A FINE EYE-GLASS CASE WITH GIGAKU MASKS, ATTRIBUTED TO KANO TESSAI
Attributed to Kano Tessai (1845-1925), unsigned
Japan, Nara, late 19th to early 20th century
The pale wood eye-glass case carved in shishiaibori and highlighted with polychrome pigments, dried lacquer, and gold, depicting three Gigaku masks. Looped cord attachment near the top, the hinged cover and rim of shibuichi.
The side with two masks bears an inscription: 未摩( 味摩之) 将来 面画記字 真比止、法隆寺舞楽所用面二種、杢華模
“Mima (Mimashi) shorai men Mahito no men o egaki ji o shirusu, Horyuji bugaku shoyo men nishu mokka o mosu” [These two Bukagu masks are copied from the finest wood carving treasures in the collection at the Horyuji Temple (Nara); these masks were said to be originally introduced by Mimashi (active circa 612)]. The word Mahito真比止( lit真人 “true person”) engraved on the pipecase is rarely used but means members of Royal/ Imperial Family皇族. In this example these masks are showing either noble Korean (Paekche/ Baekje) or Chinese Imperial family members. These masks were originally introduced into Japanese Bugaku and Gigaku tradition in the 7th century by Mimashi.
The other side bears the inscription: 珊底羅大将面、願主法師貞元、建久元年庚戌二月、大佛師運慶
“Santeira taisho men, ganshu hoshi Jogen, Kenkyu gannen kanoe-inu nigatsu, daibusshi Unkei” [A mask of Santeira (one of the Twelve Heavenly Generals), copied from the original which was initially carved by the great Buddhist sculptor Unkei (ca 1150-1223) in the second month of the year of kanoe-inu, Kenkyu 1st year (1190), by the request of Priest Jogen]
The eye-glass case is unsigned however confidently attributed to Kano Tessai, the style and handwriting are a close match.
HEIGHT 16.8 cm
Condition: Very good condition with minor, mostly intentional, wear.
Provenance: Ex-collection Ted Wrangham. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.
Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.
Auction comparison:
For a related kiseruzutsu with Gigaku masks, by Kano Tessai, see Lempertz, Asian Art, 16 December 2020, Cologne, lot 785 (sold for 4,500 EUR).
Lot details
Attributed to Kano Tessai (1845-1925), unsigned
Japan, Nara, late 19th to early 20th century
The pale wood eye-glass case carved in shishiaibori and highlighted with polychrome pigments, dried lacquer, and gold, depicting three Gigaku masks. Looped cord attachment near the top, the hinged cover and rim of shibuichi.
The side with two masks bears an inscription: 未摩( 味摩之) 将来 面画記字 真比止、法隆寺舞楽所用面二種、杢華模
“Mima (Mimashi) shorai men Mahito no men o egaki ji o shirusu, Horyuji bugaku shoyo men nishu mokka o mosu” [These two Bukagu masks are copied from the finest wood carving treasures in the collection at the Horyuji Temple (Nara); these masks were said to be originally introduced by Mimashi (active circa 612)]. The word Mahito真比止( lit真人 “true person”) engraved on the pipecase is rarely used but means members of Royal/ Imperial Family皇族. In this example these masks are showing either noble Korean (Paekche/ Baekje) or Chinese Imperial family members. These masks were originally introduced into Japanese Bugaku and Gigaku tradition in the 7th century by Mimashi.
The other side bears the inscription: 珊底羅大将面、願主法師貞元、建久元年庚戌二月、大佛師運慶
“Santeira taisho men, ganshu hoshi Jogen, Kenkyu gannen kanoe-inu nigatsu, daibusshi Unkei” [A mask of Santeira (one of the Twelve Heavenly Generals), copied from the original which was initially carved by the great Buddhist sculptor Unkei (ca 1150-1223) in the second month of the year of kanoe-inu, Kenkyu 1st year (1190), by the request of Priest Jogen]
The eye-glass case is unsigned however confidently attributed to Kano Tessai, the style and handwriting are a close match.
HEIGHT 16.8 cm
Condition: Very good condition with minor, mostly intentional, wear.
Provenance: Ex-collection Ted Wrangham. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.
Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.
Auction comparison:
For a related kiseruzutsu with Gigaku masks, by Kano Tessai, see Lempertz, Asian Art, 16 December 2020, Cologne, lot 785 (sold for 4,500 EUR).
Sale price
Time, Location
Auction House
Attributed to Kano Tessai (1845-1925), unsigned
Japan, Nara, late 19th to early 20th century
The pale wood eye-glass case carved in shishiaibori and highlighted with polychrome pigments, dried lacquer, and gold, depicting three Gigaku masks. Looped cord attachment near the top, the hinged cover and rim of shibuichi.
The side with two masks bears an inscription: 未摩( 味摩之) 将来 面画記字 真比止、法隆寺舞楽所用面二種、杢華模
“Mima (Mimashi) shorai men Mahito no men o egaki ji o shirusu, Horyuji bugaku shoyo men nishu mokka o mosu” [These two Bukagu masks are copied from the finest wood carving treasures in the collection at the Horyuji Temple (Nara); these masks were said to be originally introduced by Mimashi (active circa 612)]. The word Mahito真比止( lit真人 “true person”) engraved on the pipecase is rarely used but means members of Royal/ Imperial Family皇族. In this example these masks are showing either noble Korean (Paekche/ Baekje) or Chinese Imperial family members. These masks were originally introduced into Japanese Bugaku and Gigaku tradition in the 7th century by Mimashi.
The other side bears the inscription: 珊底羅大将面、願主法師貞元、建久元年庚戌二月、大佛師運慶
“Santeira taisho men, ganshu hoshi Jogen, Kenkyu gannen kanoe-inu nigatsu, daibusshi Unkei” [A mask of Santeira (one of the Twelve Heavenly Generals), copied from the original which was initially carved by the great Buddhist sculptor Unkei (ca 1150-1223) in the second month of the year of kanoe-inu, Kenkyu 1st year (1190), by the request of Priest Jogen]
The eye-glass case is unsigned however confidently attributed to Kano Tessai, the style and handwriting are a close match.
HEIGHT 16.8 cm
Condition: Very good condition with minor, mostly intentional, wear.
Provenance: Ex-collection Ted Wrangham. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.
Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.
Auction comparison:
For a related kiseruzutsu with Gigaku masks, by Kano Tessai, see Lempertz, Asian Art, 16 December 2020, Cologne, lot 785 (sold for 4,500 EUR).
Lot details
Attributed to Kano Tessai (1845-1925), unsigned
Japan, Nara, late 19th to early 20th century
The pale wood eye-glass case carved in shishiaibori and highlighted with polychrome pigments, dried lacquer, and gold, depicting three Gigaku masks. Looped cord attachment near the top, the hinged cover and rim of shibuichi.
The side with two masks bears an inscription: 未摩( 味摩之) 将来 面画記字 真比止、法隆寺舞楽所用面二種、杢華模
“Mima (Mimashi) shorai men Mahito no men o egaki ji o shirusu, Horyuji bugaku shoyo men nishu mokka o mosu” [These two Bukagu masks are copied from the finest wood carving treasures in the collection at the Horyuji Temple (Nara); these masks were said to be originally introduced by Mimashi (active circa 612)]. The word Mahito真比止( lit真人 “true person”) engraved on the pipecase is rarely used but means members of Royal/ Imperial Family皇族. In this example these masks are showing either noble Korean (Paekche/ Baekje) or Chinese Imperial family members. These masks were originally introduced into Japanese Bugaku and Gigaku tradition in the 7th century by Mimashi.
The other side bears the inscription: 珊底羅大将面、願主法師貞元、建久元年庚戌二月、大佛師運慶
“Santeira taisho men, ganshu hoshi Jogen, Kenkyu gannen kanoe-inu nigatsu, daibusshi Unkei” [A mask of Santeira (one of the Twelve Heavenly Generals), copied from the original which was initially carved by the great Buddhist sculptor Unkei (ca 1150-1223) in the second month of the year of kanoe-inu, Kenkyu 1st year (1190), by the request of Priest Jogen]
The eye-glass case is unsigned however confidently attributed to Kano Tessai, the style and handwriting are a close match.
HEIGHT 16.8 cm
Condition: Very good condition with minor, mostly intentional, wear.
Provenance: Ex-collection Ted Wrangham. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.
Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.
Auction comparison:
For a related kiseruzutsu with Gigaku masks, by Kano Tessai, see Lempertz, Asian Art, 16 December 2020, Cologne, lot 785 (sold for 4,500 EUR).
