The “I Ching” or “Book of Changes” is a book of divination which is believed to be one of the very oldest of Chinese texts. It has been used by the Chinese for some three thousand years in order to predict the future and has in recent years also enjoyed widespread popularity in the West. In the I Ching two three-line trigrams are combined to make a hexagram. There are eight trigrams, each named for a specific attribute, and sixty-four hexagrams. The solid line represents yang, the masculine, creative principle. The open line represents yin, the feminine, receptive principle. These principles are also represented in a common circular symbol known in the West as the yin-yang diagram. The shape of the yin and yang sections of the symbol provides a sense of the continual movement of these two energies, yin to yang and yang to yin, causing everything in life to happen.

Of the more esoteric devices developed by the Chinese to measure time, perhaps the most arcane are these aromatic incense clocks, which “told time” by the scents they emitted at designated periods. First, wood ash was tamped firmly in the tray. Then the seal was placed over the ash. A depression was made in the ash base along the entire length of the seal’s track, into which special powdered incense was carefully poured. When the seal was lifted, the incense remained in the track. The incense was then lighted and burned continuously for 24 hours. (For similar examples, see “The Trail of Time,” a book by Silvio A. Bedini.) The intricate and refined beauty of these utilitarian objects made incense clocks an important accoutrement in the scholar’s study.

Paktong itself 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 in “Arts of Asia,” Nov/Dec. 1992.)

PROVENANCE: From a private collection, this incense clock was purchased in the mid-1970's in Hong Kong when the Chinese government was releasing confiscated items from their warehouses. Incense clocks have become increasingly difficult to find on today’s market.

CONDITION is excellent, all original and intact. Normal wear and tarnish consistent with age and usage. We have not polished it and will leave that decision up to the buyer.

No one is sure about the derivation of the term, but “stone" plate (“ishi-zara”) presumably refers to the relative sturdiness of these large shallow bowls, which always had horizontally everted rims for added strength. They were sometimes called “herring plates” as they were often used to serve a kind of herring stew. During the late Edo period, “stone” plates were a standard utilitarian product of the many kilns comprising the pottery town of Seto and environs in Aichi Prefecture near Nagoya.

Folk pottery consists of various kinds of domestic wares which possess a natural dignity that stems from the combination of the materials used to make and fire the pottery, the craftsman’s technical skill, and the use to which such pottery is put. Folk-craft products or “mingei,” of which this dish is representative, are objects used by common people. These commonplace, functional artifacts are endowed with a beauty directly connected with their utility – a beauty that is humble, unassuming and never pretentious. Considered a quintessential example of Japanese ceramic folk art, Seto ishi-zara are represented in most major collections of mingei or Japanese folk ceramics.

Oribe ware, a folk pottery produced in kilns located in Mino and Seto, is particularly Japanese in taste and was never made for export. Its bold and spontaneous designs and contours were generally asymmetrically executed in styles that were distinct, imaginative and vigorous. Oribe pottery derives its name from Furuta Oribe, a famous 16th century tea master. His influence over the pottery production of his day led to the development of a certain type of ware that was later named after him, nearly all relating in some way to the tea ceremony. Folk-craft products or “mingei,” of which this tokkuri is representative, are objects used by common people. These commonplace, functional artifacts are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming.

In the mid to late Edo period, horse-eye plates were one of the standard utilitarian products produced by the Seto kilns. Used for serving food, they appeared in restaurants and inns along the Tokaido Road from Kyoto to Edo, as well as in ordinary homes. Horse-eye plates are the quintessential example of Japanese mingei pottery, and no major Japanese folk art collection would be considered complete without one. They are bold, fresh, powerful and contemporary in feeling.

The reverse is simply decorated with underglaze blue kanji characters, and the base is marked with a blue mark character that says “deer” framed within a diamond. There is a hole at the base of the cask which once held a plug, and a metal carrying handle wrapped in bamboo has been fitted into the two porcelain loops on the top. Horizontal and vertical rope designs have been molded in high relief to simulate an actual straw-wrapped keg. A porcelain stopper molded in rope form has a cork lining to hold it securely in place. It is rare to find these casks with the original porcelain tops intact. See similar barrel form porcelain casks illustrated in Figure 123 of the article “Tokkuri and Friends” which appeared in ARTS OF ASIA magazine, January/February 1995.

This porcelain cask has been molded to resemble the straw-wrapped cypress kegs (“komokaburi”) used for transporting sake, with high relief molded “ropes” to hold the molded “straw wrapping” in place. During the Edo period, rural sake brewers needed a method of transporting their brew to the large cities. These large porcelain casks could be carried on pack horses or transported on special ships called “taru kaisen” or cask ships. Until the 1940’s, they continued to be used to dispense draft sake in shops. Customers would come into the shop with their own smaller ceramic bottles and have them refilled with their favorite brand. These large casks are handsome decorative items that make an appealing accent to any décor, either by themselves or recycled into lamps.

The engraved four character signature “Echigo No Kami Saku” (“Guardian of Echigo Made”) is not the name of the artist but instead represents his ranking. The title “Guardian of Echigo” is an example of the many old court ranks which were conferred on craftsmen during the Edo period. Casters who set themselves up in the provinces sought the protection and patronage of local daimyo (feudal lords) who needed bronze and iron wares as gifts and offerings. The signature does not necessarily imply a link with Echigo province in northwestern Japan.

This type of bulbous bronze flower vase was used by the Ikenobo school, which is 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 shishi, butterflies, dragons 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. (A similar shishi-handled futabana flower bronze, housed in the collection at the Victoria and Albert Museum, is illustrated on Plate 46 in the sumptuous book entitled FLOWER BRONZES OF JAPAN by Joe Earle.) This is an important and impressive showpiece.

PROVENANCE: This vase came from the Museum of Missionary Sisters Immaculate Conception. The sisters of this order were missionaries in Japan and China since the late 19th century. They brought Asian items back for their museum in Montreal, Canada. This museum is now closed.

These tightly-fit boxes were used by scholars when they traveled so they could paint and do calligraphy. Cotton was placed in the bottom of the box and water was dripped into it. This provided the moisture necessary to make ink on the stone when an inkstick was ground onto it. It was also possible to create ink directly on the stone and store it in the bottom of the box. Gentlemen-scholars were known as literati, and items for the scholar’s desk were highly regarded by China’s elite.

The alloy paktong also 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 in ARTS OF ASIA, Nov/Dec. 1992.

CONDITION is excellent, with only normal wear consistent with age and usage.

The front side is decorated with a fan cartouche in which a large gold bird of prey sits on a thick pine branch. There are two small gold birds. On the back, the curvilinear cartouche contains inlaid flowers and rocks with a small bird, all done in gold and silver. Two silver and gold medallions with silver taka-zogan dots decorate the handle. The inlays were executed using the various techniques of “hira-zogan” (flat inlay), “taka-zogan” (relief inlay) and “nunome-zogan” (sometimes classified as an overlay or an onlay technique as opposed to an inlay one inasmuch as there are no grooves cut for the inlaid metals.)

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 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 relief ornament or with gold and silver inlays. Fine ornamental tetsubin of this type were preferred by the upper classes for the sencha style tea ceremony. At the time they were originally produced, tetsubin with gold and silver inlays were five to ten times more expensive than those without, so they have always been highly valued, rare and difficult to acquire.

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. Inlaid ornamental tetsubin like this one are magnificent examples of Japanese ironwork which are very much sought after by collectors today.

Kamakura-bori is a type of Japanese lacquer ware in which wood is carved in relief and then usually covered with many layers of black lacquer, followed by layers of red lacquer, which are then rubbed down, revealing the subtle color underneath. Kamakura-bori was invented to resemble the more difficult and time-consuming Chinese lacquer-carving technique known as cinnabar style or “tsuishu.” Chinese lacquer incense containers were popular in Japan since the 12th century. Skilled Japanese craftsmen were soon able to equal and surpass Chinese examples. The uncluttered beauty of this type of carved lacquer incense container was favored by the Japanese for use with the tea ceremony ritual. Because of the Japanese preference for “sabi” and “shibui,” the very simplicity and unaffectedness of kamakura-bori lacquer works make them special favorites among connoisseurs.

The chrysanthemum (“kiku”) is probably the most frequently represented flower in all of Japanese art, affording the artist an opportunity to display his skill through his portrayal of its graceful form. A symbol of superior character, the light of the sun, long life and virtue, the chrysanthemum has been respected since ancient times and long been revered for its beauty and elegance. The sixteen-petaled chrysanthemum forms the crest of Japan’s imperial household.

CONDITION is excellent, with only minor crazing in the black lacquer interior which is consistent with age and usage.

During the Muromachi period (1336-1573), Japan began to import great quantities of silk from China. Silk was one of the most important imports into Japan, and it is believed that ito-in were affixed to shipping cases containing silk. It may be that they were used to seal the package of silk, or that they were placed on receipts as proof of the transaction. Ito-in might also have been attached to silk shipments as a sort of certificate of the origin or quality of the goods. Ito-in means literally “thread seal.” They were also called “hakata-in,” or seals from Hakata, a trade port which played a leading role in the trade with China during this period.

Ito-in are bronze seals which are lighter in weight and smaller in size than traditional bronze seals. They were cast by a special method to make the inside of the grip hollow in order to minimize the weight, and the base was considerably thinner than ordinary seals. This indicates that ito-in were usually attached to something. Another name for them is “himo-in,” or “seals with cord.” Without exception, every existing ito-in has an aperture through which a cord can easily pass.

Experts differ on the question of whether these seals originated in Japan or China, and their origin is shrouded in mystery. Ito-in are not seals in the strict sense of the word -- they were not made for use exclusively as seals. They have engraved designs which look at first sight like strange forms of Chinese characters, yet with very few exceptions, they cannot be read. Moreover, there are duplicates in the inscriptions as well as in the figures on the grips, so they were presumably cast from the same mold which was used over and over again. If ito-in were made as seals, there should not have been duplicates. The grips were richly decorated with animal or human figures, and they were cast in numerous shapes. Their overall features had more in common with Yuan and Ming dynasty seals than with Japanese seals of the same time period. Additionally, the clothing, hair styles and facial expressions of the human figures used for the grip are definitely Chinese, and the handling of animal motifs is permeated with a strong Chinese influence. Despite this, ito-in were regarded as seals in Japan, as the name itself reveals. They were even used as personal seals by many daimyo, including Toyotomi Hideyoshi, who used ito-in often in their documents.

Ito-in are also of interest due to their considerable influence on the development of netsuke, but that is another whole area of discussion unto itself. We have learned these details from an incredibly fascinating article, “Ito-In Japanese Silk Seals: An Inspiration for Netsuke?” by Kinya Niiseki (ARTS OF ASIA, July/August 1979) where seals and stamps similar to this one are copiously illustrated.