Posts Tagged ‘seto’

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.

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 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.