is sculpted a single Jizo figure, (2) two separate stones on each of which are sculpted three Jizo figures, and (3) a single stone on which are sculpted six Jizo figures, as in the example offered herein. This particular six-Jizo style, with the Jizo figures aligned neatly in a row underneath an overarching pediment, is most commonly encountered in the region centering on Yamanashi Prefecture, approximately 100 km due west of Tokyo.
A sizable six-Jizo stone redolent of time's passage.
Height: 33 cm
Width: 20.5 cm
Depth: 11 cm.
Sculpted with a tapered base for insertion directly into the ground, this stone requires a wall or other form of lateral support if displayed indoors. If placed outdoors, it can be inserted easily into the ground.
Height: 43.5 cm
Width: 36 cm
Depth: 18 cm.
Dosojin is the Japanese Shinto manifestation of a Chinese Taoist deity believed to guard the border between this world and hell. Charged with obstructing the passage of evil spirits and gods of disease into human communities, Dosojin stones were traditionally placed on roadsides and mountain passes as well as at crossroads and village boundaries.
Early Dosojin examples typically feature either two Jizo Bosatsu figures--Dosojin's honjibutsu, or Buddhist counterpart, being Jizo Bosatsu--or, less often, two Amida Buddha figures standing or seated side by side. By the mid-Edo Period ca. 1725, Dosojin is most commonly depicted in the form of two figures, traditionally construed as a heterosexual couple, standing or seated side by side and typically displaying some form of physical affection. The piece on offer herein is a perfectly representative example of this more recent Dosojin style.
Talismanic as opposed to memorial in function, Dosojin stones have long been sought out by collectors in Japan and as a result are no longer readily available in the market. A highly collectible piece.
Height: 48.5 cm
Width: 28.5 cm
Depth: 19 cm
In the Esoteric Buddhist tradition, Shomen Kongo is a fearsome deva believed to protect against disease. With six arms/hands holding various symbolic Esoteric attributes, three eyes of which one is vertical, a monkey-head crown piece, a skull necklace, and a fierce scowl upon his face, this is a classic depiction, with one remarkable exception: the round-headed pointy-eared critter poking out from beneath the garment at a point between and above the knees. While such a crotch-critter is neither accounted for in the literature nor typically observed on Shomen Kongo depictions, it is reasonable to assume that it was intended to function as a special amulet against venereal disease.
A thoroughly intriguing rarity with extraordinary presence. Highly collectible.
Height: 47 cm
Width: 31 cm
Depth: 21.5 cm
Showing ichiboku-zukuri (single woodblock construction), elegant modeling, and a cherubic countenance of ingratiating diffidence, a sizable Kamakura-Period fragment with extraordinary presence. Highly collectible.
Height: 47 cm
Width: 18 cm
Depth: 15 cm
A well-executed Seitaka Douji, stone examples of which are exceedingly uncommon, with an irrefutable mid-Edo Period manufacture date.
Height: 13 cm
Width: 9.5 cm
Depth: 7 cm
An enchanting little Jizo stone.
Height: 160 cm
Width of foundation: 40 cm
Depth: 40 cm.
The name of this distinctive style of Japanese stupa derives from the Hokyoin Darani sutra. The earliest hokyointo, dating to the Heian Period (792–1185), were made of wood or gilded bronze and functioned as repositories for copies of that eponymous sutra. From the Kamakura Period (1192–1333), hokyointo were made nearly exclusively of stone and employed as funerary markers, particularly of exalted personages. Accordingly, hokyointo are relatively uncommon and only rarely become available in the market.
This sizable, handsome example, all of a piece and in laudable condition even after the passage of nearly four centuries, is a recent deaccession from the Ashikaga Museum of Art in Ashikaga City, Tochigi Prefecture, Japan.