Catalog (123)

Kai-awase, made from a natural clamshell (Jp. hamaguri, Lat. Meretrix lusoria), the interior surfaces of both halves depicting a nearly identical scene from the Heian-Period literary classic Genji Monogatari hand-painted in the traditional Yamato-e style, characterized primarily by a predominance of gold leaf in addition to natural-pigment polychrome. Late-Edo Period ca. 1825. The actual shell, the two halves of which fit snugly together to form an air-tight container, is in virtually flawless condition, with neither cracks nor chips, while the interior paintings remain bright and clean with only very minor old loss to the gilt and polychrome.

Width: 8.5 cm
Depth: 6.8 cm
Height: 4 cm

The shell-matching game of kai-awase, full sets of which comprise 180 pairs of shells, has a history in Japan extending back to the Heian Period (794-1185). Kai-awase paintings oftentimes depict scenes from Genji Monogatari, as in the present example. Also quite common are bird-and/or-flower genre scenes.

Edo-Period kai-awase in fine condition, i.e., both shells free of chips and cracks and thus air-tight when closed, are commonly employed as kogo (incense boxes).

Kai-awase, made from a natural clamshell (Jp. hamaguri, Lat. Meretrix lusoria), the interior surfaces of both halves depicting a nearly identical scene from the Heian-Period literary classic Genji Monogatari hand-painted in the traditional Yamato-e style, characterized primarily by a predominance of gold leaf in addition to natural-pigment polychrome. Late-Edo Period ca. 1800. The actual shell, the two halves of which fit snugly together to form an air-tight container, is in virtually flawless condition with neither cracks nor chips, while the interior paintings remain bright and clean with only minor old loss to the gilt and polychrome.

Width: 8.8 cm
Depth: 6.7 cm
Height: 4.2 cm

The shell-matching game of kai-awase, full sets of which comprise 180 pairs of shells, has a history in Japan extending back to the Heian Period (794-1185). Kai-awase paintings oftentimes depict scenes from Genji Monogatari, as in the present example. Bird-and-flower (Jp. kacho-ga) genre scenes are also quite common.

Edo-Period kai-awase in fine condition, i.e., both shells free of chips and cracks and thus air-tight when closed, are commonly employed as kogo (incense boxes).

Kai-awase, made from a natural clamshell (Jp. hamaguri, Lat. Meretrix lusoria), the interior surfaces of both halves depicting a nearly identical bird-and-flower (Jp. kacho-ga) genre scene hand-painted in the traditional Yamato-e style, characterized primarily by a predominance of gold leaf in addition to natural-pigment polychrome. Late-Edo Period ca. 1800. The actual shell, the two halves of which fit snugly together to form an air-tight container, is in virtually flawless condition with neither cracks nor chips, while the interior paintings remain quite bright and clean, with old gilt loss confined mostly to the moriage-relief lower borders.

Width: 9 cm
Depth: 6.7 cm
Height: 4.2 cm

The shell-matching game of kai-awase, full sets of which comprise 180 pairs of shells, has a history in Japan extending back to the Heian Period (794-1185). Kai-awase paintings oftentimes depict scenes from the Heian-Period literary classic Genji Monogatari. Bird-and-flower genre scenes, such as in the present example, are also quite common.

Edo-Period kai-awase in fine condition, i.e., both shells free of chips and cracks and thus air-tight when closed, are commonly employed as kogo (incense boxes).

Stone Dosojin comprising two figures standing side by side, the female figure on the left holding a flask in the shape of a hyotan (a gourd symbolizing good fortune) and the male figure on the right holding a shallow drinking bowl, sculpted in relief from a gray-brown igneous stone. Clearly dated to the fifth year of the Horeki Era (1755), mid-Edo Period. Minor old loss and light lichen accumulation.

Height: 58.5 cm
Width: 40 cm
Depth: 24 cm
Packaged weight: 75 kg

Dosojin is the Japanese Shinto manifestation of an originally 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.

Classic Dosojin examples typically feature a depiction of two standing figures, traditionally construed as a male/female couple, with the female figure holding a flask and the male figure a shallow drinking bowl, as in the example offered herein.

Talismanic as opposed to memorial in function, Dosojin stones have long been highly sought-out by collectors in Japan and as a result are no longer readily available in the domestic market. This example was sourced from a Japanese collector in suburban Tokyo. A rare opportunity.

Six Jizo Bosatsu figures standing in a row, the mudra varying from figure to figure, sculpted in relief against an unusually expansive funagata-style mandorla from a heavy igneous stone. Early-Edo Period ca. 1650, possibly earlier. Virtually no stone loss, with desirable softening of the lines and contours of the Jizo figures. Variegated lichen accumulation.

Height: 61 cm
Width: 44 cm
Depth: 20 cm
Packaged weight: 70 kg

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.

A monumental piece and intriguingly styled, with the two central Jizo noticeably taller than the other figures, showing significant age yet in excellent condition, the features of each Jizo clearly discernible. An uncommon, highly collectible piece, sourced from a Japanese collector in suburban Tokyo.

Seated Ebisu, one of Japan's 7 lucky gods (Jp. shichifukujin), with a sea bream (Jp. tai), Ebisu's characteristic attribute, tucked beneath the left arm. Meiji Era ca. 1900. Very minor old loss, with traces of polychrome. Light lichen accumulation.

Height: 36.5 cm
Width: 22.5 cm
Depth: 15.5 cm
Packaged weight: 15 kg

Of Japan's 7 lucky gods, only Ebisu has purely Japanese roots, the other six gods having either Indian or Chinese origins. This is a notably charming example, well-sculpted and in excellent condition.

Kai-awase, made from a natural clamshell (Jp. hamaguri, Lat. Meretrix lusoria), the interior surfaces of both halves depicting a nearly identical thistle-flower genre scene hand-painted in the traditional Yamato-e style, characterized primarily by a predominance of gold leaf in addition to natural-pigment polychrome. Late-Edo Period ca. 1850. The actual shell, the two halves of which fit snugly together to form an air-tight container, is in virtually flawless condition, with neither cracks nor chips, while the interior paintings remain bright and clean with only very minor old loss to the gilt and polychrome.

Width: 8 cm
Depth: 6.5 cm
Height: 4 cm

The shell-matching game of kai-awase, full sets of which comprise 180 pairs of shells, has a history in Japan extending back to the Heian Period (794-1185). Kai-awase paintings oftentimes depict scenes from the Heian-Period literary classic Genji Monogatari. Bird-and/or-flower genre scenes, such as in the present example, are also quite common.

Edo-Period kai-awase in fine condition, i.e., both shells free of chips and cracks and thus air-tight when closed, are commonly employed as kogo (incense boxes).

Seishi Bosatsu, the hands forming the gassho mudra of adoration, seated upon a two-tiered lotus-form dais placed atop a semi-circular plinth and backed by a funagata-style mandorla, the entirety sculpted in wood and finished in lacquer, gilt, and polychrome, with eyes of inset crystal. Mid- to late-Edo Period ca. 1750. Very good condition overall, with notable exceptions including an old line of repair, not at all intrusive, toward the top of the mandorla at the point where it juts forward over the figure, as well as loss to the gilt-copper headpiece and chest ornaments. Otherwise, fine condition, with desirable rubbing and black-soot patination to the finish overall.

Overall height, including mandorla and plinth: 68 cm
Height of Seishi figure only: 36 cm.

One can reasonably assume that this Seishi Bosatsu originally was placed on one side of an Amida Buddha in tandem with a Kannon Bosatsu similarly situated on the other, the three sculptures collectively forming an Amida Sanzon triad.

The Japanese text written in black ink on the underside of this Seishi sculpture refers generally to repairs made in the second year of the Bunkyu Era (1862) by an illegibly named Dai-Busshi (master sculptor), implicitly suggesting an earlier manufacture date for this piece. In view of the color contrast of the two main wooden blocks making up the piece, one can reasonably assume that said repairs included a replacement of the front block comprising the lap and front edge of the garment.

Stone depiction of a seated Amida Buddha, the hands placed centrally on the lap in the Amida jo-in concentration mudra. Late-Muromachi Period ca. 1550. Very minor old loss. Light lichen accumulation.

Height: 42 cm
Width: 22.5 cm
Depth: 11 cm
Packaged weight: 17 kg

A glance backward in time across the field of Japanese Buddhist stone sculpture tends to become a wide-eyed stare upon discovering a distinct stylistic shift somewhere around the beginning of the Edo Period ca. 1600. Six commonly observed characteristics of pre-Edo stone sculpture are as follows: (1) flatness, in two senses, namely, (a) shallow depth relative to height and width, and (b) shallow relief sculpting; (2) a triangulated upper mandorla resembling a pediment, usually jutting ledge-like outward over the figure; (3) a tapered base for insertion into the ground as opposed to a flat base for placement upon the ground; (4) stylistic primitivism with regard to the treatment of the deity depicted; (5) an overwhelming predominance of Amida Buddha depictions, invariably in the seated position with hands placed centrally on the lap in the Amida jo-in concentration mudra; and (6) an absence of both date and inscription.

A notably charming Muromachi-Period stone Amida Buddha in excellent condition, suitable for either indoor or outdoor display. If displayed indoors on a hard, flat surface, some form of lateral support, such as a wall, is required. If displayed outdoors, the tapered bottom can be inserted directly into the soil.

Hand/forearm fragment of a bosatsu (Skt. bodhisattva) sculpted from a single piece of wood. Momoyama~early-Edo Period ca. 1600. Other than minor old insect damage, very good condition, with black-soot patination overall.

Hand/forearm length: 21.5 cm
Gilt-wood lotus stems max. height: 25 cm

An elegantly rendered fragment originally attached at the left elbow of a bosatsu, attested to by the wrist bracelet, and most likely holding a narrow-necked flask containing the nectar of life. The five gilt-wood lotus stems, of later (ca. 1900) manufacture, are included.

Daikokuten standing atop two rice bales on an elaborate two-tier plinth, a wish-fulfilling magical mallet in the right hand and a treasure-filled sack in the left, sculpted in wood and finished in lacquer, gilt, and polychrome, with eyes of inset crystal, the entirety encased in a protective case (Jp. zushi) sculpted from wood and finished in lacquer and gilt with gilt-copper hinges and decorative fittings. Late-Edo Period ca. 1825. Loss of the zushi's closing clasp; otherwise, very good condition, with only minor old loss to the lacquer and gilt finish, and desirable patination overall.

Height of Daikokuten figure: 10.5 cm
Exterior height of zushi: 28.5 cm
Width: 20 cm
Depth: 16.5 cm

Standing Sho-Kannon Bosatsu, the left hand holding a long-stemmed lotus bud and the right forming the segan-in mudra symbolizing the fulfillment of the historical Buddha's vow to strive for the salvation of all sentient beings, figurally sculpted from a gray-brown igneous stone. Mid-Edo Period ca. 1725. Very minor old loss, with slight traces of polychrome. Light lichen accumulation.

Height: 57 cm
Width of base: 18 cm
Depth of base: 14 cm
Packaged weight: 17 kg.

Seated Kukai (774-835, known posthumously as Kobo Daishi), the right hand holding a three-pronged vajra (Jp. sankosho) and the left a string of juzu prayer beads, Kobo Daishi's characteristic attributes, sculpted in relief from an iron-rich igneous stone. Late-Edo Period ca. 1850. Very minor old loss and surface cracking. Variegated lichen accumulation.

Height: 39 cm
Width: 18 cm
Depth: 17 cm
Packaged weight: 17 kg.

Founder of the Japanese Shingon sect of esoteric Buddhism, creator of the kana syllabary still used in modern written Japanese, and master calligrapher, Kobo Daishi heads the list of Japan's great cultural heroes. This is a notably well-executed example, suitable for either indoor or outdoor display.

Standing Jizo Bosatsu, the hands bearing aloft a sacred jewel (Jp. hoju), figurally sculpted from a brick-hued igneous stone. Clearly dated on the back to the 11th year of the Kansei Era (1799), late-Edo Period. Minor old loss and desirable softening of the lines and contours overall. Variegated lichen accumulation.

Height: 37 cm
Width: 18 cm
Depth: 15.5 cm
Packaged weight: 14 kg.

Seated Jizo Bosatsu, a long-stemmed lotus bud held in the right hand and a sacred jewel (Jp. hoju) in the left, figurally sculpted from a brown-hued igneous stone. Mid-Edo Period ca. 1750. Very minor old loss. Variegated lichen accumulation.

Height: 29 cm
Width: 17 cm
Depth: 14 cm
Packaged weight: 8 kg

Nyoirin Kannon Bosatsu in characteristic seated pose of royal ease, sculpted in relief from a gray-brown igneous stone. Mid-Edo Period ca. 1750. Minor old loss.

Height: 39 cm
Width: 23.5 cm
Depth: 11.5 cm
Packaged weight: 15 kg

Standing Jizo Bosatsu, a shakujo (crozier) held in the right hand and a hoju (sacred jewel) in the left, figurally sculpted from a gray-brown igneous stone. Mid-Edo Period ca. 1725. Excellent condition, with only very minor old loss.

Height: 52 cm
Width: 21 cm
Depth: 18 cm
Packaged weight: 22 kg.

Sho-Kannon Bosatsu seated upon a lotus-form dais, the left hand holding a long-stemmed lotus bud and the right forming the segan-in mudra symbolizing the fulfillment of the historical Buddha's vow to strive for the salvation of all sentient beings, figurally sculpted from a relatively soft, iron-rich sandstone. Mid-Edo Period ca. 1750. Old loss, most notably to the back, and lines of repair on and around the head and neck. Variegated lichen accumulation.

Height: 40 cm
Diameter of upper surface of lotus-form dais: 28 cm
Packaged weight: 23 kg.