Posts Tagged ‘guinomi’

Antiques 9-18-10

September 18, 2010

A couple of sakezukes or guinomi. The first is from Seto and dates to the Muromachi period. It is interesting in that it seems to have been fired in a high ash area of the kiln. It doesn’t appear to have been stacked. It also leans slightly towards the fire side of the kiln. Perfectly straight ceramics coming out of the kiln are a relatively modern development. The bottom shows a seashell pattern where it was cut off the wheel. When ever it was made I am sure it wasn’t made as a sake cup but that is what it is used for now. Of special note is the way the leather, deer leather, was attached to the box. This method was common some time ago.

The second piece is a guinomi from the end of the Momoyama period into the Edo period. It is a Shino piece. Both the first and this piece have been repaired with gold, a type of repair I really like. I like the directness and un-poetic way this piece has been trimmed. It was cut in a way that only took into account the fact that excess clay needed to be removed.

The third piece is a Chinese made three color plate. Made during the Tou period in China, Tang in English,  which corresponds with the Tempyo period in Japan. It is called a Tousansai in Japan. Japanese made sansai, san = 3, sai = color, is extremely rare. I have only seen shards or pictures in books of complete pieces. Most if not all of the complete Japanese made pieces are Important Cultural Works. It was very interesting to hear Mr. Kawase say the Chinese were/are the teachers when it comes to sansai technique. Of course he is correct since in the period under discussion the Chinese were far ahead of the Japanese in technical ability. The interesting thing is to hear a Japanese person say, in a clearly enunciated way, that the Chinese were/are, (it is unclear from the Japanese he used what tense he is talking in), the teachers. I have never heard that said. The Japanese never need to be told who is the teacher, who is the student. It is extremely hierarchical here and such things are not usually pointed out. It makes me wonder what is being said.

I have a couple of pictures of a hanging vase made from an inverted bell from a temple and then one of Mr. Kawase.

Japanese antiques 4-4-10

April 5, 2010

Today was very interesting.

The first piece is a Momoyama period Bizen mizusashi. It has an identifiable kamajirushi on the bottom. Kamajirushi are “signatures” used to identify individual potters firing together in a community kiln. There are also kamajirushi that identify a single individual potter but I would think they would be more appropriately called signatures. It also seems to me to be a mis-labeling to use the word kamajirushi. Kama = kiln + shirushi, jirushi = seal or sign because as I understand the ancient kilns kamajirushi were used to identify work in the huge kilns. A number of production houses would band together and put all the work into one kiln as the kilns were 50-100 meters long. The signature would actually not be for the kiln but for the production house, each kiln load would have a number of kamajirushi in each firing.

The next set of photos are from a book which I didn’t get the name of. They are kamajirushi starting in the Kamakura period running up through the Momoyama period. Interesting.

The next piece is a sake cup made in Japan for a Dutch order. It was probably exported and seems to have been modeled on a Seto piece or design.

The next piece is a Momoyama period Oribe Shino incense holder. The design motif is of the warabi plant.  The link is to warabi mochi, not the plant.

The last piece is an Edo period tea ceremony box. It is a medium sized box. This would have held all the utensils for a tea ceremony under the cherry blossoms. The really nice boxes would have had everything including a small kama for heating the tea water. This particular box has a fantastic patina. The weaving of the box inspires respect for the level of craft in Japan.

The writing on the box lid is in old Japanese. The first photo shows “Ekaratsu” or Karatsu with an image, i.e., underglazed iron pigment.

The next photo shows “Oribe Karatsu ko” which means Oribe Karatsu is the type of ceramic ware, ko means, in this case, an incense holder.

The last photo of writing says “nijuni go”. It is a cataloging reference and probably was used by the owner to signify that the piece was #22 in his collection. Nijuni = 22, go = a counter meaning #

Japanese antiques 10-16-09 kuradashi part 4

October 19, 2009

Today all the items I learned about are from the 3rd set of lots of this kuradashi except the Muromachi, or hereSeto area plate.

First up is this wooden box. The top veneer is from Gangoji temple, or here. It is from some part of the temple that was in direct rain. That is why it is so textured. The wood, hinoki, cypress, was grown in an area that had very slow growth, judging by the growth rings. If you look at the picture that is just before the Karatsu guinomi you will see a picture and description of Gangoji. It should be read from right to left. The box was made by tradesmen called sashimonoshi.  Edo period shashimonoshi quality can be seen in the video I made of the box lid being placed back onto the box, here.

The next piece is a Karatsu guinomi, sake cup, from the Momoyama period. These are very rare. Notable are the box ties. They are made of leather and are not tied in the traditional way. Instead they are tucked under after they are wrapped around the lid. This is the first time I have seen this type of box tie.

The third piece is a Muromachi Seto plate. It is not from the kuradashi lots. Mr. Kawase has gathered it for his next tea ceremony. Since the space in the tea room is very limited plates of this medium size are the maximum size that are desirable for the tea room.

The next piece is a guinomi made from turtle shell with what looks like lacquer inlay. Very delicate.

The last piece is I think a Kutani piece.

The last photo is of my favorite piece outside of some of the “tsuchimono” type of pieces. It is a Ko-Kutani faceted vase. Very old and rare.

Antiques 9-19-09

September 20, 2009

Kura dashi part two. These photos are a continuation of last weeks series. The monthly Wakakusakai auction was the 15th. in Nara and lot 1 of the 3 lots was divided into 4 sub-lots. All 4 were sold on the 15th. Next month lot 2 will go up. Nothing too outstanding about the auction last week. The blue and white ceramics went for pretty good prices. There were about 50 guinomi that I didn’t see during the first photo session that were sold. I tried to get a couple of the lots but couldn’t afford them.

The photos just before the Kutani guinomi are Mr. Kawase looking and labeling the items in the boxes. It is very interesting to see the process. I finally understand something I have heard a number of times: that antiques dealers see more in a month than most people see in a lifetime.

In the pictures below I would like to draw attention to the last set of pictures of the Kutani guinomi. If anybody is interested in them contact me and let me know what your highest bid would be and I will bid for them for you. I want them and if I can get them I will try but if anyone is interested let me know. The bid would not of course include shipping. That actually goes for any item in the pictures.

Antiques 3-07-09

March 9, 2009

This is a Kiseto guinomi. If I remember correctly it is around 400 years old. The lid says Kiseto  and then Sakazuki. The Sakazuki is in ateji. Ateji are kanji that are selected for their phonetic characters and not the meaning associated with them. There is often a kind of play going on regarding the kanji selected and the meaning. My favorite example of ateji is for coffee. The first character in the Japanese combination for coffee means ornamental hairpin, the second means pierce or stringed pearls.

The pattern of the kiln wadding on the foot is called “gokezoko” I am unsure if there is a meaning to the word.