Tetsubin are cast iron water kettles which were popular in Japan as everyday household utensils and for informal and semi-formal tea drinking. During the 19th century, tetsubin made especially as tea utensils came to be highly esteemed. Fine ornamental tetsubin were preferred by the upper classes for the sencha style tea ceremony, which was less formal and proscribed than the “chanoyu” tea ceremony.

During the 18th century, a craze had developed in Japan for bunjin, the art and culture of the Chinese literati scholar/painter. One of their daily customs was the drinking of sencha. This custom was adopted by the growing class of Japanese Confucian scholars. The artistic situation in Kyoto around 1800 was influenced by the activities of these Japanese literati, and the sencha cult became one of their favorite pastimes. The interest in sencha soon spread from the bunjin-enthusiasts to the common people in Kyoto, especially to the rich merchants. By using the lost-wax method, metal casters were able to make relief decorated tea utensils in the style of the bunjin, which specifically suited the tastes of the sencha enthusiasts at that time. High relief ornamental tetsubin like this one are magnificent examples of Japanese ironwork which are very much sought after by collectors today. Tea enthusiasts would also value the simplicity, unaffectedness and imperfection that exemplifies the wabi/sabi aesthetic found in this kettle.

CONDITION excellent; there is normal interior rusting consistent with age and usage.

Giboshi is an architectural element used on older Japanese bridges. The ends are bulbous and come to a point, resembling the onion domes in Western culture and architecture. They are often found in older Japanese bridges and on bridges in Japanese gardens, temples and shinto shrines. This giboshi was purchased in 1973 from an antiques shop on Shinmonzen Street in Kyoto, and a copy of sales original receipt is available.

CONDITION is excellent, with wonderful original patina. There is some light wear consistent with age and usage.

In the winter months, handwarmers would be filled with glowing coals and carried to warm the holder’s icy fingers and toes. A New Year’s tradition had villagers taking coals from the main village fire back to their own homes in handwarmers such as this one to ensure good fortune in the coming year. The intricate and refined beauty of these utilitarian objects also made handwarmers an important accoutrement in the scholar’s study.

The alloy paktong has a fascinating history. Centuries before nickel was isolated in the west, the Chinese had produced an alloy of zinc, copper and nickel which had the lustrous sheen and color tone of silver, was appreciably harder than silver, and did not tarnish in use. Many examples of this alloy have a particularly pleasing color which is silver-bright but possesses what has been termed a “soul of gold.” For additional information about paktong, see our article on the subject in ARTS OF ASIA, Nov/Dec. 1992.

CONDITION is excellent.

This type of moribon basket or tray was used for displaying seasonal fruit, and it was carved out of a single tree stump. (A similar example can be seen in Figure 133 in “Shadowed Reflections, Japanese Views,” a hardcover catalog by Kagedo Japanese Art.) This is a wonderful and scarce example of early Japanese burl wood carving.

CONDITION is very good, consistent with age and usage. Wonderful rich patina. There is evidence of an early restoration to age cracks in the handle which does not detract from its appearance in any way.

The spectacle of deep-orange persimmon heavy on the bough is one of Japan’s great visual delights. The dried fruits of the kaki are strung together on a thin bamboo stalk and offered to the domestic gods at the New Year.

CONDITION is excellent with only minor surface wear consistent with age and usage.

DIMENSIONS: 3 ½” (9 cm) high to top of pot; 6 ¾” (17.2 cm) high to top of handle; 4” (10.2 cm) diameter.

The seal was an integral component of the Chinese scholar’s desk. In addition to correspondence and documents, seal marks are found most often on scroll paintings as signatures of the artist and proof of ownership by dignitaries. Inscriptions on seals became greatly expanded to carry long phrases and names of studios. Consequently, seals as a kind of certifying identification changed into artistic creations, focused on aesthetic appreciation and developed to become a unique art form.

CONDITION is excellent.

Tetsubin were popular in Japan as everyday household utensils and for informal and semi-formal tea drinking. During the second half of the 19th century, tetsubin made especially as tea utensils came to be highly esteemed. They were often elaborately decorated with cast iron ornament or with inlays. Fine ornamental tetsubin of this type were preferred by the upper classes for the sencha style tea ceremony. Tetsubin can be classified according to their level of quality, separating those of higher technical quality and more decorative external features – the so-called “ornamental” kettles – from those of lower technical quality and less decorated ones. High relief ornamental tetsubin like this one are magnificent examples of Japanese ironwork which are very much sought after by collectors today.

CONDITION is excellent, with normal vestiges of rusting.

VOLUME 1. Summer 1948 – Vol. 1/1: New approach to early Chinese ceramics, Celadon Wares, etc. Autumn 1948 – Vol. 1/2: The dating of early Ming Blue and White, Saggars of Sung, Chinese jades, etc. Winter 1948 – Vol. 1/3: Chinese leather wine bottles and their ceramic imitations, Early Chinese swords and Akinakes, Chinese export lacquer of the 17th and 18th centuries, etc. Spring 1949 – Vol. 1/4: An illuminated Hebrew scroll of Esther from China, Chinese monochromes of Ming and Ch’ing, etc.

VOLUME 2. Summer 1949 – Vol. 2/1: Early Yueh Ware, Scythian and Tibetan art, Exhibition of wares of the T’ang Dynasty, etc. Autumn 1949 – Vol. 2/2: Persian art, Sung TZ’U Chou pillows, etc. Winter 1949-50 – Vol. 2/3: Japanese art, KU YUEH HSUAN – a new hypothesis, etc. Spring 1950 – Vol. 2/4: Early Chinese lamps, Chinese painting, Astronomical Jades, Japanese sword fittings, etc.

VOLUME 3:1950 – Vol. 3/1: Imperial Dragon Robes of the late CH’ING period, Ming Blue and White, The Art of Greater India, etc. 1950 – Vol. 3/2: A Shang libation cup, Black Koryo Ware, Dating of early Chinese Cloisonne, etc. 1951 – Vol. 3/3: SU TUNG-P’O and SUNG pottery, Identification of Jade, etc. 1951 – Vol. 3/4: Early Chinese Blue and White, “FATAMID” Rock Crystals, Chinese ceramics, etc.

ORIENTAL ART magazine (www.orientalartmagazine.com), established 1948, is a premier Asian Art publication which provides the finest and most respected content in the field. This publication is treasured and read by top collectors, connoisseurs, scholars and dealers of Asian art worldwide in over 60 countries. ORIENTAL ART magazine remains essential for enhancing and enriching your knowledge of fine Asian art and antiques. Detailed, scholarly and carefully researched articles are published on Chinese, Japanese, Korean, Southeast Asian, South Asian art, Middle Eastern and Central Asian art. Also included are articles on the art of the great Eastern religions; Buddhism, Hinduism and Islam. Beautifully and lavishly illustrated in lavish color and style, ORIENTAL ART continues to be published 5 times each year. It should be mentioned that this vast archive also includes a treasure trove of early advertisements from dealers, auction houses, suppliers, etc. Long out of print, these earliest issues are extremely rare and difficult to obtain.

CONDITION is very good, with a few loose pages.

DIMENSIONS: 12” (30.5 cm) x 10” (25.4 cm) x 1 ½” (3.8 cm). Weight: 5 pounds (2.3 kg).

Koishiwara ware ceramics come from Fukuoka Prefecture in Japan. Their history goes back over 400 years, when the kilns first began producing folk ceramics for everyday use. Early pots consisted of thick, unglazed bowls and jars. From the middle of the 18th century, combing (“hakeme”) and other decorative slip techniques have been practiced. Brown and green glazes were adopted and used with great success, giving the wares a slightly heavy look. Their appearance was enlivened by the adoption of chatter-mark decoration in white slip early in the 20th century along with the addition of overglaze splashes.

CONDITION is excellent, with only a small firing flaw in the glaze on the lid.

The gosho doll is one of noble descent, and the name means “palace doll,” a reference to the Imperial Palace in Kyoto during the Edo period. They were originally created by doll makers in Kyoto specifically to be gifts from the Imperial household to their special visitors, who treasured them. The merchant class wanted to emulate this royal gift giving ritual, and thus the practice of giving gosho ningyo as special meaningful gifts spread throughout Japan. Gosho ningyo are a uniquely Japanese form, and by tradition, they represent chubby little boys with large heads and brilliant white skin. They have minimal painted facial features, just the essential amount of detail to capture the essence of the child. Instead of switching to the popular inserted glass eyes, gosho artists maintained the spirit of these dolls by keeping the traditional black inked eye treatment. They generally show an originality and character which places them in a special category of Japanese dolls. In Japan these dolls are considered to be a classic art form and are appreciated as such.

CONDITION is excellent; no cracks, chips or loss to the gofun.