Catalog (283)

Buddhist shrine containing a sculpture of Shichimen Daimyojin in sitting pose, one leg crossed over the other. She sits on the summit of mount Shichimen, one of her shoes by her side, holding a (golden) jewel in her left hand. In the right hand she hold another object, likely a key that is now missing.
Wood decorated with gold and mineral colors. Gilt metal mandorla behind her head, decorated with flaming jewels.
The baldachin above the figure is decorated with auspicious symbols in mineral colors. The pedestal is decorated with a few of the Treasures.

Japan, Edo period, late 18th century.

Height zushi: ca. 11 inches.

Some cracks in the wood, flaking lacquer at the base, some cracks in the lacquer on the figure, stabilized with clear finish, all in all in stable condition.

Shichimen Daimyojin is the protectress of Minobu, the site of temple Kuonji, general quarters of the Nichiren sect and burial place of the founder of the sect. Mount Shichimen is south of Minobu.

Clog-shaped chawan, tea bowl to be used in the tea ceremony. Over a whitish fine clay a silky black glaze and crackled white slip over which a decoration of interlocked diamonds and rings in iron brown.

Seal impressed in bottom/underside: Juzan. Refers to the Oribe potter Mizuno Juzan.

Mino ware, Oribe style, Japan. Showa era, 1950s

H 3 x W 4.25 in.

Perfect condition

There are at least two generations of Mizuno potters going by the name Juzan. The seal most likely belongs to the second generation Juzan, who lived lived 1908-1978.

Small Buddhist shrine, or zushi, containing the figure of the Bodhisattva Kannon Nyoirin in six-armed form, sitting on a lotus base positioned on rocks. Kannon sits in position of royal ease, his head resting on his main right arm. In his other right hands he holds the wish-granting jewel (nyoi hoju) and a rosary of stringed beads. His main left hand rests on the lotus, while the others hold a script and a, now missing, lotus flower. He wears a crown and jewelry on his chest made of gilt metal and beads. Behind his head a halo. Carved wood, stained black with mineral pigments and gold.

Height case 10.5 inches.

Figure: Some minor rubbing and lacquer chips, two tips of lotus petals on dais broken and repaired, fringe of crown on right missing, few fingertips slightly chipped.
Case: minor traces of usage.
Overall condition very good.

Very unusual pair of komainu or guardian dogs to a Shinto or Buddhist shrine. The lef one has its mouth open and has drooping ears, the right one keeps its mouth closed and has the ears perked up. Very fine and smooth bronze cast with rich brown patination.
Makers mark chiseled into the bottom of each lion dog. The name consists of a single character that can be read in a variety of ways: Yasushi, but also Hiroshi, Yutaka, Toru or Akira; followed by "saku" or "made by".
Japan, late 19th century.

Height: left 9 inches, right 9.1 inches (22.8 and 23.2 cm).

Excellent condition.

They seem to be modeled after a pair of Kamakura period komainu, made of wood, in the Daiho shrine in Shiga prefecture, which are deemed Important Cultural Assets.

Nokyojiku, hanging scroll with stamps and inscriptions (shuin) collected at temples visited at the Saigoku pilgrimage circuit. At each temple the pilgrim asks the custodian of the temple to stamp and inscribe his scroll. These scrolls are carried mostly by pilgrims who travel along the 88 holy sites of Shikoku, by pilgrims who complete a circuit of Kannon temples, and/or of Fudo Myo-o temples.

Hanging scroll with gold brocade mounting and gilded hardware, as used for Buddhist paintings. The image of the bodhisattva Kannon sitting on a rock, with a poem underneath, is painted in black ink, red and gold, in the center of the silk. She is surrounded by 37 stamps and poems (goeika, originally written by Emperor Kazan, after his retirement), collected on the circuit of 33 temples of the Saigoku Pilgrimage (Kansai area), that are dedicated to the bodhisattva Kannon, at and four other temples. Each temple of the Saigoku circuit has a number, reflected in the read seals. The stamps used on this scroll are the ones that have been used from the Showa era on. The additional four stamps are from the Yamato-kuni Chokuku temple and the Kiko temple in Nara, dedicated to Kannon, and from two other temples.

It has become very rare that the poems are added to the stamps. The calligraphy is very good and is certainly not to be reproduced today.

Japan, Showa era, ca. late 1970s.

Image H 48.75 x W 17.5 in.
Mounting 74.25 x 23.25 in.
Width bottom scroll 25.75 in.

Excellent condition

Very small, black lacquered shrine (gilded on the inside) with inside the wooden figure of the Bodhisattva Marishi-ten in three-headed form (left head is a boar's head), sitting on a lotus base carried on the backs of seven boars. In his hands he holds a branch of the asoka tree, a sword, bow and arrows. The carving is slightly abstracted, but nevertheless full of detail. The halo and attributes are all gilded metal.
On the outside bottom there is a paper label with inscription in ink, stating: An old Buddha from 150 -200 yrs. old that used to be carried by the Japanese who prayed to it for strength. 1922 (or 1932)

Japan, mid Edo period (around 1800).

Height case: 2.75 inches (6.9 cm).

Case with minor traces of usage, and all in all in very good condition.
Statue: Snout of one boar (second from right) chipped, some attributes damaged or missing, otherwise very good condition.

Marishiten is the deity of prosperity, venerated in the warrior class, and by entertainers.

Sculpture of a priest sitting with his legs crossed, his hands positioned on his knees, formerly holding a scroll and a rosary. He wears a robe, carved in low relief, with the usual square pattern in red and green typical of a priest’s robe. His face is very rich in expression, his bare chest clearly shows his ribcage.
Wood with a polychrome lacquer layer on top of gesso.
Japan, Edo period, 18th century.

Height 18.5 in., width 17.25 in., depth 12 in.

Beautiful patina. The lacquer rubbed in places, partly down to the bare wood, lacquer stabilized, some thin cracks in the lacquer surface, but basically in good and stable condition.

Funa dansu of the kakesuzuri-type, with a single hinged front door.
Behind the door, there are two full width drawers, one half-width small drawer and two mid-size ones with iron locks.
The exterior of the chest is made of keyaki (Zelkova) wood, which is unusual. Drawers made of the softer, kiri wood with iron hardware. Wrought iron handle on the top of the chest. Door, corners and edges fitted with sturdy and very decorative ironwork, ornamental lock.
Bottom inscribed in black ink by carpenter.
Japan, 19th century

H 19 x W 16.25 x D 19.5 inches (48 x 41.4 x 49.5 cm)

Traces of usage (stains, dents, scratches), some of the iron hardware reattached or replaced or missing, 4 bottom slats re-attached or perhaps replaced at an earlier date. All damages acceptable as traces of usages. All replacements acceptable as necessary maintenance, while the chest was in practical use. All in all very good condition. NO KEYS.

Funa dansu are strong boxes used by sea men. They were used to carry business papers, money, writing supplies, seals and other personal things. They are small in comparison to chests that were used on land. The earlier ones are rather simple. The exterior of kakesuzuri-type ship’s chests was traditionally made of sugi (Cryptomeria) or kiri (Paulownia) wood. Kiri wood is fire resistant. Keyaki is much harder, and more expensive, and was more often used from the late Edo period on.
Due to the nature of their use, all funa dansu have traces of usage.

Sturdy storage jar for tea leaves or other goods with horizontally ribbed surface, sloping shoulder with very short neck. Coarse but dense clay with small inclusions. Outside middle brown with cream-colored and yellow natural ash glaze. Mingei.
Japan, 18th/19th century.

Height 7.5 inches, width 6 inches at the neck. Ash glaze partially rubbed off at upper edge and at the body commensurate with holding and using, otherwise very good condition.

Buddhist shrine with sculpture of the bodhisattva Myoken, deity of the Polar Star and of the Big Dipper.
He is dressed in Chinese garment, standing on the back of a kida (a beast that is half turtle, half dragon-snake), holding an enormous sword. Behind his back a nimbus with seven discs, representing the seven stars of the Big Dipper. To the left of the rock base the head of a snake pops out. (Probably a snake was wound ”around” the giant turtle and broke off. When the sword was replaced, the restoring person found the snake head and did not know that the snake head should pop up on the side of the turtle, and not from the rock.)

Japan, Edo period, early 19th century.

Height case: 8.25 inches (21 cm).

Case: Usual wear and tear, on back label with the text: 19th century Japanese lacquer shrine of Buddha. C. 1820.
Figure: Sword replaced, snake broken off from side of dragon-turtle and glued to the wrong spot, traces of glue on back of turtle (excess glue from underneath deity’s feet), crack in head along the seam of the blocks, polychrome pigments curling up and chipping off at places (showing the underlying gesso).
Otherwise good condition.

Heavy, cream colored stoneware oil plate (aburazara) shaped as a lotus leaf with curled up, irregular edge. Surface on ‘inside’ structured with cloth, decorated with geometric figures in iron brown glaze and covered with feldspar and typical Oribe green glaze.
Impressed maker’s mark in bottom: Jocho? tsukuru.
Japan, Seto region, Oribe, Meiji era, ca. 1900. Diam 7.25 x H 0.8 inches

2 old small chips and some frittings on rim, consistent with age and use

Small but exquisite scroll paintings in mineral colors and gold on silk. The background in the upper halves in gold.
Aizen Myoo sits on his typical lotus throne on top of the vase full of jewels, surrounded by a circular, red, flaming nimbus. Around the foot of the jewel filled vase are sacred treasures scattered around.
Daiitoku Myoo rides in standing position a long horned buffalo who jumps over waves, while Daiitoku draws his bow.
Rich brocade mounting with the chrysanthemum and the paulownia crests.
Japan, Edo period, 18th century.

Painted silk of each: H 16.8 x W 9.3 x in. (42.7 x 23.6 cm).
With mounting H is approx. 50.5 in.

Restored tear in the upper half of the Daiitoku-painting, otherwise good conditions.

Comes with a plain (uninscribed) wooden storage box.

Aizen and Daiitoku are two of the Myoo who – in Esoteric Buddhism - subdue evil spirits and convert nonbelievers to the teachings of Dainichi Buddha.

Hanging scroll. Various insects walking in line with luggage, simulating a lord (daimyo) traveling with his entourage to or from the capital (samurai or daimyo gyoretsu). A butterfly, suzumushi, praying mantises, yellow jackets and grass hoppers are traveling in a line, holding flowers and grasses for keyari, carrying a honeycomb for a palanquin, and berries for luggage.
Black ink and colors on silk.
Signed Bunrei; two red seals reading bun and rei.
Japan, mid 19th / second half 19th century.

Painted area: 14.5 x 20.2 inches. Total height: 46.5 inches.

Painting with some light stains, otherwise in excellent condition, mounting damaged.

Mori Bunrei (Meiji era painter) was the adopted son and pupil of Mori Ippo (1798-1871), the Shijo painter. His style and technique closely follow those of Ippo.
A very similar painting by Nishiyama Hoen (1804-1867) is in the British Museum. This type of painting is typical for the Maruyama/Shijo school and could have originated with Maruyama Okyo. The image of a procession walking out of the painting symbolizes the fading away of Edo culture in the 19th century.

Small shrine with the esoteric Buddhist figure of the Fudo Myōō who personifies Dainichi Nyorai. He is standing on a rock pedestal – symbol of his steadfastness - with a rope in his left hand and formerly with a sword in his right hand (broken off and missing). Behind him a flaming red mandorla. The patterns on his garment and his jewelry painted delicately in gold and mineral colors.
Japan, Edo period, 18th century.

Height of zushi: ca. 5.8 inches (14.6 cm).

Baldachin split and restored, gold decoration rubbed; sword missing.
Shrine with usual wear and tear, hard ware loose in places. All in all very good condition.

Fudo Myoo converts anger into salvation and frightens people into accepting the teachings of the Buddha Dainichi. His sword symbolizes wisdom as it cuts through ignorance. His rope is used to catch and bind demons. The flaming mandorla (also called garuda flame, referring to the fire breathing bird from Indian mythology) represents purification of the mind by the burning away of all material desire.

Hanging scroll. A circle on a black background, divided into ten sections around a white central circle that holds the character ‘shin’, meaning heart or soul. The ten sections represent the ten realms that are the ten possibilities of rebirth. On top the four realms of enlightened beings: Buddhas, Boshisattvas, arhats and pratyeka Buddhas. Underneath, the six realms (rokudo): Heavenly beings, humans, Bellicose demons (Ashura), animals, hungry ghosts and hell. Ink, mineral colors, gofun and gold on paper. Japan, Edo period, 19th century.

Image: 29.25 x W 21 inches. Mounting: 44.25 x 26.5 inches. Silver scroll ends decorated with cut out peonies on rocks mounted over a sentoku core.

Punch hole in bottom, stabilized by mounting, few small rubbed spots, dent in scroll end.

Small round zushi consisting of two parts. The outside of both are covered in nashiji lacquer. On the inside of the one part in relief is carved in fine detail the image of Bishamonten holding a trident and a pagoda, subduing two demons. Inside the cover sits Benzaiten playing the biwa.
Bishamon and Benten are two of the seven gods of good fortune (shichifukujin), but they each hold a position in the Buddhist pantheon, as well.
Both images in plain, unpainted camphor wood.

Japan, 19th century.

Diameter 2.1 inches (5.4 cm).

Wood slightly warped, gold lacquer on the outside dull (under influence of sunlight etc.), otherwise very good condition, very detailed carving.

Old sake bottle of strong conical shape with a short neck and everted rim.
Underneath the beautiful milky feldspar glaze a cobalt bue and black sketch-like drawing of sprigs of bamboo. Bottom glazed brown, as is typical for this ware. Mingei.

Most likely Ofuke (or Ofukei) ware, made near Nagoya, Japan.
Edo period, circa 1800
H ca. 6 x diam at bottom ca. 5.5 in.

Ofukei has a historical relation to Seto ware. Similar pieces were produced in the Seto region.

Kintsugi or gold-lacquer repair of lip, otherwise excellent condition

Shrine with the very rare image of the death of the historical Buddha Shakyamuni, called nehan-zu, and his entrance into the state or perfect peace, called nirvana or nehan. The Buddha lays stretched out on a rectangular lotus base, his head resting on his right arm. Although normally in nehan-zu one will see gathered around the bed 52 kinds of beings, human and animals mourning the Buddha, there are none present in this zushi. From the ceiling of the case hangs a curtain of sorts.
Carved wood, gilded and polychromed, with extremely finely painted details in the face.
Japan, Edo period, 18/19th century.

Measurements: H ca. 8.5 in.; W ca. 9.5 in.; D ca. 5 in. (ca. 21.6 x 24.1 x 12.7 cm.). Case: some dents on roof, flaking lacquer at bottom, corrosion on hardware, consistent with age and a humid storage in a temple. Figure: right arm restored, baldachin damaged (some missing parts still extant) and very fragile.