This type of bulbous bronze flower vase was used by the Ikenobo school, the oldest school of Japanese flower arrangement (ikebana). Kyoto was the birthplace both of ikebana and of the bronze flower vessel, and scrolls dating from the second half of the 17th century show the first examples of this most characteristic of Japanese bronze forms, the so-called futabana (two-flower) vase. By 1698, the futabana seems to have become one of the most popular ikebana vase forms, with handles that predominantly included dragons, shishi, butterflies and hares. With the emergence of flower arrangement and the tea ceremony as distinctively Japanese cultural pursuits, bronze casters began to develop new and innovative forms of vessels loosely based on Chinese originals but with an unmistakable Japanese elegance. These culminated in large bronze vases cast in exaggerated form for the classic, formal rikka style of flower arrangement, prevalent in the 17th century and early 18th centuries. With the re-opening of overseas contacts from the 1850’s, traditional styles were combined with the skills of the metal craftsmen and sword smiths in the manufacture of these magnificent showpieces, many of which were displayed at exhibitions in Europe and the United States. (See similar examples illustrated and discussed in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.)

Surrounding the crest and filling each of the corners are a flying crane (“tsuru”), a long-tailed tortoise (“kame” or “minogame”) and “shochikubai” (pine, plum and bamboo). “Sho” represents the pine tree for longevity, “chiku” represents the bamboo for tenacity, and “bai” represents the plum tree with its blossoms for beauty. The crane is one of the luckiest and happiest symbols in Japanese animal lore, and it is most closely associated with the New Year and with marriage ceremonies. The tortoise is believed to live to an exceptional age, at which time it develops a flowing white tail. In the Japanese art design known as "tsuru to kame,” the tortoise is teamed with the crane, also a symbol of longevity, and the two animals frequently appear with pines, plums and bamboo, just as they do on this wonderful textile.

This futon cover is made of four panels of coarse hand spun woven cotton that have been hand sewn together to make a large rectangle. This is the only way authentic old futon covers were made in Meiji Japan because loom widths were narrow, typically 12 to 14 inches. The assembled futon cloth was then dyed using a rice paste resist and all natural dyes for the colors. Indigo textiles were the fabric of the countryside in Japan, and they are wonderful examples of Japanese folk art or mingei.

The “tsutsugaki” technique involves freely drawn designs that are applied to cotton with paste resist squeezed through a paper cone having a tubular metal tip. The textile is then dipped repeatedly in indigo dyes. Where the paste lines had once been, white lines now remain, outlining the design in sharp contrast to the deep indigo blue background. Country dyers produced tsutsugaki textiles -- often with mythical and auspicious designs -- as bedding, wrapping clothes, banners and celebratory textiles for weddings, births and other important events. These tsutsugaki textiles were part of a bride’s trousseau which parents prepared for their daughter as a prayer for the well being of her new family as well as her happiness, so great care was taken in their handling as they were regarded as necessary for an auspicious future.

CONDITION is excellent and near perfect. The futon cover has been washed and used, but there are no holes, tears, repairs or other problems. There are one or two very tiny brown spots here and there, but you have to look hard to see them. This Japanese folk textile has it all: the larger size, varying shades of indigo dyes, a family crest, numerous auspicious symbols, and great condition.

Sambaso is a ritual dance of ancient origin which was intended to appease the gods and bring good fortune. The Sambaso is supposed to have originated in the 9th century as a religious dance to thwart earthquakes. The Sambaso dance was performed at the beginning of the New Year at the start of the Kabuki season and before certain Noh plays, and it has served as a prelude to theatrical performances since the establishment of theater in Japan.

Gosho ningyo as a whole are considered gift dolls, whether from the Imperial Household or as a gift for an auspicious occasion, such as the celebration of a new born baby. 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 where they originated. In most examples, the clothing is limited to a strict minimum, and it is either painted or pasted on. Gosho ningyo are a uniquely Japanese form, and by tradition, they represent chubby, almost naked little boys with large heads, round bodies and brilliant white skin. 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. This particular doll is a rare collector’s item as Maruhei dolls do not often come on the market.