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.

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.

CONDITION is excellent, with normal wear consistent with age and considerable usage. The bamboo wrapping on the handle has come loose on one end. The wood plug in front is a replacement.

Basket makers displayed their artistic abilities most effectively in the structure of the body, combining weaves and manipulating the tightness of wefts to produce diverse shapes. The elongated ovoid body of this basket has been plaited in a refined twill-plaited pattern which required great skill to accommodate the increasing width differentials from the top to the bottom of the basket. There are two sizes and two shades of vertical bamboo strips, one very thin and the other only slightly thicker; one darker and the other lighter. The twill plaiting has been worked into complex configurations by the manipulation of the intervals at which these varied bamboo strips have been woven together. In basic twill plaiting, one strip passes over two or three other sets. The intervals of these passover movements are carefully calculated to make the basket’s interesting pattern. Horizontal and diagonal strips of even thicker bamboo have been randomly in a free-style overlay pattern near the neck and around the ovoid body, creating a striking juxtaposition to the twill-plaited weave. Segments of thicker bamboo have been twisted to form the handle and lip. The pure and elegant simplicity of this basket truly belies the intricacy and complexity of its construction.

Since the sixteenth century, woven baskets for flowers have been favorites for use in the tea ceremony. Designed to contain fresh-cut flowers, flower baskets were also used in shrines and in the alcoves in Japanese homes (“tokonoma”), providing an atmosphere conducive to the quiet and tranquil contemplation of nature. While bamboo baskets have served various utilitarian functions in Japanese daily life for centuries, they also have been valued for their beauty. They express a Japanese aesthetic rooted in simplicity, humble natural materials and imperfect beauty. Beginning in the Meiji period, Japanese basket makers gradually transformed traditional flower baskets from utilitarian containers into sculptural masterpieces crafted in a variety of shapes, weaves and knots. Japanese baskets make aesthetically pleasing flower containers, since they bring the garden indoors and lend themselves well to natural arrangements.

CONDITION is excellent, with no breaks or losses. There is a wonderful old warm burnished finish and patina to the bamboo.

This charming doll series is a rare and curious item from a woodblock artist who was the foremost shin hanga (new print) landscape specialist of his day. Hasui’s gosho doll prints are seldom encountered individually, and intact complete sets rarely come to market. We will be happy to send images of each of the 24 prints upon request.

CONDITION is excellent, with good impressions and color. Several of the prints employ the use of metallic pigments and other deluxe printing techniques. There is very light foxing on only two of the prints, numbers 18 and 21. The spine of the folio box is worn in places.

A kamidana, which literally means “spirit altar,” is a miniature Shinto shrine. This type of small shrine is commonly used in Japan by families, organizations or businesses to symbolically house the groups’ patron deity. Kamidana will normally be placed in conspicuous view on a shelf or high wall within an important room such as the family room or in an area where employees or associates work or gather. Kamidana are also used to house sacred tablets called ofuda (literally “honorable plaque”) which are inscribed with written prayers and sanctified by a priest. Kamidana are basically small versions of larger Shinto shrines called Jinja, which are found at the heart of every Japanese community as well as areas of spiritual significance. Worship at the kamidana typically consists of the offering of simple prayers, food (e.g., rice, fruit, water) and flowers. Before worshiping at the kamidana it is ritually important for family members to cleanse their hands. A bell is rung a few times, then the person bows twice, claps the hands twice, says a prayer, then finishes with one more bow.

CONDITION is excellent, with just normal wear and minor abrasions consistent with age and usage.

Since the sixteenth century, woven baskets for flowers have been favorites for use in the tea ceremony. Designed to contain fresh-cut flowers, flower baskets were also used in shrines and in the alcoves in Japanese homes (“tokonoma”), providing an atmosphere conducive to the quiet and tranquil contemplation of nature. While bamboo baskets have served various utilitarian functions in Japanese daily life for centuries, they also have been valued for their beauty. They express a Japanese aesthetic rooted in simplicity, humble natural materials and imperfect beauty. Beginning in the Meiji period, Japanese basket makers gradually transformed traditional flower baskets from utilitarian containers into sculptural masterpieces crafted in a variety of shapes, weaves and knots. Japanese baskets make aesthetically pleasing flower containers, since they bring the garden indoors and lend themselves well to natural arrangements.

CONDITION is excellent, with no breaks or losses. There is a wonderful old warm burnished brown finish and patina to the bamboo.

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. Dolls that were specifically meant as gifts have their forelock tied with a red ribbon. This painted ribbon on the doll’s forehead is called a “mizuhiki,” referring to the red and white paper strings used to tie wrapped presents for special occasions. There is a “mizuhiki” painted on this doll’s forehead.

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.

Crawling dolls (called “haihai”) served a special purpose to ward off evil and are the gosho equivalent of the earliest type of Japanese doll known as “Amagatsu” or “Hoko.” These early dolls dating back to the Heian (794-1185) period were human forms created to carry the burden of illness. The gosho variety were not created to be set adrift in a river as the earlier dolls were but were instead meant to be kept near a child so that evil or illness would enter the doll instead of the child. The haihai gosho doll was modeled after a baby crawling on his stomach with front arms outstretched, legs extended and head looking up, often depicted in the simplest of ways. (See “Gosho-Ningyo: Palace Dolls from the Ayervais Collection” by Timothy Mertel in ARTS OF ASIA, July/August 1996.) This charming haihai gosho ningyo would make a splendid addition to any Japanese doll collection.

CONDITION is pristine; no chips, cracks or loss of gofun.

The spectacle of deep-orange persimmon (“kaki”) 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. It is worth noting that one of the most popular Mashiko glazes used on standard kitchen wares was their “kaki” (persimmon red) glaze.

Mashiko has been a major folk pottery center since the 1850’s producing primarily utilitarian table wares. In the early 1900’s, Shoji Hamada established his kiln there and became internationally famous. The traditional pottery concept was to not pursue artistry apart from everyday life but to create practical beauty as a part of the crafted items to be used in daily living. Folk-craft products or “mingei,” of which this plate 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.

CONDITION is excellent. The quality of the glazing is superb.

DIMENSIONS: 11” (28 cm) diameter, 2” (5 cm) high.

Kamakura-bori is a type of Japanese lacquer ware which consists of carved wood decorated with layers of red and black 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 outstanding. From the beginning of the Meiji period, it was produced in great quantities, not only 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.

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