Asian Collectables
Satsuma Vase: Immortals right side
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Immortals left side
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: base with marks
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: detail neck and shoulder
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: detail of border beneath main decorations
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: detail of panel between themes
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Arhats left side
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Satsuma Vase: Arhats right side
Circa 1900, Japanese Meiji Period, Satsuma Vase by the artisan Suke Yama working in the Ryozan studio in Kyoto.Signed in liquid gold, Suke Yama, inside the small gourd shape to the base and bearing the gold on black seal mark for Ryozan studio.The whole elaborately and exquisitely hand painted with two scenes based on Taoist and Mahayana Buddhist legendry / religious themes which developed over millennia and are still a basis
for devotional belief in China and Japan. The two scenes are united with elaborately executed polychrome panels of brocade and floral patterns embellished with liquid gold.
One side depicts the eight immortals on their journey through the earthly world teaching and helping mortals. Here they are seen teaching and entertaining a group of children.
Identifiable by their symbolic attributes are:
He Xiangu a pure maiden who floats on clouds or lotus leaves and exists by eating mother of pearl powder and moonbeams.
Lu Dongbim who crosses the sea standing on his magic sword named “Chan Yao Kuai” which translates as the “Devil Slaying Sabre” presented to him by the fire dragon.
Zhang Guolao who is releasing a miniature mule from a bag. The mule is his mode of transport to cover great distances.
Li Tiequai who creates miniature images of himself by blowing into the air.
He Xiangu who is seen flying on a crane a symbol of immortality.
Liu Haichan (Gama Sennin) with his mythical toad.
The opposing side depicts eighteen Arhats of Mahayana Buddhism.
An Arhat is a person who has gained insight into the true nature of existence and has achieved nirvana.
Mahayana Buddhism regards the group of eighteen Arhats, with names and personalities, as awaiting the return of the Buddha as Maitreya, a bodhisattva who will appear on Earth in the future, achieve complete enlightenment and teach the pure dharma meaning cosmic law and order.
Arhats can be seen as the Buddhist equivalents of the Christian saints, apostles or early disciples and leaders of the faith.Circa 30cm or 12” tall x 25 cm or 10” diameter.
Acknowledgment
Our gratitude to Mr Tom Kiernan, author of The Best Book on Satsuma for assistance with the interpretation of the signature on this object.
Imari Charger: base
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Imari Charger: base characters
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Imari Charger: top
Imari Charger made in the late C19th in the Imari / Arita area of Kyushu Island in the south west of the island nation of Japan for export through China and Asia then onto Europe. The top with its moulded raised relief is decorated in over glaze enamels in predominantly the characteristic red, gold and blue with floral medallions over swirled ribbons of brocades. The base is decorated with blue and white underglaze patterns derived from Chinese motifs including Plantain Leaves and Clouds. The six characters on the base are in Chinese script to suggest the Ming dynasty period. This marketing ploy was used in the late C17th & early C18th then revived in the late C19th. 40 cm diameter
Japanese Ornamental Hinamatsuri Dolls: emperor
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: empress
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: guard with cherry blossoms
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: guard with mandarins
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: label
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls: musicians
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Japanese Ornamental Hinamatsuri Dolls
A vintage, mid C20th set of Japanese Hinamatsuri, Doll's Day or Girls' Day Ornamental Dolls. Hinamatsuri is a special day in Japan when people pray for the happiness and healthy growth of girls. It is celebrated each year on March 3. Platforms covered with a red carpet are used to display a set of ornamental dolls representing the Emperor, Empress, attendants and musicians in traditional court dress of the Heian period of 794–1185 AD.
Families generally start to display the dolls in February and take them down immediately after the festival. Superstition says that leaving the dolls past March 4 will result in a late marriage for the daughter.
The top platform holds the Imperial dolls, the Emperor and the Empress.The second tier holds three court ladies.The third tier holds five male musicians.The fourth tier holds two ministers and between them are tables bearing diamond-shaped rice cakes.On the fifth tier are a mandarin orange tree and a cherry blossom tree between which are three guards as the protectors of the Emperor and Empress.
The set is in its original glass case and can be stored in its original cardboard box when not on display.The paper label on the box has in large script Shogetsu “Pine Moon”, in the middle in dark script “Ito City”; to the lower left in dark script Izuya (the makers brand name).The glass case is 32 cm high x 29 cm wide x 26 cm deep.
Oval Carved Coral Tablet in Silver Brooch Setting
Oval, lovely soft red tablet of coral carved with lotus flowers in a silver [marked] brooch setting with a granulated border; Chinese, late c19th / early C20th; late Qing either Guangxu or Xuanlong. The Lotus in Buddhism representing the qualities of purity, harmony, nobility and elegance among other desirables in life.
Silver Gilt & Polychrome Enamel Dragonfly Brooch
With articulated tail; possibly Chinese, late C19th or early C20th, export ware; circa 5.5cm long.
Japanese Stick Umbrella Stand
Early C20th, Japanese earthenware stick or umbrella stand decorated in the round with blue Clematis; the pair of characters on the base mean “Premium: (Gokujoo); the single character in the circle reads Tatsu which could be a personal name or a brand name; the character itself means the Zodiac sign of Dragon in Japanese; height circa 64 cm, diameter at widest point circa 35 cm.
Japanese Stick Umbrella Stand: markings
Early C20th, Japanese earthenware stick or umbrella stand decorated in the round with blue Clematis; the pair of characters on the base mean “Premium: (Gokujoo); the single character in the circle reads Tatsu which could be a personal name or a brand name; the character itself means the Zodiac sign of Dragon in Japanese; height circa 64 cm, diameter at widest point circa 35 cm.
Korean Haetae Figure Box: front
Late 1800s, possibly Korean, Haetae figure box. High grade silver [tested] 110g.7.5cm high. Haetae are “Lion Dogs” – mythological creatures that are master of fire and guardians against this element. Their powers include time travel and the waning of the moon or even an eclipse. Haetae are often in front or inside Korean houses or used as containers as a protection against destructive natural elements.
Korean Haetae Figure Box: behind
Late 1800s, possibly Korean, Haetae figure box. High grade silver [tested] 110g.7.5cm high. Haetae are “Lion Dogs” – mythological creatures that are master of fire and guardians against this element. Their powers include time travel and the waning of the moon or even an eclipse. Haetae are often in front or inside Korean houses or used as containers as a protection against destructive natural elements.
Hediao Chinese Nut Carving: two
An ancient, traditional craft dating back to the Song dynasty. These examples have been dated as later Qing circa 1890’s; from an old collection of eclectica; supposedly Peach stones, 13-14mm diameter.
Hediao Chinese Nut Carving: one
An ancient, traditional craft dating back to the Song dynasty. These examples have been dated as later Qing circa 1890’s; from an old collection of eclectica; supposedly Peach stones, 13-14mm diameter.
Chinese Export Silver Cruet
Circa 1850-70, Chinese, high grade Export Silver three piece Cruet marked for Wang Hing of Hong Kong.
Consisting of salt cellar, mustard pot and pepperette in naturalistic, tree trunk forms with applied decorations of blossoming Prunus tree, the branches forming feet.
Additional granulated silver decoration symbolising hidden groves.
Original handmade glass inserts.