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HON’AMI KOETSU: AN IMPORTANT INLAID LACQUER SHIKISHIBAKO DEPICTING THE NONOMIYA TORII GATE,
奥地利
06月13日 下午4点 开拍 / 06月11日 下午3点 截止委托
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HON’AMI KOETSU: AN IMPORTANT INLAID LACQUER SHIKISHIBAKO DEPICTING THE NONOMIYA TORII GATE, AUTHENTICATED BY HIRAKI SEIKOJapan, early 17th century, Edo period (1615-1868)Of rectangular form, bearing a lustrous roiro ground and exceptionally decorated in takamaki-e, enriched by a harmonious blend of mixed-media inlays. The inrobuta (flush-fitting) lid presents a depiction of the entrance to Nonomiya Shrine, featuring a torii gate delicately inlaid with aogai (mother-of-pearl) and mitsuda (pewter), set beneath a shrouded aogai-inlaid moon. The gate stands amidst tall golden autumn grasses and a sedge fence. The interior continues the refined aesthetic with a plum blossom branch and a crescent moon inlaid in pewter, set against a polished roiro ground and framed by gold fundame rims.SIZE 4.8 x 20.2 x 28.2 cmCondition: Good condition with chips and expected age-related wear to the edges and underside, tiny cracks to the inlays, as well as dents to the surface. Otherwise, only typical traces of use. Presenting very well.Provenance:- Ex-collection Fuyuki Kiheiji.- Ex-collection Hiraki Seiko, acquired in Naniwa (Osaka) from the above.- French private collection, acquired in Japan.- Sotheby’s, Pursuit of an Ideal: Fine Japanese Works of Art, 5 November 2021, London, lot 39 (Estimated at GBP 20,000 – 30,000).Fuyuki Kiheiji (c. 1730-1800) was a wealthy merchant in Edo, also known as Ueda Sogo, and his tea name Fuyuki Hakuan. He owned many priceless artifacts, and some of them are now designated items of cultural importance and featured in famous collections and museums.Hiraki Seiko (1881-1973) was an authority on Hon'ami Koetsu. He published several books about the artist, including the book entitled Gasei Koetsu 画&#-32682;光悦 [The Master Painter Koetsu].The fitted wood tomobako (storage box) with the inscription on the top cover KOETSU, Nonomiya Bunko 光悦、&#-28210;々宮文庫 [the document box, entitled the Nonomiya, by Koetsu], and to the inside of the box cover with the inscription by Hiraki Seiko: Hinoto-ushi nigatsu kisshin, Hiraki Seiko and with three seals Seiko, Chokoken and Tokyo Koetsu Kai [authenticated and inscribed by Hiraki Seiko, on an auspicious day in February in 1937, with the seals Seiko, Chokoken, and the Koetsu Society of Tokyo].Hon'ami Koetsu (1558–1637) was a seminal figure in early Edo-period Japanese art, renowned for his contributions to calligraphy, lacquerware, ceramics, and design. Adopted by a professional sword polisher. He lived at Takagamine near Kyoto where he established an artistic community of fellow Nichiren Buddhists. Together with Nonomura Sotatsu he founded the style that came to be known as Rinpa during the time of his follower Korin a century later. Koetsu’s works often integrated elegant calligraphy with decorative motifs, frequently inspired by classical poetry and nature. His influence extended across disciplines, shaping the visual and cultural landscape of early modern Japan.Nonomiya Shrine (Nonomiya-jinja) is a historic Shinto shrine located in the Arashiyama district of Kyoto, known for its association with imperial purification rituals and classical Japanese literature. During the Heian period, imperial princesses appointed as Saio, high priestesses of the Ise Grand Shrine, underwent ritual purification at Nonomiya before their journey to Ise. The shrine is famously featured in the literary classic The Tale of Genji, particularly in the ‘Safflower’ chapter, and is celebrated for its tranquil setting among bamboo groves, moss-covered grounds, and its unique black torii gate made of unbarked wood. Museum comparison:Compare a related inlaid lacquer suzuribako with a woodcutter, attributed to Hon’ami Koetsu, designated Important Cultural Property, dated to the 17th century, in the collection of the MOA Museum of Art, Atami.

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