The process of dyeing textiles from stencils is principally a resist technique which involves covering the area to be protected with a soluble rice paste applied directly to the fabric. After the application of the paste, the stenciler then carefully removes the stencil and moves it to an adjacent position to repeat the process, continuing the entire length of the yardage to be stenciled. “Katagami,” the special papers used in the process of stencil cutting, were made from the inner bark of the mulberry bush. Soaked in the juice of aged persimmons, two or three sheets were laminated together and smoke cured. After the paper was cured, the tannin from the persimmon juice formed a plastic-like waterproof coating which made the shiny paper stiff yet pliable and served to waterproof it against the dissolving effect of the water-based resist paste used in the process of dyeing. The cutting process required the utmost skill and the sharpest of separate knives for the different cuts required by the pattern design. Highly skilled craftsmen cut the paper using circular punches and knives to create elaborate patterns of minute landscapes, flowers, birds, insects and other detailed designs with extreme care and patience. Many designs took months to cut. (See “Traditional Japanese Stencil Designs” edited by Clarence Hornung.)

CONDITION is excellent.

Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the joints of the huge beams and posts of shrines and temples and also in the grand castles that were constructed for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. So many metal alloys were used that it is difficult to determine the base metal of most kugikakushi. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)

Japanese metalwork was a sophisticated and complex craft, and the metal artist was highly esteemed. When swords were banned in 1871 by government edict, many metal craftsmen were forced into new outlets, and so the minor metal arts flourished, with one example being kugikakushi. These unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork which are sure to be conversation pieces.

The process of dyeing textiles from stencils is principally a resist technique which involves covering the area to be protected with a soluble rice paste applied directly to the fabric. After the application of the paste, the stenciler then carefully removes the stencil and moves it to an adjacent position to repeat the process, continuing the entire length of the yardage to be stenciled. “Katagami,” the special papers used in the process of stencil cutting, were made from the inner bark of the mulberry bush. Soaked in the juice of aged persimmons, two or three sheets were laminated together and smoke cured. After the paper was cured, the tannin from the persimmon juice formed a plastic-like waterproof coating which made the shiny paper stiff yet pliable and served to waterproof it against the dissolving effect of the water-based resist paste used in the process of dyeing. The cutting process required the utmost skill and the sharpest of separate knives for the different cuts required by the pattern design. Highly skilled craftsmen cut the paper using circular punches and knives to create elaborate patterns of minute landscapes, flowers, birds, insects and other detailed designs with extreme care and patience. Many designs took months to cut. (See “Traditional Japanese Stencil Designs” edited by Clarence Hornung.)

Kutani (which means nine valleys) is a small village in Kaga Province on the northwest coast of the main island of Japan with a long history of porcelain production. They produced models of animals and other figures in addition to other standard porcelain wares.

The woodblock prints of Sadanobu III (son of Sadanobu II) were primarily images of warriors, actors, and maiko. The overwhelming majority of his prints were published by the Uchida Print Co. of Kyoto, Japan, a print publisher catering to the tastes and demands of Western customers.

The word “Kakiemon” is sometimes used as a generic term describing wares made in the Arita factories using the characteristic Kakiemon enamels and decorative styles. Kakiemon decoration is of the highest quality, delicate and with asymmetric well-balanced designs. These were sparsely applied to emphasize the fine white porcelain background body known in Japan as “nigoshide” (milky white) which was used for the finest pieces.

The Japanese potter Kakiemon Sakaida (1596-1666) is popularly credited with being one of the first potters in Japan to discover the secret of enamel decoration on porcelain in the 17th century. He developed the distinctive palette of soft red, yellow, blue and turquoise green overglaze enamels on a fine milky white body. The family is now in its fourteenth generation. This plate is of the same superior quality as porcelains emanating from the Kakiemon workshop.

Kugikakushi came into widespread use in the 16th and 17th centuries. They were used to provide a decorative metal covering for the joints of the huge beams and posts of shrines and temples and also in the grand castles that were constructed for various daimyo (feudal lords). Nail head covers were usually cast in metal from molds, and the surface was then finished in varying techniques. So many metal alloys were used that it is difficult to determine the base metal of most kugikakushi. Some of the decorative methods include engraving the design on the mold, which creates an embossed pattern on the metal; openwork; chiseling or engraving on the finished object; plating; lacquering and enameling. Decorative motifs for many centuries played a prominent role in both the religious and daily lives of the Japanese people. Architecture was embellished with these symbols, which were representative of both the tangibles of nature and the intangibles of the spirit. Birds, bats, turtles, bamboo and family crests were some of the popular subjects for nail head covers. (See examples of kugikakushi on page 181 of “Japanese Antiques” by Patricia Salmon.)

Japanese metalwork was a sophisticated and complex craft, and the metal artist was highly esteemed. When swords were banned in 1871 by government edict, many metal craftsmen were forced into new outlets, and so the minor metal arts flourished, with one example being kugikakushi. These unusual decorative nail head covers are interesting and lovely examples of early Japanese metalwork which are sure to be conversation pieces.

The lotus (“hasu”) is a water flower that rises above large fan-shaped leaves, growing in still, shallow bodies of fresh water and mud. Buddhist traditions hold that the lotus is a sacred flower. In secular Chinese art, the lotus has many auspicious meanings, variously symbolizing harmony, love, sympathy and prosperity. Boxwood, the hardwood of choice for Japanese carvers, is usually carved into smaller items such as netsuke and okimono, so a boxwood carving in this size is quite unique and rare.

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.

Kutani (“nine valleys”) is a small village in Kaga Province on the northwest coast of the main island of Japan with a long history of porcelain production. In 1823 the Yoshidaya Kilns were established at the site of an earlier Kutani kiln which had long since ceased production. Wares produced at this kiln were patterned after the Old Kutani wares and are known as Revival Kutani (“Saiko Kutani”) or as Yoshidaya wares (“Yoshidaya Yaki”). Many pieces produced by this kiln are very well potted with beautiful coloring, clearly showing a Chinese influence.