Posts Tagged ‘Japanese antiques’

Antiques 9-19-11

September 19, 2011

This is a set of 2 visits, http://wp.me/p1Bip8-2g

Japanese Antiques, 6-4-2011

June 4, 2011

I saw some very interesting pieces today.

The first piece is a white slip bowl from Korea, early Yi. I love the wear of it, the pinholes and amamori.

The next pieces are fabric from the beginning of the Edo period. Very old. Hita Shibori.

The next is a sumi-e from the late Muromachi period by Senka Sosetsu. It is the same piece featured in the magazine I have included pictures of.

The next is a tea ceremony kama. I am hoping to be able to buy it during the next auction I go to on the 15th.

The last piece is a Seto piece from the Muromachi period. It isn’t clear what it is, tea caddy or what ever. It is used now by tea practitioners but it isn’t originally a tea piece. It was found in the discard pile of an abandoned kiln.

Antiques 3-6-11

March 10, 2011

Some interesting pieces today.

The first is a Yayoi piece.

The second is a set of Ming plates I may have written about before. Interesting and they have been very used, evidenced by the rims, chipped all over. The calligraphy sets them apart from Japanese copies. Very nice brush work.

A Seto hirabachi from the Muromachi period is next. Hirabachi = Hiroi = wide, hachi = bowl, put together, hirabachi. Very interesting to see how long the glaze has held up.

I took a few pictures of a Niyoi that has been repurposed. I am not sure I caught the word correctly as I can’t find any reference to one. It is like a walking stick in it’s original form, in the picture it is turned upside down and used to hang the flower in the tokonoma.

Next up is  a table, about 600 years old, Muromachi,  from a temple. A very interesting point is the mimicking of the red crown crane on the top of the table and then again on the metal pieces on the side.

The last is a letter from Kobori Enshu.

I also took some pictures of the tokonoma.

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.

Antiques.

April 16, 2010

I went to an antiques auction yesterday and found a few very interesting items. The first one is a mahjong set made of bone and bamboo. The craft level is amazing. It came up on the block and no one bid on it so I went to the guy after and bought it after taking a closer look at it.  It dates from the 1900 – 1920 period.

The second piece is a small box. I am unsure of the metal but it is probably a mix of silver and a few other metals. I really like the level of detail and the size. I sold it today to a buyer from China.

The last piece is an Edo period piece of blown glass. It was used as a holder of medicine for eye washes. The color is rare, yellow being unusual in this period of glass.

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 #

Antiques 3-20-10

March 20, 2010

This is a small jar made in the Seto area from the 14th. century, the Muromachi period. It is now used as a tea caddy. I don’t know what they were originally made for.  I had seen it a while ago in the shop and photographed it. The person that came to sell it thought it was a Chinese piece. The paper was in the box when the dealer bought it. The paper has a date of Meiji 13, 1880. I saw a similar piece in the new set of books I recently bought and because of that went back to get more photos of this piece. I think the antique world is a place where those who have done the most studying have the best chance of doing well. This piece points to that.

Japanese antiques 3-6-10

March 7, 2010

Today is a mish-mash of items.

The first up is a set of earrings from the Kofun period. They are gold-plated. I am not sure what the base is. They will be used as paper weights for the antiques dealer’s 88th. year tea ceremony. He pointed out if you are in the Urasenke or Omotesenke you don’t have the luxury of picking these types of details.

The second is one of a set of very rare lacquer ware bowls. The bowls are for nimono, 煮物 which means boiled or steamed  food. It is difficult for me to tell why these would be specific for that type of food, why it wouldn’t be appropriate to put miso soup into them. I think it has to do with the curve, or lack of, of the wall of the bowl. It is very rare to find a full set of these bowls in very good condition of this age, more than 400 years old.

The last items are called renben. They are the leaves from a lotus plant and date from the Heian period. The earlier and later renben have a different curve to them. These will be used for plates which makes the curve important. I can’t find a single good link

Japanese antiques 2-20-10

February 23, 2010

I went to an antique store I usually don’t go to today. I have some very interesting photos but not many of them. The owner of the store is a little prickly about many things, taking photos included. He also treats his knowledge like it is a national security issue.

The first piece is a plate from the beginning of the  Richo era, one of a set of 5. Somewhat unusual to have a complete set of five although the five can only be said to match in color only, shape and size vary. Two points on early Richo ceramics. The use of the type of stilts and the ring that is seen in the face of the plate. These two are indicators of that period.

The second piece is a fake piece of Imari.  How do you know it is fake? That is a national secret and what exactly is your interest in knowing?

Japanese antiques 12-13-09

December 13, 2009

There isn’t a lot to say this time. I haven’t been able to make it to the antiques shops for a while as I have had shows and other commitments. The first bowl is a Korean Korai tea bowl.   The second is a celedon Chinese piece from what in Japan was the Momoyama period. The last piece is a Shino piece although I don’t know any thing else about it.