Yokogi were indoor fixtures which hung over live coals. In the center of the main room of traditional houses of the Edo and Meiji periods stood an open hearth in which a small charcoal fire was kept burning. Above the fire was a suspension device called a “jizai” (self-adjuster) from which an iron kettle could be hung and raised or lowered as needed. A large wooden pothook hanger (“jizai-gake”) was suspended by a heavy rope from the high roof beams. The other end of this rope was attached to the adjuster (“yokogi,” i.e., crosspiece) through which the rope passed just above the iron hook. The weight of a pot on the iron hook pulled down on the rope and jammed it tight inside its hole through the crosspiece. Moving the yokogi to a horizontal position released this tension and permitted the kettle to be raised or lowered. Wooden crosspieces were usually carved in fanciful forms having auspicious and protective symbolism. A yokogi in the form of a carp (koi) was meant to inspire and instill courage and perseverance in the male children of the family and thus help to bring about success in their subsequent careers. Carp, like salmon, swim upstream to spawn, struggling bravely to overcome barriers such as rapids and waterfalls. In addition to the symbolism of the carp, fish-shaped yokogi in general symbolized the presence of water and were thought to magically prevent the fire in the hearth from starting a conflagration and destroying the house.

This is an important and early piece of Japanese folk art equaling the quality of those found in most of the major mingei collections or illustrated in reference books and catalogs about Japanese folk art.

CONDITION overall is very good, with an incredible natural mellow patina of handling, the authenticity of the burned wood, and the rope wear inside the holes. However, there is some restoration to the hole beneath the fish’s mouth, possibly as a result of old burns or rope friction damage. Given the utilitarian nature and daily use of such folk items, it is quite common to find them in rough or restored condition.

Masks have been worn in Japanese dance-dramas for over a thousand. Noh drama developed in the 14th century and adapted and refined early mask forms to accommodate its restrained, elegant style of acting. In the Edo period (1603-1868) master carvers standardized and formalized Noh masks. Named masks represented an idealized person, his character, age, rank and form. The actors in the Noh drama depend upon their masks to convey emotions, which are primarily tragic. Noh’s heavy overtones are lightened by brief, humorous plays called Kyogen, which are interspersed between Noh acts for comic relief and are performed by actors who often wear ludicrous masks. In this miniaturized mask, the bare wood has been treated by the artist with such consummate skill as to impart to the small mask as much life, energy and character as if it were of natural size.

CONDITION of the mask is excellent, with wonderful patina. The shadowbox frame has a chip on the back of one side and a crack on the other.

DIMENSIONS: Mask is 3 ¾” long x 3 ½” wide. Frame is 8 ½” x 7 ¾” x 4 ¼” high.