Buddha’s hand is an aromatic but inedible citron that is said in its irregular shape to resemble the hand of Buddha. Its Chinese name is a homophone for the words “happiness” and “longevity.” The fruit may be given as a religious offering in Buddhist temples. According to tradition, Buddha prefers the "fingers" of the fruit to be in a position where they resemble a closed rather than open hand, as closed hands symbolize to Buddha the act of prayer. Objects formed in the shape of a Buddha’s hand were favored by Chinese literati of later dynasties, and in Japan the citron is regarded as an accoutrement of literati and tea ceremony masters.

Shibata Zeshin (1807-1891), usually considered to have been one of the finest of the master Japanese lacquer artists, was noted for his originality, versatility and expert craftsmanship. Zeshin was fond of creating lacquer which simulated the texture of other materials, such as metal, leather, pottery, etc. He paid strict attention to the details of small things, and his designs were usually simple and frequently humorous. In general, his works were bold, artistic, imaginative, well planned and meticulously executed, with great emphasis on finish and realistic detail. While his subject matter was quite diverse, Zeshin is perhaps most noted for his whimsical portrayal of the small animal and insect aspects of nature, and the positioning of the two rabbits on this inro is clearly in his style. (See “Inro and Other Miniature Forms of Japanese Lacquer Art” by Melvin and Betty Jahss.) Inro are small Japanese containers made in several sections which are fitted on top of each other so perfectly that the joints are hardly noticeable. They required great skill to craft. They were carried on the right hip, suspended from the obi with a double silk cord attached to a netsuke. A small bead (ojime) held the cords together just below the obi. The earliest inro were used for containing seals; however, in later they were used as medicine boxes.

CONDITION is excellent, with only a minor dent on the bottom.

This burled base exemplifies the wabi-sabi aesthetic of Japanese art. “Wabi” connotes a rustic simplicity or understated elegance when applied man-made objects. It can also refer to quirks and anomalies arising from the process of construction which add uniqueness and elegance to the object. “Sabi” is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.

CONDITION is excellent with wonderful natural original patina. This piece possesses great presence and character and would make a wonderful display stand for any work of decorative art as well as ikebana or bonsai.

Produced mainly at the Seto kilns in Aichi Prefecture, oil plates were special flat plates with a unique perpendicular edge. They were placed on the lower level of the andon lantern where they were used to catch oil drippings and soot from the burnt wick or oil feeder above. These plates were in use from the mid-seventeenth century, when andon were first used indoors, until the early 1900’s, when the use of oil lamps and electric lights became widespread.

Most andon plates feature the design known as “tetsu-e” (“iron pictures”), the freestyle images painted in iron-oxide pigments directly onto the clay, frequently of sparse landscapes or subjects from nature. Some, such as this plate, were also further decorated with the copper green Oribe glaze. This type of oil plate is known as a “katagake” (“shoulder glazing”), with the thick green glaze on the top part of the plate and the brown tetsu-e pictures on the bottom. Andon plates with green Oribe glaze were produced mainly in Akatsu Village, which made pottery for and was protected by the Owari clan.

The fascination of aburazara for the collectors of Japanese folk art lies in their painted motifs. Their simple designs always possessed a spontaneous vitality, and the decoration on this plate is large in scale and freely executed. Considered a quintessential example of Japanese ceramic folk art, Seto oil plates are represented in most major collections of mingei or Japanese folk ceramics. See “Andon (Lantern) Plates” by Yamazaki Masumi, the cover article in DARUMA 42 for many wonderful examples of these oil plates, including Figure 6, which is similar in style to this one.

Kamakura-bori is a type of Japanese lacquer ware which consists of carved wood decorated with layers of black and red lacquer which are often rubbed down and polished to achieve a mottled effect so the red lacquer shows through in certain places on the carving. It is said to have originated during the Kamakura period and was based on Chinese models. Of the various types of provincial lacquer wares, kamakura-bori is one of the most outstanding. From the beginning of the Meiji period, it was produced in great quantities, not only just in Kamakura proper. Its uncluttered beauty was much favored for eating and writing utensils as well as implements used in the tea ceremony. Because of the Japanese preference for “sabi” and “shibui,” the very simplicity and unaffectedness of kamakura-bori lacquer work makes it a special favorite among connoisseurs.

The coloration of the herons is soft and subtle, with the white gradually darkening into a light and then darker shade of green and ultimately fading into the background of the dish. The white herons – highlighted by deep blue eyes and beaks -- contrast beautifully with the dark green ground, and the composition creates a dramatic overall effect. The reverse is undecorated except for the underglaze blue four-character Senpoen mark. The low foot rim is unglazed, showing a very pure, fine-grained and high-quality white porcelain clay.

CONDITION is excellent. Light surface scratching consistent with age and usage; no cracks, chips or restoration.

In the center of the main room of traditional Japanese 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. Because the fire was maintained on an open hearth in the middle of the floor, this kettle suspension apparatus was always in plain view of guests or customers. Well-to-do farmers and merchants vied with one another to obtain large, impressive kettle-hook hangers made of fine wood, carefully formed and finished. Zelkova was the most expensive wood used for this purpose. It is a sturdy, long-lasting hardwood with a beautiful dense grain, and it requires little maintenance.

Folk-craft products or “mingei,” of which this kettle hook 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. Considered a quintessential example of Japanese folk art, keyaki wood jizai-gake are represented in most major collections of mingei or Japanese folk art.