gregg baker asian art: 2015 catalogue

gregg baker asian art


2015

A sIx-fold pAper screen wIth scenes

from the Tsurezuregusa (essAys In Idleness)

painted in ink and colour on a gold ground

Japan 17th century edo period

dimensions: h. 65¾“ x w. 148¼“ (167cm x 376cm)

label on screen: Jidai Tsurezuregusa monogatari byobu (period folding

screen with the story of essays in Idleness)

1 I

Tsurezuregusa (essays in Idleness), is a collection of opinions

and anecdotes written by the monk yoshida Kenkō (c.1283 –

c.1352) between 1330 and 1332. the work, along with

Makura no sōshi (the pillow Book) and Hōjōki (An Account

of my hut) is widely considered a classic of medieval Japan-

ese literature known as zuihitsu, a genre consisting of loosely

connected personal essays and fragmented ideas that typi-

cally respond to the author’s surroundings.

Kenkō a poet, essayist and noted calligrapher joined the

priesthood in his late twenties and underwent a period of

monastic training. however, he continued to remain involved

with life in the capital.

the depiction of episodes of the essays in Idleness in paint-

ing, drawing or prints is called tsurezure-e. Appreciation of

classical literature flourished in the early edo period during

the 17th century and, with the rapid increase in demand for

paintings with relevant themes, large numbers of tsurezure-

e were produced. responding to that growing demand, sev-

eral schools of painting including the Kanō, tosa and

sumiyoshi schools turned to creating their own tsurezure-e.

As a result, there is no discernible correlation in style or motif

between their works and artists seemed free to choose which

episodes to depict. they also worked in a variety of formats

from handscrolls and folding screens to albums of paintings

and illustrated books in response to demand.

A two-fold pAper screen

wIth A restIng HanaguruMa (flower cArt) lAden

wIth whIte, red And pInK kiku (chrysAnthemums),

Hagi (Bush clover) And kakiTsubaTa (IrIs).

painted in ink and colour on a gold ground. some details of the cart and the

chrysanthemums are rendered in moriage (raised design).


dimensions: h. 66¼” x w. 73¾” (168cm x 187cm)

provenance: holcombe house, painswick, gloucestershire, u.K.

2 I

A two-fold pAper screen wIth two Hanako (flower

BAsKets) contAInIng the followIng flowers AssocIAted

wIth sprIng And summer; boTan (peony), nadesHiko

(frInged pInK), A BrAnch of sakura (cherry Blossom) And

whIte kingyōsō (snApdrAgon)



dimensions: h. 65¾“ x w. 74“ (166.5cm x 187.5cm)

provenance: holcombe house, painswick, gloucestershire, u.K.

3 I

A sIx-fold pAper screen wIth the sun settIng Amongst

kiku (chrysAnthemum), boTan (peony), Hagi (Bush clover),

kikyō (Bellflower), nadesHiko (frInged pInK) And other AutumnAl

grAsses upon the plAIn of musAshI



dimensions: h. 49¼” x w. 108¼” (125cm x 274.5cm)

4 I

In the realm of meisho-e (pictures of famous scenic places),

the portrayal of a large full moon or sun viewed through au-

tumnal grasses represents musashino (the musashi plain).

the plain of musashi was a large flat expanse of land west

of edo, most famous for the illusion of the moon rising

straight out of the grasses which grew there and similarly

the sun appeared at its largest size and its deepest shade

of red just before setting into the horizon.

A poem celebrating this famous landscape was written by

the aristocrat minamoto michikata (1189–1238) and is in-

cluded as no.425 in the imperial poetry anthology of

c.1265, the shokukokin Wakashu (collection of Ancient and

modern poems continued).

musashino wa

tsuki no irubeki

mine mo nashi

obana ga sue ni

kakaru shirakumo

this famous location also appears in chapter 12 of the

10th century novel ise Monogatari (tales of Ise) where a

young couple elope and hide amongst the tall grasses of

musashino. when their pursuers threaten to set fire on

the grasses the lady pleads for mercy with the waka poem

that reads:

musashino wa

kyo wa na yaki so

wakakusa no

tsuma mo komoeri

ware mo komoeri

during the edo period musashino was frequented by pic-

nickers inspired by its haunting beauty, poetic references

and spectacular views of mount fuji. After the recent era

of industrialisation musashi lost its original landscape and

is currently an area located in the centre of the metropolis

of tokyo.

for other examples of this subject matter in the collection of the chicago

Art museum see: Japanese design in art vol.12 p.32-33, pl.25 and another

pair in the collection of the nezu museum see: Catalogue of selective Mas-

terpieces from the nezu Collections, Painting and Calligraphy, p. 162-163,

pl. 138. Also for a further pair of six-fold screens in the collection of fujita

museum see: nihon byōbue shūsei, vol.9: shiki keibutsu (natural Features

of Four seasons), p.86, pl.77 & 78.

on the musashi plain

there is no peak

for the moon to enter

white clouds catch in

the tips of the flowers.

oh no, please, today

do not burn the musashi plain!

tender as young grass,

my beloved is hiding here,

and I too am hiding here.

A two-fold pAper screen wIth A Tora (tIger) crouchIng BeneAth

A rocKy outcrop on the seAshore wIth arauMi (crestIng wAves)

painted in ink on a buff and gold ground

Inscribed: eishin Hōgen hitsu (painted by eishin hōgen)

kojakuan kaō shō (authenticated by Kojakuan* with monogram)

Japan 17th/18th century edo period

dimensions: h. 69¾“ x w. 77“ (177cm x 195cm)

5 I

Kanō yasunobu (1613-1685). fa-

miliar names: genshirō, shirojirō,

ukyōnoshin. gō (art names):

Bokushinsai, eishin, ryōfusai,

seikanshi. yasunobu was the son

of Kanō takanobu, who died

when yasunobu was a child. he

studied under Kanō Kōi and his

elder brother tan’yū. yasunobu

began working in Kyoto, then

moved to edo with tan’yū, who

founded the Kajibashi branch of

the Kanō family. he became goyō eshi (official painter)

to the shogun’s court, founding the makabashi Kanō

school. yasunobu was later adopted by Kanō sadanobu

as his heir; hence also regarded as the eighth-generation

head of the main Kyoto Kanō line. A connoisseur of paint-

ings, yasunobu signed many certificates of authentication

for Kanō paintings. he was awarded the honorary title of

hōgen (lit. eye of the law) in 1662. one of his greatest

accomplishments was painting the walls of the shishinden

seiken of the Imperial palace, Kyoto. he also painted

landscapes, figures, kachōga (birds and flowers) and Bud-

dhist subjects.

*Ōkura Kōsai (1795-1863). gō (art name): Kojakuan. An art

connoisseur and authenticator who served the tokugawa

family in Kishu province. In 1825 Ōkura Kōsai became a

monk and took the art name Kojakuan. In 1851 he was

granted the title of hokkyō (lit. Bridge of the law) the third

highest honorary title bestowed upon Japanese Buddhist

priests.

freely drawn representations of cresting waves, foam and

sea spray are known as araumi (lit. rough sea) motifs. fol-

lowing in the artistic traditions of t’ang china, such seas

were initially portrayed with fearsome animals among the

waves as depicted on this particular screen.

Tora (tiger), in chinese thinking, is supreme among the

land beasts and is sometimes depicted with the ideo-

graph for the word ‘king’ on its forehead. Although

viewed as dangerous, it is a symbol of strength, courage

and longevity and is also accredited with the ability to

fend off demons, ill-fortune and disease.

In the traditional cosmology of china, the tiger is one of

the four sacred creatures, representing autumn, the

western direction, the wind and the colour white. It is thus

the complement of the dragon, which represents the

east, spring, and water. the interaction of the two, repre-

senting the play between wind and water, is thought vital

for creating the nurturing weather that makes soil fertile

and crops prosper.

Japan’s artistic treatment of tigers

is usually highly stylised. with no

indigenous specimens to study,

artists of the pre-modern period

constructed their notions of the

tiger from skins imported into the

country. this has resulted in a

rather cat-like depiction of this

noble feline beast.

nb. whilst painted by a member of the

Kanō school I do not believe this screen to

be a work by Kanō yasunobu.

A two-fold pAper screen wIth

A ryū (drAgon) Amongst clouds

painted in ink on a gold ground

signed: Meiji kanoe-ne koharu-zuki, Tenryu-sō

shōnen-hitsu (painted by shōnen, the old man

tenryū, in the *10th month of the year of Kanoe-ne,

meiji period)

seals:

upper: Tenryū-sō shōnen (shōnen the old man

tenryū),

lower: ikkyo kyūmangyoku (lit. single lift, nine-

million jades)

Japan 20th century meiji period *november 1900

dimensions: h. 67½” x w. 74½” (171cm x 189cm)

6 I

suzuki shōnen (1849-1918) gō (art name): chikuson.

shōnen was born and lived in Kyoto. he was the son and

pupil of suzuki hyakunen (1825-1891), a leading painter of

the shijō school who established his own style of painting

without adhering to any of the established styles such as

the shijo-maruyama, nanga or Kano schools. due to his fa-

ther’s position, and his own talent, which was apparent from

an early age, shōnen was able to study at the imperial

palace and also at Kyoto prefectural school of painting.

from 1881 to 1888 he taught chinese painting at the

northern division of the Kyoto Art Academy, taking the po-

sition vacated by Kōno Bairei (1844-1895).

he specialised in landscapes and kachōga (bird and flower

painting) as well as traditional and Buddhist subjects. shō-

nen never worked from preliminary sketches (shita-e) but

painted quickly and directly, in a bold, individual style. he

painted the famous dragons in the main building of the

Tenryū-ji and several landscape screens in the ryōgen-in of

daitoku-ji. In his later years his work had a great influence

on the Kyoto art world, his best known pupils being shōshū

saitō (b.1870), Kimura Kōnen (b.1877) and uemura

shōen (1875 –1949).

the eastern dragon is not the gruesome monster of me-

dieval imagination, but the genius of strength and good-

ness. he represents the spirit of change, and therefore life

itself. hidden in the caverns of inaccessible mountains, or

coiled in the unfathomed depths of the sea, he awaits the

time when he slowly rouses himself into activity. he unfolds

himself in the storm clouds and washes his mane in the

blackness of the seething whirlpools. his claws form forks of

lightning; his scales begin to glis-

ten in the bark of rain-swept pine

trees. his voice is heard in the hur-

ricane which, scattering the with-

ered leaves of the forest, quickens

a new spring.

the shuo wen dictionary states

that the dragon is the chief of the

scaly reptiles. It wields the power

of transformation and the gift of

rendering itself visible or invisible

at will. In the spring it ascends to

the skies and in the autumn hides

in the watery depths of the ocean.

It covers itself with mud in the au-

tumnal equinox, and emerges in

the spring, thus announcing by its awakening the return of

nature’s energies.

In the traditional cosmology of china, the dragon is one of

the four sacred creatures, representing the east, the spring

and water. It is thus the complement of the tiger which rep-

resents autumn, the western direction, the wind and the

colour white. this pairing in Japanese art is known as

ryukozu. the interaction of the two – the play of wind and

water is thought vital for creating the nurturing weather that

makes soil fertile and crops prosper.

dragons are a traditional subject-matter of the kanga or

chinese style of paintings. they were often painted on

large format surfaces such as ceilings and walls.

Japan took from china the habit of associating ryū (drag-

ons) with the imperial institution, Buddhism and the virtue

of vigilance. By the late 7th century dragons were popular

as painted images in Buddhist temples while later they as-

sumed secular applications in paintings and other arts.

depending on the context dragons are teamed with a vari-

ety of motifs, however the most common design pairings

are with stylised cloud or wave motifs, reflecting the ani-

mal’s association with both the sky and the oceans.

works by the artist can be found in the collections of: Ashmolean museum,

oxford; British museum, london; daitoku-ji (ryōgen-in), Kyoto; honolulu

Academy of Arts, hawaii; sanzen-in, Kyoto; tenryū-ji, Kyoto; victoria and

Albert museum, london.

A pAper kakeMono (hAngIng scroll) wIth An ensō

(cIrcle) contAInIng cAllIgrAphy

painted in ink

Inscribed: yo no naka no maruki ga nakani umarete wa hito no kokoro mo maruku

koso mote

(Born within the ensō of the world the human heart must also become an ensō).

signed: *nanajyūkyū ō nantenbō sho (painted by nantenbō at the age of 79)

seals:

right: nantenbō

left:

upper: tōshū

lower: hakugaikutsu

Japan 20th century taishō period *1918

dimensions:

scroll: h.43¾” x w.12½“ (110.5cm x 31.5cm)

painting: h. 12½“ x w.11¾“ (31.5cm x 29.5cm)

7 I

nakahara nantenbō (1839-1925). priest name: tōjū Zenchū. gō (art

name) hakugaikutsu. Born in nagasaki to a samurai family he entered

the priesthood at the age of 11. he received his first strict Zen training

at empuku-ji, Kyoto and in 1857 at the age of 18 he managed to un-

ravel the first koan (Zen dictum) he had been set. After this accomplish-

ment he devoted himself to more koan practice visiting various temples

seeking to receive koan tasks from noted masters with whom he tested

his understanding.

In 1859 he met razan genma (1815-1867) head priest of Bairin-ji, Ku-

rume and decided to return to his native Kyushu along with genma

to further his studies. there he went through many years of meditation

finally reaching enlightenment at 26. this accomplishment earned him

the position as the head of daijo-ji, tokuyama prefecture in 1869.

during his travels in the mountains of Kyushu in 1873 he dis-

covered an ancient nanten (barberry) bush and asked permis-

sion to cut a branch from it while promising the owner that

this nanten bō (staff) would resound for countless generations

and that in his hand will become an instrument of the dharma.

should the owner not agree the bush would eventually simply

wither and die. from this point on nantenbō always carried

this staff using it to encourage disciples and challenge less

enlightened priests with dharma battles, beating them with

his staff and chasing them from their temples if they lacked

true understanding. It resulted in a great deal of notoriety

and gave him the sobriquet nantenbō (barberry staff).

nantenbō was a zealous reformer of the rinzai sect of Zen

Buddhism and a tireless teacher known for his exacting stan-

dards and impatience with mediocrity. In his determination

to restore Zen to its former purity and brilliance, he emulated

the severe methods of legendary Zen masters from the dis-

tant past. his un-

shakable sense

of right and

wrong and fear-

less devotion to

Zen often led to passionate

disputes, especially when

challenging those above him

such as the governing priests

of myōshin-ji, the head tem-

ple for his branch of the rin-

zai sect.

the uncompromising deter-

mination of nantenbō in the

face of conflict attracted the

attention of the famous

samurai swordsman yamaoka

tesshū (1836-1888) and important military generals of the Im-

perial Japanese Army such as count nogi maresuke (1849-

1912) and viscount Kodama Kentarō (1852-1906). nantenbō

guided them and helped them to complete their personal Zen

training and meditation studies.

nantenbō was given his most prestigious appointment in 1891

as head of Zuigan-ji, matsushima. unfortunately this appoint-

ment came to a sudden end when nantenbō was unjustly

blamed for the accidental damage of an ancient statue of the

famous 17th century warrior date masamune. shocked and dis-

heartened he resigned and went into self-imposed seclusion

in the nearby dilapidated temple of daibai-ji where he re-

mained for the next two years. this period helped him reach a

greater level of maturity through quiet introspection. he aban-

doned the use of his cherished staff and although his Zen spirit

remained fierce, he ceased the zealous rampages of his

younger years. In 1902 he moved to Kaisei-ji, nishinomiya

where he spent his later years.

nantenbō produced more than 100,000 paintings and works

of calligraphy during the last thirty years of his life. he created

a vibrant and explosive style in both painting and calligraphy

which marks him as a genius of Zen painting. nantenbō’s use

of the brush was a form of Zen practice and an opportunity

for concentration. he preached that the execution of callig-

raphy should be made with total concentration of one’s mag-

nified spirit and that when writing a large character it should

be written speedily and in one breath so as not to lose any

of its potential power.

ensō is a Japanese word meaning circle and a concept

strongly associated with Zen. ensō is one of the most popular

subjects of Japanese calligraphy even though it is a symbol

and not a character. It symbolises the Absolute, enlighten-

ment, strength, elegance, the universe, and the void; it can

also symbolise the Japanese aesthetic itself. As an ‘expres-

sion of the moment’ it is often considered a form of minimal-

ist expressionist art.

In Zen Buddhist painting, ensō represents a moment when

the mind is free to simply let the spirit create. the brushed

ink of the circle is usually done on silk or paper in one move-

ment (but sometimes the great Bankei used two strokes) and

there is no possibility of modification: it shows the expressive

movement of the spirit at that time. Zen Buddhists believe

that the character of the artist is fully exposed in how he or

she draws an ensō. only a person who is mentally and spiri-

tually complete can draw a true ensō. Achieving the perfect

circle, be it a full moon or an ensō is said to be the moment

of enlightenment.

while some artists paint ensō with an opening in the circle,

others complete the circle. for the former, the opening may

express various ideas, for example that the ensō is not sepa-

rate, but is part of something greater, or that imperfection is

an essential and inherent aspect of existence (the idea of bro-

ken symmetry). the principle of controlling the balance of

composition through asymmetry and irregularity is an impor-

tant aspect of the Japanese aesthetic Fukinsei, the denial of

perfection.

this particular ensō features an inscription and signature con-

tained within itself as well as smaller circles used to indicate

the words ‘circle’ and ‘round’ thus symbolising the infinite

movement of the circle and its birth within itself, the world

and the human psyche.

works by the artist can be found in the collections of: freer and sackler, the

smithsonian’s museum of modern Art, washington d.c.; the Asian Art mu-

seum, san francisco; gitter-yelen, new orleans museum of Art.

Keishū dōrin (1714-1794) 221st Abbot of Tenryū-ji temple

(rinzai Zen) in Kyoto. gō (art name): gankyoku, raihōken,

iryū dōjin.

Tenryū-ji, more formally known as Tenryū shiseizen-ji, is the

head temple of the tenryū branch of rinzai Zen Buddhism

located in susukinobaba-chō, ukyō ward, Kyoto, Japan. the

temple was commissioned by Ashikaga takauji in 1339 to

commemorate the death of emperor go-daigo. the first

Abbot musō soseki (1275-1351) designed

the garden which incorporates an extensive

rock landscape and a large pond with the

backdrop of Arashiyama mountain. As a

temple related to both the Ashikaga family

and emperor go-daigo it is held in high es-

teem and is ranked number one among

Kyoto’s so-called five mountains (hierarchical order of rin-

zai Zen monasteries modelled after the chinese system).

In 1994 it was registered as a unesco world heritage site

and is one of the historic monuments of Ancient Kyoto.

Mu is a Japanese word meaning: not, absence, nothing,

void (also: not having, without, nonbeing, emptiness). It is a

key word in Buddhism, especially in Zen traditions. In mod-

ern Japanese it is commonly used in a combination of words

as a prefix to indicate the absence of something. the Japan-

ese rinzai school classifies the Mu kōan as hosshin (resolve

to attain enlightenment) that is appropriate for beginners

seeking keshō (Buddha nature).the inscription is a Zen dic-

tum challenging the greatness and peace that Buddha and

his disciples may offer and denouncing conventional notions

of religion.

zenga (Zen painting) is a form of teaching: in

calligraphy the most common subjects are

Zen poems and conundrums. the style of the

brushwork is dramatically bold, seemingly im-

petuous and bluntly immediate in effect. the transition

from mind to paper is spontaneous and finished works dis-

til the essence of the Zen experience with simple strokes

of the brush. the logic-destroying potential of a Zen kōan

(riddle) becomes visible in the movement of roughly

brushed calligraphy.

the kōans consist of anecdotes, conversations with and say-

ings of the great patriarchs, some legendary and some bi-

ographical. they were designed to serve the pupil as a tool

in his own religious practices and lead him in the long run

to enlightenment.

A pAper kakeMono (hAngIng scroll) wIth

cAllIgrAphy

painted in ink

signed: gankyoku keishū sho (written by gankyoku Keishū)

seals:

upper right: kaishin (to awaken the mind)

lower left:

upper: keishū dō-in (seal of Keishū dō),

lower: iketsu sanjin (man of a mountain cave, dressed in a

Buddhist robe)

Inscription on scroll painting: Mu. busso ya nanzo yasuraka zu

(nothingness. Alas the Buddha and patriarchs are not great!)

Inscription on reverse of scroll: Mu (nothingness) keishū wajo

(priest Keishū)


dimensions:

scroll: h. 40¾“ x w. 14¼“ (103.5cm x 36cm)

painting: h. 10¼“ x w. 13½“ (26cm x 34cm)

8 I

A cerAmIc Te-aburi (hAnd wArmer) wIth

A retIculAted sIlver cover

the body is decorated with seventeen rakan (saintly ascetics) incised and

painted in coloured enamels. All are seated wearing loosely fitting robes, a halo

surrounds each of their shaved heads and some

hold alms bowls whilst a few rest on straw mats.

signed: bunsei kanoetora* shugetsu rōbei zō.

(made by rōbei during an autumn month in the

year 1830 of the Bunsei period)

seals:

right, upper: undeciphered

left, lower: mokubei stamped upside down

Japan 19th century edo period *1830

dimensions: h. 12½” x diam. 14” (30.5cm x

35.5cm)

awasebako (fitted box) inscribed:

lid: Te-aburi (hand warmer)

label on box lid: Mokubei zo. Jyūroku rakan bori

tsubo. ryōro. yonju yon go (made by mokubei. A hand warmer carved with the

design of the sixteen rakan. number 44)

lid interior: Jyūroku rakan te-aburi. genjū kyokuken zuidai, kiyo aoki Mokubei

jisaku Jokoan jūbutsu (sixteen rakan hand warmer. this piece, made by Aoki

mokubei, was donated to the Jokoin temple. written by the current abbot

Kyokuken Zuidai.

9 I

Aoki mokubei (1767-1833). gō (art names): hyakuroku san-

jin, Kokikan, Kukurin, mokubei, rōbei, teiunrō. A nanga

(literati painting) painter, potter, calligrapher and scholar, he

is also considered the reviver of Kyoto ceramics. Born in

Kyoto the son of a restaurant owner, he studied pottery

under okuda eisen (1753-1811) and was influenced by the

chinese paintings of the ming and ch’ing dynasties as well

as by Ike no taiga (1723–1776).

After reading Tōsetsu (ceramics explained), a chinese trea-

tise of 6 chapters on the history of chinese ceramics written

in 1774 by chu yen, he decided to specialise in this art form

gaining great recognition and fame during his own lifetime.

In 1801 he worked for the lord of Kii as a potter and then

in 1807 joined the service of the lord of Kaga, where he

opened the Kasugayama kiln. In 1806 mokubei visited the

Kutani kilns spurring the potters on to do better work. In

1808 he was called into the service of prince shoren’in no

miya who sponsored the founding of a kiln in Awata, Kyoto

where he began to work as an imperial ceramic master.

his ceramics are rich in elements associated with the literati,

china, and the sencha tea ceremony leading him to pro-

duce numerous teapots, freely potted stoneware tea bowls

and cooling hearths. mokubei mastered both chinese and

Japanese ceramic techniques such as iroe (polychrome over

glaze enamels), sancai (chinese three-colour ware), somet-

suke (late ming blue and white), aoji (celadon), k’ang-hsi

famille noire and the so called kōchi ware (polychrome). he

also made Korean and Japanese style pieces which were

popular among matcha devotees.

the sheer range of mokubei’s work attracted many clients

and influential patrons even though he was known for his

low rate of production. It is said that clients and dealers

paid large sums for his work and yet often had to wait years

for their order to be completed.

rakan are Buddhist disciples who having conquered all pas-

sions are liberated from the burden of rebirth. they are said

to have originally numbered twelve hundred but in various

types of Japanese artistic representations a smaller group

of sixteen rakan is the focus. following chinese tradition

each member of this group is individually named and asso-

ciated with a particular attribute such as a fly whisk, a gong,

a scroll, a palm-leaf book or a dragon. rakan are usually de-

picted with shaved heads, long earlobes and unadorned

draped robes leaving one shoulder bare.

works by the artist can be found in the collections of: the victoria & Albert

museum, london; Kyoto national museum of Art, Kyoto; freer and sackler,

the smithsonian’s museum of modern Art, washington d.c.; tokyo national

museum of Art, tokyo; the Ashmolean museum, oxford; Idemitsu museum

of Arts, tokyo; metropolitan museum of Art, new york.

Accompanying paper notes:

envelope: Mokubei tesube kanteisho zaichu (Authentica-

tion of the work by mokubei enclosed)

Inner envelope slip: yonjyū yongo, Miyagawa o hansho

tomoni nitsu, kanteisho, copy (A copy of the two-sheet au-

thentication number 44, written by miyagawa Kōsai pot-

ter).

the original authentication is also included.

Accompanying note 1st page: akashi. ichi rakuyaki tetsub-

achigata teaburi. Migi, Mokubei o ga jyūrokurakan

chokokuni saishiki wo kuwae, yoni marenaru toki seisaku.

shoshin machigainakiya. Meiji yojyūyo nen ***gatsu. Toshi

Miyagawa kōsai. (Authentication. one rakuyaki style hand

warmer in the shape of an iron bowl. made by the old man

mokubei with a sixteen rakan carved design and painted

in colour. this is a rare piece of pottery and undoubtedly

an authentic work by mokubei. date: meiji 41 (1908), pot-

ter miyagawa Kōsai)

seals:

right, upper: part of the seal Jussui goseki; a seal used by

the miyagawa Kōsai kiln

left, lower seal: miyagawa Zen’ō

2nd page: Mokubei o saku. rakan ga tetsubachi-gata te-

aburi. kore raku-yaki to shite o ga ginou wo yo ni shime-

saru mono nari toho no giichi to shite nasazarunaki o wa

kotsudatsu share tenpu no saino wo rakuyaki no togi ni

oyo shitarumono. o no tagi kyotan no hoka nashi. keishiki

yoku totonoi juuroku-rakan no gaho keimyi ni shite in ari,

shikashite takumini shikisai wo hodokoshi-taraba giryo

mata fujo rakuyaki no oyobasaru tokoro nari. kore bunsei

kanoe-tora to areba bunsei no matsunen Tenpo to kaigen

arishi toshi nari. o bannen no saku nari. Hako ni Jokoin

jubutsu to ari. kore o ga Joko-in no tame ni tsukuri taruya

mata yojinga Joko-in e zorashiki no meihin nari. Joko-in

wa kennin-zenji tattoo matsuji nari. dated: Meiji 41st year.

Miyagawa kosaij jutsu, with seal Miyagawa kosai. arisawa

Chuhei ki with seal Chuhei

(made by the old man mokubei, a hand warmer in the

shape of an iron bowl with the design of sixteen rakan.

this is raku ware made by mokubei to demonstrate his

exceptional pottery skills. he has achieved the utmost

technical supremacy and his character, wit and ingenuity

are exceptional, applying his pottery skills in this example

of raku ware. his tremendously versatile technical skill is

really astounding; the shape of this work is extremely fine,

and the drawing and colouring of the sixteen rakan is light

and elegant. this work dates from the year of Kanoe tora,

which is the last year of the Bunsei era and the first year of

the tempo era. therefore, the work dates from later in his

working life. the hakogaki inscription says it is a treasure

at the Jokoin temple, which might mean that either

mokubei made this work for the temple or it was donated

by the artist to the temple. such a fine work. the Jokoin

temple is one of the sub-temples attached to the Ken’nin-

ji Zen temple (Kyoto). Inscribed by: miyagawa Kōsai.

seals:

left, lower: miyagawa Kōsai (1845-1922) and Arisawa

chūhei (dates unknown).

A wood HibaCHi (BrAZIer) InscrIBed wIth cAllIgrAphy In whIte And A cArved detAIl of An oni (dAemon)

Japan 20th century taishō period *1912

dimensions: h. 11¾" x dia. 21" (30cm x 53.5cm)

10 I

Inscribed: Fuku (wa) uchi, oni (wa) soto (come in good for-

tune! get out daemons!)

followed by a text in kanbun (chinese characters):

I read and copied the following passage as recorded in the

*diary gaun nikken-roku.

‘22nd of the twelfth month, on the eve of the spring equi-

nox, scattering roasted beans in each room, chanting the

four words fuku uchi oni soto. this is known as Tsuina’.

written on the day of the spring equinox, in the year of

mizunoto-ne of the taishō period*, by the old master tes-

sai gaishi.

seals: tomioka hyakuren and tetsujo

ishū

tomioka tessai (1837-1924). given

name: tomioka hyakuren. azana (formal

name with chinese reading): muken. gō

(art names): tessai, tetsugai, tetsujin,

tetsushi, tetsujo ishū, yūken.

Born in Kyoto to a wealthy merchant family he is regarded

as the last major artist of the nanga (literati painting) tradi-

tion. due to a hearing impairment as a child his family de-

cided to educate him as a scholar in classical chinese

philosophy and literature under the famous kokugaku (na-

tional revival of Japanese philology and philosophy) scholar

Ōkuni tadamasa (1793-1871). After his father’s death in

1843 and the subsequent decline of his family’s fortunes he

was sent to the rokunshonō shintō shrine where he gained

a profound knowledge of the shintō religion as well as Bud-

dhism, confucianism and classical Japanese literature.

At the age of 18 tessai was placed in the care of Ōtagaki

rengetsu (1791-1875), the famous female poet, calligra-

pher and potter. As a mentor she had a profound effect on

tessai’s personality and enabled him to develop his own

painting style whilst studying under various accomplished

painters of the time.

In 1861 he opened a private painting school and in 1868

he was given a teaching position at Kyoto’s newly inaugu-

rated ritsumeikan university. closely allied to those sup-

porting the meiji restoration (an underground movement

designed to overthrow the shogunate) tessai fled to na-

gasaki in 1859 to escape arrest. this gave him the oppor-

tunity to further concentrate on nanga painting and to serve

as a shintō priest. After the meiji restoration he travelled

extensively throughout Japan, mainly on foot, visiting and

painting famous scenic places from nagasaki to hokkaidō.

After his brother’s death in 1881, he decided to return to

Kyoto and care for his mother. In 1893 he was appointed

to teach ethics at the Kyoto city Art school and in 1896 or-

ganised the nihon nangakai (Japan nanga Association), re-

maining an important member until his death in 1924. he

was also a member of the Art committee of the Imperial

household and of the Imperial fine Arts Academy.

*the diary referred to here is the gaun nikken-roku written

by the Zen priest Zuikei shūhō (1392-1473). shūhō was the

50th abbot of shōkoku-ji, a rinzai sect temple in northern

Kyoto founded in 1382. the diary is comprised of seventy

four books written between 1446 and 1473. It provides us

with a historical record of ideas on Zen Buddhism and the

liberal arts as well as being a rich source of information on

the social climate of the time.

A traditional shinto celebration, setsubun marks the first

day of spring according to the ancient Japanese lunar cal-

endar. on this day it is customary to throw roasted soy-

beans whilst chanting fuku (wa) uchi, oni (wa) soto in the

belief that this practice expels evil ogres from one’s house

and allows good fortune in.

works by the artist can be found in the collections of: chion-in treasure

house, Kyoto; musée guimet, paris; hakutaka museum; tokyo national mu-

seum, national museum of modern Art, tokyo; Kyoto national museum;

museum of fine Arts, Boston; seattle Art museum, washington; victoria and

Albert museum, london; Adachi museum and seichōji tomioka tessai

gallery, takarazuka, hyogo.

provenance: previously in the collection of sue Kōda, nagoya.

An almost identical hibachi by tessai was auctioned in 1934 at the Kyoto Bi-

jutsu club as part of the Kitamura collection.

note: the piece is accompanied by a pair of metal ohashi (chopsticks) in-

scribed: Myōchin Muneyuki saku (made by myōchin muneyuki) gojūichi dai

(51st generation). myōchin muneyuki II (b.1908) is known to have been active

during the 1980’s. he lived and worked in himeji city, hyogo prefecture.

tōrei enji (1721-1792).

Born in omi province he

began his monastic life at

the age of 9 and began

his studies under ryōzan

erin (unknown dates) at

daitoku-ji, Kyoto. At 17

he went to daikō-ji,

miyazaki prefecture,

Kyushu where he trained

under the important Zen

master Kogetsu Zensai

(1667-1751) and his suc-

cessor suigan Jūshin

(1683-1773).

At 23 he visited hakuin (1686-1768) at shōin-ji,

hara, suruga province. this meeting proved piv-

otal and enji eventually became hakuin’s best

pupil. At 35 he became a priest at myōshin-ji and

was first referred to as tōrei. After serving at var-

ious temples across Japan tōrei finally resided at

Zuizen-ji, nagoya and reisen-ji, omi prefecture.

throughout his life, tōrei retained a strong inter-

est in shinto, confucianism and Buddhism even-

tually writing a treatise on the theory of all three

stating his belief that they are basically identical.

this Zen dictum referred to here is adapted from

the death poem of the prominent Zen priest mu-

gaku sogen (1226-1286) which reads: hyakuoku

mōtō ni shishi genji, hyakuoku mōtō ni shishi hoyu

(A lion appears in front of a mil-

lion ignorant fools, and the lion

roars at a million ignorant fools).

In essence, this dictum encour-

ages lay believers to dispel

delusions with a mind awak-

ened by the sight and sound of

a roaring lion (Buddha).

the hossu is one of the many accessories used

by Buddhist monks and is believed to help over-

come ill fortune, remove obstacles and dispel

delusion. Its practical use is to whisk away flying

insects, preventing the devotee from acciden-

tally killing any life form and therefore abiding

by Buddhist law.

A pAper kakeMono (hAngIng scroll) wIth A Hossu (fly whIsK) And cAllIgrAphy

painted in ink

signed: Tōrei sho (written by tōrei) with his kao (a clam shaped insignia)

seals:

right: uzuike sakamizu (pond with an anti-clock-wise eddy)

left:

upper: yūhei

lower: tōrei

Inscription:

Hyakuoku mōtō

hyakuoku shishi arawaru


dimensions:

scroll: h. 78¼“ x w. 12¼“ (198.5cm x 30.5cm)

painting: h. 52“ x w. 11“ (132cm x 27.5cm)

Tomobako (original box) inscribed:

lid: Tōrei zenji hossu no zu (painting of a hossu by Zen priest tōrei)

lid interior: Taishō kanoe saru baigetsu, zen-jūji koku koshu daikan (written and authenticated by priest Koku Koshu 1920)

11 I

A million ignorant fools

A million lions appear

A pAper kakeMono (hAngIng scroll) wIth dArumA

painted in ink

signed: hakuin

seals:

right: Kokani

left:

upper: hakuin

lower: ekaku

Inscription: yoshi ashi o sutete okiagari kobōshi kana (whether good or bad,

just like an okiagari kobōshi* doll)


dimensions:

scroll: h. 47¼” x w. 23¼” (119.5cm x 58.5cm)

painting: h. 14” x w. 19¼” (35.50cm x 48.5cm)

12 I

hakuin ekaku (1686-1768) given name: nagasa ekaku.

priest name: hakuin dōjin. Born in hara, suruga province,

he entered the Zen temple shōin-ji in 1700 at the age of

15 where he studied with tanrei (d.1701) and was given the

Buddhist name of ekaku. this temple remained his base

throughout his long life of teaching and travelling. In 1717

hakuin became abbot of the myōshin-ji, Kyoto and later

visited a series of temples, wandering through many

provinces, teaching Zen to the common people. finally in

1758 he founded the ryūtaku-ji in Izu.

hakuin was one of the most impor-

tant Zen masters of his time, cred-

ited with reinvigorating the rinzai

sect. he established the transition

from the institutionalised religion of

previous periods to a more informal

one, aiming to teach directly to the

people especially in remote regions.

hakuin painted hundreds of daruma

images, as befitted the Zen patri-

arch’s role as the single most impor-

tant signifier of meditation and this became one of hakuin’s

most recognisable and iconic subjects. with his widespread

popularity, hakuin was undoubtedly called upon to create

numerous images for followers who benefited from this tan-

gible reminder that only by the rigorous discipline of med-

itation could enlightenment be attained.

daruma (Bodhidharma) is the sage who founded the Zen

sect of Buddhism in china. he is said to have retired to

lo yang in the year 520 Ad where he remained seated,

absorbed in meditation for nine years, during which temp-

tations were heaped upon him by evil spirits without any

result. At the end of this period his legs were said to have

atrophied and he is often depicted as entirely enveloped

in his robes, shaped like a bag, from which his swarthy

scowling face emerges. staying true to this image of no

feet and the philosophy of perseverance is the popular

Japanese toy of the round - based *okiagari-kobōshi or

daruma doll which cannot be knocked over. “seven times

down eight times up.” the inscription on this particular

scroll draws a direct connection to this image and idea and

uses the metaphor of the okiagari-kobōshi doll to enhance

the analogy.

having once been tempted by sleep he

cut off his eyelids as a penance and

tossed them aside, where the lids

landed on the ground the first tea plant

is said to have grown and to this day

Zen monks drink tea to ward off sleep.

works by the artist can be found in the collections

of: Brooklyn museum, new york; museum of fine

Arts, Boston; seattle Art museum, washington; and

the Buddhist temples of: daikō-ji, miyazaki; dairyū-ji, gifu; empuku-ji, shiga;

hōrin-ji, yamanashi; Keiun-ji, himeji, hyōgo; myōkō-ji, Aichi; ryūgaku-ji,

nagano; ryūtaku-ji, shizuoka; shōfuku-ji, Kōbe; shōin-ji, shizuoka; Zenshō-ji,

Kyōto.

for a similar daruma ink painting by hakuin in the collection of ryūun-ji,

tokyo see: Hakuin, the Hidden Messages of zen art, the Bunkamura mu-

seum of Art, p.74, pl. 22 and for other examples of this subject matter by

hakuin in the collections of sanso, doris and peter f. drucker, george gund

collection and gitter-yelen collection see: Zen Painting and Calligraphy 17th-

20th Centuries, Asian Art museum - chong-moon lee centre for Asian Art

and culture, p.10, pl.3; p.11 pl.4 and p.12 pl. 5 respectively.

A cArved wood fIgure of JIZŌ BosAtsu stAndIng on A lotus BAse

Japan 9th century heian period

dimensions:

figure and stand: h. 30¾” (77.5cm)

figure: h. 23½“ (59.5cm)

13 I

Jizō Bosatsu, represented as a simple monk, has existed

in Japan since the eighth century, becoming widely wor-

shipped by the masses at the end of the heian period

(794-1185) with the rise of pure land (Amida) Buddhism.

he is usually shown in the guise of a shaven-headed priest

with a kyōshoku (breast ornament) and carrying a hōju (a

jewel which grants desires) in his left hand and a shakujō

(priest staff) in his right. As an attendant of Amida his pow-

ers include the saving of souls condemned to the various

Buddhist hells and the intervention with yama, the master

of hell, on behalf of those reborn in each of the six realms

of transmigration. he guards travellers safely on their way,

protects warriors in battle, watches over the safety of chil-

dren, families and women during pregnancy.

heian beliefs about Jizō, a compassionate Bodhisattva, in-

volved widespread belief of the three periods of the law

known as the days of the dharma (the Buddhist teachings).

this was an all-encompassing concept of society’s rise and

fall that originated in Indian Buddhism and later became

widespread in china and Japan. It foretold the world’s ul-

timate decay and the complete disappearance of Buddhist

practice. At the time, the days of the dharma in Japan

were divided into three periods.

the first phase, the Age of shōbō, was said to last 1000

years after the death of the Buddha. It was believed to be

a golden period during which followers had the capacity

to understand the dharma. the second phase, the Age of

Zōhō, was also to last 1000 years during which Buddhist

practice would begin to weaken. the third and final phase,

the Age of mappō, lasting 3,000 years was when Buddhist

faith would deteriorate and no longer be practiced. In

Japan the Age of mappō was said to begin in 1052 Ad,

and a sense of foreboding thus filled the land, with people

from all classes yearning for salvation. this belief lead to a

comprehensive increase in the popularity of Jizō as the

only deity man could petition in these lawless centuries for

relief from pain in this life and the next.

the naturalistic treatment of the figure represented here

stems from a tradition of Japanese portrait sculpture which

developed in a Buddhist context and was never com-

pletely separated from the religious setting. from the be-

ginning the majority of the subjects portrayed were

religious personages, whether legendary or historical.

the portraits of venerated monks, which form the body

of Japanese portrait sculpture, were appreciated as ob-

jects of aesthetic value from as early as the nara period

(645-781). this tradition of naturalistic representation can

also be seen in sculptures of Buddhist deities produced

at the time.

for other examples of figures treated in a similar style held in the collection

of Kōfuku-ji, nara see: Japanese Portrait sculpture, p.54-55, pl.39-42.

radio carbon dating ref: rcd-8428

A wood And gIlt lAcquer sculpture

of AmIdA nyorAI (AmItāBhA)

the eyes inset with crystal. the head is adorned with crystals representing the byakugō (white

spiralling hair) on the forehead and the nikkei-shu (red jewel on the protrusion on top of the Buddha’s

head). the right arm raised and the left arm extended with the forefinger and thumb of each hand

forming a circle represent the raigōin mudra, welcoming the believer into Amida’s great western

paradise.

Japan 15th/16th century muromachi/momoyama period

dimensions: h. 20½” x w. 17½” x d. 14” (51.5cm x 44cm x 35.5cm)

14 I

Belief in Amida as lord of the western para-

dise rose in popularity during the late 10th

century. Based primarily on the concept of

salvation through faith, it was not only a reli-

gion appealing to a broad range of people,

but also a direct assertion of piety against

the dogmatic and esoteric ritual of the more

traditional tendai and shingon sects. In

Amida’s western paradise the faithful are re-

born, to progress through various stages of

increasing awareness until finally achieving

complete enlightenment.

Another factor that engendered faith in

Amida was a widespread belief of the three

periods of the law known as the days of the

dharma (the Buddhist teachings). this was

an all-encompassing concept of society’s rise

and fall that originated in Indian Buddhism

and later became widespread in china and

Japan. It foretold of the world’s ultimate

decay and the complete disappearance of

Buddhist practice. At the time, the days of

the dharma in Japan were divided into three

periods. the first phase, the Age of shōbō,

was said to last 1000 years after the death of

the Buddha. It was believed to be a golden

period during which followers had the ca-

pacity to understand the dharma. the sec-

ond phase, the Age of Zōhō, was also to last

1000 years, during which Buddhist practice

would begin to weaken. the third and final

phase lasting 3,000 years, the Age of

mappō, was when Buddhist faith would de-

teriorate and no longer be practiced. In

Japan the Age of mappō was said to begin

in 1052 Ad, and a sense of foreboding thus

filled the land, with people from all classes

yearning for salvation leading to a wide-

spread practice of continuously repeating

the mantra of Amida Buddha.

radio carbon dating ref: rcd-8312.

A pAIr of sIx-fold pAper screens wIth red And whIte kiku

(chrysAnthemum), Autumn flowers And A BAmBoo trellIs

next to rocKs.


A body of deep blue water can be glimpsed at the edge of the right hand screen. the golden

clouds and white kiku are rendered in moriage (raised design)

Japan 17th century momoyama period

dimensions: h. 68“ x w. 151½“ (172.5cm x 384.5cm)

provenance: private collection Karizawa nagano Ken, Japan

for a pair of six-fold screens with a similar subject matter in the collection of the tokyo national museum see:

kano eitoku, Momoyama Painter extraordinaire, p.194-195, pl.57 and for a similar pair of two-fold screens by

Kano eitoku in the collection of the Imperial household Agency, tokyo see: nihon byōbu e shyūsei, Vol.7

kachō ga, Plants and Flowers of the Four seasons, p.18-19, pl. 4-5.

15 I

A pAIr of sIx-fold pAper screens

painted in ink on a gold ground. the right hand screen depicts a

dragon amongst clouds above cresting waves and the left hand

screen shows a rocky landscape with bamboo and a leaping tiger

before a waterfall.

signed: Hōgen Tansaku gyōnen rokujūgo-sai hitsu (painted by

tansaku with the title of hōgen at the age of *65)

seal: kakusai

Japan 18th century edo period circa *1794

dimensions: h. 66¼” x w. 146¼” (168cm x 371cm)

16 I

tsuruzawa tansaku (ca. 1729-1797)

given name: tsuruzawa moriteru, gō

(art name): tansaku

tansaku was the son of the court

painter tsuruzawa tangei (1688-1769)

and painted in a traditional Kanō

style. he was one of maruyama

Ōkyo’s first teachers and later in his

career received the title of hōgen, the

second highest honorary title be-

stowed upon artists.

In the traditional cosmology of china the tiger is one of the

four sacred creatures, it represents autumn, the west, the

wind and the colour white. It is thus the complement of the

dragon, which represents the east, the spring and water.

the interaction of the two, the play of wind and water – is

thought vital for creating weather that makes soil fertile and

crops prosper.

works by the artist can be found in the collection of: the fine Arts museum,

Boston; Indianapolis museum of Art, Indianapolis.

for a similar single six-fold screen showing a dragon amongst clouds see In-

dianapolis museum of Art, acquisition number 79.350 and for a pair of

screens with the same subject matter painted by Kanō tan’yu see: nihon

byōbu-e shūsei, vol.16: soju ga (wild Animals)- dragons, tigers and mon-

keys, p.34-35, pl.22 & 23.

mochizuki gyokkei (1874-1938) gō (art names): gyokusen

Born mochizuki shigenobu, he lived and worked in Kyoto

and was the fifth generation of the mochizuki school.

gyokkei studied painting under his father mochizuki

gyokusen (1834-1913); he painted in the traditional yam-

ato-e style and was well known for kachōga (bird and flower

painting). In 1896 he was awarded 2nd prize in the 1st Kaiga

Kyoshinkai ten (painting society exhibition) and in 1900 his

work was exhibited at the paris expo. he later taught at the

Kyoto fine Art university and was an active member of the

kyoto bijutsu kyokai (Kyoto fine Arts Association), the

nihon bijutsu kyokai (Japan fine Art Association) and

nihonga kai (Japanese painting Association).

works by the artist can be found in the collection of: the metropolitan mu-

seum of Art, new york.

A two-fold pAper screen

painted in ink and colour on a buff ground with gold sunago

(powdered gold) clouds. the scene depicts two geese in a river

landscape with reeds.

signed: gyokkei

seal: gyokusen

Japan 20th century meiji/taishō period

dimensions: h. 67½” x w. 74” (171cm x 187.5cm)

17 I

A two-fold pAper screen wIth A pAIr of kogaMo (teAl ducKs) In A lotus pond

painted in ink and colour on a silver ground

signed: hokusai

seal: hokusai

Japan 20th century shōwa period

dimensions: h. 68¼” x w. 74½” (173cm x 189cm)

18 I

Irie hokusai (1900-1995). Born in okayama but lived and

worked in osaka. he was a student of Insho domoto (1891-

1975) and ryūshi Kawabata (1885-1966) and became well-

known for his skill in kachoga (bird and flower painting).

he was the first member of the nihonga (Japanese style paint-

ing) art circle known as seiryūsha which was founded in 1928

by ryūshi Kawabata in protest against the increasingly rigid

rules of the Inten (Japan Art Institute exhibition), a previously

established non-governmental group promoting nihonga. In

competition to the Inten, seiryūsha held exhibitions twice a

year from 1929 to 1965 in tokyo and later evolved into the

nipputen (the major nihonga exhibition) where hokusai Irie

exhibited as a member of the ryūshi group.

the symbolism of hasu (lotus) has its roots in the Buddhist tra-

ditions of India and china later transmitted to Japan and it is

considered a sacred flower and a metaphor for purity. Hasu

however has many other auspicious meanings including har-

mony, love, sympathy and prosperity but when the plant is

combined with other motifs the visual messages become quite

specific. for example, mandarin ducks and lotus express a wish

for both a happy marriage and the prosperity of one’s descen-

dants, while wild ducks swimming among lotus flowers con-

note future professional success.

works by the artist can be found in the collection of okayama prefectural mu-

seum of Art.

19 20 21 22

A BronZe flower vessel of ABstrAct form

signed: tsuda eijyu

Japan 20th century shōwa period *1959

dimensions: h. 36¾” x d. 8¼“ (93cm x 20.5cm)

this flower vessel was exhibited at nitten (the Japan fine Art exhibition) no. 22/2 *showa 34

(1959) and published in Compilation of new nitten 2 p.245 pl.194.

A forged copper sculpture of ABstrAct geometrIcAl

form

decorated with a gilt and etched design

signed: tanaka


dimensions: h.20¼“ x w.12” x d.4¾” (51cm x 30cm x 12cm)

provenance: Acquired directly from the artist’s family collection by the previous owner.

A copper ABstrAct sculpture

decorated with three tear shaped disks on its short neck, the textured body with a

central abstract design in gilt on a green and brown patinated ground.


dimensions: h. 25½“ x w. 8½” x d. 5¾” (64.5cm x 21cm x 14.5cm)


lid: seishō (dressed in green)

lid interior: tanaka Isamu with seal


A sHibuiCHi (copper And sIlver Alloy) sculpture

In the form of a stylised peacock, entitled rei (elegance). the eyes and crest gilded

and the tail with shakudō (copper and gold alloy), silver and gilt details rendered in hi-

razogan (low relief inlay)

signed: tanaka Isamu

Japan 20th century shōwa period *1960

dimensions: h. 28½“ x w. 6¾” x d. 9“ (72cm x 17cm x 22.5cm)

this piece was first exhibited in the 3rd nitten (the Japan fine Art exhibition) *1960 and is illus-

trated in the accompanying nittenshi catalogue p.247, pl.164.


19 I

20 I

21 I

22 I

tanaka Isamu (b.1920). After finishing his studies at the tokyo fine Arts

school in 1948 tanaka became an assistant professor of metalwork at

tokyo university of fine Arts in 1950. In the same year he also helped

with the restoration of the eastern pagoda of yakushi-ji temple, nara.

from 1967 he travelled extensively in europe and Asia before return-

ing to Japan in 1968. throughout his career he received numerous

commissions to help in the restoration of important antique art objects

and he contributed greatly to the study of metalworking by examining

historical artworks. In 1973 he repaired a cloisonné frame in the

Akasaka palace, tokyo which was built in 1909 and in 1975 he fur-

thered his expertise when given the opportunity to research the lotus

petals of the 8th century great Buddha of tōdai-ji, nara.

having trained under shimizu nanzan (1875–1948) and unno Kiyoshi

(1884 – 1956) tanaka Isamu transferred his knowledge of traditional

metalwork techniques to the crafts course at tokyo university of fine

Arts when he was appointed professor in 1978. At this time he became

a regular member of the nihon Kōgeikai (Japan crafts Association)

and exhibited annually at the nihon dentō Kōgeiten (the Japan tra-

ditional Arts exhibition) and the nihon dentō Kōgei Kinkō shinsakuten

(the Japan traditional Arts metalwork exhibition) until the end of his

career.

In 1979 he participated in the conservation of the famous Inariyama

iron sword, which was unearthed in 1968 from the Inariyama burial

mound, saitama and is now considered one of Japan’s national treas-

ures. In 1981 he received an award of appreciation from yakushi-ji

temple for his help in producing a gilt bronze reliquary which was

placed in the base of the central pillar of the western pagoda.

tanaka also participated in the creation of a film on metalwork com-

missioned by Bunkazai (Agency of cultural Affairs) and in 1984 he be-

came a member of the judging committee for the design of the 500

yen coin. he retired in 1987 with the honorary title professor emeritus.

tsuda eijyu (1915-2000) studied under shinobu tsuda (1875-1946) and

later inherited the tsuda family name. during his illustrious career eijyu

received various awards including the crafts exhibition export Award,

the ministry of commerce and Industry Arts and crafts exhibition

Award, the metal casting masterpiece Award and the 5th nitten (the

Japan fine Art exhibition) special hokuto Award. he was also a mem-

ber of the fukushima Art exhibition jury.

A two-fold soMe-e (BAtIK) sIlK

foldIng screen

with the landscape of a sunrise at uji Kyoto. Byodoin temple

can be seen on the lower right hand side

seal: tai


dimensions: h. 75” x w. 68¾” (190.5cm x 174.5cm)


lid: uji chyōton (round sunrise at uji)

lid interior: Taizō saku (made by taizō)

seal: tai

23 I minagawa taizō (1917-2005). Born to a Kyoto family of textile

dyers and weavers, he graduated from Kyoto city school of

Arts and crafts in 1935 and devoted his career to the resist

dying technique (batik). Also noted for his woodblock prints,

in 1940 he was successfully accepted in to the Bunten (the

Japan fine Arts exhibition) as an exhibitor and in 1949 he won

the special prize in the nitten (previously Bunten).

minagawa travelled the world extensively, gathering inspira-

tion which he later expressed in artworks depicting landscapes

of gardens, parks, temples and the interiors of traditional folk

houses. having a good command of techniques new and old,

he developed an original style using strong colours and

stylised, geometrical compositions.

After a lifetime dedicated to art, both as an artist and a

teacher, minagawa won many awards among them the order

of the chrysanthemum from the ministry of education. In 1993

minagawa became Board chairman of the nitten conference

and also received the 4th class of the order of the sacred treas-

ure. the order was established during the meiji period (1868-

1912) and is awarded to those who have made distinguished

achievements in research, business industries, healthcare, so-

cial work, state and local government fields.

note: the back of the screen bears a label which reads: uji. minagawa taizō.

seal: tai

A wood And polychrome pAInted sculpture

of A seAted biJin (BeAuty) looKIng down At

A kōro (Incense Burner) held wIthIn the

folds of her KImono.

the kimono is decorated with various patterns emulating kanoko

shibori (Japanese tie-dye)

signed: nakatani gankō

entitled: Kaori (lit. fragrance)

Japan 20th century taishō period

dimensions: h. 23¼“x w. 26¼“ x d.17¾” (59cm x 66.5cm x 44.5cm)

24 I

nakatani gankō (1868-1937) Born in hiroshima, he moved to

osaka in 1873 and studied ukiyo-e painting under suzuki toshi-

moto (dates unknown) and sculpture under his father nakatani

shyōko (d. 1912). In 1893 he moved to tokyo and entered the

artistic circle of takeuchi Kyūichi (1857-1916) and exhibited his

work at the chicago International expo in the same year.

he exhibited regularly throughout his career at Teiten (the Im-

perial fine Art exhibition), nihon bijutsu kyōkai (Japan Art As-

sociation) and kyoto bijutsu kyōkai (Kyoto Art Association)

winning numerous prizes. he was also a member of both the

tokyo and Kyoto Chyōkōkai (sculpture Association).

nakatani was best known for his painted wood sculptures of

bijin (beauties) and his use of mineral pigments for their elab-

orately decorated robes.

this piece is illustrated in a retrospective catalogue entitled nakatani ganko

sakuhinsyu (the concise works of nakatani ganko), 1971, pl. 29.


142 kensington church street

London w8 4bn

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www.japanesescreens.com

gregg baker asian art: 2015 catalogue

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