Full fused bronze covered in foiled gold hammered and levigated. Height 35,6 cm x ø base 11,4.

Cast and patinated bronze with black lacquer with traces of leaf gliding. Height. 47,8 cm base height 12 cm x ø 15

The statue of the standing Amida Nyorai fits in the standard typology and dimensions of “one feet and five sun” The long shaped face, the fact that the edge of the monastic coat covers the left upper arm and the formal and stylistic proximity of the figure made by the pupils of the renowned sculptor Unkei (1151-1223), allow us to date the statue to the Kamakura period, more precisely to the second half of the 13th century. However, the hands, the halo and the pedestal were replaced in the Edo period. We can assume that the Buddha Amida was placed side by side the statues of the bodhisattva Kannon and Seishi considering the typical composition of these three called Amida Sanzon.  Unfortunately, these two statues went missing as well as the original halo and pedestal. The statue expresses a feeling of monumentality and volume besides a stronger masculinity. These elements reveal an intentional reference to the style of the school of sculpture Kei of the Kamakura period.

: lacquered wood, polished red lacquer, relief decoration applied in bright and coloured paste (outside); bright and black lacquer, decoration with engraved lines saturated with gold (inside). 23,5 x 28,5 x 20,4 cm.

Porcelain, blue underglaze, bas-relief decoration. Height 60,5 cm x ø mouth 18 cm x ø base 22.2 cm

This vase clearly takes inspiration from China, both on the tianqiuping shape with a bulbous body and a long and thick neck, and on the bas-relief decoration. This technique was performed in China since the Tang period. The blue under glazed painted ornament with little branches, curled leashes and big hōsōge, flowers has bright colors on the bottom that gradually lighten from the front to the shoulder and they completely turn white on the bas-relief drawings that start to emerge on the base of the neck and become more visible. This decoration was achieved through an outstanding technique, typical of the Kōransha manufacture, that was founded in Arita in 1689 by Matashiro Fukagawa (then named Eizaimon Fukagawa), and is still active to this day. This piece is dated 1894, according to the inscription on the base which reads “Meiji nijūrokunen  Koransha sei”: “Twenty-sixth year of Meiji period [1894], Kōransha made”.

porcelain, blue underglaze, polychrome enamels overglaze. Height 24,5 cm x ø mouth 2,2 cm x ø base 8 cm

- XVI

L-0064

Unità di misura: cm; Altezza: 17.7; Larghezza: 16.2; Profondità: 16.2

legno laccato e intagliato

Cabinet (tansu) of almost cubic shape built in the typical shape characterizing the containers for seals. It has a projecting base and is equipped with side handles, a lock plate with padlock and handle to open the yellow bronze ring drawers. A pull-out door closes two internal drawers while a compartment at the lid encloses a separate upper space. All interior surfaces and the base are covered in glossy black lacquer. On the lid, a twelve-element border encloses a central cruciform motif; the door, rear face and side faces feature compositions of mirror pairs of jianhuan (sword apple motif) in three variants. The drawers are likely to be a non-recent Japanese replacement.

Cloisonné enamels on metal, gold edges and alveoli, 8,1 x 12 x 8,4 cm.