In Buddhism, an altar found in temples and homes is called a butsudan, which means “Buddha’s platform”. Basically, a butsudan is a wooden cabinet with doors that contains a religious image of the Buddha or a mandala scroll. The doors of the butsudan are opened for religious observances. The cabinet also holds other items used in the ceremonies such as incense, candlesticks, bells, burners and platforms on which to place offerings. These items are called butsugu. In the family home, the butsudan is placed in a central location, to emphasize the importance of the teachings of Buddha. Rituals begin with the ringing of a bell, to symbolize wisdom and unity and to remove laziness and stingy mindedness. This bell will be rung again to signify the end of the ritual.

A Japanese prayer bell is called orin and are sounded by Monks to mark the beginning of Sutra—chants and prayers. As mentioned prior, orin are also used by lay persons in their homes, during daily worship. The marvelous Japanese prayer bell you see offered in this set, along with the set itself, dates back to the early 1900’s. The bell is beautifully crafted from brass and measures 4 1/8-inches in diameter and 2 1/8-inches in height. While it does have a bit of wear, due to its age, it remains in very good condition and still sounds a long, clear resonant tone. The bell’s dark brown wooden striker is made from hardwood, 5 ¼-inches long and is also in very good condition. Beginning with a dome-shaped head, the following portion underneath the striker is constructed similar to a bowling pin, for better gripping, then returns to a hot dog shape,

The exquisite material on the pillow in the set, atop which the Japanese prayer bell rests, is satin in consistency and is of a lovely floral motif. A grass green shade covers the top and travels downward in triangular shapes, to meet the warm, orange-red triangular insets on the side. The two sets of Buddhist mala prayer beads, or in Japanese shozoiki jyu-zu, in this wonderful set are made of clear resin and at the point each circle meets, it branches off into two strands. Attached to the end of each strand are very long tassels. Typically, the total number of beads adds up to108, with each bead representing one of the 108 desires or hinderances that need to be extinguished for enlightenment to be achieved. The main purpose of prayer beads is to create inner peace and a sense of tranquility. Wouldn’t you love to have this incredible, genuine, antique Buddhist prayer bell, striker, beads and pillow set from Japan as part of your collection?

Check Out This Authentic Antique Japanese Prayer Bell With Beads…Important Items In Buddhist Ritual! is a post from: Japanese Antiquities

Netsuke trace their roots all the way back to the 17^th century and near the end of the 19^th century became very popular in Europe. Netsuke actually served two purposes—functional and artistic. The literal translation of netsuke is “to attach the root”. The conventional Japanese kimono had no pockets in which to carry small essential items. These items were carried in containers called sagemono that were attached to two long double strings and pulled through the obi (the broad sash worn around the kimono).

 The containers may have been leather pouches, which typically would be used for tobacco; but the most popular was inro, small, beautifully designed boxes, with three or five compartments, mostly used to hold medicines. Occasionally, both of these containers would be carried together, suspended from the same netsuke, which is a fastener or toggle. This carved toggle had two small holes called himotoshi, through which the strings are threaded and would secure the container in place. Strung on a cord between the sagemono and the netsuke, was an ojime, or sliding bead, made to loosen and tighten the opening of the sagemono.

Netsuke could be crafted from a wide variety of materials, mostly from ivory and wood, but also from bone, tortoise shell, metal, horn and precious stones. Often, the material of the netsuke could be the indication of an individual’s social status within the community. Despite the small size of the netsuke, one to two inches, there is incredible detailing and workmanship. The Japanese will use fables, religion and everyday life experiences as their muse for these fascinating toggles.

This magnificent netsuke you see here is post 1940 and is one of several different types called the katabori, which is a fully-carved, three-dimensional, superior work of art. This stunning netsuke is made of alabaster stone, with two small himotoshi and is in great condition. A proud, menacing cobra, with its hood flared seems to be a favorite image for Japanese art forms. This is possibly an Asian cobra, whose hood is larger in size than the king cobra, is thinner and tan in color. The cobra faces forward and a large portion of its body is coiled in front of its head, where the scales and segments of the snake are in full view. The body of the cobra is wound around broken off bamboo shoots that are of a light green tint. The cobra’s piercing eyes seem to follow you, mesmerizing in its irresistible quality. The carver, or netsukeshi, has signed his work on the bottom. This breathtaking netsuke is of exceptional, meticulous craftsmanship that will make a captivating and delightful addition to your collection.

Japanese Cobra Netsuke…An Enchanting Miniature Work of Art! is a post from: Japanese Antiquities

The Japanese have quite a long, flowing history of ceramics, dating back to approximately 10,000 BC. Because the tea ceremony from the 15^th century was so popular, ceramics began to be realized for their artful beauty, rather than just as something functional. Imported Chinese ceramics were quite sought after as pieces of art. In 1592 and 1598, after Japan’s invasions of Korea, Korean potters, who had learned how to skillfully produce fine porcelain from the Chinese, were brought back to Japan. Some made their home in northern Kyushu in Arita, where porcelain clay was found. Ri Sampei, known as the “father” of Japanese porcelain, was one of the Korean porcelain makers who had settled there. Thus, the area developed into Japan’s major center for the production of porcelain at that time and the port of Imari exported its products.

 The Shibata Chinaware Company was established in Mizunami City, Japan and has a long history in superb chinaware manufacturing.  This beautiful porcelain plate is hand painted, four inches in diameter and bears Japanese symbols, with the authentic Shibata, Japan mark in red on the back. Although this plate is decades old, it is in excellent condition, with no chips or cracks. Hand painted on this magnificent plate, is a pagoda in an understated slate blue shade, with the meticulous detail work in black. The pagoda sits on a tan stone base and is set against a lovely light blue sky, filled with white puffy clouds. An interesting fact about a pagoda is that while it is very vulnerable to fire, it manages to withstand earthquakes and typhoons, due to its architecture. This gorgeous plate has the artist’s signature in gold above the pagoda itself. In the foreground, there is a breathtaking blue and pink flowering tree against a brilliantly green lawn. For the finishing touch, the plate is trimmed in shimmering gold. Add this stunning Shibata porcelain plate to your collection and own an exquisite piece of the Japanese culture that will enhance any wall, hutch or table in your home!

Get A Taste Of The Orient With An Incredible Shibata Porcelain Plate From Japan  is a post from: Japanese Antiquities

The Japanese tetsubin is a vintage teapot made of cast iron. It is used to brew tea, but not as a stove-top kettle. Nambu tekki, or cast ironware, originated in the northern capital city of the Nambu clan, approximately 400 years ago. Iwachu, which is located in the Morioka Prefecture, is one of the finest and largest producers of modern Nambu ironware, and a good source of collectible teapots in Japan today. Iwachu’s tetsubin and cookware earned a worldwide reputation, for their superior beauty, quality and durability. The tetsubin manufacturing process typically consists of 64 to 68 steps, most often taking two months to complete, making it one of the most sought after collectible teapots. Most of this process is still performed by hand at Iwachu, with strict quality and control maintained by a “Kamashi”, or master craftsman. Just to show how serious a process it is, it takes at least 15 years to become a full-fledged craftsman and 30-40 years to become a Kamashi.

Cast iron is a wonderful material for cookware because heat is distributed more evenly and it retains heat for a much longer period of time, compared to regular cookware. This is all due to its exceptional insulating properties. Japanese cast ironware is also exceedingly durable and versatile and resistant to rust (specially coated inside). Tetsubin require very little care. They are never to be washed with harsh soaps or detergents. Simply rinse with plain water and wipe dry, after each use. There is a natural mineral that builds up inside the tetsubin, which is considered to be good for your health, in Japan. Plus, it helps to prevent the pot from rusting. It quickly has become one of the best collectible teapots, and for good reason.

The stunning, Japanese Nambu Iwachu cast iron tetsubin you see dates from the mid 20^th century. The Iwachu and Nambu names are stamped under the spout, so you know that it is genuine. Its gracefully tapered handle is fixed and the tetsubin has a traditional and elegant design. This gorgeous cast iron vintage teapot has a raised hob nail, or hira, textured upper surface atop a sleek base. A very unique point is the knob on the tetsubin’s lid, which is the motif of a demon on one side and a normal face on the other. The Japanese believe that “kami”, or spirits, inhabit rocks, water, trees and other natural objects. These spirits can both do good or evil and the tetsubin’s knob represents the dichotomy between the two, giving it a mysterious attribute. This amazing and authentic, Japanese Nambu Iwachu cast iron tetsubin is absolutely without equal in terms of artistry and quality and will bring a simple element of beauty to your collectible teapots collection.

You can buy this and other collectible teapots here.

Enjoy A Cup With The Superb Japanese Nambu Iwachu Tetsubin Cast Iron Vintage Teapot! is a post from: Japanese Antiquities

Japanese fans are constructed of paper on a bamboo frame, usually with a painted design and are an important cultural symbol. Primarily, they are used to fan the body in hot weather. Fans symbolize respect, friendship and good wishes and are given to others as a present and also serve as trays for holding gifts. Sometimes they are used in religious ceremonies and events. Warriors would use fans as weapons and in the military, as a way of sending signals on the battlefield. Mainly fans were used for court and social activities. In Japanese dance performances, they are an important stage prop and for actors, as well and for children, they are toys. This is a real find in Japanese collectibles.
 

During the eighth century, the very first folding hand fan, called “sensu” was invented in Japan. However, in Fukuoka, as early as the sixth century, a wall painting of a burial mound depicted drawings of fans. In the early days, two types of Japanese fans existed, the “tuan shan” round fan and the “bian mian” screen fan. Painted fans and printed fan leaves are done on a paper ground, which was originally hand made, with the typical watermarks. Introduced in the nineteenth century, machine-made paper fans have an even texture and are smoother. During the Edo era, 1690-1868, Japanese collectibles fans transformed into works of art. They are ornately decorated and the thin wooden panels splay outward, in such a way, to catch the sun’s rays.
 

In today’s world, the preference is for paper fans, which are intricately painted and folded. Their continuing basic design is the paper-pivot attachment, which is a mechanism allowing the artist to be able to fold and open the fan, with just a slight maneuver of the wrist. In Japanese beliefs, the top of the handle on the fan is symbolic of the beginning of life and its ribs are for the roads of life, going out in all directions, in order to bring happiness and good fortune.
 

The gorgeous and breathtaking Japanese collectibles fan being offered is constructed of paper and lovely red wood on its frames and spines and comes with its original box. It opens to an astounding sixty inches (approximately) and the measurement, from top to bottom of the spine, is thirty-five inches. The fan is beautifully and vividly decorated with lotus flowers in blue, pink and red and cherry blossoms against a brilliant gold background. Two eye-catching phoenixes adorn the fan, which is edged in black at the top for a wonderful contrast.
 

There is significant symbolism for all the images on the fan. In Japan, the phoenix is called Ho-Oo, with Ho standing for the male bird and Oo for the female. The phoenix is to herald a new age and will descend from Heaven to Earth to do good deeds, then it returns to Heaven, to await a new era. The phoenix is not only a symbol of peace, when the bird appears, but also disharmony, when it disappears. In Japan, the phoenix stands also for sun, fire, fidelity, justice, obedience and eternity and the southern star constellations.
 

The lotus flower of midsummer, or suiren, symbolizes perfection, truth and immortality. The Japanese sakura, or cherry blossom, is a most delicate flower, blooming only for a short time. This stands for the transience of life. To own this amazing Japanese collectibles fan, is to incorporate all the intriguing symbolism, along with its remarkable cultural history and the fan will make a marvelous collectors item as well as a one-of-a-kind, elegant showpiece for your room!

Browse our large Japanese fan collection

Stunning, Embellished Japanese Fan – A Truly Fan-Tastic Find In Japanese Collectibles! is a post from: Japanese Antiquities

The Shinto wedding would be performed before a Shinto sanctuary. The “shiro-muku” is the traditional white wedding kimono, with shiro meaning “white” and muku meaning “pure”. This signifies the bride’s pure intentions to conform to the practices and customs of the husband’s family. The wedding kimono is comprised of two kimonos. The white kimono would be worn for the wedding ceremony and the elaborate, richly embellished, silk brocade kimono, called uchikake, would be worn overtop the white kimono for the wedding reception.

The colorful uchikake kimonos originated in the Edo era (1600-1868) and were only permitted to be worn by court nobles, at first, as a symbol of their status. Uchikake kimonos are most often red based brocade, which are woven onto long, wide strips of thick silk material. The brocaded silver, gold and other beautifully colored threads are used to shape fantastic, traditional, embroidered designs and images. The popular designs for the uchikake are turtles, cranes, Chinese phoenixes, treasure boxes, plum blossoms pine trees and bamboo. Most of these are Japanese symbols for prosperity, happiness, longevity and fertility. While red is the most often used color for the uchikake, many different colors, from majestic imperial purple to gorgeous sea green, are available. The bridal kimono is sometimes handed down as an heirloom in the family or is made into futon bedding later in life.

For the wedding, the bride’s hair would be styled in a traditional hairstyle called “bunkin-takashimada” , in which she would wear magnificent gold combs and “kanzashi” (accessories). She would then wear a white wedding hood, called “tsuno kakushi” in order to hide the two golden horns or “tsuno”, which are symbolic of the wife’s obedience to her husband. There are bridal accessories that are worn for tradition and good luck. In her obi belt, the bride will wear a fan for the traditional belief that the gradual widening of the open fan indicates happiness and therefore will bring a happy future. The bride carries a small encased sword called “kaiken” and a small purse-like sack called “hakoseko”.

The breathtaking, colorful uchikake wedding kimono, being offered today, is vivid red that has a gradual fading, at an angle, to orange and then to green. It features eye-catching appliqué designs in a floral motif and embroidered cranes in flight. The Japanese crane symbolizes longevity, luck, fidelity and a happy marriage. There are dazzling flecks of gold and platinum highlighting the floral pattern. Since the original paper is inside the collar, it is a very strong possibility that this kimono was never used. The original bunting covering hasn’t been removed and the uchikake has the original shipping ties on the inside. This beautiful wedding kimono is in perfect condition. The sizing is as follows: sleeve length is 42 inches, the body width is 24 inches and the overall kimono length is 72 inches. This elaborately embellished, stunning uchikake kimono is an extraordinary work of craftsmanship, to be elegantly worn and enjoyed or to be exhibited as a unique, incomparable, marvelous piece of Japanese artistry!
You can bid on this exquisite Japanese kimono here

HERE COMES THE BRIDE…IN THIS EXQUISITE JAPANESE UCHIKAKE WEDDING KIMONO! is a post from: Japanese Antiquities

This phenomenal Japanese Urushi bowl was a gift given to a family who had given birth to a son—a much celebrated event, since the son carries on the family name—and it is symbolically painted with designs for that son. This particular birth bowl and its lid are made entirely of wood and were to be used on very special occasions. This magnificent Japanese bowl has been classified to be either from the late Meiji or early Taisho eras. The Meiji period or era, meaning “enlightened rule”, takes place during the forty-five year reign of the Meiji Emperor, which is from October 23, 1868 to July 30, 1912. The Taisho period or era, meaning “period of great righteousness”, is during the reign of the Taisho Emperor, dating from July 30, 1912 to December 25, 1926.

Urushi is one of the most enduring and long-lasting natural lacquers that is known to mankind, coming from the sap of the Urushi tree. These Urushi lacquered items were discovered in Japan, dating back to nine thousand years ago. Another term used in the West for this process is “japaned”. How durable is Urushi? In its hardened state, it is water and acid proof and also will protect the item from mold, mildew, heat, salt and all types of weathering. Urushi has been used on many different types of objects, from wood to fabric, metal and more. While it is wet, Urushi is one of the strongest adhesives, making it perfect for decorating with gold foil (chinkin), gold powder (maki-e) or mother of pearl inlays (raden). This great strength, along with its natural beauty, is why Urushi lacquered objects have been so popular for thousands of years.

What makes Urushi so strong? Urushiol is an oily substance contained in the sap and when it is exposed to humidity and warmth, an enzyme is activated that extracts oxygen from water and supplies it to the urushiol. Then the urushiol solidifies, which forms a hard film. After hardening, Urushi does retain some water content, giving it constant wet and shiny appearance. The Urushi lacquer ware is usually red or black. Iron powder is added, causing a chemical reaction with the urushiol, changing the Urushi to a deep black color. Vermillion is produced from adding mercuric sulfide and ferric oxide is added to make red. Other colors are made from adding pigments.

Raw Urushi is utilized for base coats and refined Urushi for top coats and decoration. Just to make a typical wooden Urushi lacquer product, calls for over twenty steps and more than one hundred individual processes and it is all done by hand. To make a small bowl, can take over six months! That should give you some idea of how much work went into making this birth bowl and lid, which is also bowl-shaped.

In Japan, there is great symbolic meaning attached to different things in nature. The Koi (Carp fish) that is painted on the birth bowl is the Symbol of Perseverance for a male heir, meaning strength, courage, the ability to attain high goals and the determination to overcome all obstacles in life. It has this meaning because the Koi is the most spirited of fish, having the ability to swim up a waterfall. Painted on the birth bowl is the secondary theme of the Long Life Pine, symbolizing youth, longevity and dignity. In Japan the evergreen pine tree (Matsu) is considered to be sacred and its branches are used to decorate the entrances of homes to welcome the gods at New Year.

This breathtaking Japanese son’s birth bowl and its lid are in a vivid, glossy red shade and in fine condition. The Koi is exquisitely painted on the bowl, with raised gold maki-e detailing and raised black spots on the scales. Grey and white are also used to bring this image to life. The subtle theme of the pine is in the background. The artist who made this amazing birth bowl and lid allowed the wood grain to very faintly show through, which takes great care to do. This proves that it is a genuine Urushi. To own this meticulously hand-crafted and stunning Japanese son’s Urushi birth bowl is to possess a magnificent stand-alone art piece of Japan’s culture. Buy this rare bowl at our eBay store

Congratulations It’s A Boy! Celebrate With The Exquisite Japanese Urushi Son’s Lidded Birth Bowl! is a post from: Japanese Antiquities

The sword, in Japanese culture, is a most important item, not just from a historical standpoint, but also from a spiritual one. Japanese warriors have always used their swords as an extension of themselves, or as a partner, and not merely a weapon. The Japanese military used swords extensively, particularly during the Russo-Japanese war and World War II. The soldiers carried different types of swords, which depended upon the rank of the officer, the branch of the army and the time period.
 

Shin-gunto, a Samurai sword carried by army officers, is primarily a mass-produced sword and the most common style of sword mountings from the World War II era. “Shin” means new, “gun” means military and “to” means sword. These swords have a brass mounting on the scabbard and hilt and reddish brown lacing on the hilt. There were handmade blades during this time, but not by traditional methods. These Samurai swords were categorized as Muratato, Showato, Hantanzo, Mantetsuto or Yotetsuto, based on the method of production. The Kindaito and Gendaito are swords made according to traditional methods.
 

Swords that were made using non-traditional methods or materials have stamps on the tangs or “nakago”, with the possible exception of some Gendaito, which have the star stamps of Jumei Tosho. Many swords also bore various logos on the scabbards or “saya”, but were not necessarily those of the manufacturer, as they may also have been the logos of the shops selling the swords. The shin-gunto scabbards are usually metal painted brown, although it wouldn’t be out of the ordinary to find navy blue, tan or black scabbards. Leather field covers would be found on many of them as well.
 

Another type of Japanese sword was the NCO shin-gunto, which was for a non-commissioned officer. This particular type was subjected to a series of developments over the course of time and all were machine made. This fascinating, handmade, shin-gunto officer’s sword is in excellent condition, has brown lacing on the hilt and a metal scabbard. You can see the incredible detail work that has gone into the making of this sword. The images of cherry blossoms, which are the symbol for the Imperial Japanese Army, can be found on the pommels, the guard and the ornaments. The scabbard’s fittings are also embellished with the magnificent design of the cherry blossom. To own this exceptional Samurai sword is to have an antique enriched in Japanese history! You can buy this exquisite samurai sword here

A Genuine Piece Of Japanese Sword History With The Impressive Handmade Shin-Gunto Officer Sword! is a post from: Japanese Antiquities

During the mid nineteenth century, infused tea drinking gained popularity. Initially, only the wealthy could afford Matcha, which is a type of powder that is used to brew tea. When the Chinese introduced Sencha, a method of brewing with whole leaves, drinking tea became more accessible and affordable for the common people. In an extremely formal and elaborate ritual called the Japanese tea ceremony, or Chanoyu, each and every small detail, from utensil to atmosphere, is important. The goal of this ceremony is to create an environment that not only sates the taste buds, but also to bring forth a sense of inner peace. Chanoyu comes under the influence of Zen Buddhism.

First you need to boil water for the tea and Chanoyu experts favor the chagama or ortegama—an iron kettle that has neither a handle nor a spout. For ceremonies that take place outdoors, the tetsubin, or iron teapot, sometimes replaces the chagama, since it is smaller and has a spout. The chagama is larger and it requires the use of a ladle to get the water into the tea cups. There are different types of tea ceremonies. One is the Ryakubon, which is a small ceremony, requiring a limited amount of tea ware. The other is Kaiseki, where a small meal is served prior to the formal tea ceremony. It was thought that the tea would taste better, if the guests were not hungry.

This exceptional cast iron chagama being offered holds over two quarts of water and has metal handles or “kan” on each side, for the ease of lifting the pot. The chagama sits on a three-pronged stand that is designed to keep it a safe distance from the heat and for support. The front and lid of the chagama are beautifully decorated with leaves and pears. The portable brazier or “furo” is included and has an opening in front to allow for the tending of the coals. Together, the chagama and furo are eleven inches in height and along with the stand, weigh approximately twenty-one pounds. All three items are in excellent, unused condition. This striking chagama and furo are true reflections of the Japanese culture and will make a fabulous collectible for any home! You can buy or bid on this fantastic Japanese Chagama here

An Amazing Cast Iron Chagama – Treasured Piece For The Japanese Tea Ceremony! is a post from: Japanese Antiquities

Satsuma ware is pottery that has been traced back to the seventeenth century, which takes its name from the southern province of Kyushu Island in Japan. Satsuma has been called “pottery” and “porcelain”, but is really something in between. In that same locale were kilns making pottery that went as far back as the sixteenth century. In addition, Satsuma was also produced in Kyoto, Tokyo, Osaka, Nagoya, Yokohama, Kobe and Kanazawa, by hundreds of known artists, in many varied styles and by thousands of unknown decorators.

The first Japanese pottery was characterized by a cream-colored body, covered by a glaze, usually yellow in color. The potters of Satsuma began using decorative approaches to their art because of the competition from Imari porcelain. Imari porcelain was also made on the island of Kyushu, in the Arita area. Nearing the end of the eighteenth century, not wanting to lose customers to the Imari potters, a renowned Japanese potter named Ninsei, learned the Imari techniques. He showed the Satsuma artists how to decorate their relatively plain pottery, using different colors of enamel as well as gold. Current Satsuma porcelain exhibits strong, thickly applied colors.

The term “Satsuma” came about because of the location and thereafter, the way the pottery was described. Favorite patterns originally included beautiful floral designs, geometric patterns and the well-known phoenix and dragon designs. With the coming of the nineteenth century, inviting landscapes and life-like figures became more commonplace. The very early pieces don’t have many surface images. The clay that is used to make Satsuma can differ, depending on the location where it was made. Clay from Kyoto will give a lighter appearance and clay from Kyushu will give it a darker tone. The Kyushu clay will cause the crackled glaze to have a darker, more pronounced look.
 

All Satsuma pottery is known for its crackled glaze. Crackles break the surface into thousands of tiny planes, giving it a soft effect and are caused by a difference in shrinkage between the body and glaze during cooling. Satsuma also does not ring when it is tapped, like other china pottery will do. Satsuma is fired at a lower temperature than porcelain, but at a higher temperature than most pottery. The pottery is characterized by an overlay of decorations in raised polychrome enamel colors and gold. 

The 12 inch high, dazzling Satsuma vases, being offered today, are from Kyoto and are most likely from the Meiji period, which is from 1868-1912, but could be even older than that. The bodies of the vases are of vivid cobalt blue, upon which are two hand painted panels. The panels’ designs feature a mountain landscape and the gorgeous, flowering sakura (cherry) tree. In the garden below are women in colorful red, pink and green kimonos. The entire scene is embellished with deep gold gilt accents. The cobalt blue portion of the vases also has magnificently detailed, gilt floral patterns. Both of these stunning, rare Japanese vases are in excellent condition and free of cracks or chips and are originally signed in gold on the bottom. These elegant, incredible, antique Japanese vases are of classic beauty, with rich cultural history and will make an outstanding centerpiece for any room in your home! Buy these exquisite vases here

Two Large Antique Hand Painted Satsuma Vases From Kyoto Japan – Absolutely Breathtaking! is a post from: Japanese Antiquities