Iz Japanske zbirke

Dr.sc Damir Kovač,prim.med.

specijalist neurokirurg,

iU zagrebačkoj Galeriji Klovićevi dvori, Jezuitski trg 4,

predstavalja se, od  20.12.2011.do 22.01.2012. izložba -

Iz Japanske zbirke, Dr.sc.Damira Kovača,

naslovljena - Skulpturalne minijature

Budući da svojom matičnom djelatnošću u medicinskoj struci kontinuirano motri kroz povećalo,jer je neurokirurgija-mikrokirurgija,Dr.sc.Damir Kovač kao njen elitni predstavnik,ličnost velikoga ugleda u Hrvatskoj i šire u Europi, fascinira ga  japanska umjetnost, kojom dominira minucioznost, taktilnost,prezentacija infinitezimalnih oblika u impresivnj cjelini –skulpturalnoj minijaturi.

Sakupljajući, niz godina,male japanske skulpture,stvorio je jedinstvenu zbirku. Prigodom proslave dvadesete obljetnice Lions- cluba, Zagreb,gospodin Dr.sc.Damir Kovač je odlučio svoju osobitu zbirku predstavaiti hrvatskoj likovnoj javnosti i tim činom izraziti, istodobno,poštovanje i počast ponosnom,odvažnom,marljivom i samozatajnmom narodu Japana, poglavito u ovoj godini njegova kataklizmičnog potresa, velike nesreće koja ga je zadeseila i svijetu pokazala primjere najveće ljudske požrtvovnosti i tihe,pouzdane izdržljivosti.

Doc. dr. sc. Damir Kovač, rođen je početkom listopada, 1949. godine u Zagrebu, I u rodnom gradu završava osnovnu školu, gimnaziju,studira medicinu, diplomirao je na Medicinskom fakultetu Sveučilišta u Zagrebu 1973. godine.

Specijalizaciju iz opće kirurgije završio je 1975. godine, a 1984. godine specijalizaciju iz neurokirurgije. Stručni naziv primarijus, priznat mu je 1992. godine. Do sada je napisao stotinu znanstvenih i stručnih radova s područja neurokirurgije. U toj velikoj i složenoj struci djeluje u Klinici za neurokirurgiju KBC Sestre milosrdnice, u Zagrebu, kao voditelj Odjela

Od svoje  rane mladosti, Dr.sc.Kovač razvija sustavno zanimanje za antičku numizmatiku i arheologiju. Višegodišnji je član Hrvatskoga numizmatičkog društva u Zagrebu, a od 1993. godine i predsjednik Društva.

Autor je niza stručnih i znanstvenih radova u područja numizmatike, a bio je i aktivni sudionik domaćih i međunarodnih numizmatičkih kongresa. Idejni je autor i autor scenarija za prvi hrvatski dokumentarni film o numizmatici: Numizmatika na hrvatskom povijesnom tlu (Stella-film,1988.).

 Dr.sc.Damir Kovač, je organizirao nekoliko numizmatičkih izložaba: Antika - numizmatička zbirka - u povodu obilježavanja Svjetskog dana štednje, 1997., Hrvatska narodna banka, Zagreb. Dvije tisuće petsto godina kulture štednje i novčarstva na povijesnom hrvatskom tlu, 1988., Muzej za umjetnost i obrt, Zagreb. Lik žene na rimskom novcu, 2001., Partner banka, Zagreb; Falusom protiv uroka, 2003., Muzej grada Zagreba; Ban Josip Jelačić, iz zbirke Dr. Damira Kovača, 2008., Galerija Matije Skurijenija u Novim Dvorima, kod Zaprešića.

Svojom najnovijom,aktualnom izložbom iz Japanske zbirke,u Klovićevim dvorima,

Gospodin Dr.sc.Damir Kovač dosljedno afirmira širinu svoje ličnosti ,obilje iskustava,sustavnu metodičnost u svakom području svojega djelovanja, i kao takav nadahnjuje mnoge svoje suvremenike u svakom od područja utjecajne učinkovitosti, u rasponu od složene grane medicinskih znanosti, do područja u kojima mnogogodišnjim zalaganjem ostvaruje iznimno vrijedne i dokumentarno likovno –estetski impresivne zbirke.

• 1
Lions Club Zagreb
• 2
Umjetnost prolaznoga svijeta / Art of the transient world
Skulpturalne minijature iz japanske zbirke dr. Damira Kovača / Sculptural miniatures from the collection of Dr. Damir Kovač
Galerija Klovićevi dvori
20. prosinca 2011. – 22. siječnja 2012. / 20 December – 22 January 2012
Autorica stručne koncepcije / Author of the professional conception
Karolina Franc
Kustosica / Curator
Koraljka Jurčec Kos
Prostorna koncepcija i likovni postav / Exhibition set-up
Mario Beusan
Marketing
Antonio Picukarić
Edukativni programi / Educational programmes
Liljana Velkovski
Tehnička realizacija / Technical realisation
Dragutin Matas, Tomislav Antolić, Davor Markotić, Vinko Soldan, Tomo Šetek
Rasvjeta / Lighting
Damir Babić
Izložba je ostvarena u organizaciji Galerije Klovićevi dvori, a uz podršku sponzora te uz suradnju Lions Cluba Zagreb
The exhibition has been organised by the Klovićevi dvori Gallery and sponsors, and with the cooperation of the Lions Club Zagreb
• 3
Umjetnost prolaznoga svijeta
Art of the transient world
Sculptural miniatures from the collection of Dr. Damir Kovač
Skulpturalne minijature iz japanske zbirke dr. Damira Kovača
• 4
• 5
Što je za Zapad daleki Istok? Svijet potpuno drugačiji kulturom,
poviješću, svjetonazorom, duhovnošću, pa i umjetnošću. Potpuno
drugačija slika svijeta i njegova poimanja. Osobito je Japan kao krajnji
Istok fascinirao, posebice umjetnošću s kojom se Zapad suočio tek
u 19. stoljeću. Prvo su mu otkriće bili japanski drvorezi u boji koji
su zadivili impresioniste. O njima su oduševljeno govorili Gustave
Flaubert, Charles Baudelaire i Oscar Wilde. Van Gogh ih je kopirao
slikajući uljem na platnu. A Emil Zola je, braneći od oštre kritike
Eduarda Maneta, njegovo slikarstvo usporedio upravo s japanskim
drvorezima u boji. Ta usporedba bila je adutom njegove obrane.
Zapadno otkriće japanske umjetnosti, koja je tada postala vrlo
popularnom, zbilo se pred kraj razdoblja Edo (1615. -1867.) koje je
jedno od najstabilnijih u povijesti Japana. Zbog izolacije koju je strogo
provodio shogunat Tokugawâ, u želji da spriječi širenje kršćanstva,
japanska umjetnost ne podliježe stranim utjecajima kao prije, već
razvija svoj samosvojni izričaj. Vrijeme je to u kojem jača građanski sloj
trgovaca i obrtnika, čije bogatstvo je usmjereno na poticanje razvoja
svih umjetnosti. U vrijeme Eda razvila se tipično građanska poezija
haiku, građanski roman u kojemu su slavni ratnici i velikani budizma
zamijenjeni novim protagonistima – marljivim i vještim trgovcima,
a drama kabuki izgoni mitske legende i herojske događaje svojstvene
za prethodnu dramu no. Sve je usredotočeno na svagdašnji trenutak
koji je sada bitno drugačiji. I slikarstvo poseže za temama „prolaznoga
svijeta“, onima iz svagdašnjeg života što su pretočene u svima dostupne
drvoreze. To je razdoblje dekorativnoga slikarstva. Osobita se pažnja
posvećuje uporabnim predmetima, pa je to vrijeme u kojem se razvijaju
svi oblici japanske keramike, te se počeo proizvoditi prvorazredni
porculan. Izrada predmeta od maki-e, zlatnoga i srebrnog laka, dosegla
je tada vrhunac tehničke izvedbe i razrade detalja. U tom razdoblju
posebna se pažnja posvećuje izradi kutijica – inro, što su prvotno
služile za lijekove, a nosile su se ovješene konopom za pojas obi na način
da im je protuteža s druge strane konopa bila minijaturna skulptura od
• Umjetnost prolaznoga svijeta
drva, bambusa, bjelokosti ili metala, takozvani netsuke. Oblikovanje
inro i netsuke u razdoblju Edo uzdignuto je na razinu vrhunske
umjetnosti.
Dio te japanske umjetničke baštine hrvatskoj je javnosti bio predočen
u Galeriji Klovićevi dvori izložbom „Kyôto – cvijet kulture Japana“.
Točno četvrt stoljeća poslije te impozantne izložbe, umjetnost Eda
i razdoblja Meiyi koje mu slijedi ponovno ulazi u Klovićeve dvore.
Ovaj put ne stiže iz Japana već iz privatne zbirke dr. Damira Kovača.
Brojem predmeta primijenjene umjetnosti ona nadmašuje prethodnu
izložbu. Njezina je osobitost množina minijaturnih skulptura,
ponajvećma bjelokosnih i minuciozno modeliranih, koje predočuju
galeriju likova, pojedinačnih, u paru ili grupi, te pridruženim im
životinjskim svijetom. Ratari, seljaci i ribari; svirači, igrači i hrvači;
bogovi, samuraji i mudraci; muškarci, žene i djeca; mladići, djevojke i
starci; te k tome miševi, mačke i psi; majmuni, konji i bikovi; poneki
tigar, lav i orao, pa pokoja vjeverica, zec ili pilić svjedoče o vještini
tadašnjih majstora koji su s lakoćom modelirali u bjelokosti ili drvu.
Oni otkrivaju način odijevanja, ponašanja, zanimanja, pa i promišljanja
te shvaćanja prolaznoga svijeta koji svoje tragove ostavlja i u drvorezima
s ovjekovječenim ženama pri toaleti. Uz drvoreze tu su i neizbježne
kutijice inro i netsuke, kao dijelovi tradicionalne odjeće, svojevrsni
nadomjesci za džepove kojih nema na kimonu. Vrč i mirisnica
posvjedočuju vrsnost japanskoga porculana, a njihov oslik bojama
iznad cakline raskoš uresa i maštovitost umjetnika.
Moglo bi se reći da je to umjetnost Japana u malome formatu koji
upućuje na velike dosege. Svakako, ova izložba upotpunjuje sliku
prethodne, prizivajući je u sjećanje. Otkriva nove detalje i osobitosti
japanske primijenjene umjetnosti. I čini novu sponu između Hrvatske
i Japana, gotovo neraskidivu jer je ovaj segment japanske umjetnosti
udomljen u Zagrebu.
Vesna Kusin
• 6
What is the meaning of the Far East for the West? It is a world of
completely different culture, history, worldview, spirituality, and even
art. A completely different picture of the world and its conception.
Japan, as the easternmost point of the Far East, has been especially
fascinating with its art with which the West was acquainted only in the
19th century. Firstly, the West discovered Japanese woodcuts in color
that amazed the Impressionists. Gustave Flaubert, Charles Baudelaire
and Oscar Wilde spoke about them with great enthusiasm. Van Gogh
tried to copy them by painting oil on canvas and Emil Zola, trying to
protect Eduard Manet from harsh criticism, compared his paintings
with Japanese woodcuts in color. This comparison was the main
argument of Zola’s defense.
Western discovery of Japanese art, which then became very popular,
took place at the end of the Edo period (1615-1867) which is one of
the most stable in the history of Japan. Due to the isolation that was
strictly implemented by the Tokugawâ Shogunate in order to prevent
the spread of Christianity, the Japanese art was not subjected to foreign
influences as before, but has developed its proper expression. During
that period the class of merchants and craftsmen gained strength, and
their wealth was aimed at encouraging the development of all arts.
This period was also marked by the development of a typical civil
poetry called haiku, civil novels in which the famous warriors and great
Buddhists were replaced with new protagonists - hardworking and
skilled merchants and kabuki plays that banished myths and legends as
well as heroic events inherent to the previous no plays. Everything was
focused on the daily moment, which is now fundamentally different.
The themes of ‘transient world’ are often found in paintings. Themes
of everyday life that are transformed into woodcuts now available
for everyone. This was a period of decorative painting. Particular
attention was given to the objects of daily use, so this is the period of
development of all forms of Japanese pottery and production of the
first-class porcelain. Making objects of maki-e, gold and silver lacquer,
reached its peak of technical performance and elaboration of details.
Special attention was paid to making boxes - inro, which were initially
used for medicines, and were worn suspended by a rope at the obi belt
in a way that they counterbalance the other side of the rope with a
• Art of the transient world
miniature sculpture of wood, bamboo, ivory or metal, called netsuke.
In the Edo period, production of inro and netsuke was raised to the
level of high art.
Part of that artistic heritage of Japan was presented to the Croatian
public in the Gallery Klovićevi dvori at the exhibition “Kyoto – the
flower of Japanese culture”. Exactly a quarter of a century after that
impressive exhibition, the art of the Edo period and the succeeding
Meiyi period is about to re-enter Klovićevi dvori. This time the
exhibits do not come from Japan, but from the private collection of
Dr. Damir Kovač. With the number of applied art objects, it surpasses
the previous exhibition. Its peculiarity is the number of miniature
sculptures, mainly made of ivory and meticulously modeled, depicting
the gallery of characters, single or in a pair or group, and animals.
Farmers, peasants and fishermen; musicians, players and wrestlers;
gods, samurai and sages; men, women and children; boys, girls and
old men; mice, cats, dogs; monkeys, horses and bulls; few tigers, lions
and eagles, squirrels, rabbits and chicks testify to the great skills of
the artisans of that time, who easily modeled sculptures in ivory or
wood. They reveal how people were dressed, how they behaved, what
were their occupations, even their way of thinking and understanding
of the transient world that leaves its trace in woodcuts with women
eternalized while grooming themselves. Besides woodcuts, there are the
inevitable inro and netsuke boxes, parts of their traditional clothing,
which serve as a substitute for the absence of pockets on the kimono.
A pitcher and an incense burner testify to the excellence of Japanese
porcelain and the paint applied over enamel surfaces, the luxury of
adornment and imagination of artists.
One could say that this is the Japanese art of small format indicating
great achievements. Certainly, this exhibition builds on the experience
of the previous one, evoking the memory of it. It reveals new details
and peculiarities of Japanese applied arts. It makes a new link between
Croatia and Japan, virtually unbreakable, because this segment of the
Japanese art has found its home in Zagreb.
Vesna Kusin
• 7
• Drvorezi / Xylograph
• 8
• 9
• 1. – 4. Četiri drvoreza,
drvorez, slikarstvo, lak 24,5 x 17,5 cm
• 10
• 5. Orao na grani,
drvo, crni lak heian sa sedefom i
slonovačom, drveni izrezbareni okvir sa
florealnim motivom, 77 x 43 cm
• 11
• Skulpture / Sculpture
• 12
• 6. Fukurokuju starac, bog dugog života.
Uvijek se smije s vrlo velikom glavom,
slonovača, 17,5 cm
• 7. Figura seljaka s lulom i košarom s
voćem, slonovača, 18 cm
• 8. Djevojka s ogledalom,
slonovača, 14, 5 cm s postoljem
• 13
• 9. Djevojka sa svitkom u ruci
(Besmrtnica ?), slonovača, 21 cm s postoljem
• 10. Djevojčica s granom lotosa u rukama,
slonovača, 11,2 cm s postoljem
• 11. Djevojka u ruci drži lepezu
(Besmrtnica?), slonovača, 12,7 cm s
postoljem
• 14
• 12. Žena sa instrumentom shamisen u
ruci (Boginja glazbe), slonovača, 24 cm.
• 13. Otac i sin s kutijom za hranu na glavi
i klasjem žita u dječjoj ruci, slonovača,
12,3 cm s postoljem.
• 14. Starac sa naramkom drva na leđima,
slonovača, 13,8 cm sa postoljem
• 15
• 15. Poljoprivrednik,
slonovača, 15 x 9 cm
• 16. Starac oslonjen na štap gama sennin
(starac besmrtnik?), slonovača, 15,4 cm
• 17. Ribar (Ebisu bog hrane i ribarstva?),
slonovača, 20,5 cm
• 16
• 18. Ribar Ebisu, bog hrane i ribarstva,
slonovača, 5,5 x 3,2 cm
• 19. Ribar sa sinom,
slonovača, 12,5 x 6,5 cm
• 17
• 20. Čovjek na bivolu,
slonovača, 10 x 8 cm
• 21. Starac na konju,
slonovača, 13,5 x 9,5 x 7 cm
• 18
• 22. Čovjek s čajnikom i šalicom,
slonovača, 16,5 x 5,5 cm
• 23. Starac sa štapom (Daikoku bog
trgovine, poljoprivrede i obrta ?),
slonovača, 27 x 8 cm
• 24. Žena i hvatač štakora,
slonovača, 8 x 5 cm
• 19
• 25. Držak za suncobran,
slonovača, 10,5 x 3,3 cm
• 20
• 26. Stalak za pušenje,
slonovača ili kost, 19,5 x 2,5 cm
• 21
• 27. Stalak za pušenje,
kost, 20 x 3,3 cm
• 22
• 28. Kutijica s poklopcem,
slonovača, 8,7 x 4,3 cm
• 29. Kružna kutija s poklopcem,
9 x 6,5 cm
• 30. Sveti stup,
slonovača, drvo, 25,5 cm
• 23
• 31. Orkestar žaba i majmuna,
slonovača, 7 x 5 cm
• 32. Tri poljoprivrednika s djetetom, košarom plodova
u rukama, tikvom i velikom zdjelom, slonovača, 4,2 x 5 cm
• 24
• 33. Čovjek s lepezom,
slonovača, drvo, 4,2 x 2,5 cm
• 34. Japanka s kutijom,
drvo, slonovača, 4,5 x 2,8 cm
• 25
• 35. Muškarac i djevojčica pjevaju,
slonovača, 4,2 x 3,5 cm
• 36. Sennin starac s velikim štapom i lepezom u obliku lista,
slonovača, 5,3 cm
• 26
• 37. Osoba s maskom na glavi i knjigom u
ruci, slonovača, 4,2 x 1,3 cm
• 39. Dijete s malim demonom,
slonovača, 4,2 x 2,5 cm
• 41. Dijete,
slonovača, 4 x 2,5 cm
• 27
• 38. Par muškaraca u igri go,
slonovača, 7 x 3,2 cm
• 40. Dva muškarca sa štakorom i ribom,
slonovača, 5 x 2,8 cm
• 28
• 42. Ratar sa bundevom ili vrećom,
slonovača, 5 x 2,5 cm
• 29
• 43. Čovjek s košarom voća,
slonovača, 5,2 x 2,2 cm
• 44. Čovjek s košarom drva,
slonovača, 5,1 x 3 cm
• 45. Smetlar,
slonovača, 5,5 cm
• 46. Čovjek s košarom drva,
slonovača, 5,3 x 2,1 cm
• 30
• 47. Sumo hrvač,
slonovača, 4,3 x 4,2 cm
• 48. Sumo hrvač,
slonovača, 3,7 x 3,7 cm
• 31
• 49. Čovjek s psom i lulom,
slonovača, 4 x 3,3 cm
• 50. Čovjek sa rukama iza glave,
slonovača, 4,5 x 3,2 cm
• 32
• 51. Dijete s dvostrukom tikvom,
bjelokost, 3,5 x 2,5 cm
• 52. Čovjek s bubnjem,
bjelokost, 5 x 3,5 cm
• 33
• 53. Obitelj sa zvečkom,
bjelokost, 5 x 4,5 cm
• 54. Čovjek s bubnjem,
bjelokost, 3,5 x 4 cm
• 34
• 55. Čovjek s košarom,
bjelokost, 3,5 x 3,5 cm
• 57. Čovjek sjedi na drvima s vrećicom,
bjelokost, 5,1 x 7,2 cm
• 35
• 56. Čovjek sa spuštenom lepezom u lijevoj ruci,
bojana bjelokost, 5,5 x 2,5 cm
• 58. Čovjek sa zecom i dvostrukom tikvom ili mijehom,
bjelokost, 3,6 x 3,3 cm
• 36
• 59. Starac Sennin sa svim priborom,
slonovača, 5 x 3,5 cm
• 60. Dijete sa školjkom,
bjelokost, 7,5 x 2,2 cm
• 37
• 61. Čovjek s lepezom,
bjelokost, 1,5 x 4 cm
• 62. Žena sa zecom,
bjelokost, 4,6 x 2,8 cm
• 38
• 63. Čovjek s bradicom i simbolima dobrih želja,
bjelokost, 5,1 x 2,6 cm
• 64. Mudrac sa štapom,
bjelokost, 4,5 x 2,8 cm
• 65. Čovjek s vršom i ribom,
bjelokost, 5,2 x 2,8 cm
• 66. Čovjek s nožem,
bjelokost, 5,3 x 2,7 cm
• 39
• 67. Žena s ribom,
bjelokost, 5,3 x 2,5 cm
• 40
• 68. „Veseljak s čašom“ - bog zadovoljstva,
bjelokost, 5,1 x 4 cm
• 70. Čovjek s košarom,
bjelokost, 3,5 x 2,3 cm
• 41
• 69. Dječak sa žabom,
bjelokost, 2,5 x 4,5 cm
• 72. Dvoje u razgovoru ili u igri pogađanja brojeva,
bjelokost, 2,7 x 4,6 cm
• 42
• 73. Samuraj s tri pomična lica koja pokazuju različita raspoloženja,
bjelokost, v. 5 x š. 3 cm
• 43
• 74. Samuraj s dva pomična lica koja pokazuju dva različita raspoloženja,
bjelokost, 6 x 3,2 cm
• 44
• 71. Seljak s bivolom,
bjelokost, 3 x 4,5 cm
• 75. Starac u ruci drži dvije breskve, a u drugoj lepezu
(Tobasacu Sennin), bjelokost, 13,5 cm
• 76. Ratar,
bjelokost, 5,5 x 3 cm
• 45
• 77. Reiden - bog groma (Čovjek s vrećom i bubnjem),
bjelokost, 3 x 3 cm
• 78. Bog munje,
bjelokost, 4 x 3,3 cm
• 46
• 79. Djevojčica s košarom voća,
bjelokost, 12 x 2,5 cm
• 80. Starac s dvostrukom tikvicom,
bjelokost, 7,5 x 3 cm
• 81. Starac s tikvom,
bjelokost, 7,5 x 3,5 cm
• 47
• 82. Starac sa žabom ( Jurojin ili Hotei Gama Sennin),
bjelokost, 5,5 x 5 cm
• 83. Ribar - Ebisu, bog hrane i ribarstva s ribičkim štapom i
velikom ribom „tai“, bjelokost, 7 cm
• 48
• 84. Čovjek s lepezom i vrećom (Hotei -
bog sreće), bjelokost, 4,4 x 3,2 cm
• 85. Čovjek s lepezom iznad
glave, bjelokost, v. 4,3 x š.2,3 cm
• 87. Dijete kleči podvijenih
nogu, bjelokost, 4,3 x 2,2 cm
• 88. Dječak s kornjačom,
bjelokost, 3,9 x 3,5 cm
• 49
• 86. Dječak sa svitkom,
bjelokost, 4 cm
• 50
• 89. Dijete - vražićak,
bjelokost, 5,2 x 2 cm
• 90. Čovjek s vrećom,
bjelokost, 4,2 x 1,8 cm
• 51
• 91. Dva lika igraju igru Go unutar tikve,
bjelokost, 3,5 x 3,5 cm
• 92. Šestero ljudi na putovanju brodom,
kolorirana bjelokost, 6,5 x 4,2 cm
• 52
• 93. Budha s velikim ušima (Starac s povećom glavom i bradom na
prsima, možda Fukorokuju), bjelokost, 4 x 2,3 cm
• 94. Starac sa štapom (Fukurokuju),
bjelokost, 4,8 x 3 cm
• 53
• 95. Čovjek koji leži na vreći,
bjelokost, 1,5 x 4,2 cm
• 97. Čovjek drži u ruci lepezu,
bjelokost, 1,8 x 3,2 cm
• 54
• 98. Čovjek s maskom i
lepezom, bjelokost, 3,5 x 7 cm
• 99. Čovjek sjedi i drži lepezu
u ruci, bjelokost, 3,2 x 2,5 cm
• 100. Čovjek sjedi s lepezom,
bjelokost, 3 x 2,5 cm
• 96. Fukurokuju, starac
mudrac s velikom glavom,
bjelokost, 3,1 x 1,6 cm
• 55
• 102. Čovjek s kutijom,
bjelokost, 3,2 x 2 cm
• 103. Čovjek u kimonu s motivom
izvezenih listova, bjelokost, 3,5 x 2 cm
• 104. Čovjek s vrećom,
bjelokost, 3 x 1,6 cm
• 101. Čovjek sjedi s uzdignutom
lepezom, bjelokost, 3,5 x 2,3 cm
• 56
• 106. Čovjek sa sklopljenim
rukama u kimonu s kružnim
uzorkom, bjelokost, 4 x 1,5 cm
• 107. Starac u desnoj ruci
drži kutiju s dvjema ladicama,
bjelokost, 3 x 1,8 cm
• 108. Fukurokuju starac s
velikim štapom i lepezom,
bjelokost, 3,5 x 2 cm
• 105. Čovjek u kimonu
cvjetnog uzorka,
bjelokost, 3,5.x 2,1 cm
• 57
• 110. Starac u ruci drži kutiju,
bjelokost, 3 x 1,8 cm
• 111. Čovjek koji sjedi - Hotei,
bjelokost, 2,2 x 2,3 cm
• 112. Čovjek s vrećom ili loptom
(Hotei - bog sreće, zadovoljstva),
bjelokost, 3 x 1,5 cm
• 109. Starac izdužene glave
(Fukurokuju), bjelokost,
3,5 x 1,7 cm
• 58
• 113. Žena s dvjema posudama,
bjelokost, 4,3 x 2,3 cm
• 114. Budha zadovoljstva,
kost, 4,2 x 3 cm
• 59
• 115. Erotika,
bjelokost, 4,7 x 2,7 cm
• 60
• 116. Erotika,
bjelokost, 4,7 x 2,7 cm
• 117. Erotika,
bjelokost, 6 x 8,5 cm
• 61
• 118. Kagami Netsuke - prikaz Budhe zadovoljstva,
bjelokost i srebro, promjer 4,2 cm
• 62
• 119. Dijete s flautom u perforiranu cvjetnom vrtu - Ryusa Manju Netsuke,
bjelokost i sedef, promjer 4 cm
• 63
• 120. Japanka s lepezom stoji na vuku, Manju Netsuke,
bjelokost, promjer 6 cm
• 64
• 121. Zmaj i ptice, Riatsu Netsuke, tip okrugle Netsuke s motivima rezanim na
perforaciju ryusa manju poput gumba s dekoracijom s otvorom, bjelokost, promjer 4 cm
• 65
• 122. Dijete s rakom - okrugla Manju Netsuke,
bjelokost, promjer 4,7 cm
• 66
• 123. Maska netsuke,
bjelokost, 5,2 x 3,1 cm
• 124. Maska demona - netsuke,
bjelokost, 5,1 x 2,2 cm
• 67
• 125. Četiri maske netsuke,
kolorirana bjelokost, 2,3 x 1,8 cm; 1,8 x 1,5 cm; 1,9 x 1,5 cm; 1,9 x 1 cm
• 68
• 127. Konj - Uma koji pase,
bjelokost, 4,8 x 3,5 cm
• 69
• 126. Konj s mišem na leđima,
bjelokost, 4,2 x 2,5 cm
• 128. Zec na ovci,
bjelokost, 2,5 x 3,7 cm
• 70
• 129. Majmun,
bjelokost, 4,1 x 2,7 cm
• 130. Tri majmuna,
bjelokost, 7 x 4,3 cm s postoljem
• 71
• 131. Majmun,
bjelokost, 3,8 x 3 cm
• 132. Majmuni pod palmama,
bjelokost, 6,3 x 3,5 cm
• 72
• 133. Pas (lav) iz hrama sa šupljom loptom (Shishi),
bjelokost, 3,3 x 3 cm
• 134. Pas s metalnim zvončićem,
bjelokost, 4 x 2 cm
• 73
• 135. Pas,
bjelokost, 3,2 x 3 cm
• 136. Mačka s mišem,
bjelokost, 6,5 x 5 cm s postoljem
• 74
• 138. Vjeverica,
bjelokost, 4 x 3,5 cm
• 139. Lavić,
bjelokost, 3 x 3,5 cm u profilu
• 75
• 137. Pilić,
bjelokost, 3,5 x 4,5 cm
• 76
• 140. Dva miša jedu bundevu,
bjelokost, 2,2 x 3,5 cm
• 143. Tigar,
drvo, 3 x 3 cm
• 77
• 141. Žena sa psom i pticom,
bjelokost, 7 x 3 cm
• 142. Čovjek s kutijom i štakorom - hvatač štakora,
bjelokost, 4,6 x 5 cm
• 78
• 144. Orao sa zmijom,
drvo, 7 x 3,2 cm
• 145. Kuhar,
drvo, 3,5 x 2,5 cm
• 79
• 146. Štakor,
drvo, 3,5 x 3,2 cm
• 147. Bik,
kamen, 5 cm
• 80
• 148. Inro kutijica za lijekove,
crni lak na drvu, boja, sedef, 6,5 x 4,8 cm
• 149. Inro kutijica,
crni lak, drvo i boja, 29 x 16 cm; 8,5 x 6,5 cm; 3,6 x 2,4 cm; 3,1 x 1,6 cm
• 81
• 150. Inro kutija,
drvo, lak, pozlata, 5,5 x 5,8 cm
• 151. Okrugli inro i netsuke,
drvo, crveni lak, pozlata, 4,5 x 4 cm, a Netsuke promjer 5,5 cm
• 82
• 83
• 152. Stalci za fotografije i ukosnica
(četiri komada)
• 84
• 153. Brončana vaza,
bronca djelomično pozlaćena, 36 x 24 cm
• 155. Mirisnica,
porculan s bojama iznad cakline, 8 x 6,5 cm
• 85
• 154. Vaza s poklopcem,
porculan oslikan bojama iznad cakline, 29 x 16 cm
• 86
• 87
Doc. dr. sc. Damir Kovač rođen je 3. listopada 1949. godine u
Zagrebu, gdje je završio osnovnu školu i gimnaziju. Diplomirao
je na Medicinskom fakultetu Sveučilišta u Zagrebu 1973. godine.
Specijalizaciju iz opće kirurgije završio je 1975. godine, a 1984. godine
specijalizaciju iz neurokirurgije. Stručni naziv primarijus priznat mu je
1992. godine. Do sada je napisao stotinu znanstvenih i stručnih radova
s područja neurokirurgije. Zaposlen je u Klinici za neurokirurgiju
KBC „Sestre milosrdnice“ u Zagrebu kao voditelj Odjela.
Od rane mladosti pokazivao je zanimanje za antičku numizmatiku i
arheologiju. Višegodišnji je član Hrvatskoga numizmatičkog društva
u Zagrebu, a od 1993. godine i predsjednik Društva. Autor je više
stručnih i znanstvenih radova s područja numizmatike, a bio je i aktivni
sudionik mnogih domaćih i međunarodnih numizmatičkih kongresa.
Idejni je autor i autor scenarija za prvi hrvatski dokumentarni film o
numizmatici: „Numizmatika na hrvatskom povijesnom tlu“ ( Stellafilm,
1988.).
Organizirao je nekoliko numizmatičkih izložaba:
Antika - numizmatička zbirka - u povodu obilježavanja Svjetskog dana
štednje, 1997., Hrvatska narodna banka, Zagreb.
Dvije tisuće petsto godina kulture štednje i novčarstva na povijesnom
hrvatskom tlu, 1988., Muzej za umjetnost i obrt, Zagreb.
Lik žene na rimskom novcu, 2001., Partner banka, zagreb
Falusom protiv uroka, 2003., Muzej grada Zagreba
Ban Josip Jelačić, iz zbirke dr. Damira Kovača, 2008., Galerija Matije
Skurijenija u Novim Dvorima kraj Zaprešića.
Kako praktički cijeli svoj život gleda kroz povećalo u svojoj struci,
kao i u numizmatici, jer neurokirurgija je mikrokirurgija, fascinirala
ga je japanska umjetnost, gdje dominira minucioznost, taktilnost.
Skupljajući niz godina ove male skulpture, nastala je zanimljiva zbirka.
Prigodom proslave dvadesete obljetnice Lions cluba Zagreb želio
je zbirku prikazati javnosti te istodobno odati počast ponosnome i
hrabrom narodu Japana, pogotovo u ovoj godini njihove velike nesreće.
Želja mu je da se dio kataloga zbirke donira japanskim i hrvatskim
knjižnicama.
Bilješka o vlasniku zbirke
• 88
• Drvorezi
Utamaro Kitagawa, slikar, crtač i drvorezac
Rođen u Kawagocu 1753., preminuo u Edu (Tokyo) 31. listopada 1806. Mlad
stupa u radionicu Toiyame Sukiena u Edu i napušta je 1782. Radi kod izdavača
drvoreza u zabavnoj četvrti Yosaiwara. Izvanredno je produktivan, kao slikar
pripada smjeru ukiyo-e, što na japanskome znači „slikarstvo prolaznoga svijeta“,
a što je pak budistička oznaka slikarstva u Tokugawa razdoblju (1603. - 1867).
Ono preuzima teme iz svakidašnjega života poput života kurtizana u zabavnim
četvrtima i glumaca kazališta kabuki. Te se teme obrađuju i u višebojnim
drvorezima koji se raspačavaju u velikim nakladama. Slavu zahvaljuje svojim
crtežima - predlošcima za drvoreze, osnovne teme kojih su lijepe žene. Za
njegova života već su se izvozili u Kinu, a u 19. st. i u Europu. Osobitu ljepotu
imaju prikazi kurtizana izvedeni kaligrafskim linijama. Osim pojedinačnih
predložaka radi knjige, slikovnice s erotskim karakterom koje se ubrajaju među
najrafiniranije višebojne drvoreze. Poznat je i po slikovnicama prirodoslovlja s
temama sitnih životinja i biljaka, gdje se očituje kao produhovljeni prikazivač
svijeta prirode.
1. - 4. Četiri drvoreza, v. 24,5 x š.17,5 cm
Četiri prikaza lijepih žena pri toaleti. Vrlo izražajna lica. Kimono, nacionalna
odjeća, prikazan je u tirkizno plavoj, crnoj, zelenoj uz nešto žute i ljubičaste boje
s tipičnim vegetabilnim otiscima. Jedinstvena uredno začešljana crna kosa na
svim je primjercima besprijekorno zaglađena i ukrašena tradicionalnim uresom.
Prvi drvorez prikaz je ženina poprsja kako se ogleda tako da se vide leđa s
prikazom punđe i drugih detalja u velikome ovalnom zrcalu. Potpis s tri znaka je
u donjem desnom uglu, predstavlja vjerojatno ime autora.
Drugi drvorez prikaz je lijepe žene u poluprofilu s bijelim velom kojega jedan
vrh podržava detaljno obojenim crvenim ustima, a ostatak je prebačen preko
uredno začešljane punđe. Poprsje je odjeveno u crnu vanjsku halju ispod koje viri
tirkizno plava i ljubičasta odjeća s bijelim otiskom. Desnom šakom nešto vadi iz
ljubičasto žute vrećice. Potpis, ime autora, čine tri znaka na desnome srednjem
dijelu na drap boji podloge.
Treći drvorez prikazuje izrazito lijepu ženu u poluprofilu pri toaleti s jednom
dojkom obnaženom. Crna punđa je visoko začešljana s dva tradicionalna
uresa. Lice je besprijekorno dotjerano. Odjeća gornja je svijetloplava s kružnim
tamnoplavim uzorcima povezanima tankim vrpcama iste boje kao i zelenom
tkaninom s crnim uzorcima listova u donjem dijelu tijela, koja je nemarno
prebačena. U obje šake drži kraj bijelog ručnika ili tkanine. U desnom donjem
uglu na drap podlozi tri su znaka, ime autora.
Četvrti drvorez je prikaz žene s leđa u punoj figuri kako se gleda pomoću dva
ovalna ogledala. Jedno držeći u lijevoj ruci da se djelomično ogleda dotjerano
lice, a drugo držeći u desnoj ruci, desno ogledalo sa stražnje strane ima žutom
bojom znak s tri lista u krugu (znak obitelji) i znak koji na kineskome znači
„visok“. Punđa je besprijekorna s ukrasima. Kimono prikazan s leđa jedinstven
je, tirkizno plav s bijelim i tirkiznim rombovima sa zvjezdastim osmokrakim
uzorcima. O pasu je širok crveni pojas s bijelim vegetabilnim motivima (japanski
obi). U desnom uglu dolje su tri znaka za ime autora.
Lit. Sotheby’s, London: Japanese prints, paintings and works of art, str. 60 i 61,
br. 421, 422, 424 i 425, aukcijski katalozi, 18. lipnja 1997.
5. Orao na grani, drvo, crni lak Heian sa sedefom i bjelokosti, drveni izrezbareni
okvir s florealnim motivom, v. 77 x š. 43 cm, moguć znak potpisa u desnom
donjem uglu
Tehnika potječe iz razdoblja Heian (794. - 1185.). Na drvenu podlogu
namazano je više slojeva crnog laka u koji je kao dekoracija umetnuta bjelokost
i sedef. Lak dobiven od soka drveta (rhus vernicifera) uvezen je u Japan iz Kine.
Skulpturalne minijature
• iz japanske zbirke
dr. Damira Kovača
• 89
Cijeni se jer je tvrd, otporan na vlagu i lagan. Sjaj mu je izvanredan, jezgra je
najčešće drvo, može biti i bambus, koža, papier mache, konopljino tkanje, metal,
glina ili porculan. Na podlogu se nanosi kistom sukcesivno u određenom broju
namaza. Svaki se sloj suši pa je tehnika dugotrajna i zahtijeva puno vlage. Lak se
može obrađivati na više načina: rezbariti, bojati, umetati druge materijale poput
bjelokosti, sedefa, metala. Prema načinu obrade dobiva nazivlje: Maki-e (zlatni
lak) naprašen je zlatnim i srebrnim prahom na crtež, te ponovno premazan
prozirnim lakom; radein - aplikacija sedefa na tvrdom drvetu, obojene tehnike
crvenom, zelenom, žutom bojom. Tehnika je tipična za Daleki istok - Kina,
Japan, Tajland. Najsavršenija djela dao je upravo Japan. Materijal je jedan od
najstarijih, već u doba države Yamato nađeni su predmeti s dekoracijom u
laku. Podloga slike iscrtana je crnim lakom na drvenoj ploči. U to je umetnuta
bjelokost i sedef za tijelo orla što sjedi na drvetu s dvije grane s listovima od
kojih neki već lete u zraku, uz tri lista u zraku leti lastavica i dva leptira. Orao je
prikazan s leđa s detaljno izrađenim perima na stražnjem dijelu i zlokobnoj glavi
izrađenoj u bjelokosti i sedefu što se prelijeva u nizu boja.
Razdoblje Edo, 19. stoljeće.
• Skulptura
6. Starac Fukurokuju, bog duga života. Uvijek se smije s vrlo velikom
glavom, bjelokost, v. 17,5 cm
Starac blaga osmijeha s vrlo velikom glavom i golemom kapom s
nepravilnim kružnim crnim ukrasima izrađenim tušem. Na vrhu kape sjedi
dijete što se drži za štap koji dolazi do zemlje. Starac se u visini ramena drži
za štap. U drugoj ruci u visini pojasa drži breskvu - simbol duga života,
poklanja se za rođendan. Starac je odjeven u dugu halju u dva dijela,
stražnja, vanjska je pravilno kockasta s prugama u dvostrukim linijama tuša.
Ima široke rukave gotovo do koljena kao i unutarnja halja bez uzorka vezana
dugim pasom (obi) u čvor s vanjskom polumašnom. Starac ima dugu gustu
bradu gotovo do pasa.
Razdoblje Edo (1615. - 1867.).
Lit. Aukcijski katalozi „Asiatika“, Kunsthaus Zacke, posebna aukcija
31.svibnja1997. str. 140 i 200
Br. 1110 Bog sreće i zadovoljstva Jurojin
Okimono, osnovne oznake: dugi štap, breskva, povećana glava, duga halja
Br. 780 Fukurokuju - bog blagostanja, oznake: povećana glava, žezlo, dulja
odjeća
7. Figura seljaka s lulom i košarom s voćem, slonovača, v. 18 cm
Seljak srednjih godina odjeven je u halju na preklop koja seže do koljena
i tušem ugraviranim biljnim motivima. U pasu je podvezana vrpcom
naprijed vezanom u mašnu. Na nogama od koljena do gležnja ima navlake
s graviranim kružnim motivom, stopala su bosa, na glavi nosi četvrtastu
maramu s kružnim kariranim motivima izvedenim tušem. Lice je izražajno.
U jednoj ruci u visini struka drži lulu, a drugom podržava košaru s voćem
na leđima. Iz druge ruke dolje visi vrećica s tušem upisana četiri znaka -
vjerojatno je unutra pribor za pušenje. S donje strane su dva znaka i cvijet s
pet latica iscrtan tušem, na rubu cvijet s tri i dvije latice. Razdoblje Edo, 19. st.
8. Djevojka s ogledalom, bjelokost, v. 14, 5 cm s postoljem
Djevojka odjevena u halju s puno nabora i ešarpom, graciozno je nosi
omotanu oko cijelog tijela. Rukavi su jako široki. U lijevoj ruci drži kružno
ogledalo kojim se ogleda. Na figuri jedino bujna kosa začešljana na jednu
stranu i nešto malo oči ocrtani su tušem. Razdoblje Meiyi, 19. st.
9. Djevojka sa svitkom u ruci (Besmrtnica ?), bjelokost, v. 21 cm s postoljem
Djevojka sa svitkom u ruci odjevena je u jako naboranu halju s velovima
koja dopire do zemlje. Jednom rukom pridržava velove, a drugom u visini
prsiju drži svitak. Jedino su crna kosa i krugovi očiju iscrtani tušem. Visoko
začešljana kosa ukrašena je tradicionalnim nakitom zlatne boje. Razdoblje
Meiyi, 19. st.
10. Djevojčica s granom lotosa u rukama, bjelokost, v. 11,2 cm s postoljem
Djevojčica je odjevena u tradicionalnu pidžamicu sa širokim hlačama i
jaknicom koja se preklapa i veže dugim pasom u mašnu u struku. Rukavi su
jako široki. Ukras oko vrata i donji rub koji dopire skoro do koljena izvezeni
su urezanim motivima ruyi žezla, simbolom dobrih želja. Oko vrata nosi
ogrlicu sa znakom za sreću, oko ruke kružnu narukvicu. Veliku granu lotosa
s tri cvijeta nosi od desne ruke preko ramena do lijeve ruke, jedino kosa
začešljana u dvije dječje pletenice obojana je crnim tušem kao i nešto malo
nanosa na očima. Razdoblje Meiyi, 19. st.
11. Djevojka u ruci drži lepezu (Besmrtnica?), bjelokost, v. 12,7 cm s
postoljem
Djevojka je odjevena u široku tradicionalnu pidžamu s puno nabora i
velova, hlače, široke, sežu do poda, a jaknica u struku vezana je mašnom.
U jednoj ruci drži veliku lepezu koja dopire skoro do koljena, ima izveden
znak za dug život shou. Oko oba ramena su visoki nabori, začešljana kosa s
tradicionalnim umetnutim nakitom u zlatu i nešto crnih šarenica oslikano
je tušem. Razdoblje Meiyi, 19. st.
12. Žena s instrumentom shamisen u ruci, Boginja glazbe, bjelokost,
v. 24 cm, ispod potpis od dva znaka
Žena odjevena u tradicionalni kimono vezen različitim uzorcima cvjetova,
ima jako široke rukave, naprijed se preklapa i podvezuje pojasom obi
koji na leđima ima veliki nabor u obliku jastučića. Šakom pridržava dugi
instrument s tri žice shamisen ili samiseni iz Kine koji je uvezen s otočja
Rukuyu 1558. i 1569. godine. Instrument je izrađen od skupocjenih vrsta
drva - kineske dunje, željeznog drva tagayassari, crvenoga shitan, duda. Za
ukras je upotrebljavana tehnika maki-e označena ovdje tušem. U drugoj ruci
drži trzalicu. Tradicionalno visoko začešljana punđa s uresima zacrnjena je
tušem kao i obrve i oči. Usta su blago naznačena crvenom bojom. Sankyoku
su tri žičana instrumenta - samiseni, koto i biva u upotrebi u Japanu.
Razdoblje Edo, 18.-19. st.
13. Otac i sin s kutijom za hranu na glavi i klasjem žita u dječjoj ruci,
bjelokost, v. 12,3 cm s postoljem
Otac i sin odjeveni su u jednostavna kimona što dosežu do poda i naprijed
se preklapaju. Rukavi su široki. Dijete drži dva klasa žita u ruci, a muškarac
na glavi kutiju za hranu s izrezanim znakom za dug život - shou, većina
kontura oba lika pojačana je tušem. Razdoblje Meiyi, 19. st.
14. Starac s naramkom drva na leđima, bjelokost, v. 13,8 cm s postoljem
Starac stoji odjeven u kratku tradicionalnu halju koja se vezuje naprijed
OBI-pasom. Na nogama ima uske hlače do ispod koljena. Na leđima mu je
svežanj drva. Stopala su bosa. Izražajna glava ima obrve, oči i brčiće kao i
kosu začešljanu na vrhu u „konfucijansku“ punđicu pojačanu crnim tušem.
Razdoblje Edo, 18. st.
15. Ratar, bjelokost, v. 15 x š. 9 cm
Muškarac stoji i u desnoj šaci drži rascijepljen štap, očito za ubiranje
plodova, a u lijevoj šaci plod s listovima poput rotkve. Oko lijeve noge na
• 90
podu je velika pletena košara puna plodova. Poljoprivrednik je odjeven u
tradicionalnu nošnju, haljetak do koljena koji se u pasu križa, a podvezan
je obijem i s urezanim biljnim motivima ocrtanim tušem. Uske hlače
podignute su iznad gležnja, a stopala su bosa. Na pasu mu visi okrugla
tikvica kao čuturica. Glava je pognuta u desnu stranu. Kosa je začešljana
prema natrag iza uha i ocrnjena tušem. Tjeme i čelo su goli. Obrve i oči
pojačane su tušem, a usta blago crvena. Razdoblje Meiyi, 19. st.
16. Starac oslonjen na štap gama sennin (starac besmrtnik?), bjelokost,
v. 15,4 cm
Starac, čest motiv u japanskoj i kineskoj umjetnosti, prikazan je kao
pustinjak s jednom kraćom nogom oslonjenom o visoki štap od trsa.
Odjeven je jednostavno u tradicionalnu halju razgaljenu tako da mu se
vide gola prsa, rukavi su dugački i široki, hlače su nabrane oko gležnja,
naročito na kraćoj nozi. Stopala su bosa. Odjeća nema nikakvih uzoraka.
Izražajna, malo podignuta glava ima kružnu bradu, brčiće, oči, obrve i na
potiljku začešljanu kosu obojenu tušem. Čest motiv u japanskom kiparstvu
i minijaturi netsuke. Razdoblje Meiyi, 19. st.
Lit. Julia Hutt: „Japanese netsuke“, br. 11. i br. 85., razdoblje EDO 18. - 19. st.
Victoria & Albert Museum: Far Eastern series. Distributed by Harry N.
Abrams, inc. Published 2003.
17. Ribar (Ebisu, bog hrane i ribarstva?), bjelokost, v. 20,5 cm
Čovjek je odjeven u tradicionalnu kratku odjeću što se križa na prsima i
vezuje pasom obi u mašnu u struku. Odjeća što seže do koljena ima široke
rukave i mjestimice je urešena vegetabilnim uzorcima. Na nogama ima uske
hlače i nazuvke do gležnja također s biljnim motivima. Stopala su bosa. U
jednoj šaci drži dvije ribe, a u drugoj ribički štap prebačen preko ramena i
pletenu košaru na podlaktici. S donje strane potpis je s dva lista. Razdoblje
Edo, 18. -19. st.
18. Ribar Ebisu, bog hrane i ribarstva, bjelokost, v. 5,5 x š. 3,2 cm
Bog hrane i ribarstva Ebisu odjeven je u tradicionalnu halju do ispod
koljena sa širokim hlačama i izvezenom pregačom s pojasom u struku. U
gornjem dijelu ima surku sa širokim rukavima na prsima izvezenim velikim
cvijetom i oko vrata kružnu borduru. U desnoj ruci drži štap šiljast s obje
strane kojim je vjerojatno uhvatio ribu. Pod lijevom rukom ima veliku
plosnatu ribu. Noge i stopala su bosa, okrugla glava gotovo bez vrata ima
malu kozju bradicu ocrtanu tušem, šiljatu kapicu na vrhu glave ispod koje
vire velike mesnate uši, te obrve i oči nacrnjene tušem kao i nos i usta koje
naglašavaju njegove okrugle obraze. Razdoblje Edo, 18. - 19. st.
19. Ribar sa sinom, bjelokost, v. 12,5 x š. 6,5 cm
Ribar u jednostavnoj tradicionalnoj odjeći s haljetkom iznad koljena i
uskim hlačama bosonog stoji raskoračen iznad pletene košare za ribe. Obje
ruke su pomaknute u desno sa šakama koje drže konopac s ribom što visi o
boku. Na glavi ima vezanu maramu. Obrve i oči naglašene su crnim tušem,
a usta blago crvena. Dijete stoji uz košaru također odjeveno u jednostavni
haljetak do ispod koljena s prednjom stranom na preklop. Noge su bose.
Lijeva ruka seže do ribe, a desna je na prsima. Okrugla glavica ima kružnu
do ušiju šišanu frizuru. Na licu su tušem blago iscrtane oči i crvenkasta usta.
Razdoblje Meiyi, 19. st.
20. Čovjek na bivolu, bjelokost, v.10 x š. 8 cm
Čovjek sjedi postrance na bivolu na podmetaču s resama. Desna noga
savinuta je u koljenu i podignuta do desne ruke, a lijeva je opuštena uz
tijelo bivola. Odjeven je u jednostavnu dugu halju sa širokim rukavima,
na nogama ima natikače. S obje šake drži frulu sa svilenom kićankom na
kraju što visi preko ramena. Okrugla glava ima velike uši i nešto dužu kosu
obojenu tušem. Lice je blago podignuto prema gore s tušem obojenim
očima i blago otvorenim ustima. Bivol ima iskoračenu jednu prednju nogu,
a ostale blago raskoračene. Glava ima prema vratu oblikovane iscrtane
rogove i tušem naznačene oči. Odostraga ima u čvor oblikovan rep.
Razdoblje Meiyi, 19. st.
21. Starac na konju, bjelokost, v.13,5 x š. 9,5 x d.7 cm
Čovjek sjedi naopako na konju, odjeven u dugi tradicionalni haljetak sa
širokim rukavima. Desna noga mu je gotovo ispružena uz tijelo, a lijeva
savinuta u koljenu na leđima konja. Desna ruka je opuštena i dodiruje
šakom lijevo stopalo, a lijeva je zadignuta sa šakom s predmetom poput
batine iznad glave. O pasu je odjeća vezana obi-pojasom. Izdužena glava
ima veliku kapu do ušiju. Oči su iscrtane tušem, a usta naglašena između
brade i brkova što dosežu do pola prsiju. Na leđima ima bambusov tobolac s
drvenim štapovima. Konj je prikazan kako je upravo stao s blago zakošenim
prednjim i paralelnim stražnjim nogama, s repom koji između slobodno
pada. Glava s očima, malim ušima i vratom s iscrtanom grivom zabačena je
koso preko prednjih nogu i sprema se pasti. Na „slabinama“ ima prostirku s
resama i djeluje kao da hoda po oblacima. Razdoblje Meiyi, 19. st.
22. Čovjek s čajnikom i šalicom, bjelokost, v.16,5 x š. 5,5 cm
Čovjek stoji odjeven u tradicionalnu odjeću s haljetkom i gornjom
jaknicom podvezanom u struku uskim obi-pojasom, četvrtastom kutijicom
i hlačama blago ispod koljena. Odjeća je iscrtana tušem manjim i većim
pravokutnicima i prugama oko vrata. Noge su bose. U desnoj šaci drži
čajnik, a u lijevoj šalicu. Okrugla glava s kapicom ima priljubljene uši, obrve
i oči iscrtane tušem, a usta su jako naglašena crvenom bojom. Razdoblje
Meiyi, 19. st.
23. Starac sa štapom (Daikoku, bog trgovine, poljoprivrede i obrta?),
bjelokost, v. 27 x š. 8 cm
Starac je odjeven u lijepu tradicionalnu odjeću s dugim haljetkom
otvorenim na prsima i širokim hlačama. Haljetak ima tušem iscrtan
vegetabilni motiv uz rub i uz široke rukave. Uz lijevi bok je veliki štap
gotovo do ramena koji podržava desnom rukom. Štap ima kvrgave izdanke
cijelom dužinom i proširenje na kraju. Na tome se odmara bosa lijeva noga
dok je desna, prekrivena širokim hlačama, jedva vidljiva. Otkrivena prsa
odaju nevidljive kosti rebara. O pasu je obi vezan u struku i o njemu visi
mala dvostruka tikva. Blago zakrenuta glava u desno ima izrazito lijepo lice s
tek malo iscrtanim obrvama, očima i velikim ustima s brčićima, te kratkom
tušem zacrnjenom bradom. Uši su velike i priljubljene, a glava podvezana
uskom maramom u mašnu na čelu. Razdoblje Meiyi, 19. st.
24. Žena i hvatač štakora, bjelokost, v. 8 x š. 5 cm
Žena odjevena u tradicionalnu odjeću stoji, do nje kleči oskudno odjeven
muškarac s kutijom na podu i štakorom na leđima. Žena ima bogato
vegetabilno ukrašenu odjeću koja se preklapa na prsima sa širokim
rukavima, sa šakama koje tek vire, ali gestikuliraju. Ima široki obi, što
na donjem dijelu kroz prorez dopušta vidjeti donju halju. Noge su bose.
Glava je uokvirena lijepo začešljanom i tušem pocrnjenom punđom s
tradicionalnim ukrasima. Lice je blago zacrnjenih obrva, očiju kao i crvenih
usana lijepa izraza. Muškarac odjeven skromno, oko pasa omotanom
tunikom kleči s koljenom desne noge podignutim i lijevim na zemlji sa
zadignutim stopalom. Tijelo je koščato s nevidljivim rebrima na leđima i
tušem zacrnjenom dlakom štakora što s ramena puže prema leđima. Glava
• 91
ima kratku zacrnjenu kosu od ušiju do vrata, stisnute uši i fizionomiju
iscrtanu tušem s obrvama, očima, brčićima i ustima. Glava je blago
zadignuta prema gore i daje do znanja da je nešto u kutiji koju poklopljenu
drži ispred sebe s dvije gole ruke. Potpis od dva znaka ispisan je crvenom
bojom. Razdoblje Meiyi, 19. st.
25. Držak za suncobran, bjelokost, v.10,5 x š. 3,3 cm
Držak za suncobran izrađen je od bjelokosti vrlo detaljno rezane. Tu je do
ispod pasa vidljiv lik muškarca s tradicionalnom odjećom u prvom planu
i prekrivenom jednom rukom zakriljenom stijenama. Odjeća je bogato
iscrtana tušem. Glave su okrenute na desno i lijevo jako ocrtane tušem.
Desna ima okruglu kapicu s malo vidljive tuš crne kose ispod, dok ona
okrenuta lijevo ima kapu s tušem jako iscrtanim obrvama, očima, nosom,
brčićima iznad ustiju i malom bradom. Odjeća je podijeljena na svjetlije i
na tamnije pruge. U pozadini su iscrtane kuće također tušem. Krajolik je
iscrtan prstenasto između okomitih pruga. Razdoblje Meiyi, 19. st.
26. Stalak za pušenje, bjelokost ili kost, v.19,5 x š. 2,5 cm
Stalak za pušenje izrađen je poput štapa s figurom čovjeka u jednostavnoj
odjeći prikazanoj iscrtavanjem tušem. Noge su u širokim hlačama u
poluprofilu, gornji dio je prikazan s leđa, s time da je dominantna traka
vezana u mašnu, a iz profila je pokazana jedna ruka s nekom vrstom štapića
- „baterije“. Glava je u profilu ćelava s tušem iscrtanom obrvom, okom i
nosom. Uz glavu je jedna vrsta balona iz kojeg izlazi valovito zrak. U daljini
je šišmiš raširenih krila. Sa strane je natpis s četvrtastim pečatom i dva
znaka. Razdoblje Meiyi, 19. st.
27. Stalak za pušenje, kost, v. 20 x š. 3,3 cm
Čitav stalak prekriven je motivom naselja u planini s nizom drvenih kućica
među visokim stablima borova, stijena i mostića na kom korača osoba
okrenuta leđima. Sve je jedna zatvorena cjelina poput seoske idile daleko od
urbane vreve. Razdoblje Meiyi, 19. st.
28. Kutijica s poklopcem, bjelokost, v. 8,7 x š. 4,3 cm
Kutijica ima oblik valjka s dva blago izbočena prstena na bazi i na poklopcu.
Na dvjema plohama izrezane su rascvjetane grančice popunjene crvenom
bojom i tušem. Između je tekst na tijelu izrezan u stupcima, kako je običaj
u umjetnosti Dalekog istoka. Poklopac je popravljen metalnom sponom.
Kutijica je potpisana. Razdoblje Meiyi, 19. st.
29. Kružna kutija s poklopcem. Na poklopcu čovjek kleči sa zecom i
košarom, bjelokost s intarzijom poludragog kamena i sedefa, v. 9 x š. 6,5 cm
(Potpis leptira na dnu)
Na poklopcu čovjek sjedi s jednom podvučenom nogom i tu je prikazan
uz njega zec s leđa s velikim ušima zabačenima prema nazad. Čovjek je
odjenut u tradicionalnu odoru s vegetabilnim motivima i s kapicom s
obodom. Objema rukama gladi zeca, a košara je pletena s vratašcima tik
do njegova koljena. Okruglo lice ima tušem iscrtane obrve, oči i kosu kao
što je to s detaljima i na zecu. Na tijelu poklopca u donjem dijelu kružne
kutije urešene su grane i grmići s intarzijom poludragog kamena i sedefa.
Na nožici su cvjetni kružni motivi. Dno kutijice ima potpis u obliku leptira
s tuš crnim ticalima. Kutijica ovakva oblika i ukrasa vjerojatno je služila za
pohranu dragocjenosti. Razdoblje Meiyi, 19. st.
30. Sveti stup, bjelokost, drvo, v. 25,5 cm
Stup se sastoji od dva dijela: donjega od crnog drveta s donjim rubom,
obodom oko dvije rupice na tijelu i gornjim rubom od bjelokosti. Gornji
rub je širi od ostalih i ima ugravirane vegetabilne motive. Na crnom
zaobljenom gornjem dijelu smješten je muškarac u tradicionalnom dugom
kimonu sa širokim rukavima i prekriženim rukama na prsima. Glava je
naglašena s tušem iscrtanom kružnom bradom, brčićima i naglašenim
očima. Razdoblje Edo, 18. - 19. st.
Lit. Auktion katalog „Asiatika“, Zacke, Beč, 31. svibnja 1997., str. 26., br.
80, hotel Hilton
31. Orkestar žaba i majmuna, bjelokost, v. 7 x š. 5 cm
Tema žaba i majmuna česta je u japanskoj umjetnosti, osobito raspoređenih
s glazbenim instrumentima. Ovdje su u obliku elipse raspoređeni s
glazbalima i tušem naglašenih detalja, neki sa smiješnim šeširićima u obliku
listova lopoča. Veseli ansambl svira i pleše uveseljavajući jedan drugoga.
Dno je riješeno poput vegetabilnih vodenih vitica s dva otvora i poprijeko
postavljena dva lista. Koža žaba i dlaka majmuna izrađena je u reljefu i
tušem kao što su izrađene i oči veselih životinja. Po izradi i dimenzijama
predmet bi se mogao uvrstiti u skupinu netsuke, iako nije nigdje naglašeno.
Razdoblje Edo, 19. st.
32. Tri poljoprivrednika s djetetom, košarom plodova u rukama, tikvom i
velikom zdjelom, bjelokost, v. 4,2 x š. 5 cm, potpisano
Tri odrasla i jedno dijete postavljeni su u krug svaki s nekim predmetom
u ruci. Svi su jednostavno odjeveni u tradicionalnu odjeću s preklopom
prema naprijed i tušem nacrtanim geometrijskim uzorkom. Halje im dolaze
do iznad koljena i svi imaju OBI-pas. U sredini je veliki ćup oko kojeg su
raspoređeni. Dva odrasla koja stoje drže košaru s plodovima u desnoj ruci
ili veliku tikvu. Onaj koji sjedi i dijete drže u ruci zdjelicu. Svi odrasli imaju
prema natrag začešljane punđe, crno obojene obrve i crnim tušem obojene
oči, a dječak ima dužu kosu začešljanu na čelo te crno obojene oči i obrve.
Svi imaju bose noge. Razdoblje Meiyi, 19. st.
33. Čovjek s lepezom, bjelokost, drvo, v. 4,2 x š. 2,5 cm
Dotjerana izražajna glava od bjelokosti s jakim obrvama, očima i ustima
te odrezanom prema nazad začešljanom kosom pojačani su tušem. Šake i
lepeza sklopljena u krilu također je od bjelokosti jednako kao i ogrlica na
prsima. Jednostavna tradicionalna odjeća na preklop na prsima izrađena je
od jednog komada drva. Potpis s donje strane je nejasan. Razdoblje Meiyi,
19. st.
34. Japanka s kutijom, drvo, bjelokost, v. 4,5 x š. 2,8 cm
Dotjerana glava, ruke i kutija u krilu izrađeni su od bjelokosti. Visoko
začešljana punđa debelo je premazana tušem. Pravokutna kutija bez
poklopca koju drži u krilu s prednje strane ima tušem iscrtanu grančicu.
Žena kleči s podvijenim nogama i čitavo joj je tijelo obavijeno jednostavnim
kimonom izrađenim od smeđeg drva. Razdoblje Meiyi, 19. st.
Lit. Aukcijski katalog Sotheby’s: „Fine Japanese works of art“, 20. i 21.
listopada 1982., 34 i 35, New Boyd Street, London, 2AA. Str. 93, br. 545:
35. Muškarac i djevojčica pjevaju, bjelokost, v. 4,2 x š. 3,5 cm
Muškarac sjedi podvijenih prekriženih nogu odjeven u tradicionalnu
odjeću s gornjim dijelom do koljena i uskim hlačama, sve ukrašeno
vegetabilnim kružnim motivima u tušu. Rukom je zagrlio djevojčicu
također odjevenu u tradicionalnu nošnju na preklop s tušem iscrtanim
manjim ukrasnim motivima. Kosa muškarca začešljana je prema natrag s
malom punđom na vrhu i kosa djevojčice iscrtani su tušem kao i njihove
izražajne oči, obrve i usta. Muškarac u desnoj ruci drži štapić ili nešto slično.
S donje glatke strane je potpis od tri znaka, a na rubu je dekoracija u obliku
riblje krljušti. Razdoblje Edo, 18. st.
• 92
36. Starac sennin s velikim štapom i lepezom u obliku lista, bjelokost, v. 5,3 cm
Starac je odjeven u tradicionalnu nošnju na preklop na prsima i tušem
iscrtanim uzorcima romba. U desnoj ruci drži veliki štap koji seže od glave
do tla, a u lijevoj ruci mu je lepeza u obliku lista. Rukavi su dugi i široki.
Glava je malo nagnuta u lijevo, obrasla dugom kosom, bradom i brkovima.
Obrve i oči iscrtane su tušem. Noge od gležnja i stopala su bose. Na donjoj
strani na jednom stopalu potpis je od dva znaka. Razdoblje Edo, 18. st.
37. Osoba s maskom na glavi i knjigom u ruci, bjelokost, v. 4,2 x š. 1,3 cm
Osoba je očito glumac s maskom dignutom na glavu i knjigom u ruci.
Maska i lice iscrtani su tušem. Kosa je zategnuta s punđicom na vrhu.
Odjeća je tradicionalna s preklopom na prsima i širokim hlačama. Sve su
konture naglašene tušem. Na zadignutoj bosoj nozi vidi se japanka. Kod
lijeve ruke na prsima preko ramena zabačena je tikvica. Na desnoj ruci s
gornje strane ispisan je potpis od dva znaka. Razdoblje EDO, 18. st.
38. Par muškaraca u igri go, bjelokost, v. 7 x š. 3,2 cm
Par muškaraca sjedi podvijenih nogu uz niski stol za igru s pijunima
iscrtanim tušem. Obojica su odjeveni u tradicionalnu odjeću s preklopom
na prsima. Samo duga kosa upletena u perčin kod obje osobe jako je
namazana crnim tušem kao što su naznačene i oči. Podloga na kojoj su dva
igrača s malim stolićem označena je crnim tušem i geometrijskim znakovima
kao da se radi o tepihu. Kutija s poklopcem pokraj jednog od igrača ima
potpis od dva znaka na prednjoj strani. Razdoblje Meiyi, 19. st.
39. Dijete s malim demonom, bjelokost, v. 4,2 x š. 2,5 cm
Osoba poput djeteta s uzdignute obje ruke na glavi drži plosnati predmet
poput ploče. Debeljuškasto lice ima začešljanu kosu prema natrag. Crte lica,
obrve, oči i nosić iscrtani su tušem. Gornji punački dio tijela je neodjeven,
a donji dio umotan je u široke hlače. Stopala su bosa, a između nogu
tušem zatamnjenim dijelovima gura se mali demon s okruglom bradom i
nacerenim ustima. Potpis od dva znaka sa stražnje je strane na nozi uz dvije
rupice za provlačenje vrpce. Razdoblje Meiyi I, 19. st.
40. Dva muškarca sa štakorom i ribom, bjelokost, v. 5 x š. 2,8 cm
Dva muškarca sjede podvijenih nogu jedan uz drugoga, odjeveni u
tradicionalnu nošnju s preklopom na prsima i tušem iscrtanim motivima
rombova i riblje krljušti. Oba su dobre volje, jedan ima jednu ruku na
glavi, a drugu drži na ruci prijatelja, dok ovaj drugi pod drugom rukom
ima veliku ribu i štakora ispred sebe. Oba imaju vesela okrugla lica s tušem
nacrtanom kosom, obrvama, očima i malim brčićima. Tušem je iscrtana i
lepeza. Na jednom bosom stopalu ispisan je potpis od dva znaka. Razdoblje
Edo, 18. st.
41. Dijete, bjelokost, v. 4 x š. 2,5 cm
Vrlo lijepo pravilno oblikovano dijete prikazano je kako sjedi poput Budhe
odjeveno u tradicionalnu odjeću s jaknom na prsima, preklopljenom i
ukrašenom tušem nacrtanim geometrijskim motivima. Podvijene noge su u
hlačama s tušem izrađenim motivima kružića i prugica. Ruke drži spojene
u krilu. Lijepa glava bez kose ima naglašene okrugle šarenice i usta nacrtana
tušem. S donje strane je kaligrafski potpis tušem od dva znaka. Razdoblje
Edo, 18. st.
42. Ratar s bundevom ili vrećom, bjelokost, v. 5 x š. 2,5 cm
Ratar je odjeven u tradicionalnu nošnju s preklopom na prsima koja
seže do koljena. Noge i stopala su bosa. Odjeća ima na koljenu, rukavu i
prsima jednostavno tušem iscrtane vegetabilne motive. S obje ruke drži vreću
s ispisana dva znaka. Na glavi ima maramu tako da se kosa gotovo ne vidi, a
obrve i oči iscrtane su tušem, dok su usta blago crvena. Razdoblje Meiyi, 19. st.
43. Čovjek s košarom voća, bjelokost, v. 5,2 x š. 2,2 cm
Čovjek stoji odjeven u tradicionalnu odjeću s jaknom koja se križa na prsima,
širokih rukava, a hlače se pri gležnjevima sužavaju. Cijela je tušem urezanih
motiva rombova i s vegetabilnim uzorcima oko rubova rukava. Stopala su
bosa. S obje ruke u visini pojasa drži veliku pletenu košaru s voćem. Na glavi
ima do ušiju navučenu kapu s gornjim šiljastim krajem povrnutim prema
naprijed. Kosa tek malo proviruje na sljepoočnicama, obojena je tušem kao
i obrve i oči. Nos je širok, a usta zatvorena. Potpis sastavljen od dva znaka s
donje je strane desnog stopala. Razdoblje Meiyi, 19. st.
44. Čovjek s košarom drva, bjelokost, v. 5,1 x š. 3 cm
Čovjek u tradicionalnoj jednostavnoj nošnji širokih rukava koja se naprijed
križa i vezana je obi-vrpcom nosi široke hlače sužene prema gležnjevima.
Motivi rombova i valova oko rubova rukava iscrtani su tušem. Stopala su
bosa. Od struka pa do visine glave s obje ruke drži naramak drva vezan
hasurom i užetom. Glava je malo nagnuta u lijevo s kapom. Kosa garava od
tuša proviruje na sljepoočnicama. Obrve, oči i nos kao i blago crvena usta
naglašavaju lice. Odozdo na stopalu ispisan je potpis od dva znaka kao i na
prethodnom primjeru. Razdoblje Meiyi, 19. st.
45. Smetlar, bjelokost, v. 5,5 cm
Čovjek gotovo jednako odjeven kao na prethodna dva primjera nosi istu
kapu. Tu odjeću mogli bismo nazvati „radnom“. Motivi iscrtani tušem
nešto su drugačiji. Stopala su bosa. U obje ruke ispred sebe drži veliku
metlu. Ispod kape kao na prethodnim primjerima tušem garavljena kosa
izviruje na sljepoočnicama. Tušem su naglašene obrve, oči i nos, a usta blago
crvena. Dva znaka odozdo na stopala adekvatna su prethodnim potpisima.
Razdoblje Meiyi, 19. st.
46. Čovjek s košarom drva, bjelokost, v. 5,3 x š. 2,1 cm
Čovjek je jednako odjeven kao na prethodnim primjerima, s kapicom i bos.
Malo kose na sljepoočnicama, obrve, oči, nos i usta jednako su izvedeni.
Ispred sebe na lijevoj strani na podu drži velik naramak drva omotan
hasurom i vezan na tri mjesta užetom. Na desnom stopalu odozdo su dva
znaka ista prethodnima. Razdoblje Meiyi, 19. st.
47. Sumo hrvač, bjelokost, v. 4,3 x š. 4,2 cm
Sumo borac odjeven je u oskudne hlačice iscrtane tušem. Njegovo krupno
tijelo pognuto je u stavu za napad. Poduža kosa s punđicom na vrhu, oči
i razjapljena usta ocrtani su tušem i daju borcu izraz strepnje. Odozdo na
bosom stopalu potpis je od dva znaka. Razdoblje Meiyi, 19. st.
48. Sumo hrvač, bjelokost, v. 3,7 x š. 3,7 cm
Sumo borac oskudno je odjeven u male hlače iscrtane bojom i tušem
cvjetnim motivima. Golo krupno tijelo postavljeno je za napad. Krupna glava
s tušem iscrtanom dužom kosom, lice s crnim obrvama, očima i crvenim
naglašenim ustima daju mu borbeni izraz. S donje strane na bosom stopalu
crvenom bojom upisan je potpis od dva znaka. Razdoblje Meiyi, 19. st.
49. Čovjek sa psom i lulom, bjelokost, v. 4 x š. 3,3 cm
Muškarac na pola kleči odjeven u tradicionalnu nošnju - jaknicu do koljena
prekriženu na prsima i podvezanom u pasu OBI-jem, te hlačama. S obje
• 93
ruke drži lulu. U sredini smjestio se pas s dugim širokim ušima. Sve je na
njima bijelo osim tušem iscrtanih čuperaka kose što vire ispod okrugle
kapice. Obrve i oči su u obliku vodoravnih crta, kao i oči psa. S donje strane
na stopalu je potpis od dva znaka. Razdoblje Edo, 18. - 19. st.
50. Čovjek s rukama iza glave, bjelokost, v. 4,5 x š. 3,2 cm
Čovjek je jednostavno odjeven s rastvorenom jaknom i suknjom ispod
trbuha. Odjeća ima blage šare iscrtane tušem sa širokim rukavima koji su se
zadigli do lakta i suknju što se podvezana mašnom spustila do ispod trbuha.
Stopala su bosa. Čitavom kompozicijom dominira goli okrugli trbuh i glava
na prsima s tušem zacrnjenim obrvama, očima kao i crvenim nasmijanim
ustima. Kose nema, a debeljuškaste ručice zabačene su iza glave. Dolje na
jednom stopalu ispisan je potpis od dva znaka. Razdoblje Edo,18. - 19. st.
51. Dijete s dvostrukom tikvom, bjelokost, v. 3,5 x š. 2,5 cm
Dijete širokim užetom oko ramena ima vezanu dvostruku tikvu s granama
i lišćem, pognuto se upire o tikvu koja je veća od njega. Odjeveno je u
jednostavnu tradicionalnu odjeću na preklop iscrtanu tušem vegetabilnim
motivima. Nožice su bose. Jednom rukom podržava uže oko tikve, a glava
je okrenuta na stranu. Kosa je začešljana prema natrag s punđicom. Obrve,
okrugle oči, nos i usta naglašeni su tušem. Na tikvi iznad dva otvora za
vrpcu ispisan je potpis od dva znaka. Razdoblje Edo, 17. - 18. st.
52. Čovjek s bubnjem, bjelokost, v. 5 x š. 3,5 cm
Čovjek sjedi s prekriženim nogama odjeven u tradicionalnu nošnju s
kapicom, dokoljenicama i hlačama s crnim ugraviranim motivom pletera.
S oba dlana pridržava ručni bubanj tzuzumi izrađen od prešane kože konja
koja se napinje za udaranje preko drvenog tijela u obliku čaše izrađenog od
trešnjina drva uz pomoć konopljina užeta. Drži se uz desno rame, udara
pomoću desnog dlana i prstiju, lijeva ruka povećava i olabavljuje napetost.
Tijelo bubnja ukrašeno je tehnikom MAKI-e laka. Treba pokazati vrhunsku
tehniku izrade. Glava glazbenika puna je užitka s tušem naglašenim
obrvama, stisnutim očima, raširenim nosom i ustima. Na glavi ima veliku
kapu. S donje strane između otvora za vrpcu natpis s četiri vodoravna
poteza od kojih je jedan blago izvučen, vjerojatno predstavlja natpis
radionice ili majstora iz razdoblja Meiyi, 19. st.
Lit. Katalog Kunstahus Zacke, „Asiatika“, 4. posebna aukcija 31. svibnja
1997., Beč, hotel Hilton, str. 192.
Tzuzumi - u no drami koja je plesna i maskirna glazbeni instrument sastoji
se od no-kan poprečne flaute, ručnog bubnja tzuzumi i o-kawa bubnja
na boku i taiko bubnja koji se svira štapićima. Izrađuju se prešanjem dvije
kože konja da bi se dobio instrument za udaranja (perkusiju). Dvije kože
napnu se preko tijela u obliku čaše izrađenog od trešnjina drva uz pomoć
konopljina užeta.
53. Obitelj sa zvečkom, bjelokost, v. 5 x š. 4,5 cm
Tročlana obitelj s ocem, majkom i djetetom u njezinu krilu odjevena je
u tradicionalne nošnje s jaknama do koljena i hlačama s urezanim finim
uzorkom i kružnim okovratnicima. Muškarac drži veliku zvečku pred
djetetom s okruglim licem. Ono gleda veselo prema naprijed tušem
iscrtanim očima. Majka ima blago zadignutu glavu i tušem iscrtane obrve,
oči kao i otac koji ima kružno ošišanu kosu na vrhu glave. Imaju veseo,
zanesen pogled. Dolje na glatkom podnožju potpis je od dva znaka.
Razdoblje Edo, 18. - 19. st.
54. Čovjek s bubnjem, bjelokost, v. 3,5 x š. 4 cm
Čovjek kleči odjeven u tradicionalnu nošnju tušem iscrtanih motiva.
Ispred njega je velik bubanj koje se udara rukama (o-kawa). Okruglo lice
ima iscrtane obrve, oči, nos i usta. Na glavi nosi maramu. Konture odjeće
iscrtane su tušem. Razdoblje Meiyi, 19. st.
55. Čovjek s košarom, bjelokost, v. 3,5 x š. 3,5 cm
Čovjek sjedi u tradicionalnoj nošnji. Noge su prikazane savinute u
koljenima. S prednje strane figuru do pola zaklanja velika šiljasta košara
koju pridržava desnom rukom, a lijeva je na lijevom koljenu. Glava ima
kapicu, male uši, lice ima pomalo zabrinut izraz s tušem iscrtanim obrvama,
očima i crvenom bojom namazanim ustima. Odozdo između dva stopala
potpis je od dva znaka. Razdoblje Meiyi, 19. st.
56. Čovjek sa spuštenom lepezom u lijevoj ruci, bojana bjelokost, v. 5,5 x
š. 2,5 cm
Čovjek odjeven u tradicionalnu halju koja dopire do poda ima rastvoren
gornji dio tako da dominira velik okrugli trbuh. Halja je ispod pupka
vezana obi pojasom. Ispod ruba halje na zemlji vire bosa stopala. Iz lijevoga
širokog rukava viri spuštena lepeza, a desni dlan je na golim prsima. Halja je
cijela dekorirana tamnim vegetabilnim motivima. Okrugla glava bez vrata
uokvirena je mesnatim ušima, izraz lica je veseo, a tušem su iscrtane obrve
i oči, te usta crveno naglašena. Odozdo među stopalima je natpis od dva
znaka. Razdoblje Meiyi, 18. - 19. st.
57. Čovjek sjedi na drvima s vrećicom, bjelokost, v. 5,1 x š. 7,2 cm
Čovjek sjedi na složenim drvima, a u desnoj ruci drži vrećicu iz koje je nešto
izvadio, vjerojatno duhan koji puši držeći tanku lulu u lijevoj ruci. Odjeven
je u debelu dugu halju podvezanu obijem. Na glavi ima velik turban. Ispod
viri malo tušem zacrnjena kosa, takve su obrve i oči, te nos i usta. Noge su
odjevene u čarape s nataknutim japankama. Na vrećici je potpis s tri ili četiri
znaka. Razdoblje Meiyi, 19. st.
58. Čovjek sa zecom i dvostrukom tikvom ili mijehom, bjelokost, v. 3,6 x
š. 3,3 cm
Čovjek je odjeven u jednostavnu halju do koljena s rijetkim vegetabilnim
motivima iscrtanima tušem. Sjedi s nogom podignutom u koljenu i s
jednom na tlu. Ispred desno drži veliku još razlistanu tikvu, na ramenu mu
je veliki dugouhi zec s okruglim očima i gubicom, te dlakom iscrtanom
tušem. Čovjek ima jedno boso stopalo. Lijevu šaku drži na preklopu na
halji, glava je blago nagnuta na desnu stranu, a kosu ima začešljanu prema
natrag i s punđom na vrhu zacrnjenu tušem. Ima visoko čelo te obrve, oči
i usta što tušem naglašavaju blagu fizionomiju. Odozdo na stopalu dva su
znaka potpisa. Razdoblje Meiyi, 19. st.
59. Starac sennin sa svim priborom, slonovača, v. 5 x š. 3,5 cm
Starac je odjeven u do koljena dugu halju s biljnim motivima iscrtanima
tušem te crvenom i zelenom bojom. Noge su bose. U obje ruke nosi
opremu, u desnoj grablje i tušem oslikanu vrećicu, a u lijevoj štap i tikvu.
Figura je postavljena koso s glavom okrenutom na desno. Tušem su iscrtane
oči, usta su crvena, dugi brkovi i brada pokrivaju prsa. Na vrhu ćelave glave
ima mali perčin. Na lijevom stopalu s donje strane dva su znaka uokvirena
poput pečata. Razdoblje Meiyi, 19. st.
60. Dijete sa školjkom, bjelokost, v. 7,5 x š. 2,2 cm
Dijete stoji u tušem bogato iscrtanoj kratkoj haljinici, pregači, cipelama i
pokrivalom za glavu. Noge su ravne s ukrasima za nazuvke. U desnoj goloj
ruci drži školjku na ustima, a lijeva slobodno visi gotovo do ruba haljine.
Okrugla glava nema vrat. Lice je naglašeno tušem nacrtanim obrvama,
• 94
očima, nosom. Na donjoj strani lijevog stopala dva su znaka uokvirena kao
pečat. Razdoblje Meiyi, 19. st.
61. Čovjek s lepezom, bjelokost, v. 1,5 x š. 4 cm
Čovjek kleči odjeven u dugu tradicionalnu odjeću zapasanu obijem. U
desnoj ruci drži poluotvorenu lepezu, a u lijevoj vrećicu. Glava je blago
podignuta s tušem naglašenom začešljanom kosom prema natrag. Obrve,
oči, nos i usta također su naglašeni tušem, što ističe fizionomiju. Odozdo
na lepezi dva su znaka, potpis. Otvori za provlačenje vrpce za vješanje
predmeta pravilni su. Razdoblje Meiyi, 19. st.
62. Žena sa zecom, bjelokost, v. 4,6 x š. 2,8 cm
Žena u bogato ukrašenoj tradicionalnoj odjeći kimono s crvenom bojom
i tušem iscrtanim cvjetnim motivima kleči. Ima naglašen pojas obi i na
prednjoj strani preklop u obliku slova „V“ na vanjskoj i unutarnjoj odjeći.
Glava je blago zabačena na desno. Ima tušem označenu začešljanu punđu.
Lice ima blagi izraz s naglašenim obrvama, očima i ustima. U lijevoj ruci
od lakta do uha drži velikog zeca sa spuštenim ušima, njuškom i okruglim
crnim očima, sve nacrtano tušem. Gornja desna šapica upire se o ženino
uho, a lijeva mu stoji slobodno u zraku. Odozdo je natpis sa dva znaka -
potpis majstora. Razdoblje Meiyi, 19. st.
63. Čovjek s bradicom i simbolima dobrih želja, bjelokost, v. 5,1 x š. 2,6 cm
Čovjek u desnoj šaci drži velik malj, a u lijevoj breskvu, što je vjerojatno
trebalo predstavljati simbole boga Daikoku - poljoprivrede, trgovine
i obrta. Odjeven je u tradicionalnu odjeću s haljom do koljena, tušem
iscrtanim geometrijskim motivima. Okrugle je glave bez vrata, s kapom
ispod koje viri malo kose. Na veselom licu tušem su pojačane obrve, oči,
brčići i mala brada. Odozdo je natpis s jednim do dva znaka. Razdoblje
Meiyi, 19. st.
64. Mudrac sa štapom, bjelokost, v. 4,5 x š. 2,8 cm
Starac mudrac sa štapom od ramena do tla odjeven je u tradicionalnu
nošnju s dugom haljom gotovo do poda, širokih rukava i vezanu obijem.
Nosi dugu suknju ispod koje se tek malo vide vrhovi obuće. Okrugla
glava ima velike uši, bogatu kapu koja pada od čela do potiljka. Lice ima
dobroćudan izraz s dugom bradom i brkovima koji pokrivaju prsa i tušem
iscrtanih usta. Odozdo je potpis ispisan s dva znaka tušem. Razdoblje
Meiyi, 19. st.
65. Čovjek s vršom i ribom, bjelokost, v. 5,2 x š. 2,8 cm
Čovjek u jednostavnoj halji do koljena s rijetkim tušem iscrtanim motivima
oblaka stoji raširenih bosih nogu. Glava je malo nagnuta na desno, ima kapu
s vrhom povučenim prema naprijed, što dopire do ušiju gdje tek malo viri
tušem nacrtane kose. Veselo lice ima obrve, oči pojačane tušem i nasmijane
usne blago crvene boje. Obje ruke zabačene su malo u lijevo, drže pletenu
„košnicu“ ili vršu, ispod je velika riba s tušem naznačenim krljuštima i okom
koja je upravo na leđa ispala iz vrše. Odozdo na bosoj nozi dva su znaka,
potpis autora. Razdoblje Meiyi, 19. st.
66. Čovjek s nožem, bjelokost, v. 5,3 x š. 2,7 cm
Čovjek u kratkoj halji do koljena, križanoj na prsima s motivom oblaka
i vezanom obi vrpcom stoji bos s nataknutim japankama. Okrugla glava
ima kapicu do ušiju gdje viri tušem zacrnjena tu i tamo koja vlas. Lice je
oplemenjeno tušem pojačanim obrvama i očima kao i nosom i ustima.
Odozdo su dva znaka - potpis autora. Razdoblje Meiyi, 19. st.
67. Žena s ribom, bjelokost, v. 5,3 x š. 2,5 cm
Žena stoji raširenih nogu odjevena u tradicionalnu halju do koljena s
iscrtanim motivom oblaka. U obje ruke ispred sebe drži veliku ribu s
iscrtanim motivima repa, krljušti i oka, postavljenu od desnog uha do pasa.
Glava žene malo je nagnuta na lijevo, ima okruglu kapicu, lice je osvježeno
potezima tuša na obrazima i očima kao i naznakama usana. Odozdo je
potpis od dva ili tri znaka. Razdoblje Meiyi, 19. st.
68. „Veseljak s čašom“ - bog zadovoljstva, bjelokost, v. 5,1 x š. 4 cm
Bog zadovoljstva prikazan je kako sjedi na stijeni odjeven u tradicionalnu
dugu halju sa širokim rukavima prekriženu na prsima. U desnoj ruci drži
čašu, a lijevu je položio na lijevu u koljenu presavijenu podignutu nogu
s okrenutim stopalom cipele prema van, dok je desna noga na tlu. Glava
s velikim ustima, bez kose i s izbočenim dijelom na vrhu zakošena je na
desno, veselo lice ima velika otvorena usta, oči, obrve i pravilan nos. S donje
strane na sredini potpis je od dva znaka. Razdoblje Meiyi, 19. st.
69. Dječak sa žabom, bjelokost, v. 2,5 x š. 4,5 cm
Dječak na boku u poluležećem stavu s podvijenom desnom nogom u
koljenu i savijenom lijevom nogom, oslonjen je na desnu ruku. Lijeva ruka
u širokom rukavu blago je zgrčena u zraku u fazi čuđenja. Čitavo tijelo
odjeveno je u tradicionalnu dugu halju s preklopom na prsima s tušem
iscrtanim geometrijskim uzorkom. Glavni motiv predstavlja velika žaba
ispred dječaka prikazana s leđa s tušem nacrtanim pjegama kože i velikim
crnim okom. Dječakov gornji dio tijela zastao je u čuđenju, okrugla glava
nagnuta je blago na desno, a ima kratko ošišanu kosu iscrtanu tušem dok su
na licu ocrtane crne oči, obrve, širok nos i usta. S donje strane su dva znaka
potpisa. Razdoblje Meiyi, 19. st.
70. Čovjek s košarom, bjelokost, v. 3,5 x š. 2,3 cm
Čovjek kleči podvijenih nogu odjeven u tradicionalnu nošnju s preklopom
na prsima. Odjeća ima široke rukave i fino gravirane ukrasne motive, na glavi
ima zašiljenu kapu i lice s tušem zacrnjenim obrvama i očima. Ispred jednom
rukom drži veliku pletenu košaru i nešto gnječi u njoj. S donje strane
pravokutnik podijeljen na osam jednakih dijelova crvenkasto smeđe i bijele
boje, vjerojatno je natpis majstora ili radionice. Razdoblje Meiyi, 19. st.
71. Seljak s bivolom, bjelokost, v. 3 x š. 4,5 cm
Seljak odjeven u jednostavnu halju do koljena ima bose noge i stopala.
Dijelovi odjeće kao i izraz lica s brkovima i malo kose na vrhu glave pojačani
su tušem. Razjaren krupan bivol s košarom na slabinama korača uz njega.
Tušem je nacrtana uzica, dlaka i rep na jednoj strani, te velika košara.
Potpis nije jasan, odozdo je okrugli otvor na uobičajenom mjestu potpisa.
Razdoblje Meiyi, 19. st.
72. Dvoje u razgovoru ili u igri pogađanja brojeva (narodska igra „šie šete“,
igra pogađanja koja u Dalmaciji postoji i danas gdje je stigla s Dalekog
istoka), bjelokost, v. 2,7 x š. 4,6 cm
Dva muškarca sjede jedan nasuprot drugom podvijenih nogu. Nose
tradicionalnu odjeću prekriženu na prsima i povezanu obijem, jaknu i
hlače. Odjeća je ukrašena vegetabilnim motivima iscrtanim tušem. Kosa
je začešljana prema natrag s punđom na vrhu. Crte lica (obrve, oči, usta)
iscrtane su tušem. Na ovalnoj ploči na kojoj kleče po sredini su dvije rupice
za provlačenje uzice. S donje strane je tušem iscrtan po jedan cvijet od osam
latica i kružnim tučkom - vjerojatno se može čitati kao natpis. Razdoblje
Edo, 18. - 19. st.
• 95
Lit. i komparacija: „Asiatika“, aukcijska kuća Zacke, Beč, br. 1109. Tafel
47. Dva učenika igraju „GO“, šimširovo drvo, 19. st. Potpis s druge strane
„SEIZAN“, 1997., SAS hotel Palais, tafel, 47, br. 1109.
73. Samuraj s tri pomična lica koja pokazuju različita raspoloženja,
bjelokost, v. 5 x š. 3 cm
Samuraj je odjeven u tradicionalnu halju koja seže do zemlje s tušem
iscrtanim geometrijskim motivima i širokih rukava iz kojih viri desna
šaka koja drži veliki mač. Lijeva ga pridržava uvučena u rukav. Stopalo tek
viri ispod duge odjeće. Glava s dugom kosom bogato je iscrtana tušem i
ukrasima poput ušiju, daje mjesto za kružno lice koje se pritiskom mijenja.
Lica pokazuju tri različita raspoloženja, a izrazi su tušem iscrtani. Razdoblje
Edo,18. - 19. st.
74. Samuraj s dva pomična lica koja pokazuju dva različita raspoloženja,
bjelokost, v. 6 x š. 3,2 cm
Samuraj je odjeven u tradicionalnu halju do zemlje s tušem iscrtanih motiva
različitih oblika. Ima odjeću zategnutu u pasu, dugih stisnutih rukava s
četvrtastom i kružnom pregačom. U desnoj ruci drži velik mač iznad glave,
s lijevom rukom i dva prsta pokazuje radnju. Kosa duga, raščešljana s dva
roščića, crno je iscrtana. Prvo lice je blago, ima obrve, oči crno obojene
tušem, a drugo lice je mrko, ima izbuljene oči, iscerene usne i velik nos.
Potpis je s donje strane. Razdoblje Edo, 19. st.
75. Starac u ruci drži dvije breskve, a u drugoj lepezu (tobosacu sennin),
bjelokost, v. 13,5 cm
Starac odjeven u tradicionalni do zemlje dug kimono s jako tušem
naglašenim vegetabilnim motivima očito predstavlja božanstvo sreće i
dugovječnosti. U desnoj ruci drži granu s dvije velike breskve - simbolima
dugog života i sreće, a u lijevoj ruci drži veliku spuštenu lepezu. Sve je na
figuri jako podcrtano tušem, kao i glava s tankom bradicom u širini usta,
te nosom i izduženim očima. Prema nazad ima začešljanu i iscrtanu kosu u
punđici. Razdoblje Edo, 19. st.
Lit. i komparacija: „Asiatika“, 2. posebna aukcija, 20. travnja 1996., Beč,
hotel Hilton, Kunsthaus Zacke, vidi Tobosaku sennin br. 236, str. 39.
76. Ratar, bjelokost, v. 5,5 x š. 3 cm
Čovjek odjeven u deblju tradicionalnu odjeću s ugraviranim šarama sjedi
na tronošcu. Na podvijenim nogama ima čizme s vezicama. Na glavi ima
okruglu kapu s vegetabilnim uzorcima. U jednoj ruci drži „žužalicu“ za
plašenje životinja. Okruglo lice uokvireno je velikim ušima - simbolom
sreće. Lice je veselo, iako smrznuto, s okruglim tušem pojačanim očima i
otvorenim ustima - vidljiv je jezik. Razdoblje Edo,18. - 19. st.
77. Reiden - bog groma (Čovjek s vrećom i bubnjem), bjelokost, v. 3 x š. 3 cm
Reiden je poput demona, krupan s roščićima i velikim šiljatim zubima.
Svaka dlaka je naglašena tušem, gotovo je neodjeven, pognut, s jednom
nogom povučenom do lakta, a drugom podvučenom do okruglog bubnja
i vreće na drugoj strani. Svi dijelovi robusna tijela i glave kao bubanj i vreća
imaju tušem naglašene detalje. Razdoblje Meiyi, 19. st.
Lit. i komparacija: „Asiatika“, aukcijska kuća Zacke, Beč, 20. travnja 1996.,
(druga posebna aukcija), br. 118. str. 20, hotel Hilton
78. Bog munje, bjelokost, v. 4 x š. 3,3 cm
Bog munje vrlo je sličan bogu ili demonu groma. Krupnog je tijela, gotovo
neodjeven, s tušem naglašenim svakim dijelom. Sjedi s jednom u koljenu
podignutom nogom do lakta, a drugom podvijenom na ploču s kružnim
oznakama. Krupna glava nagnuta je na prsa, na kosi ima dva roščića, a na
širokome licu okrugle su velike oči, nos i široka usta. Svi su detalji, od ploče
s točkastim motivima na kojoj sjedi do mišićava tijela, naglašeni tušem.
Razdoblje Meiyi, 19. st.
Lit. i komparacija: Tafel 47, str. 1110, lik koji pere kaput, drvo šimšir,
„Asiatika“, aukcijska kuća Zacke, Beč, SAS Palais hotel, 4. studenoga 1997.
79. Djevojčica s košarom voća, bjelokost, v. 12 x š. 2,5 cm
Djevojčica stoji blago pognuta u liniji. Odjevena je dvodijelno u odjeću sa
širokim haljetkom do koljena i suknjom do poda tako da vire samo vrhovi
prstiju. Odjeća je čitava ukrašena urezanim geometrijskim motivima. U
predjelu oko pasa s obje ruke drži veliku pletenu košaru s voćem. Svi dijelovi
pojačani su tušem. Lijepa glava ima prema natrag začešljanu punđu sa
cvjetnim ukrasima što ostavljaju slobodne uši i vrat. Lice je izražajno s tušem
naglašenim očima, ušima i blago crvenim usnama. Razdoblje Meiyi, 19. st.
80. Starac s dvostrukom tikvicom, bjelokost, v. 7,5 x š. 3 cm
Starac sjedi s obje noge zadignute u koljenima i sa stopalima koja vire ispod
duge halje s preklopom i o pasu vezane uskim obi-jem u mašnu. Obje
šake vire iz širokih rukava, desna je na koljenu, a u lijevoj drži dvostruku
tikvicu u visini prsiju. Izdužena glava ima konfucijansku punđu na vrhu i
priljubljene uši. Na čelu su urezane visoke bore, a lice je izražajno s tušem
pojačanim očima, bradom i brčićima što sežu do prsiju u širini usta.
Razdoblje Meiyi, 19. st.
81. Starac s tikvom, bjelokost, v. 7,5 x š. 3,5 cm
Starac odjeven u dugu jednostavnu halju na preklop na prsima sa širokim
rukavima sjedi s desnom nogom na podu, a lijevom podignutom u koljenu
uz bok. Cipele vire ispod odjeće s desnom izvrnutom da se vidi potplat.
Lijevom i desnom šakom drži veliku dvostruku tikvu - simbol mnogih
dobrih želja koja dominira kompozicijom. Glava ima kapu do ušiju. Lice je
naglašeno tušem i pojačanim očima, te uskom bradom što raste ispod usta i
seže do prsa. Razdoblje Meiyi, 19. st.
82. Starac sa žabom (Jurojin ili Hotei Gama Sennin), bjelokost, v. 5,5 x š. 5 cm
Starac sjedi s desnom podvučenom nogom i lijevom nogom savinutom u
koljenu i podignutom uz bok. Odjeven je u tradicionalnu jednostavnu halju
rastvorenu u gornjem dijelu tako da je vidljiv goli okrugao trbuh i hlače
ispod pupka povezane uzicom. Desnom rukom drži kvrgav štap koji seže
od glave do zemlje, a lijeva je pokrivena haljetkom s iscrtanim lišćem. Glava
je jako nagnuta na lijevo s oblikovanom kapom, dva nabora - bore su na
čelu, velike obrve, nos i usta s vidljivim zubima. Pogled je usmjeren prema
gore. Na lijevom ramenu je velika žaba koja prednjom nogom dodiruje štap.
Razdoblje Meiyi, 19. st.
Komparacija: Asiatika, 4. studenoga 1997., specijalna aukcija, Beč, SAS
Palais hotel, Kunsthaus Zacke, str. 11, br. 45 (Fukurokoju - bog dobre sreće,
br. 780, str. 140 i br. 783, str. 140 Gama Sennin)
83. Ribar - Ebisu, bog hrane i ribarstva s ribičkim štapom i velikom ribom
„tai“, bjelokost, v. 7 cm
Ribar pustinjačkog izgleda, odjeven u suknju od lišća vezanu oko pasa,
krupnog je golog torza s istaknutim trbuhom, prsima i rukama. Pod
lijevom mišicom u ruci podržava veliku ribu koja se postavljena bočno tek
djelomično vidi. Noge i stopala su bosa. Glava je postavljena u profilu prema
lijevo i polućelava s dugim tušem ocrnjenim pramenovima (od jedinoga
vidljivog uha do ramena). Markantnu fizionomiju pojačava garava obrva,
oko, nos i usta s malim brčićima. Razdoblje Meiyi, 19. st.
• 96
84. Čovjek s lepezom i vrećom (Hotei - bog sreće), bjelokost, v. 4,4 x š. 3,2 cm
Čovjek s lepezom u lijevoj ruci i vrećom u desnoj prilično je grubo izrađen.
Odjeven u tradicionalnu nošnju s razdrljenim haljetkom tako da dominira
goli veliki trbuh s vidljivim konturama jako naglašenih poteza crnim tušem.
Suknja ispod pupka dolazi do zemlje i vidljivo je tek jedno boso stopalo.
Iz lijeve ruke koja viri iz široka rukava vidljiva je velika lepeza koja dopire
do glave. U desnoj šaci drži uže vreće koja nabrana leži na zemlji. Okrugla
glava s tušem zacrnjenim očima i predjelom oko usta daje ozbiljan izraz.
Razdoblje Meiyi, 19. st.
Komparacija: str. 18. br. 101., Asiatika, Kunstahaus Zacke, 2. posebna
aukcija, 20. travnja 1996., Beč, hotel Hilton
85. Čovjek s lepezom iznad glave, bjelokost, v. 4,3 x š.2,3 cm
Čovjek sjedi s jednom podvučenom nogom i jednom presavijenom
u koljenu i privučenom uz prsa. Odjeven je u tradicionalnu odjeću s
jednostavnim hlačama s vegetabilnim motivima nacrtanima tušem uz rub i
rastvorenu jaknu tako da je vidljiv okrugli trbuh. Okrugla glava gotovo bez
vrata pada na prsa, kose nema, a crte lica, obrve, oči, nos pojačani su tušem.
Široki rukavi zadignuli su se i ostavljaju vidljive obje šake koje iznad glave
drže lepezu. Razdoblje Meiyi, 19. st.
86. Dječak sa svitkom, bjelokost, v. 4 cm
Dječak stoji odjeven u tradicionalnu odjeću s haljetkom i hlačama vrlo
jednostavne izrade. U obje šake drži razmotan svitak s desnom rukom
podignutom do glave. Okrugla glava nagnuta je blago u lijevo i ima malo
kose oči zacrnjene tušem. Blag dječji izraz naglašen je i tušem iscrtanim
ustima. Razdoblje Meiyi, 19. st.
87. Dijete kleči podvijenih nogu, bjelokost, v. 4,3 x š. 2,2 cm
Dijete odjeveno u pidžamu s tušem iscrtanim geometrijskim motivima
kleči. Desna noga je podvijena, a lijeva podignuta. Ruke su na koljenima, a
lice je naznačeno kratkom ošišanom kosom, očima naglašenim tušem kao i
obrvama. Potpis je s donje strane uz rupicu za provlačenje vrpce. Razdoblje
EDO, 19. st.
88. Dječak s kornjačom, bjelokost, v. 3,9 x š. 3,5 cm
Dječak odjeven u šarenu haljinu i prsluk išaran tušem geometrijskim
uzorcima kleči s lijevom nogom uzdignutom u koljenu. Ispred njega je velika
kornjača - simbol dugovječnosti na kojoj drži lijevu ruku, a desnu je zabacio
na kružno tušem zacrnjenu kosu. Okrugla glava bez vrata ima crne oči,
obrve, nosić i usta u izrazu čuđenja. Stopala su bosa. Razdoblje Meiyi, 19. st.
89. Dijete - vražićak, bjelokost, v. 5,2 x š. 2 cm
Dijete odjeveno u tipičnu pregaču što pokriva samo prsa i trbuh, dok je
ostalo slobodno, izvodi vragolije. Na zapešćima ima po jednu narukvicu kao
i nanogvice na nogama. Figura se „igra“ obješena desnom ručicom na alku,
desna debela noga je ispružena, a lijeva podignuta u koljenu. Lijeva ruka je
na prsima, okrugla glava nagnuta blago na lijevu stranu. Dijete ima velike
mesnate uši, okrugle tušem zacrnjene oči poput „pikula“ i široki nos, dok
kose po običaju kod prikaza male djece nema. Razdoblje Meiyi I, 19. st.
90. Čovjek s vrećom, bjelokost, v. 4,2 x š.1,8 cm
Čovjek pod teretom vreće na leđima malo je pognut i odjeven u
tradicionalnu do koljena dugu jaknu i uske hlače. Sve je išarano tušem s
crnim geometrijskim uzorkom, a na hlačama je gust uzorak izuzev zakrpe
na koljenima. Stopala imaju navučene japanke. S obje ruke zabačene malo
na desno drži velik naramak s vegetabilnim motivima, pridržavan preko
leđa na prsima. Ispod njega na leđima vidljiv je širok obi, glava ima kratku
kosu od iznad ušiju začešljanu prema natrag i ocrtanu tušem. Čelo je visoko
i golo, a lice ima bore iznad obrva, oči, brčiće, usta i nos jako zacrnjen
tušem. Razdoblje Meiyi I, 19. st.
91. Dva lika igraju igru go unutar tikve, bjelokost, v. 3,5 x š. 3,5 cm
Velika okrenuta tikva ima tušem iscrtanu koru i listove s otvorom u
obliku srca na obje strane. Unutar nje je stol s tablom na kojoj dva igrača
postavljena u profilu igraju igru go. Sve je duhovito riješeno s dosta
upotrebe tuša. Razdoblje Meiyi, 19. st.
92. Šestero ljudi na putovanju brodom, kolorirana bjelokost, v. 6,5 x š. 4,2 cm
Na tušem ukrašenoj džunki s jedrom i sa zmajem na boku i školjkom na
vrhu vidi se ukrcanih šest osoba. Različito su odjeveni i različitih položaja.
Razdoblje Meiyi,19.st.
93. Budha s velikim ušima (Starac s povećom glavom i bradom na prsima,
možda Fukorokuju), bjelokost, v. 4 x š. 2,3 cm
Starac u tradicionalnoj halji sjedi sklupčan s jednom rukom uprtom o pod,
a drugom na lijevom koljenu. Noge su podvijene s desnom ispred tijela, a
lijevom s povijenim koljenom i podignutom uz bok. Odjeća obavija figuru
i čitava je ukrašena blagim točkicama u nizu. Cijelom pojavom dominira
povećana, blago na desno nagnuta glava s velikim sjajnim čelom s tri
ureza - borama - između obrva pojačanih tušem. Naglašene su oči, široki
nos i rastvorena usta tako da se vide zubi. Uši su izvedene u formi velikih
mesnatih vreća koje uokviruju glavu sa svake strane. Velika brada pojačana
tušem začešljana je preko prsiju i ukoso pada preko desnog koljena.
Razdoblje Meiyi, 19. st.
94. Starac sa štapom (Fukorokuju), bjelokost, v. 4,8 x š. 3 cm
Starac stoji odjeven u tradicionalnu odjeću s haljetkom do koljena i širokim
hlačama ispod kojih vire vrhovi cipela. O pasu je vezan obi-jem. Široki rukavi
dopiru skoro do poda, desnom šakom gotovo po sredini drži kvrgavi štap,
simbol mudrosti, koji seže od vrha glave do zemlje. Uz njega su vezane breskve
- simboli dobrih želja. Lijevom rukom gladi bradu koja seže do prsa. Na glavi
ima kapu, fizionomiju ističu obrve, oči, nos i nasmijana usta - jedan od simbola
Fukurokuja. Na figuri nema iscrtavanja tušem. Razdoblje Meiyi, 19. st.
95. Čovjek koji leži na vreći, bjelokost, v. 1,5 x š. 4,2 cm
Čovjek odjeven u tradicionalnu pidžamu s jaknom i hlačama s iscrtanim
četvrtastim motivima leži potrbuške zgrčen. Na leđima mu je nevidljiv
pojas - obi, ruke i okrugla glava naslonjene su na vreću na podu ispred njega.
Glava nema kosu, a okruglo lice ima tušem iscrtane obrve, okrugle oči i
crvenom bojom iscrtana usta. Razdoblje Meiyi, 19. st.
Lit. i komparacija: Asiatika, aukcijska kuća Zacke, Beč, 4. studenoga
1997., šesta posebna aukcija, SAS Palais hotel; Tafel 8, sl. 128, muškarac sa
školjkom, bjelokost, oko 1900., v. 3,5 cm
96. Fukurokuju, starac mudrac s velikom glavom, bjelokost, v. 3,1 x š. 1,6 cm
Starac sjedi s nogama povijenim u koljenima što dolaze do šake desne
ruke i pokrivene lijeve ruke. Odjeven je u tradicionalnu nošnju sa šarama,
a prsa mu pokriva velika brada. Na glavi ima golemu kapu koja pokriva
uši. Starčevo lice je iscrtano tušem s obrvama, očima i crvenim ustima.
Razdoblje Meiyi, 19. st.
Komparacija: mnogo primjera u katalozima aukcijske kuće Zacke, Beč, npr.
br. 104, str. 18., Asiatika, 2. posebna aukcija, 20. travnja 1996.
• 97
97. Čovjek drži u ruci lepezu, bjelokost, v. 1,8 x š.3,2 cm
Čovjek odjeven u tradicionalnu nošnju s jaknom razgaljenom na prsima
i u hlačama na podvijenim nogama. Odjeća je decentno gravirana
geometrijskim motivima. U desnoj ruci drži lepezu. Široki rukavi spuštaju
se do koljena. Okrugla glava blago je zabačena prema natrag i gotovo da
nema vrata ni kose. Obrve i oči označeni su tušem. Razdoblje Meiyi, 19. st.
98. Čovjek s maskom i lepezom, bjelokost, v. 3,5 x š. 7 cm
Odjeven je u tradicionalnu jaknu i hlače, a sjedi podvijenih nogu s velikom
maskom, tušem iscrtanih obrva i očiju. U lijevoj ruci drži masku, a u desnoj
ruci sklopljenu lepezu. Glava je lagano zabačena prema natrag. Razdoblje
Meiyi, 19. st.
99. Čovjek sjedi i drži lepezu u ruci, bjelokost, v. 3,2 x š. 2,5 cm
Čovjek sjedi zavaljen na jedan bok s jednom nogom pod tijelom i jednom
presavijenom u koljenu što dolazi do desne ruke s lepezom u obliku velikoga
lista. Odjeven je u tradicionalni haljetak s graviranim kružnim uzorkom
rastvoren na prsima tako da se ona vide kao i okrugli goli trbuh. Glava bez
kose malo je zabačena prema natrag, ima velike uši i na okruglom licu tušem
iscrtane obrve, oči te crvena usta. Na obrazima su vidljive jamice. Razdoblje
Meiyi I, 19. st.
100. Čovjek sjedi s lepezom, bjelokost, v. 3 x š. 2,5 cm
Skutren i odjeven u tradicionalnu odjeću, čovjek sjedi i gleda pred sebe.
Jakna je raširena pa se vide prsa i okrugli trbuh. Noge su podvijene, lijevom
rukom drži jedno stopalo, a desnom upire o veliku lepezu u obliku lista o
pod. Ramena su izrazito okrugla i spuštena, okrugla glava je gotovo ćelava
i bez vrata, a omeđena je velikim mesnatim ušima. Sve je na figuri okruglo
i mekano, tako da se blijede obrve i tušem tek naznačene oči stapaju u
cjelinu. Razdoblje Meiyi, 19. st.
101. Čovjek sjedi s uzdignutom lepezom, bjelokost, v. 3,5 x š. 2,3 cm
Čovjek u hlačama s vegetabilnim motivima sjedi s nogama skupljenima
ispred sebe. U desnoj ruci drži prema gore okrenutu lepezu. Gore je
odjeven u tradicionalnu halju s otvorenim dijelom na prsima tako da se vidi
goli trbuh. Ćelava glava je malo podignuta, uokvirena mesnatim ušima,
znakom sreće. Tušem su iscrtane obrve i oči u obliku lukova, što naglašava
fizionomiju. Razdoblje Meiyi, 19. st.
102. Čovjek s kutijom, bjelokost, v. 3,2 x š. 2 cm
Čovjek sjedi sa skupljenim nogama ispred sebe, odjeven u tradicionalnu
odjeću sa širokim rukavima. U desnoj ruci drži kutiju, a lijeva je prekrivena
dugim rukavima. Jednostavan graviran motiv odjeće vidljiv je poput valova
s prednje strane rukava. Glava ima kapicu izvezenu na rubu i pravilno tušem
pojačane obrve, oči, nos i crvena usta. Razdoblje Meiyi, 19. st.
103. Čovjek u kimonu s motivom izvezenih listova, bjelokost, v. 3,5 x š. 2 cm
Čovjek sjedi sa skupljenim nogama odjeven u kimono na kojem su, osobito
na hlačama, vidljivi listovi. Obje su ruke vidljive i njima pridržava koljena.
Ima pravilnu glavu i zatamnjenu kapu na vrh glave, te tušem iscrtane obrve,
oči i crvena usta. Razdoblje Meiyi, 19. st.
104. Čovjek s vrećom, bjelokost, v. 3 x š. 1,6 cm
Čovjek je umotan u tradicionalnu odjeću s tušem iscrtanim motivima
rombova. Vidljive su samo šake, u desnoj drži praznu savijenu vreću.
Okrugla glava viri ispod tkanine s jednim mesnatim uhom i licem s tušem
iscrtanim obrvama i očima, te širokim potezima i crvenom bojom ocrtanim
ustima. Razdoblje Meiyi, 19. st.
105. Čovjek u kimonu cvjetnog uzorka, bjelokost, v. 3,5.x š. 2,1 cm
Čovjek stoji u kimonu do poda s iscrtanim motivom cvijeća što je naročito
vidljivo na širokim rukavima s uvučenim rukama. Okrugla glava završava
kapicom, a fizionomija je naglašena tušem iscrtanim obrvama i očima.
Osim glave od cijele figure vidljivi su još samo vrhovi cipela ispod kimona.
Razdoblje Meiyi, 19. st.
106. Čovjek sa sklopljenim rukama u kimonu s kružnim uzorkom,
bjelokost, v. 4 x š. 1,5 cm
Čovjek je umotan u kimono s kružnim uzorkom, osobito vidljivim
na širokim rukavima s uvučenim rukama. Glava završava kapicom, na
fizionomiji se ističe duga brada i tušem iscrtane obrve i oči. Osim glave na
figuri su vidljivi još samo vrhovi cipela što vire ispod kimona. Razdoblje
Meiyi, 19. st.
107. Starac u desnoj ruci drži kutiju s dvjema ladicama, bjelokost, v. 3 x
š. 1,8 cm
Starac odjeven u tradicionalnu nošnju s preklopima na prsima i širokim
rukavima sjedi s podvijenim nogama. Lijeva ruka položena je na lijevo
koljeno, a desna je ruka obgrlila kutiju s dvjema ladicama. Okrugla glava
ima kapicu, a na licu su iscrtane tušem obrve, oči, nos i usta. Sve konture
figure i kutije iscrtane su crnim tušem. Razdoblje Meiyi, 19. st.
108. Fukurokuju starac s velikim štapom i lepezom, bjelokost, v. 3,5 x š. 2 cm
Čovjek je odjeven u tradicionalnu odjeću s rastvorenom haljinom tako da
cijelom figurom dominira goli okrugli trbuh, prsa i ćelava glava s velikim
ušima. U desnoj šaci drži veliki kvrgavi štap koji doseže od vrha glave do
zemlje, a u lijevoj lepezu. Na rubovima ruku sa stražnje strane tek je vidljiv
haljetak sa širokim rukavima. Noge su ispod velikog trbuha prekrivene
suknjom s motivom iscrtanih rombova na prednjoj strani. Bosa stopala
izviruju ispod. Okrugla ćelava glava bez vrata određuje lice s tušem iscrtanim
obrvama, očima, širokim nosom i usnama. Razdoblje Meiyi, 19. st.
109. Starac izdužene glave (Fukurokuju), bjelokost, v. 3,5 x š. 1,7 cm
Starac odjeven u tradicionalnu odjeću s haljetkom širokih rukava nosi hlače
s iscrtanim rombovima i sjedi s jednom rukom prekriženom na koljenu i
drugom na podvijenoj nozi. Motivi tušem iscrtanih rombova vidljivi su s
prednje strane. Stopala su tek vidljiva ispod širokih hlača, desnu šaku drži
na koljenu, a lijevom gladi bradu koja pokriva cijela prsa. Glava je povećana
i izdvojena s jako visokim čelom i obrvama, očima pojačanim tušem. Na
zadovoljnom licu vidljiva su nasmijana usta i dvije jamice na obrazima.
Razdoblje Meiyi, 19. st.
110. Starac u ruci drži kutiju, bjelokost, v. 3 x š. 1,8 cm
Starac čuči s jednom nogom podvijenom pod tijelo, a jednom savinutom u
koljenu. Odjeven je u tradicionalnu odjeću s hlačama ispod kojih viri jedna
cipela. Ima haljetak širokih rukava iz kojih vire ruke. Desna je položena na
koljeno, a lijeva drži četvrtastu kutiju u visini obi pojasa. Glava je povećana
i završava kružnom kapicom, a omeđena je velikim ušima. Lice je naglašeno
dugom bradom i tušem iscrtanim obrvama i očima. Usta su rumena, a na
obrazima ima jamice. Razdoblje Meiyi, 19. st.
111. Čovjek koji sjedi - Hotei, bjelokost, v. 2,2 x š. 2,3 cm
Čovjek sjedi s desnom podvijenom i lijevom u koljenu savijenom nogom.
Odjeven je u tradicionalnu nošnju s haljetkom i hlačama s četvrtastim
• 98
tušem iscrtanim motivima vidljivima na prednjoj lijevoj nogavici. Stopalo
ispod jedva vidljivo boso je. Lijeva šaka je na koljenu, a desna ruka s
ispruženom šakom opuštena je do zemlje. Cijela figura ima loptast izgled s
istaknutim trbuhom i ćelavom okruglom glavom koju omeđuju mesnate uši.
Nasmijano lice ima tušem pojačane obrve, oči i usta. Razdoblje Meiyi, 19. st.
Komparacija: str. 140, br. 744, Hotei, Asiatika, Kunstahaus Zacke, 3.
posebna aukcija, 29. studenoga 1996., Beč, hotel Hilton
112. Čovjek s vrećom ili loptom (Hotei - bog sreće, zadovoljstva), bjelokost,
v. 3 x š. 1,5 cm
Čovjek sjedi s na stranu podvijenim nogama. Odjeven je u tradicionalnu
jednostavnu halju i hlače, na prednjoj strani između dvije ruke drži vreću
ili loptu koja ima mjestimice tušem izrađene kružne mrlje. Okrugla glava
ima kapicu na vrhu, a lice je izražajno s tušem zacrnjenim obrvama, očima i
blago crvenim ustima. Razdoblje Meiyi, 19. st.
Komparacija: str. 108,. br. 565, Asiatika, Kunsthaus Zacke, 3, posebna
aukcija, 29. studenoga 1996., Beč, hotel Hilton
113. Žena s dvjema posudama, bjelokost, v. 4,3 x š. 2,3 cm
Starija žena jednostavno odjevena u dugu halju do poda ima jednu do lakta
visoku posudu pod desnom rukom i jednu plitku posudu na lijevom ramenu.
Glava je prekrivena maramom, a na okruglom licu iscrtane su oči, nos i usta.
Sve je izvedeno s tušem podcrtavanim naborima halje širokih rukava, gornjeg
kaputića i visoke baze na kojoj žena stoji. Razdoblje Meiyi I,19. st.
114. Budha zadovoljstva, kost, v. 4,2 x š. 3 cm
Budha kleči s jednom u koljenu podignutom nogom i gotovo do zemlje
povijenom drugom nogom. Ogrnut je jednostavnim ogrtačem oko leđa i
ramena u prednjem dijelu naborane tkanine. Ostavljen je okrugli trbuh,
prsa i ruke od ramena te noge koje su gole od koljena prema dolje. Okrugla
ćelava glava ima mesnate velike uši, lice s obrvama, okruglim očima,
mesnatim nosom i ustima. U desnoj ruci ispred sebe drži pletenu košaru.
Razdoblje Meiyi, 19. st.
115. Erotika, bjelokost, v. 4,7 x š. 2,7 cm
Žena i muškarac sjede obnaženi. Žena sjedi u krilu muškarca s prekriženim
nogama i mazi desnom rukom muškarčevu glavu dok joj lijeva ruka
počiva na stopalu. Muškarac ju je obgrlio, a sa stražnje strane desnom joj
rukom mazi dojku dok lijeva počiva na njezinoj lijevoj ruci. Glave su im
raspoređene tako da žena ima blago na lijevo zakošenu s uredno začešljanom
punđom zatamnjenom tušem sa svijetlim ukrasom poput vrpce s prednje
strane u širini podignute kose. Lice joj je obojeno tušem zacrnjenim
obrvama, nosom i blago crvenim ustima. Očima kao da gleda ukoso prema
dolje, svjesna užitka. Muškarac iza nje ima glavu blago zakošeno u desno s
pogledom prema dolje i tijelu žene. Kosa mu je začešljana iza uha i tušem
potamnjena, kao i obrve, oči i usta. Čelo je visoko. Na stopalu žene potpis je
sastavljen od dva znaka. Razdoblje Meiyi, 19. st.
116. Erotika, bjelokost, v. 4,7 x š. 2,7 cm
Par je odjeven u bogato tušem i bojom ukrašene halje do koljena, od kojih
su obje figure gole. Žena leži na prsima i na rukama lagano zadignutim.
Glava je uzdignuta u poluprofilu i okrenuta prema desno. Ima tušem
ocrtanu začešljanu punđu što pokriva uši, na licu dominiraju okrugle oči i
crvena usta. Zadignute ruke otkrivaju obnažene dojke koje su obje vidljive.
Muškarac kleči iznad žene, ona ga je obavila bosim nogama. Podbočen
je s obje ruke u visini ženina struka, odjeven je u bogatu tušem i bojom
ukrašenu halju. Glava je u poluprofilu blago okrenuta u desno u odnosu na
ženino tijelo. Njegova glava je začešljane kose, tušem zacrnjene koja seže
do uha i ima blagi izraz zadovoljstva primjetan u pogledu. Na rubu desnog
rukava ukrašenog uzorkom vidljiv je potpis u obliku pečata. Razdoblje
Meiyi I, 19. st.
117. Erotika, bjelokost, v. 6 x š. 8,5 cm
Dvodijelna figura žene i muškarca u tradicionalnim nošnjama gdje žena leži
sa zadignutom suknjom, a muškarac je samo u gornjem haljetku s cvjetnim i
geometrijskim motivima. Sve je ocrtano tušem i bojom, žena ima zadignute
noge sa pogledom prema dolje i širokim OBI-jem, muškarac kleči. Žena
ima tušem zacrnjenu punđu s bijelom tokicom i crnim očima kao i crvena
usta i nos, dok muškarac ima kosu zacrnjenu tušem od uha prema gore s
malom punđom na vrhu, crne obrve i oči sa nosom i blago crvenim ustima.
Razdoblje Meiyi, 19. st.
118. Kagami netsuke - prikaz Budhe zadovoljstva, bjelokost i srebro,
promjer 4,2 cm
Kagami netsuke može biti izrađena od bjelokosti kao u ovom primjeru
ili drvena poput plosnate zdjelice i na nju dolazi poklopac od metala, u
ovom slučaju od srebra. Na srebru je ugraviran Budha zadovoljstva s golim
velikih trbuhom, prsima zaogrnutim dugom haljom i podvijenih nogu te s
lepezom u desnoj ruci. Razdoblje Meiyi, 19. st.
119. Dijete s flautom u perforiranu cvjetnom vrtu - ryusa manju netsuke,
bjelokost i sedef, promjer 4 cm
Prelijepi kružni netsuke s bušenom dekoracijom cvjetića u sedefu riješen je
tako da je u centru dijete što sjedi i svira flautu, a u pozadini i na stražnjoj
strani su cvjetovi s umetnutim sedefom za latice. Dijete je prikazano
realistično odjeveno u do koljena dugi kimono s vegetabilnim motivima
i u uske hlače. Stopala su bosa. Obje ruke su okrenute prema desno i drže
flautu. Bucmasta glava ima kratko ošišanu kosu podijeljenu na razdjeljak,
male uši i tušem zacrnjene oči, nosić i otvorena usta kako puše u flautu. Iza
njega je veliki pleteni koš i cvijeće sa sedefastim glavicama. Na poleđini su
također cvjetovi uz rub te potpis u obliku četvrtasta pečata sastavljenog od
dva ili tri znaka. Razdoblje Edo, 18. - 19. st.
120. Japanka s lepezom stoji na vuku, manju netsuke, bjelokost, promjer 6 cm
Prelijepa manju netsuke ima graviranu cijelu priču pojačanu tušem. Na
prednjoj strani je prikazana Japanka u bogatom cvjetnom kimonu do poda
sa širokim rukavima iz kojeg u lijevoj ruci viri velika lepeza. Žena duge
raspuštene kose što dopire do kraja leđa prikazana je u poluprofilu s tušem
iscrtanim obrvama, očima i ušima. Figura stoji na velikom spljoštenom
vuku, a iza leđa joj je zvijezda od niza manjih i svijetlih zraka iscrtanih
tušem koja predstavlja vjerojatno Sunce. Na stražnjoj strani je glava vuka
u krugu otvora čipkaste lelujave marame, a nasuprot tome su luk i strijela.
U sredini je otvor za vrpcu koji je s prednje strane zatvoren gumbom od
bjelokosti. Crtež je neobično skladan i čini se da je ispričana cijela priča o
lijepoj vili i zlom vuku. Razdoblje Edo, 18. st.
121. Zmaj i ptice, riatsu netsuke, tip okrugle netsuke s motivima rezanim na
perforaciju ryusa manju poput gumba s dekoracijom s otvorom, bjelokost,
promjer 4 cm.
Motivi zmaja i ptica među oblacima riješeni su rezanjem na proboj. Na
prednjoj strani je u profilu prikazan zmaj s krljuštima prekrivenim tijelom
i glavom s velikim okom, obrvom i rastvorenim čeljustima među kružnim
oblacima. Na stražnjoj strani glave je ptica u profilu s velikim tamnim
okom i povijenim kljunom između središnjega kružnog otvora povezanog
• 99
s obodom netsuke s tri eliptična lista-otvora. Sve je bogato iscrtano tušem.
Razdoblje Meiyi, 19. st.
122. Dijete s rakom - okrugla manju netsuke, bjelokost, promjer 4,7 cm
Manju - kružni netsuke što podsjeća na slatki jastučić punjen pastom od
graha, pravilan je i dobro zaglađen. U sredini ima rupicu s manjim krugom
od bjelokosti, što omogućava provlačenje uzice za pričvršćivanje pasice na
obi pojas. Na prednjoj strani je prikazana scena iz života: dijete u kimonu
povezanom mašnom na golom trbuhu, raširenih ruku i nogu, preplašene
fizionomije s očima, nosom i malim ušima, te s uvijenom kosom trči za
velikim rakom. Sve konture pojačane su tušem pa daju jači dojam smiješnoj
sceni. Razdoblje Meiyi, 19. st.
123. Maska netsuke, bjelokost, v. 5,2 x š. 3,1 cm
Netsuke maska prikazana je s kosom preko ušiju, obrvama, velikim očima,
kao i punim usnama i širokim nosom. Odozdo je perforiran ukras za vrpcu i
potpis od dva znaka. Razdoblje Meiyi, 19. st.
124. Maska demona - netsuke, bjelokost, v. 5,1 x š. 2,2 cm
Maska demona s razjapljenim ustima tako da su vidljivi svi zubi kao i sva
četiri očnjaka. Nos je širok, ispod su dvije rupice za provlačenje vrpce. Oči
su goleme, sa strane stisnute gustim obrvama. Iz kose vire roščići. Uši su
male. Sve je ocrtano tušem. Razdoblje Meiyi, 19. st.
125. Četiri maske netsuke, kolorirana bjelokost, v. 2,3 x š. 1,8 cm; v. 1,8 x
š. 1,5 cm; v. 1,9 x š. 1,5 cm; v. 1,9 x š. 1 cm
Maske su uokvirene u jedan europski okvir. Gore je maska u obliku demona
s roščićima koji vire iz kratke kose pocrnjene tušem što dopire do ušiju.
Na licu su tušem zacrnjene velike oči i razjapljena usta s dodatkom crvene
i bijele boje tako da su vidljivi zubi. Na bradi je jamica. Do nje je muška
maska s malom šiljatom obojenom kapicom koja omogućava da se vidi malo
tušem zacrnjene kose do velikih mesnatih ušiju. Na licu u obliku kruške
obrve su i oči u tušu uz nos, te kratki brkovi i blago crvena usta. Dolje
je maska vjerojatno budističkog svećenika s ćelavom okruglom glavom,
uokvirenom velikim mesnatim ušima, na čelu je urezana bora, a ispod
toga obrve, malene oči, nos, brčići i nasmijana usta, sve ocrtano tušem s
dodatkom crvene i bijele boje. Lice žene sa začešljanom valovitom punđom
na kojoj je crvenom bojom oblikovana kapica. Lice ima tušem naznačene
sitne obrve i oči, nos i usta, uz dodatak crvene boje. Razdoblje Meiyi, 19. st.
Komparacija: Tafel, br. 18. str. 10. Bakarna maska demona 19. st., Asiatika, 6.
posebna aukcija, Beč, SAS Palais hotel, Kunsthaus Zacke, 4. studenoga 1997.
126. Konj s mišem na leđima, bjelokost, v. 4,2 x š. 2,5 cm
Konj leži sa skupljenim prednjim i blago raširenim stražnjim nogama. Na
tijelu odozdo su dvije rupice za provlačenje vrpce za obi pojas. Glava je
zadignuta i tušem na vratu iscrtanom grivom i okrenutim licem prema mišu
na leđima. Male uši, velike oči i njuška ucrtane su tušem, mali miš na leđima
ima na isti način iscrtane sve važne detalje. Na stražnjem desnom kopitu je
oznaka vjerojatno majstora ili radionice. Razdoblje Meiyi,19. st.
127. Konj - uma koji pase, bjelokost, v. 4,8 x š. 3,5 cm
Konj stoji i pase - tema popularna u ranom razdoblju 18. st., ima uspravno
tijelo s dvije stražnje noge paralelne i repom iscrtanim tušem okrenutim
na lijevo. Jedna prednja noga je povijena, a druga uz glavu blago zakošena.
Glava na vratu ima tušem iscrtanu i graviranu grivu, male uši, velike
bademaste oči te nosnice i njušku prislonjenu o tlo (pase). Na stražnjem
boku uz rep su i dvije rupice za provlačenje vrpce - himotoschi potpis od
dva znaka. Razdoblje Meiyi, 19. st.
Komparacija: Asiatika 3. specijalna aukcija 29. studenoga 1996., Beč, hotel
Hilton, Kunsthaus Zacke, br. 757, str. 142
128. Zec na ovci, bjelokost, v. 2,5 x š. 3,7 cm
Veliki zec leži na ovci koja je iste veličine stisnuta ispod njega. Ponosan
zec sa zadignutom glavom, s velikim očima i malim ušima jednostavno je
izrađen. Ima natpis od dva znaka na prednjoj strani. Šćućurena ovca ispod
njega ima tušem iscrtanu dlaku. Odozdo na stražnjem papku ovce dvije su
oznake, vjerojatno potpis. Razdoblje Meiyi, 19. st.
129. Majmun, bjelokost, v. 4,1 x š. 2,7 cm
Majmun sjedi na stražnjim nogama, uz tijelo priljubljen drži rep. Glava s
ušima je podignuta, izražene su obrve, okrugle oči i njuška, ocrtani tušem.
Desnu šapu drži na njuški, a lijevom pridržava veliku uz tijelo stisnutu
dvostruku tikvu. Odozdo na tikvi su dva otvora za vrpcu, a na sredini
trbuha je potpis od dva znaka. Razdoblje Meiyi, 19. st.
130. Tri majmuna, bjelokost, v. 7 x š. 4,3 cm s postoljem
Tri majmuna raspoređena su poput lopte jedan iznad drugoga. Veći je u
sredini, a manji su gore i dolje. Svi su motivi izrađeni detaljno, ali nema
uporabe tuša. 20. st.
131. Majmun, bjelokost, v. 3,8 x š. 3 cm
Majmun je prikazan kako sjedi s ispruženim prednjim i savinutim stražnjim
nogama. Dlake su kao i nokti detaljno iscrtani tušem. Glava je okrenuta
u desno s naglašenim malim uzdignutim ušima, dubokim zasjenjenim
dupljama za oči, tušem iscrtanim očima, malo savijenim nosom i gubicom.
Razdoblje Meiyi, 19. st.
Lit. Asiatika, aukcijski katalog, Auktion haus Zacke, str. 34. i 35., br. 221, 2.
posebna aukcija, 20. travnja 1996., Beč, hotel Hilton
132. Majmuni pod palmama, bjelokost, v. 6,3 x š. 3,5 cm
Tri majmuna veru se po granama palmi, četvrti uz deblo. Sve su palme
raspoređene jedna pored druge s jakim deblima podijeljenima na prstenove
i velikim granama koje su položene jedna iznad druge i s gustim lišćem. Tlo,
majmuni, debla i lišće blago su iscrtani tušem. Razdoblje Meiyi, 19. st.
133. Pas (lav) iz hrama sa šupljom loptom (shishi), bjelokost, v. 3,3 x š. 3 cm
Shishi, mali pas ili lav iz hrama, prikazan je kako stoji sa sve četiri šape i
kitnjastim repom drži veliku šuplju loptu. Glava je iznad s bujnom grivom,
velikim okruglim očima, malim nosom i razjapljenom čeljusti. Sve su
konture tijela i lopte pojačane tušem. Razdoblje Meiyi, 19. st.
Komparacija: Asiatika, Kunsthaus Zacke, 4. studenoga 1997., Beč, SAS
Palais hotel, str. 200, br. 1112
134. Pas s metalnim zvončićem, bjelokost, v. 4 x š. 2 cm
Pas, vjerojatno sharpei prikazan je s uzdignutim repom u zrak i dvije
paralelne napete noge. Slabine se spuštaju s istaknutim rebrima do
položenih prednjih šapa. O vratu mu je obješen metalni zvončić. Okrugla
glava ima tušem zacrnjene male uši, velike okrugle žute oči i malu njuškicu.
Razdoblje Meiyi, 19. st.
135. Pas, bjelokost, v. 3,2 x š. 3 cm
Pas je prikazan u pokretu sa svakom nogom u drugom položaju i malim
odrezanim repom u zraku. Oko vrata ima crnu tušem premazanu ogrlicu.
Glava je okrenuta u lijevo prema nazad s okruglim crnim očima, crnom
njuškom i na vrhu s malim preklopljenim ušima. Razdoblje Meiyi, 19. st.
• 100
136. Mačka s mišem, bjelokost, v. 6,5 x š. 5 cm s postoljem
Mačka se upravo umirila uhvativši miša. Sjedi na stražnjim šapama s
priljubljenim dugim repom uz desni bok i šapom. Prednje šape su u koljenu
savinute, u gubici drži ulovljenog miša. Okrugla glava ima uzdignute uši,
velike oči i mali nos. Dlaka je blago označena tušem. Razdoblje Meiyi, 19. st.
Lit.: Early fantasy and reality in Japanese miniature sculpture, Boston, 2001.
137. Pilić, bjelokost, v. 3,5 x š. 4,5 cm
Pilić sjedi šćućuren sa samo glavom podignutom i istaknuta dva okrugla oka
izrađena od crvenoga poludragog kamena i kljunom. Razdoblje Meiyi,19. st.
138. Vjeverica, bjelokost, v. 4 x š. 3,5 cm
Vjeverica je realistički prikazana kako sjedi sa skvrčenim stražnjim nogama
i ispruženim prednjima, a ima podignutu prednju šapu. Kitnjasti rep je
okrenut također na desno. Glavica je uzdignuta s podignutom njuškom
i ustima kao i bademastim očima, te ušima zabačenima prema natrag.
Razdoblje Meiyi, 19. st.
139. Lavić, bjelokost, v. 3 x š. 3,5 cm u profilu
Lavić stoji u profilu s nakostriješenim repom. Dlaka je tušem iscrtana na
repu i butinama. Glava je prikazana kako nas gleda s iscerenom čeljusti
tako da se vide svi zubi, s velikim okruglim očima i malim ušima. Tušem su
iscrtane obrve. Razdoblje Meiyi, 19. st.
140. Dva miša jedu bundevu, bjelokost, v. 2,2 x š. 3,5 cm
Dva miša jedu veliku čvornatu bundevu. Jedan se popeo do samog klička
dok drugi stoji pri dnu i čeznutljivo gleda. Dlaka im je iscrtana tušem.
Razdoblje MEIYI, 19. st.
141. Žena sa psom i pticom, bjelokost, v. 7 x š. 3 cm
Žena bogato odjevena u haljinu od dva dijela stoji. Gornji dio haljine sa
širokim rukavima i zategnutim okovratnikom izvezen je. Vidljive su ruke
koje drže komad vezene tkanine. Haljetak seže do bokova, a ispod je vezena
suknja rezana u nazubljene dijelove. Glava ima opuštenu kosu do ramena
s punđom na vrhu poput perike. Lice je duguljasto s urezanim obrvama,
očima, nosom i ustima. Noge ispod suknje su bose. Na tlu uz figuru stoje
pas i ptica. Nema potpisa. Stilski pripada umjetnosti Japana ili kineskoga
Juga. 20.st.
142. Čovjek s kutijom i štakorom - hvatač štakora, bjelokost, v. 4,6 x š. 5 cm
Muškarac oskudno odjeven u maramu omotanu oko stražnjeg dijela,
bokova i trbuha sjedi s jednom nogom podignutom i savijenom u koljenu
i drugom spuštenom na tlo, također savijenom u koljenu i oslonjenom
na prste, s odostraga vidljivim stopalom. Figura izgleda zgrčeno i ljuto,
to jest očajno. Desnom rukom drži kutiju, a lijevom veliku palicu. Glava
okrenuta u desno ima zaglađenu kosu iznad uha, s malom punđom na vrhu.
Lice je iscereno u očajnu grimasu s borama na čelu, velikim udubljenim
očima, širokim nosom i razjapljenim ustima, tako da se vide zubi i jezik.
Na desnom ramenu prema leđima šeće veliki štakor s iscrtanom, tušem
ocrnjenom dlakom na kojeg čovjek „urla“. Na marami s donje strane vidljiv
je potpis od tri znaka. Razdoblje Meiyi, 19. st.
Komparacija: London, Victoria and Albert Museum, Far eastern series, Julia
Hutt: Japanese netsuke - gotovo ista kompozicija u bjelokosti, str. 54, br. 42.
143. Tigar, drvo, v. 3 x š. 3 cm
Tigar sjedi na savijenim stražnjim šapama i repom povijenim u desno
do prednjih šapa koje su ispružene. Leđa se uzdižu od stražnjeg dijela do
glave. Krupna glava okrenuta na desno ima male polegle uši, velike oči,
nos i razjapljene čeljusti s vidljivim svim zubima. Po cijelom tijelu očita je
prostudiranost boje dlake s naizmjeničnim svijetlim i tušem zatamnjenim
prugama s uskom crtom od repa do glave koja ide u drugom smjeru i dijeli
tijelo na dva segmenta. Odozdo na repu koji je uz četiri šape s pandžama,
vidljiv je potpis od dva znaka ispisan tušem. Razdoblje Edo, 18. st.
Komparacija: Japanese netsuke, Julia Hutt, Victoria and Albert Museum,
Far eastern series, br. 105, str. 95. Tigar, drvo, oči s umetnutim sedefom i
drugim materijalom. Potpisano „Tomin“, 1775-1825.
144. Orao sa zmijom, drvo, v. 7 x š. 3,2 cm
Orao stoji na drvu izbrazdanom režnjevima poput češera i u kljunu drži
ulovljenu zmiju. Tijelo je nabijeno s detaljno iscrtanim perima krila koja
se skupljena spuštaju do repa. Glava je pognuta s velikim tušem iscrtanim
očima i kljunom u kojem drži zmiju što savija svoje išarano tijelo s glavom
i očima kod kljuna orla, te repom ispod čvrste išarane pandže. Na dnu je
potpis od dva znaka.
Razdoblje Meiyi,19. st.
145. Kuhar, drvo, v. 3,5 x š. 2,5 cm
Kuhar kleči uz drveni pladanj i iz velikog tanjura štapićima u svoju malu
zdjelu grabi tijesto. Odjeven je u jednostavnu tradicionalnu halju do koljena
i hlače. Noge su bose. Okrugla glava s kratko ošišanom i tušem ocrnjenom
kosom seže do ušiju i neprimjetna je prema licu koje je razblaženo sa
stisnutim očima, širokim nosom i raširenim ustima u želji da što prije
proguta prvi zalogaj tek kuhanog tijesta. Razdoblje Meiyi, 19. st.
146. Štakor, drvo, v. 3,5 x š. 3,2 cm
Štakor leži sklupčan na podu sa savinutim stražnjim nogama i dugim repom
obavijenim oko njih. Prednje šape su pod njuškom i drže plod koji grize.
Glava ima dugačku njušku, uši zabačene prema natrag i okrugle oči. Čitavo
tijelo prekriveno je tušem iscrtanom dlakom, a rep je podijeljen svom
dužinom u kružiće poput godova. Razdoblje Meiyi, 19. st.
147. Bik, kamen, v. 5 cm
Bik izrađen od tamnog kamena prikazan je realistično kako sklupčan leži
s povijenim nogama i repom. Iznad tijela diže se jedino glava s velikom
njuškom, okruglim očima te rogovima iscrtanima i zabačenima prema
leđima. Razdoblje Meiyi, 19. st.
148. Inro kutijica za lijekove, crni lak na drvu, boja, sedef, v. 6,5 x š. 4,8 cm
Inro kutija sastavljena od pet pretinaca povezana je vrpcom s obje strane
u cjelinu. Na vrhu ima gumb. Svaki odjeljak ima motiv ocrtan bojom ili
sedefom kao što su prikazi različitih posuda „peći za kuhanje“. Razdoblje
Meiyi, 19. st.
149. Inro kutijica, crni lak, drvo i boja, v. 29 x š. 16 cm; v. 8,5 x š. 6,5 cm;
v. 3,6 x š. 2,4 cm; v. 3,1 x š. 1,6 cm
Kutija je podijeljena na pet segmenata, povezana ljubičastom vrpcom s obje
strane tako da čini cjelinu. Inro na taj način izgleda poput slike s motivom
ljudi - težaka na čamcu koji ga vuku prema plićaku. Razdoblje Meiyi, 19. st.
150. Inro kutija, drvo, lak, pozlata, v. 5,5 x š. 5,8 cm
Na četiri dijela podijeljena kutijica povezana je vrpcom s jedne i druge
strane tako da čini cjelinu. To je poput slike planinskoga pejzaža s
oslikanom šumom, drvenim kućama, dvorcem i mostom na kojem hodaju
• 101
ljudi. Sve je oslikano pozlatom. Na smeđoj vrpci je gumb tako da zategnuta
čini cjelinu. Razdoblje Meiyi, 19. st.
151. Okrugli inro i netsuke, drvo, crveni lak, pozlata, v. 4,5 x š.4 cm, a
netsuke promjer 5,5 cm
Okrugla kutijica podijeljena je u tri dijela, izvana s crvenim lakom i
pozlaćenim krizantemama, a iznutra s crvenim lakom. S obje strane je vrpca
koja povezuje sve dijelove u cjelinu, na vrhu je gumbić u obliku vodenog
kestena. Uz to je netsuke u obliku glumca s dugom crvenom haljom, s
otvorenom lepezom u lijevoj ruci i tušem iscrtanim ustima, očima i nosom,
te punđicom na vrhu glave. Razdoblje Meiyi, 19. st.
152. Stalci za fotografije i ukosnica (četiri komada) Bronca, zlato, srebro,
crni lak; 1. Veća lepeza, v. 8 x š. 5 cm; 2. Manja lepeza, v. 5 x š. 3 cm; 3.
„Samuraj“, v. 4 x š. 4 cm; 4. Ukosnica, promjer 2,2 cm
1. Donji rub i lijevi desni rubovi ukrašeni su zlatom. Glavni dio premazan je
crnim lakom s cvjetnim granam i dvije ptice u zlatnom prahu.
2. Gornji rub i konstrukcija lepeze su u zlatu. Glavni dio premazan je crnim
lakom s cvjetnim grančicama, lišćem i viticom u zlatnom prahu.
3. „Samuraj“ je opremljen tradicionalnom borilačkom opremom s dugim i
kratkim mačem zataknutim o obi. Odjeća je ukrašena zlatom i srebrom u
reljefu. Oba mača pravilno su zataknuta - veliki prema gore, manji prema
dolje. Lice je zastrašujuće, s pozlatom i punđicom na vrhu glave
4. Ukosnica sa crnom pozadinom od laka s ukrasima rascvjetanih grmova,
ptice.
Razdoblje Meiyi, 19. st.
153. Brončana vaza, bronca djelomično pozlaćena, v. 36 x š. 24 cm svaki
Vaza u reljefu ukrašen je pozlaćenim pticama i grančicama. Motivi uz otvor
su plitki kao i oni uz donji rub koji je blago proširen. Razdoblje Meiyi, 19. st.
154. Vaza s poklopcem, porculan oslikan bojama iznad cakline, v. 29 x
š. 16 cm
Vaza s poklopcem cijela je oslikana bojama iznad cakline. Motiv je orkestar
žičanih instrumenata u rascvjetanom vrtu. Na nožici i uz vrat su cvjetni
motivi na tirkiznoj pozadini. Vrat je prekriven zlatnim geometrijskim
motivima, dok je poklopac s cvijećem na crnoj pozadini. Rub je sa
stiliziranim cvjetićem za prihvaćanje. Dio te „suze“ je bogato pozlaćen.
Razdoblje Meiyi, 19. st.
155. Mirisnica, porculan s bojama iznad cakline, v. 8 x š. 6,5 cm
Mirisnica od porculana oslikana je bojama iznad cakline. Na četvrtastom
tijelu su budistički likovi što sjede s mandorlama oko glave budističkih
sljedbenika. Gornji smeđi dio s perforiranim poklopcem je s tirkiznim
točkicama, a na četvrtastom dijelu u tri reda proreda, dekoracija je sa
smeđim točkama. Na četiri kuta su kružni otvori za izlaz dima. Odozdo je
natpis s jednim znakom unutar kružnoga vijenca. Vidljiv je natpis odozdo
od tri znaka „ da Riben“, što znači „veliki Japan“. Razdoblje Meiyi, 19. st.
Karolina Franc
• 102
• Drvorez - ukiyo-e
Riječ ukiyo-e znači doslovno „slike plutajućeg svijeta“. Tijekom druge
polovice 15. st. počeo se koristiti u pjesništvu i u prozi kao izraz ideje da je
život samo prolaz u san. U feudalnim danima razdoblja Edo 1600. – 1868.
označavao je svijet užitaka.
Hishikawa Moronabu (1618. – 1693) začetnik je umjetnosti ukiyo-e.
Nakon preseljenja u Edo, današnji Tokyo, 1658. započeo je s ilustriranjem
knjiga i crtanjem slika o svakodnevnim aktivnostima običnih ljudi, koristeći
se metodom tiska pomoću drvenih ploča poznatom u Japanu od 8. stoljeća.
Tiskanje budističkih tekstova naručila je carica Shotoku 770. g. To je
prvi tiskani dokument u Japanu i najstariji primjer tiska u cijelom svijetu.
Tiskarske tehnike ostale su grube sve do Moronabua koji je započeo s
tehnikom ukiyo-e drvoreza. Crte su bile mekane, ponekad nepravilne,
radovi su tiskani tušem na koji je poslije ponekad kistom nanesena cinober
ili žuta boja. Njegovi suvremenici koristili su široku skalu zemljanih boja da
bi prikazali elegantne uzorke na haljinama lijepih žena koje su portretirali.
Radom Okamure Masanobua (1686. – 1764). značajno je obogaćen razvoj
graviranja drvenih ploča kao i njihov oblik i veličina. Pored toga što je bio
umjetnik, imao je i vlastitu tiskaru. Volio je eksperimentirati, započeo je
uporabu grimizne boje, miješao je koštano ljepilo s tušem, što je davalo
otiske sjajne kao da su lakirani, poznate kao urushi-e. Uvodi jasne jake crte
uočljive u svim kasnijim ukiyo-e drvorezima. Masanobu je također uveo
perspektivu, korištena je za prikazivanje pejzaža, poznatog kao uki-e. Beniozuri
je stil u kojem se za svaku boju koristi zasebna drvena ploča. Suzuki
Harunobu je 1765. napravio prvu sliku korištenjem raznovrsne skale boja
– nishiki-e drvorez.
Tiskarske tehnike ukiyo-e jedinstvene su u svijetu, tri zasebna stručnjaka
uključena su u taj proces. Umjetnik crta skicu, drvorezac je urezuje na
drvenu ploču, a tiskar je otiskuje na papir. Skica je crtana na posebnome
tankom papiru pogodnom za prenošenje na drvo. Drvorezac bi odabrao
komad drva divlje trešnje s pravilnim godovima, blanjao bi ga da dobije
savršenu glatku površinu, koja bi se pokrila ljepljivom pastom. Na to bi
se položio papir sa skicom i sve bi bilo ostavljeno da se osuši. Drvorezac
bi prstima trljao papir pritiskujući ga da ostavi crtež otisnut na površinu
drva. Malim bi nožem zarezao s obje strane svake crte, urezujući crtež u
drvo. Zatim bi dlijetom i čekićem izrezivao dijelove drva koji nemaju crtež,
ostavljajući na drvu oštar reljef prema crtama na skici. Dovršenu ploču
pregledao bi umjetnik, ako je bilo sve u redu, ploča bi bila dana tiskaru koji
bi pomoću kista prekrio ploču tušem i otisnuo prvi otisak na kvalitetnom
papiru. Nakon procjene umjetnika i tiskara napravljeno bi bilo deset novih
otiska koje bi dao umjetniku da na svakog nanese posebnu boju. Drvorezac
bi prema predlošcima slikara za svaku boju načinio zasebnu drvenu ploču i
konačno složio u cjelinu. Upotrebljavan je tanki papir zvan nishi-no-uchi, s
pojavom višebojnog nishiki-e uvedena je deblja varijanta papira – echizenhoshi.
Papir za ukiyo-e pokriven je emulzijom od ljepila rastopljenom u
toploj vodi da ga načini otpornim na vodu. No, ako bi se ostavio predugo
na papiru, odbijao bi boje. Prije tiskanja papir prekriven emulzijom
ostavljen je pod teretom kraće vrijeme da se vlaga i emulzija ravnomjerno
rašire po papiru, što ga je omekšavalo i pomagalo upijanju boja. Za tiskanje
su korišteni biljni pigmenti od cvijeća ili kore drveta. Pigmenti blijede s
vremenom pa je malo starih otisaka zadržalo sjaj i boju.
Od 1780. vlast Tokugawa uvela je u Japanu cenzorski sustav za ukiyo-e.
Izdavač je bio dužan odnijeti skice u cenzorski ured radi odobrenja te dobiti
pečat na skicu, čime je dobio dopuštenje za izradbu drvoreza i tiskanje.
Cenzorski pečat se morao obvezno vidjeti i na konačnom drvorezu. Bilo
je nekoliko vrsta i veličina cenzorskih pečata od početka razdoblja Meiyi,
godine 1868. Cenzorski pečat bio bi stavljen izvan okvira samog drvoreza.
Prvi korak u određivanju originalnosti ukiyo-e otiska je proučavanje
kvalitete papira. Pravi stari otisci su na tankom papiru mekanom na
dodir, dok su novije kopije i reprodukcije na debljem papiru sa sjajnom
grubom površinom. Treba razlikovati reprodukciju od krivotvorine. Zbog
osjetljivosti i lomljivosti stručnjaci čuvaju originale u spremištima, a za
proučavanja koriste se dobro napravljenim reprodukcijama. Pri izradbi
reprodukcije provodi se isti postupak kao i za original. Pri tiskanju
se koristi original kao predložak. Ukiyo-e je bila umjetnost građana.
Najpopularnije teme bile su ljepotice – biyin-ga, glumci kabuki-e kazališta
i pejzaži uki-e. Najpopularniji umjetnici različitih stilova i tema drvoreza
ukiyo-e:
1. Toyokuma Utagawa (1769. – 1825.). Učenik Utagawa Toyoharu u
Tokyju od 1786. Posvetio se likovima iz kabuki kazališta i portretima
glumaca – yakusha-e.
2. Audo Hiroshige (1797. – 1858.). Doveo drvoreze s prikazom pejzaža do
savršenstva. Serijom uki-e drvoreza s upotrebom perspektive pod naslovom
„Slavna mjesta u Istočnoj prijestolnici“ (Tokyju) ukiyo-e drvorezi rano su
postali popularnima u drugim zemljama više nego u Japanu. Tijekom 19.
stoljeća velik broj ukiyo-e donesen je u Francusku, naročito tijekom svjetske
izložbe 1867. Slikari Monet, Manet, Degas, Van Gogh postali su veliki
sakupljači fascinirani sjajem i plodnošću skiciranja.
3. Kitagawa Utamaro (1753. – 1806.). Izražavao je idealiziranu žensku
ljepotu, naglašavajući čisti ten i osjećaje. Slikao je žene iz svih slojeva
društva: gejše, kurtizane, kućanice i njihovu djecu. Koristi novost –
pozadinu žute ili svijetlo sive boje uz korištenje tanke crvene crte za
označavanje ruba lica i ruku da bi naglasio mekoću i bjelinu ženske puti.
Zahvaljujući novim tehnikama postao je najpopularniji ukiyo-e slikar svog
vremena.
• Kiparstvo
Za razdoblja Nara i Heian, 794.-1185. godine, u Japanu se stvaraju novi
uvjeti života. Iz Indije se širi budizam kao vrlo važan čimbenik. Do tada je
u Japanu glavna religija bio šintoizam – izvorno vjerovanje u prirodne sile,
iznad svega povezano s boginjom sunca.
Godine 538. pokrajina Nara s glavnim gradom Asuka poznata je po širenju
utjecaja budizma i kineskog stila u kiparstvu, slikarstvu i svim dekorativnim
umjetnostima. Carska kuća s princom Shotokuom, regentom carice Suiko,
592.-628. podržavala je novu religiju. Grade se veliki hramovi i tehnika
rada u svim materijalima izvanredno napreduje. Godine 756. dragocjena
zbirka Karashomu s oko 3000 predmeta darovana je hramu Tôdaiyi u Nari,
te smještena u Shôshôin, riznicu velikoga hrama.Vatra i potresi uništili
su mnoge riznice, no nekim čudom Shoshoin je preživio i predstavlja
jedinstvenu cjelinu kineske umjetnosti toga razdoblja.
Tijekom razdoblja Heian sa sjedištem u Kyôtu (rani naziv Heian) počinje
se oblikovati klasični japanski stil u umjetnosti. Stvaraju se budističke
skulpture koje prate i svjetovne umjetnosti poput izradbe predmeta za
uređenje kuća – paravana, pomičnih vrata i sličnoga. Prikazuju život,
elegantan i razrađen ukus carskih službenika. Tijekom stoljeća razvija se stil
japanskog kiparstva – od monumentalnih skulptura religijske umjetnosti,
najčešće izrađenih u drvu, do dekorativnih predmeta oblikovanih u
bjelokosti u 18. i 19. stoljeću, često namijenjenih i stranim skupljačima.
Takovi predmeti često su i potpisani te krase zbirke danas poznatih muzeja i
privatnih riznica. Teme su realistične, uzete iz svakidašnjeg života, izrađene
s puno pažnje.
• 103
• Netsuke
Tradicionalna japanska odjeća kimono za žene i muškarce široka je, udobna,
vezana pojasom obi, ali bez džepova, tako da su se predmeti za svakodnevnu
upotrebu poput lula, vrećica za duhan, kutijica za lijekove i sličnih stvari
vješali o pojas. Za pričvršćivanje takovih predmeta koristili su se mali
čvorovi, takozvani netsuke. Ne znači korijen, tsuke znači vezati prirodnim
čvorom ili malom tikvom. Japanskim smislom za ljepotu prirodne se stvari
s vremenom dotjeruju pa se tako uporabni čvorovi pretvaraju u prava
minijaturna umjetnička djela napravljena od najrazličitijih materijala.
Predmeti – čvorovi za vješanje – netsuke - prvi put se spominju 1680. u
knjizi o drvorezu Kimmozui. Da bi se netsuke držale za pojas obi, imaju sa
stražnje strane dvije rupice kroz koje se provlači vrpca. Netsuke može biti
različitih oblika, s prizorima iz stvarnoga života te sa životinjama, raznim
predmetima, mitološkim bićima i slično. Prema temama netsuke se dijele na
prikaz 12 životinja iz horoskopa, skupinu ostalih voljenih bića, božanstva
i mitološka bića, sedam bogova dobre sreće, japanske legende i povijest.
Po obliku netsuke mogu biti okrugli – manju, okrugli s metalnim dijelom
– kagamibuta i kružni s dekoracijom izvedenom na proboj, te četvrtasti.
Prvi spomen rezbara netsuke poimence se navodi u knjizi o drvorezu Soken
kisho objavljenoj 1781. Majstori se raspoređuju po pokrajinama i poznati su
u 18. i 19. stoljeću u Japanu te u 20. stoljeću u Europi među sakupljačima.
Netsuke se izrađuju od najrazličitijih materijala polazeći od različitih
vrsta drva, bjelokosti, metala, tvrdog kamena, te oraha i tikvi. To su prave
trodimenzionalne minijaturne skulpture. One se trebaju prilagoditi obliku
odjeće. S vremenom drvo i bjelokost dobivaju jedinstvenu patinu. Rani
majstori prepoznaju se slobodnim stilom rezanja, no tijekom 19. stoljeća
rad postaje detaljnijim i gracioznijim. Najljepše netsuke su minijaturna
vrhunska ostvarenja izrađena s ljubavlju i pažnjom u nekoliko mjeseci.
Takovi radovi su lijepi gledano sa svih strana, dobro izbalansirani i
izražavaju najbolje od materijala i osobnosti majstora. Nema te nacije poput
Japanaca koji su više pokazali u izmišljanju zastrašujućih mitskih bića,
fantoma ili legendi. Možda je to povezano sa samom prirodom punom
tamnih šuma, vodopada, planina i toplih izvora. Netsuke su doista čuda
rezbarstva, samo su nekoliko centimetara velika i opisuju svaku temu koja
se da zamisliti.
• Inro
Početak upotrebe male drvene kutije s osobnim pečatom u tušu – inro
vjerojatno potječe iz Kine. U početku su izrađivane od drva, s vremenom
se dijele na male ladice koje dobro prianjaju i međusobno su povezane
vrpcom te postaju izvorno japanska umjetnost. Najraniji primjerci
pripadaju razdoblju Momoyama, 1568.-1600. godine. Za razdoblja Edo
1600. – 1868. postaju bogato ukrašene te se uklapaju u jedinstvo motiva
s predmetima netsuke. Često se rad svodi na timski. Kutijice s ladicama
pomalo postaju upotrebne, a najviše medicinske namjene. Uz drvo mnogo
se koriste različite tehnike premazivanja višebojnim lakom uz dodatak
metalnog praha – maki-e, koja iako kineskog porijekla, postaje tipičnom
japanskom tehnikom. Riječ maki-e znači „poprskana slika“. Bit je da se crtež
poprska metalom, najčešće zlatnom ili srebrenom prašinom, uz pomoć
bambusove puhaljke, na površinu još mokrog laka. Postoje tri glavna tipa:
Hiramaki-e crtež je izdignut od površine samo toliko koliko je debeo sloj
laka.
Tukamaki-e crtež je modeliran mješavinom laka i ugljena ili keramičke
prašine.
Togidashi-e je složena tehnika kad se crtež hiramaki-e i podloga premazuju
lakom koji se polira i skida dok se ne dođe do crteža. Različite tehnike u
laku i kombinacija s umetanjem drugih materijala poput sedefa, poludragog
kamenja i metala govori o jedinstvenim tehnikama izradbe. Pored upotrebe
različitih tehnika lakom na kutijicama inro, te se tehnike koriste i za izradbu
slika te u minijaturnim predmetima poput gumbića za zatezanje vrpci na
netsuke, tzv. oyime.
• Keramika / Porculan
Od početaka, već u neolitu izrađuju se predmeti od keramike s utisnutim
motivima užeta i hasure - yômon, to jest „motiv užeta“. Po toj keramici
najstarije arhajsko doba Japana dobilo je ime Yômon. Nakon njega slijedi
razdoblje Yayoi, obilježeno istoimenom keramikom, naziv koje potječe
od naziva dijela Tokyja (Yayoi-cho) gdje su 1884. godine uz predmete
oblikovane na lončarskom kolu pronađene i figure grobnih čuvara haniwa,
različitih oblika. U kasnijim razdobljima razvoj keramike poticao je čajni
obred. Način izrade i oblikovanja bio je, pak, pod utjecajem keramičkog
importa iz Kine, Indokine i Koreje. U Edo razdoblju bilježi se izvanredan
razvoj svih oblika japanske keramike među kojima se posebno ističu: doki
– terakota bez cakline, tôki – keramika s caklinom, sekki – kamenina i
jiki –porculan. Tom procvatu keramike u Japanu pridonio je dolazak većeg
broja korejskih keramičara koji su na otoku Kyûshû našli vrlo kvalitetan
kaolin i poučili japanske keramičare kako od tog materijala proizvoditi
prvorazredan porculan. Na izložbi su zastupljena tri primjerka porculana
s ocrtanim motivima na caklini iz kasnog, Meiyi razdoblja: dvije vaze i
mirisnica.
• 104
Jômon - najstarije razdoblje arhajskoga doba Japana. Dobilo je ime po
tadašnjoj keramici na kojoj su česti valoviti otisci pletiva. Dokazano je da
to razdoblje seže do najmanje sedam tisuća godina pr. Krista.
Yayoi - nastavlja se na Jômon razdoblje i traje od 300. g. pr. Kr. do 300. g.
n. Kr. Obilježeno je Yayoi keramikom, naziv koje potječe od imena dijela
Tokyja gdje su 1884. iskopani prvi primjerci takve keramike. Stanovnici
Japana toga doba već su ratari, a glavna grana ratarstva je uzgoj riže. Iz
Kine se tada preuzima i uporaba bronce i željeza, za izradu mačeva, koplja
i ritualnih zvona. U razdoblju Yayoi započinje društveno raslojavanje i
izdvajanje moćnih obitelji, a među njima posebno skupine Yamato iz koje
je kasnije potekla carska obitelj.
Kofun - je posljednje predbudističko razdoblje koje traje od 3. do
početka 7. st. Ime mu proizlazi iz naziva grobnih humaka toga doba. U
njima su česti prilozi haniwa oblika izrađenih od terakote. To su obično
modeli ljudi, životinja, kuća, pokućstva i drugih predmeta nastalih pod
jakim utjecajima iz Kine. U 5. st. Japan je već imao diplomatske odnose
s Kinom što je pridonijelo prihvaćanju kineske književnosti, medicine,
astrologije, svilarstva i tehnika tkanja. Ali i omogućilo prvo upoznavanje
s konfucijanizmom i budizmom. U razdoblju Kofun nastala je izvorna
japanska religija šinto, „put bogova“.
Asuka - razdoblje 552.-645.g. nazvano je po istoimenom okrugu u
pokrajini Yamato, tadašnjem središtu Carstva. Budizam je s drugim
utjecajima u Japan stigao iz Kine. Princ Shôtoku Taishi, Sin Sunca, (573.-
621.) njegov je osobit pobornik. Uveo je budizam kao službenu religiju.
Iz njegova teksta od 17. članaka, koji se smatra prvim japanskim ustavom,
razabire se da je opredjeljenje za budizam bilo politički motivirano,
poslužilo mu za jačanje središnje vlasti. Izgradio je mnoge budističke
hramove poput znamenitog Hôryûji u Nari.
Nara - razdoblje 645.-794. obilježeno je sređivanjem zakonodavstva, po
uzoru na kinesko, ali i otvaranjem prema drugim utjecajima: kulturama
Istočnog Rimskog Carstva, Perzije, Indije i središnje Azije, pa čak i Grčke,
Asirije i Egipta. Zakonikom ritsuryô, donesenim 701. godine, određeno je
da sva zemlja i narod (osim robova) potpadaju pod upravu carskoga dvora.
Učinjen je popis stanovništva temeljem kojeg je izvršena razdioba zemlje
i razrez poreza. Uspostavljene su pokrajinske i središnja visoka škola za
obrazovanje službenika administracije. Slijedom tih reformi uspostavljena
je, po kineskom uzoru, stalna prijestolnica. Tako je 710. izgrađena Nara u
kojoj je centralizirana carska vlast. Zlatno doba Nara razdoblja u vrijeme
je cara Shômua (724.-748.) koji potiče gradnju budističkih hramova. Na
platnoj listi dvora tada se nalazilo više od sto umjetnika. Iz sačuvanih
popisa slika, koje su izgubljene, zaključuje se da je to razdoblje procvata
slikarstva.
• Kronologija
• 105
Heian - obuhvaća razdoblje od 794. do1185. u kojem se ruši dotadašnji
aristokratski sustav. Rod Fujiwara uspijeva uspostaviti kontrolu nad
suprotstavljenim plemstvom i budističkim svećenicima. Za cara Kammua
794. prijestolnica se iz Nare seli u Heian (označava „Mir i sigurnost“),
današnji Kyôto, izrađen po uzoru na Naru. Heian/Kyôto ostat će
prijestolnicom više od tisuću godina. Padom kineske dinastije T’ang, oko
900. g. prekidaju se veze s Kinom, pa slabe i utjecaji Kine što pospješuje
razvoj japanskog izraza na svim poljima umjetnosti.
Kamakura - razdoblje 1185.-1392. donosi nove promjene. Kulturno
središte s carskim dvorom ostaje formalno Kyôto, ali Yorimoto
Minamoto 1192. uspostavlja nasljedni Shogunat (Sei - I - Tai Shogun)
s vojnom vladavinom te seli administrativno središte u Kamakuru gdje
se uspostavlja strogi i asketski način života ratnika. Feudalci (daimyo)
su sada vazali shoguna, a vitezovi tijekom 13. stoljeća. Čitavo razdoblje
obilježeno je vojnopolitičkom nesigurnošću koja će se nastaviti i u
vremenu Muromachi i Momoyama. Tijekom razdoblja Kamakure odvija
se najdublji, najsnažniji i najtrajniji utjecaj na razvoj budizma u Japanu,
koji se izrazito odrazio na sveukupnu japansku umjetnost. Zen-budizam
su iz Kine u Japan prenijeli redovnici. Zen je tada prožeo svaku fazu
kulturnoga života. Postavlja se moral iznad dogme, propovijeda se
meditacija i asketizam. Ponovno oživljava kineski utjecaj - dinastije Song
i Yuan.
Muromachi - razdoblje 1392.-1573. i dalje je obilježeno nesigurnošću
i borbama. Vode se i krvavi građanski ratovi. Zemlja je razjedinjena i
razrušena. No, postepeno se razvijaju gradovi i građanski staleži. Prvi
građani krajem 16. st. (1542.) donose i prve znakove novoga vremena.
Zen je u tom razdoblju imao najveći utjecaj na razvoj umjetnosti. Raskoš
slikarstva Kamakura razdoblja zamjenjuje jednostavnost i čistoća
kompozicije. Pod utjecajem zena uvodi se i čajna ceremonija - cha noyu,
koja potiče razvoj fino ocakljene keramike i lakiranih predmeta. Majstor
Sen Mo Ruikyu ostvaruje izraz wabi - mirnoću, uravnoteženost i čistoću.
Momoyama - razdoblje 1573.-1615. znači preokret za razjedinjeni Japan.
Vojskovođa Oda Nobunaga vojnim je pohodima pod svoju vlast podvrgao
velik dio Japana, ali je ubijen 1582. godine. No, njegovo je djelo nastavio
Toyotomi Hideyoshi, nastavivši ujedinjenje zemlje koje je ostvareno1582.
Uvođenjem novoga zakonodavstva o posjedima i porezima postavio je
čvrstu osnovu feudalizma. Oštro je odijelio seljake od građana i zabranio
da bilo tko od njih dobije status samuraja. Kao i njegov prethodnik,
radikalno je slamao moć budističkog i šintoističkog svećenstva. Obojica
su provodila ekonomske reforme u korist trgovine i industrije. Naziv
razdoblja Momoyama, „Brežuljak bresaka“, potječe od kasnijeg naziva
južnog dijela grada Kyôta na kojem je Hideyoshi dao sagraditi dvorac
Fushimi. U to vrijeme otpočinje gradnja dvoraca i rezidencija. Lokalni
feudalci - damyo, građani i trgovci nositelji su kulture. Pojavljuje se nova
slikarska škola ukiyo-e, prevladavaju teme iz svakidašnjeg života. Bilježi se
i nagli procvat izradbe keramike s dolaskom korejskih keramičara nakon
osvajačkog pohoda u Koreju. S dolaskom prvih Europljana, Portugalaca
i Španjolaca, stižu i prvi misionari od kojih je prvi bio isusovac Franjo
Ksaverski (1549.). Počinje širenje kršćanstva koje je ubrzo procijenjeno
opasnim te 1612. počinje progon kršćana.
Edo - razdoblje 1615. -1867. je vojno i politički najstabilnije razdoblje
u povijesti Japana. Iyeyatsu Tokugawa osnivač je vojničkog krutog
shogunata koji traje od početka 17. do polovice 19. stoljeća. Stanovnici su
podijeljeni u četiri staleža: samuraje ili ratnike, seljake, obrtnike i trgovce.
Iako se stalež ratnika izdizao nad ostalima, za građanstvo, koje ekonomski
jača dok samuraji osiromašuju, to je razdoblje pravoga procvata, što se
odrazilo i na razvoj svih umjetnosti. No zemlja, kojoj je glavni grad Edo
(Yedo, od 1868. g. Tokyo,), živi u izolaciji kako bi se izbjeglo pokrštavanje.
Dopušteno je zaustavljanje samo Kinezima i holandskim protestantima.
Takvom izolacijom shogunat Tokugawa osigurao si je više od dva i pol
stoljeća neprekinute vladavine. Ali to je provedeno uz cijenu postupnog
nagomilavanja proturječnosti u japanskome društvu i državi, koje su
konačno potkraj 19. st. dovele do pada shogunata.
Novi Japan - razdoblje Tokyo
Dijeli se na:
Meiyi 1868.- 1912.
Taisho 1912.-1926.
Showa 1926.- do danas.
Nakon pada režima Tokugawa godine 1868. vlast preuzima car
Mutscihito (Meiyi). Postavljaju se temelji za brz kapitalistički razvoj
zemlje. Dvor seli iz Kyota u Edo - Tokyo (istočni glavni grad).
• 106
• Literatura
7. Harold Osborne: The Oxford Companion to the Decorative Art,
Oxford, at the Clarendono press, 1975.
8. Ukiyo-e, slike plutajućeg svijeta, Zbirka Ukiyo-e Akinsha. Katalog
izložbe, Stari Grad, Hvar, 10. kolovoza – 10. listopada 2008., Galerija
Juraj Plančić, Muzej Staroga Grada. www.stari-grad-museum.net
9. William Watson: The great Japan exhibition art of the Edo period,
1600. - 1868., Catalogue published in association with Weidenteld
and Nicolson, London, 1980,. 24 October – 20 December 1981 i 28
December – 21 February, 1982
10. The shogun age exhibition from the Tokugawa art museum, Japan,
The Shogun age exhibition executive commitee, 1983.
www.netsuke.org
International Netsuke Society Journal
1. Kulture Istoka, br. 5 srpanj – rujan, 1985., časopis za filozofiju,
književnost i umjetnost Istoka, izdavač: HIRO Dečije novine, Gornji
Milanovac
Iz svijeta samuraja, Vladimir Devidé, katalog izložbe, Muzejski prostor,
Jezuitski trg 4, Zagreb, 6. IV. – 16. VI. 1985.
Predmeti: par vaza iz 19. st., srebro, djelomično pozlaćeno s dekoracijom u
sedefu i različitim poludragim kamenjem, vis. 34,5 cm, otvor 10 cm
Tsuba štitnik balčaka samurajskog mača, 16. – 18. st.
Kutija 18. – 19. st., bjelokost s dekoracijom u zlatnom prahu, sedefu i
različitim poludragim kamenjem, vis. 13 cm, šir. 18 cm
Figura budističkog prosjaka, 8. st., drvo lakirano i pozlaćeno, vis. 88 cm,
šir. 68 cm
2. Arhitektura futurizma i zen filozofije, „Nacional“, neovisni news
magazin, br. 819, 26. VII. 2011., razgovor: Nina Ožegović, snimio: Oleg
Moskaljov, izložba djela: Paralelni Japan, suvremena japanska arhitektura
1996. – 2006. u zagrebačkome Muzeju suvremene umjetnosti. Razgovor
s Melitom Rački, arhitekticom koja je 9 godina provela u Japanu i tamo
magistrirala.
3. „National Geographic“, Hrvatska, prosinac 2003., br. 2., „Samuraji 400
godina obljetnice Edo razdoblja 1603. – 1875.“
4. Aukcijski katalozi
Asiatika – druga posebna aukcija, 20. IV. 1996., Beč, hotel Hilton,
Kunsthaus Zacke
Kunsthaus Zacke Asiatika, 4. posebna izložba, 31.V.1997. Beč, hotel
Hilton, str. 26., br. 84.
Sotheby,s London, 18. VI. 1997., Japanese prints, paintings and works of
art, br. 236., str. 28
Sotheby,s 34&35 Bond Street, London, Fine Japanese Works of Art, 20.
X. 1982. i 21. X. 1982.
5. Julia Hutt: Japanese Netsuke, Victoria and Albert Museum, Far
Eastern Series, 2003.
Eksponati s izložbe: Br. 105. – tigar, drvo, oči sa sedefom i drugim
materijalom, potpisan Tomini, 1775. – 1825. g., vis. 3,5 cm, str. 95 i
naslovnica;
Štakor, drvo s umetnutim očima, 1750. – 1800., vis. 4,8 cm;
Hvatač štakora, potpis Masamariki Seiki, 19. st., bjelokost, vis. 3,9 cm
Konj s umetnutim očima, 18. st., vis. 5 cm
Br. 895. Tigar, šimšir, potpisan Masamori, 19. st., str. 127.
6. Joe Earle: Japanese Early Netsuke, Fantasy Japanese Miniature
Sculpture, 2001., Museum of Fine Arts, Boston, str. 312, 274 i 275
„Konj koji pase“, bjelokost i rog, potamnjeno šimširovo drvo, sredina ili
kasno 18. st., vis. 8,2 cm
• 107
lijekove koja se nosila obješena o obi
kabuki - popularni kazališni komad iz 17. st.
kagami netsuke - sastoji se od kružne zdjelice od bjelokosti ili drva u koje
pristaje metalni poklopac
kara netsuke - netsuke s debelim prstenom i uskim otvorom
kasu obi - za vezivanje oko pasa ili bokova
katabori - rezanje u obliku kruga
katana - dugi mač
kateruzutzu - etui za lulu
kazura obi - uska traka za vezivanje vlasulje
kimono - tradicionalna japanska odjeća za ženu i muškarca sa širokim
rukavima, vezuje se naprijed na preklop
kinchaku - vrećica za novac
kiserozutsku - kutija za duhan
kiseru - japanska tipična lula za pušenje duhana s malom vrećicom
koshirae - postava mača
maki-e - dekoracija u laku, tehnika nastala za razdoblja Hzijan. Može se
podijeliti na: togidashi maki-e - polirani maki-e
hiramaki-e - fina prašina nanesena na glatki lak
taramaki-e - nanesena na površinu u reljefu
manju - kružna netsuke, podsjeća na slatku roladu punjenu crnim grahom
mon - obiteljski znak
netsuke - držač za vrpcu obi pasa
obi - vrpca za vezivanje odjeće
obiguruma - kotač pasa, netsuke u obliku tankog prstena s velikim
otvorom.
obihasami (panae) - netsuke ravnog oblika koji leži iza pasa s istaknutim
dijelom
oyime - mala kočnica za vrpcu na obi, karika za zatezanje pasa za
predmete što vise s njega
ryusa - tip manju ili kagami netsuke, rezana, otvorenog oblika
sagemono - predmeti koji vise, zajednički naziv za vrećice obješene o pas
sashi - dug tip netsuke koji se nosi između sashi i kimona
shamisen - japanski instrument s tri žice
shoin - niša za pisanje
Shoshoin - zbirka dekorativnih predmeta kineske dinastije Tang,
sačuvanih u Nari. Zbirku je posvetila 756. g. carica Koken, udovica cara
Shomu Budhi Todaiyi iz Nare. Sačuvani su u riznici Shoshoin, netaknuti
do danas. Najbogatija su zbirka kineske umjetnosti tog vremena.
tabakoire - vrećica s duhanom obješena o pas
tachi - duga oštrica mača, nosila se obješena prema dolje
temmoku - glazirana keramika, dobila ime po planini Tien-mu u
kineskoj pokrajini Zhe Zhiang, koja je izvor prve zdjelice što ju je
budistički svećenik donio u Japan tijekom razdoblja Kamakura.Glavni
način procjene je u pjegama na caklini poput mrlja od ulja ili dlaka zeca.
tonkatsu - kutija za duhan koja se nosi obješena za pas
wakizashi - manji mač od 30 do 60 cm duljine
yatate - prijenosni pisaći pribor nošen na pasu
• LIKOVI LJUDI, BOŽANSTAVA, MAGA I DEMONA
Amitabha - Budha zapadnog neba
chonin - ljudi u gradu
Daikoku - bog sreće
daimyo - feudalac
Daruma - osnivač Chan (Zen) budizma
Ebiso - bog sreće i ribara s udicom
Fujin - božanstvo vjetra
Fukurokuju - bog sreće s velikom glavom
Gama sennin - besmrtnik; ime dobio po žabi (gama) na ramenu ili leđima
Hotei - bog sreće s velikim trbuhom
Juroyin - bog sreće
Kubara - bog pravednosti
nue - čudovište s glavom majmuna, šapama tigra, repom zmije
oni - demon
Rajin ili Raiden - božanstvo groma
sennin - kineski taoistički besmrtnici
shogun - vojni guverner Japana, upravlja u ime cara
shoki - hvatač demona
Shou Lao - bog dugog života
• SEDAM BOGOVA SREĆE
Benten - boginja glazbe i ljubavi s glazbenim instrumentom
Bishamon - bog bogatstva, ali borbenog izgleda
Daikoku - bog trgovine, poljoprivrede i obrta s maljem i štakorom
Ebisu - bog poplava i ribarstva s ribičkim štapom i velikom ribom tai
Fukurokuju - bog dugovječnosti, uvijek se smije, dugačke glave
Hotei - bog sreće i djece s velikim trbuhom i torbom
Juroyin - bog dugovječnosti i učenja sa svitkom, jelenom ili čapljom
• ŽIVOTINJE I MITOLOŠKA BIĆA
amaryo - kišni zmaj bez krljušti. U Kini se naziva žutim, bez rogova,
sličan morskom konju.
kirin - mitsko četveronožno biće, glava zmaja, jedan rog, tijelo vola,
prekriveno krljuštima kao riba. Dobro je biće koje ne može zgaziti nikoga.
shishi - pas /lav, mitološko biće iz hrama
• POJAVE, PREDMETI
daisho - veliki i mali mač, katana i wakizashi. Nošenje para mačeva
počinje u kasno doba Monoyama razdoblja, kodificirano za razdoblje,
ograničeno isključivo na članove klase samurai.
hako - netsuke u obliku kutije
himotoshi - dva otvora za provlačenje vrpce na obi pasu
imari - crtež na porculanu: željezno crvena i zlatna na glazuri, te kobaltno
plava ispod glazure
inro - izvorno kutijica za pečate, za razdoblje Edo, kasnije kutijica za
• Rječnik
• 108
• 109
Damir Kovač, assistant prossor was born on October 3, 1949
in Zagreb, where he completed elementary and high school. He
graduated from the University of Zagreb School of Medicine in
1973. In 1975, he completed a general surgery residency and then
a second residency in neurosurgery in 1984. He was awarded with
the title Primarius in 1992. To date, he wrote hundreds of scientific
and technical papers in the field of neurosurgery. He is the Head of
Post operative Care Division in the Department of Neurosurgery in
University Hospital Center “Sisters of Mercy” in Zagreb.
From an early age he showed an interest in ancient numismatics and
archaeology. He has been a member of the Croatian Numismatic
Society in Zagreb for many years and since 1993, the President of the
Society. He is the author of many technical and scientific papers in the
field of numismatics and was an active participant in many national
and international numismatic congresses. He is the originator and the
screenwriter of the first Croatian documentary about numismatics:
“Numismatics in the Croatian historical territory” (Stella-film,1988).
He has organized several numismatic exhibitions:
Antique - numismatic collection, on the occasion of the 1997 World
Savings Day.
Two thousand five hundred years of the savings and banking culture on
the historical territory of Croatia, 1988
Female figures on Roman coins, 2001
Phallic defence against the evil eye, 2003
Ban Josip Jelačić, from the collection of Dr. Damir Kovač, 2008
Since practically he spent all his life looking through a magnifying
glass in his profession, as well as in numismatics, because neurosurgery
is microsurgery, he was fascinated by Japanese art dominated by
meticulousness and tactility.
For years, he has been collecting these small sculptures and thus has
made a solid and interesting collection.
On the 20th anniversary celebration of the Lions club “Zagreb” he
decided to bring his collection into the public eye, hence wishing to
pay his respect to the proud and courageous people of Japan, especially
in this year of their great misfortune.
Moreover, his wish is to donate a part of the collection catalogue to
the Japanese libraries.
Note on the collection owner
• 110
• Xylograph
Utamaro Kitagawa, painter, printmaker and xylographer
Born in Kawagoc in1753, died in Edo (Tokyo) on October 31, 1806.
He entered the workshop of Toiyama Sukien very young and leaved
in 1782. He worked with a xylograph publisher in the entertainment
neighbourhood of Yosaiwara. Extremely productive, as a painter he
belonged to the school of ukiyo ( Japanese - ephemeral world painting),
which is a Buddhist demarcation of the Tokugawa period (1603 - 1867). It
deals with ordinary life subjects such as life of courtesans in entertainment
neighborhoods and actors of the kabuki theatres. These subjects are
elaborated in multicolour xylographs and they are published in large
circulations. He owes his fame to his drawings - xylograph templates, the
main subjects of which are women. During his life the pieces were exported
to China, and in the 19th century they arrived in Europe. A special beauty
is possessed by the drawings of courtesans, performed in calligraphic lines.
Apart from individual book templates, erotic picture-books are among
the most refined multicolour xylographs. He is also famous for his nature
picture-books, with the themes of little animals and plants where he proves
himself to be a spiritual interpreter of the world of nature.
1 - 4 Four xylographs, xylograph, painting, varnish (24, 5 x 17,5 cm)
Four depictions of pretty women seated at a dressing table. Very expressive
facial expressions. KIMONO, the national clothes are depicted in
turquoise blue, black, green and some yellow and violet colour with typical
floral prints. Unique neatly combed hair is flawlessly combed down and
decorated with a traditional ornament in all copies.
The first xylograph shows a female bosom reflecting in a big oval mirror at
the same time the back with a chignon and other details. The signature with
three signs is in the lower right angle, and most likely represents the author’s
name.
The second xylograph depicts a half profile of a pretty woman in a white
veil whose red lips hold one tip of the veil, and the rest is thrown over a
neat chignon. The bosom is dressed in a black robe with turquoise blue and
violet clothes with white prints under it.
With her right hand she is taking out something from a violet-yellow bag.
The signature, author’s name is made of three signs at the right middle part
on a beige foundation.
The third xylograph depicts an extraordinary beautiful woman in a half
profile at the dressing table with one breast revealed. The black chignon
is put up high on the head with two traditional ornaments. The face is
flawlessly made up. Her upper robe is light blue with round dark blue prints
connected with thin cords which are the same colour as the green fabric with
black prints in the lower part of the body, carelessly thrown over. In both her
hands she is holding a tip of a white towel or fabric. In the lower right corner
on a beige foundation there are three signs, i.e. the author’s name.
The fourth xylograph is a depiction of a woman from the back in full
figure looking at herself in two oval mirrors. She is holding one in her left
hand partly reflecting her face, and the other in her right hand. The right
mirror on her back has a yellow sign with three leaves (sign of family) and
a Chinese sign, meaning “tall”. The chignon is flawless with ornaments.
Kimono robe depicted from the back is unique, turquoise blue with white
and turquoise rhombuses and star-shaped eight-armed prints. In her waist
she has a red belt with white floral motives ( Japanese OBI). In the lower
right angle there are three signs standing for author’s name.
Bibliography. Sotheby’s London: Japanese prints, paintings and works of art,
pp. 60 and 61 No.421, 422, 424 i 425, auction catalogues, 18th June 1997.
Sculptural miniatures
• from the collection of
Dr. Damir Kovač
• 111
5) Eagle on a branch, wood, black varnish Heian with mother-of-pearl
and ivory, wooden carved frame with a floral motif, 77x43 cm, a possible
signature sign in the lower right angle.
The technique is from the period of HEIAN (794-1185). The wooden basis
is covered with several coatings of black varnish with ivory and motherof-
pearl inside of it, for decoration. The varnish comes from the juice of a
tree (rhus vernificera) imported to Japan from China. It is appreciated for
its rigidness, moisture-resistance and lightness. Its shine is extraordinary,
the core is mostly in wood, it can be bamboo, leather, papier mache, hemp
fabric, metal, clay or porcelain. It is applied onto the basis with a brush
successively, in a determinate number of layers. Every layer needs to dry,
which makes this technique last long and it needs a lot of moist. The
varnish can be processed in several ways: it can be carved, collared; other
materials can be embedded into it like ivory, mother-of-pearl, metal. By the
method of elaboration it has different names: maki-e (golden varnish), it is
dusted with golden and silver powder and then covered with a transparent
varnish: radein - application of mother-of-pearl on a rigid wood, collared
techniques in red, green and yellow. The technique is typical of the Far
East - China, Japan, and Thailand. The most perfect works of art were given
by Japan. The material is one of the most antiques - in the period of the
Yamato state objects in varnish with decorations were found. The basis of
the painting is written over with black varnish on a wooden board. Built in
are ivory and mother-of -pearl which make the body of the eagle sitting on
a tree with two branches with leaves, some of them already flying in the air,
beside the three leaves a swallow and two butterflies fly the air. The eagle is
shown from the back with feathers elaborated in detail in the back part and
with the ill-omened head made in ivory and mother-of pearl changing its
colours.
Edo period, 19th century
• Sculpture
6) Fukurokuju old man, god of Longevity. Always smiling, with a very large
head, ivory, 17,5 cm
An old man with a placid smile and a very large head and an enormous hat
decorated with irregular round black ornaments made in ink. On top of
the hat a child is seated, holding onto a cane which comes all the way to the
ground. The old man is holding the cane at shoulder height. In his other
hand, at belt height he is holding a peach, a longevity symbol, usually given
at birthday occasion. The old man is dressed in a long two-part robe, the
posterior, outer robe is properly square-shaped with stripes made in double
ink lines. He has wide sleeves reaching almost to his knee, as does the
patternless inner robe tied with a long belt (obi) into a knot with the outer
half-bow. The old man has a beard reaching almost to his waist.
Edo period (1615-1867)
A frequent sculpturing motif, like No Fukurokuju or No 1110 God of
satisfaction, 19th century.
Bibliography. Auction catalogues “Asiatika”, Kunsthaus Zacke, special
auction on May 31, 1997, pg.140 and pg. 200
No 1110 God of happiness and satisfaction, Jurojin
Okimono, fundamental characteristics: long cane, peach, enlarged head,
long robe
No 780 Fukurokuju - god of wellbeing, characteristics: enlarged head
sceptre, longer clothing.
7) Figure of a peasant with a pipe and fruit basket, ivory, 18 cm.
A middle-aged peasant is dressed in an overlapping robe reaching to the
knee with ink engraved plant motifs. In the waist there is a band tied into a
bow in the front. From the knees to the ankles of the legs he has covers with
engraved round motif, the feet are bare, and on his head he has a square
scarf with round plaid patterns in ink. His face is expressive. In his one hand
at the waist line he is holding a pipe, and with his other hand he is holding
a fruit basket on top of his back. From the other hand a bag hangs with
four signs in ink - most likely holding smoking equipment. In the bottom
there are two signs and a flower with five petals in ink, on the edge there is a
flower with three and two petals. Edo period, 19th century
8) Girl with the mirror, ivory, 14,5 cm with pedestal
A girl dressed in a very draped robe, wearing a sash graciously wrapped
around the whole body. The sleeves are very wide. In her left hand she is
holding a round mirror watching herself in it. The only parts drawn in ink
are the thick hair combed on one side and the eyes. Meiyi period, 19th
century
9) Girl with a scroll in her hand (immortal), ivory, 21 cm with a pedestal.
The girl with a scroll in her hand is dressed in a very draped robe with veils
reaching to the ground. With one hand she is holding the veils, and with
the other a scroll at breast height. Only the black hair and circles of the eyes
are drawn in ink. The hair put up high is decorated with traditional golden
jewellery. Meiyi period, 19th century
10) Girl with a lotus branch in her hands, ivory, 11.2 cm with pedestal
The girl is dressed in traditional pajamas with wide trousers and overlapping
jacket tied in waist with a long band in shape of a bow. Around her neck
she is wearing a necklace with a good luck sign; around her hand she has
a leather bracelet. She is holding a big lotus branch with three flowers
reaching from her right hand to the shoulder of the left arm, the only
element made in black ink is the hair, brushed in two braids, and there is
some of it in the eye area, too. Meiyi period, 19th century
11) Girl holding a fan (Immortal) in her hand, ivory, 12.7 cm with pedestal
The girl is dressed in wide traditional pajamas with many drapes and veils,
wide trousers reaching to the floor, and the jacket is tied in the waist with a
bow. In her one hand she is holding a fan reaching almost to her knee, with
a longevity sign shou. High drapes are around both of her shoulders, and
her combed down hair with traditional golden jewellery and the retinas are
made in India ink. Meiyi period, 19th century
12) Woman with the shamisen instrument in her hand. The goddess of
music, ivory, 24 cm, with a two character signature under it.
The woman is dressed in a traditional kimono embroidered with various
flowers, it has very wide sleeves, overlapping in the front and tied with
obi belt that has a large drape in the back, in shape of a pillow. With her
hand she is holding a long three-wired instrument shamisen or samiseni
from China, imported from the Rukuyu islands in 1558 and 1569. The
instrument is made of precious woods of the Chinese quince, iron wood
tagayassari, red wood shitan, mulberry tree. Mak-ie technique in ink
was used for decorations. In her other hand she is holding a pick. The
traditional high combed chignon with ornaments is black, made in ink, as
are the eye brows and eyes. Her mouth is modestly drawn in red. Sankyoku
is the name of three wire instruments samiseni, koto and biva, used in Japan.
Edo period, 18-19th century
13) Father and son with a lunch box on the head and grains of wheat in the
child’s hand, ivory, 12.3 cm with pedestal.
• 112
of his head with meaty ears, eyebrows and eyes coloured in India ink as are
the nose and mouth emphasizing his rounded cheeks. Edo period 18-19th
century
19) Fisherman with his son, ivory, (12.5 x 6.5 cm)
A fisherman in very simple clothes, with a robe above his knee and tight
trousers standing barefoot with his legs apart, over a wicker fish basket.
Both of his arms are aside with fists holding a rope with fish hanging from
his hip. On his head he has a scarf. The eyebrows and eyes are drawn in
black ink, and the lips are fairly red. The child is standing beside the basket
also dressed in a simple robe above his knee overlapping in the front. His
legs are bare. The left arm reaches for the fish and the other is on his chest.
The small round head has a round hairstyle cut to his ears. On his face the
modestly drawn eyes and red mouth are made in ink. Meiyi period, 19th
century
20) Man on a buffalo, ivory, (10 x 8 cm)
The man is seated sideways on a buffalo on a mat with fringes. The right
leg is bent at the knee and lifted up to his right hand, and the left is relaxed
against the buffalo’s body. He is dressed in a simple long robe with wide
sleeves, on his feet he has scuffs. With both of his hands he is holding a flute
with silk tassels hanging over his shoulder. The round head with big ears
has slightly longer hair drawn in ink. The face is barely erected towards up,
with eyes drawn in ink and slightly open mouth. The buffalo has one foot
in front of the others barely apart legs. The head in the neck area has drawn
horns and its eyes are emphasized with ink. In the back he has a tail tied in a
knot. Meiyi period, 19th century
21) Old man on a horse, (13.5 x 9.5 x 7cm)
A man sitting backwards on a horse, dressed in a traditional long robe
with wide sleeves. His right leg is extended alongside his body, and the left
one is bent in his knee on the horse’s back. The right hand is relaxed and
touches the left foot with the fist, and the left one is erected over his head,
holding an object looking like a club. The clothes are tied with the OBI
belt at the waist. On his elongated head there is a large cap reaching to his
ears. The eyes are emphasized with ink, and the mouth is between the beard
and moustaches reaching to the middle of his chest. On his back he has a
bamboo sac with wooden canes. The horse is shown stopping at the very
moment with slightly askew front and parallel back legs, with a tail hanging
freely in between. The head with small ears and a detailed drawn mane is
thrown askew over the front legs and is ready to fall. On the groins he has a
cloth with tassels, and it seems that he is walking on clouds. Meiyi period,
19th century
22) Man with a teapot and a cup, ivory, (16.5 x 5.5 cm)
The man is standing dressed in traditional clothes with a robe and the upper
jacket tied in waist with a narrow obi belt, round little box and trousers
barely over the knees. The cloths are drawn in ink and larger rectangles and
stripes around the neck. The feet are bare. In his right hand he is holding
a tea pot and in the left he has a cup. His round head with ears very close
to it is holding a small cap, the eyes and eyebrows are drawn in ink and the
mouth is very emphasized with red colour. Meiyi period, 19th century
23) Old man with a cane (Daikoku, god of commerce, agriculture and
trade), ivory, (27 x 8 cm)
The old man is dressed in beautiful traditional clothes with a long robe
open on his chest and wide trousers. The robe has a plant motif drawn in
The father and son are dressed in simple kimonos reaching to the floor,
overlapping in the front. The sleeves are wide. The child is holding two
grains of wheat in his hand, and the man has a lunch box on his head with
a shou longevity sign, the silhouette of both characters is drawn mostly in
ink. Meiyi period, 19th century
14) Old man with a fagot of wood on his back, ivory, 13.8 cm with pedestal
An old man standing, dressed in a short traditional robe tied in front with
an obi belt. On his legs he has tight trousers reaching below his knee. He has
a fagot of wood on his back. His feet are bare. On his very expressive head
there are eye brows, eyes and moustache, as well as the hair, put up into a
Confucian chignon, made in ink. Edo period, 18th century
15) Farmer, ivory, (15 x 9 cm)
A man is standing, holding in his hand a split up cane, for picking fruits,
and in his left hand he has a fruit with leaves resembling radish leaves.
Beside his left leg on the floor there is a big wicker basket full of fruits.
The farmer is dressed in a traditional costume, he has a robe up to his knee
overlapping in the waist area, tied with an obi belt and decorated with
carved in plant motives drawn in ink. His tight trousers are lifted above his
ankles, and his feet are bare. He has a round gourd hanging from his waist,
serving as a flagon. The head is bent to the right. His hair is combed back
behind the ear and drawn black. The top of his head and his forehead are
bare. The eyebrows and eyes are emphasized with ink, and the mouth is
fairly red. Meiyi period, 19th century
16) Old man leaning on a cane gama sennin (immortal old man) ivory, 15.4 cm
The old man, a frequent motif in Japanese and Chinese art, is depicted as
an eremite with one shorter leg leaned on a tall vine cane. He is dressed
in a simple traditional robe showing his naked chest, the sleeves are long
and wide, and his trousers are ruffled around the ankles, especially on the
shorter leg. His feet are bare. The clothes have no patterns. His expressive
and slightly erected head has a round beard, moustache, eyes. His hair is
put up on the back of his head and drawn in ink. A very frequent motif in
Japanese sculpturing and netsuke miniatures. Meiyi period, 19th century
Bibliography: Julia Hutt: “Japanese netsuke” no. 11 and no. 85, Edo period
18th and 19th century, Victoria & Albert Museum: Far Eastern series,
distributed by Harry N. Abrams, inc., published in 2003
17) Fisherman (Ebisu, god of floods and fishing), ivory, 20.5 cm, a two-leaf
signature in the bottom
The man is dressed in traditional short clothes overlapping on his chest and
tied with an OBI belt in a bow on his waist. The clothes reaching to his
knees have wide sleeves and in places are decorated with vegetable patterns.
On his legs he has trousers and toe-warmers up to his ankles, also with
vegetable motives. His feet are bare. In one of his hands he is holding two
fish and in the other he has a fishing pole thrown over his shoulder and a
wicker basket on his fore-arm. In the bottom there is a two-leaf signature.
Edo period, 18 -19th century
18) Fisherman Ebisu, God of food and fishery, ivory, (5.5 x 3.2 cm)
God of food and fishery Ebisu is dressed in a traditional robe reaching
below his knee with wide trousers and embroidered apron with a belt in his
waist. He has a surku in the upper part, with wide sleeves, on his chest there
is a large embroidered flower and around his neck he has a round hem. In
his left hand he has a large flat fish. His legs and feet are bare, the round
head almost without a neck has a goatee drawn in ink, a pointed hat on top
• 113
ink alongside the edge and on the wide sleeves. Alongside his left hip there
is a large cane reaching almost up to his shoulder, which he is holding in
his right hand. The cane has sprouts throughout the whole length and a
widening in the end. That is where the naked left foot is resting, while the
right one, covered by wide trousers is barely visible. The revealed chest
shows signs of ribs. An obi belt is tied in waist with a small double gourd
hanging from it. A slightly inclined head to the right shows an extremely
pretty face with barely drawn eyebrows, big mouth with moustaches and
short black beard. His ears are big and close to the head with a narrow scarf
tied into a bow on the forehead. Meiyi period, 18-19th century
24) Woman and the rat catcher, ivory, (8 x 5 cm)
A woman dressed in traditional clothes is standing, kneeling next to her
a scantily dressed man with a box on the floor and a rat on his back. The
woman has a robe richly decorated with floral pattern, folded on the
chest, with wide sleeves, while the hands though barely showing under
them are gesturing. She has a wide obi belt the bottom of which permits
seeing a lower robe through the slot. The legs are bare. The head is framed
nicely by a neatly combed black bun blackened with ink, with traditional
decorations. The face has blackened eyebrows, eyes and red lips with a
beautiful expression slightly drawn in ink. A modestly dressed man, with
a tunic wrapped around his waist is kneeling with the right leg knee raised
and the left one on the round with the raised foot. The body is bulky
with ribs showing on the back and blackened rat’s hair crawling from the
shoulders to the back. The head with short blackened hair from the ears to
the neck, the squeezed ears and physiognomy are drawn in ink, together
with the eyebrows, eyes, moustaches and mouth. The head is slightly raised
letting us know that there is something in the box that he is holding with
the lid on in front of him with his two bare hands. Two characters signature
printed in red. Meiyi period, 19th century
25) Parasol handle, ivory, (10.5 x 3.2 cm)
The parasol handle is made in ivory carved to a great detail. A figure of a
man is visible up to the waist, he is in traditional clothes in the foreground
and with his one hand shielded by rocks. The clothes are richly drawn in
ink. The heads are turned to the right and outlined in the left in ink. The
right one has a round cap with slightly visible blackened black hair below,
the eyes, eyebrows and moustache above his mouth, while the one turned
left has a cap, eyebrows, eyes, nose, moustache above his mouth and a small
beard drawn in ink. The clothes are divided into brighter and darker stripes.
In the background the houses are also drawn in ink. The landscape is drawn
annularly between vertical stripes. Meiyi period, 19th century
26) Smoking stand, ivory or bone, (19.5 x 2.5 cm)
A smoking stand is made in shape of a cane with the figure of a man in
simple clothes drawn in ink. The legs in wide trousers are shown in halfprofile,
the upper part is shown from the back with the dominant band
tied in a bow, and in the profile one hand is shown with a sort of a stick
- “battery”. The head is in profile, bald with eyebrows, eye and nose drawn
in ink. Next to the head is some sort of a balloon, from which the air-waves
are emerging. In the distance there is a bat with outstretched wings. On the
side there is a signature with a square seal and two characters. Meiyi period,
19th century
27) Smoking stand, bone, (20 x 3.3 cm)
The entire stand is covered in a mountain village motif with a number of
wooden houses among the tall pine trees, rocks and bridges where a person
is walking with her back turned. Everything is making up a closed unit like a
rural idyll far from the urban bustle. Meiyi period, 19th century
28) Box with a lid, ivory, (8.7 x 4.3 cm)
The box is drum-shaped with two slightly convex rings on the base and the
lid. On two sides of the box there are blooming branches carved in and
filled with red and ink. In between is the text of the body cut into columns
according to the Far East art customs. The lid is fixed with a metal clamp.
The box is signed. Meiyi period, 19th century
29) Round box with a lid. On the lid a man is kneeling with a rabbit and a
basket, ivory with an intarsia of semi-precious stones and mother-of-pearl, 9
x 6.5 cm. (Butterfly signature in the bottom).
On the lid a man is sitting with one leg under him with the rabbit whose
big ears are laid back next to him. The man is dressed in a traditional robe
with plant motifs and has a small brim cap. He is stroking the hare with his
both hands, and the wicker basket has little door right next to his knee. The
round face has eyebrows, eyes and hair drawn in ink, as is the case with the
details on the hare. On the body of the lid, in the lower part of the round
box there are branches and shrubs with an intarsia of semi-precious stone
and mother-of -pearl. Round floral motifs are on the stem. The bottom of
the box has a signature in the form of a butterfly with black antennae in ink.
Box of this form and decoration was used probably to store valuables. Meiyi
period, 19th century
30) Holy column, ivory, wood, (25.5 cm)
The column is made of two parts: lower edge made of black wood, with a
brim around two holes on the body and the upper edge made in ivory. The
upper edge is wider than the others and has engraved plant motifs. On the
black rounded upper part there is a man in a long traditional kimono with
wide sleeves and arms crossed on his chest. The head is emphasized with
a round beard, moustache and eyes drawn in ink. Edo period, 18 - 19th
century
Bibliography: Auction catalogue „Asiatika“, Zacke, Vienna, 31/5/1997, pg.
26, no. 80, Hilton Hotel
31) Frog and monkey orchestra, ivory, (7 x 5 cm)
The subject of frogs and monkeys is common in Japanese art, especially
with musical instruments. Here they are arranged in the shape of an ellipse
with musical instruments and details accented in ink, some of them have
funny hats in the shape of lotus leaves. The happy ensemble members are
playing and dancing, delighting each other. The bottom is shaped as a water
tendril with two holes and transversely put two leaves. The frog skin and
the monkey hair are made in relief and drawn with ink, as are the eyes of
the merry animals. Judging by the design and dimensions, the object could
make part of the Netsuke group, although there is no written confirmation
of it. Edo period, 19th century
32) Three farmers with a baby, fruit basket in their hands, gourd and a big
bowl, ivory, 4.2 x 5 cm, signed
Three grown up men and a child are making up a circle, each of them
holding an object in their hands. Everyone is dressed traditionally with the
robes overlapping in front and with a geometric pattern drawn in ink. Their
robes are above their knees and they all have an obi belt. In the middle there
is a big jug around which everyone is standing. The seated man and the
child are holding a bowl in their hands. The two men standing are holding
a fruit basket in their right hands or a big gourd. The seated men and the
child are holding a bowl in their hand. All grown men have chignons
• 114
geometrical signs as if it was a carpet. The box with a lid next to one of the
players has a two-character signature in front. Meiyi period, 19th century
39) Child with a little demon, ivory, (4.2 x 2.5 cm)
A person resembling a child with both hands raised on his head is holding
a flat object, like a board. His hair is combed back from the chubby face.
The facial features, eyebrows, eyes and nose are drawn in ink. The buxom
upper part body is undressed, and the lower part is wrapped in baggy pants.
The feet are bare, and between the legs, darkened with ink, a little demon
with round chin and grin on his mouth is pushing his way through. The
two-character signature is on the back side of the leg with two holes for
threading a cord. Meiyi period, 19th century
40) Two men with a rat and a fish, ivory, (5 x 2.8 cm)
Two men are sitting with their legs folded under them, side by side, dressed
in traditional costumes with a flap on the chest, with rhombuses and fish
scales motifs drawn in ink. They are both are good humoured, one of
them has his one hand on his head and the with the other he is holding his
friend’s hand, while the other man has one large fish under his arm and a
rat in front of him. They both have round cheerful faces drawn in ink, as is
the case with eyebrows, eyes and small moustaches. The fan is also drawn in
ink. On one of the feet there is a two character signature. Edo period, 18th
century
41) Child, ivory, (4 x 2.5 cm)
Very nicely formed child is shown sitting like Buddha, dressed in traditional
clothes with a jacket folded on his chest and decorated with geometric
motifs drawn in ink. His legs folded under him are dressed in trousers
decorated with circles and stripes patterns, drawn in ink. He is keeping his
hands together in her lap. His nice hairless head has emphasized circular
irises and mouth drawn in ink. In the bottom there is a calligraphic two
character signature in ink. Edo period, 18th century
42) Farmer with a pumpkin or a bag, ivory, (5 x 2.5 cm)
The farmer is dressed in a traditional knee-length costume, with a flap on
his chest. His legs and feet are bare. His clothes are decorated with simple
floral signature motifs on the knee, sleeve and chest. With both his hands
he is holding a bag with two characters written on it. On his head he has a
scarf making the hair barely visible, and the eyebrows and eyes are drawn in
ink, while the mouth is slightly red. Meiyi period, 19 century.
43) Man with a fruit basket, ivory, (5.2 x 2.2 cm)
The man standing is dressed in a traditional costume with a jacket folded
on his chest, wide sleeves, and trousers narrowing in the ankles. The entire
jacket is covered with carved rhombus pattern, while the edges of the
sleeves have floral pattern. The feet are bare. With his both hands at waist
height he is holding a large wicker basket with fruit. On his head he has
a cap pulled up to his ears, with a pointy top leaning forward. His hair is
showing only a little at the temples, drawn in ink as well as the eyebrows
and eyes. The nose is wide and the mouth shut. The signature consists of
two characters on the bottom side of the right foot. Meiyi period, 19th
century
44) Man with a basket of wood, ivory (5.1 x 3 cm)
A man wearing a traditional folded chest costume with wide sleeves, tied
with obi belt, and baggy trousers tapered towards the ankles. Diamond
patterns and waves around the sleeve edges are drawn in ink. His feet are
combed to the back and blackened eyebrows and eyes. Everyone is bare feet.
Meiyi period, 19th century
33) Man with a fan, ivory, wood, (4.2 x 2.5 cm)
A polished expressive head in ivory with strong eyebrows, eyes, mouth and
cut hair combed back, are all drawn in ink. The hands and the fan folded in
her lap are also in ivory as well as the collar on the chest. Simple traditional
clothes folded on the chest are made from one piece of wood. The signature
on the bottom side is unclear. Meiyi period, 19th century
34) Japanese woman with a box, wood, ivory, (4.5 x 2.8 cm)
Polished head, hands and box in her lap are made in ivory. High chignon
is thickly coated in ink. The rectangular box without a lid, which she is
holding in her lap at the front, has a twig drawn in ink. The woman is
kneeling with her legs rolled under and her whole body is wrapped in a
simple kimono made of brown wood. Meiyi period, 19th century
Bibliography: Auction catalogue Sotheby’s „Fine Japanese works of art,
20th and 21st October 1982, 34 and 35 New Boyd Street, London, 2AA,
pg. 93, no. 545: Woman - bijin, wood and ivory
35) Man and a girl singing, ivory, (4.2 x 3.5 cm)
The man is sitting cross-legged with his legs folded under him, dressed in
traditional clothes with the top part reaching to the knee and tight trousers,
all decorated with round plant motifs in ink. With his hand he is hugging
the girl dressed in a traditional folded costume with small decorative
motifs drawn in ink. The man’s hair combed back with a small chignon on
top, together with the girl’s hair is drawn in ink as well as their expressive
eyes, eyebrows and mouth. The man is holding in his right hand a stick
or something similar. On the lower smooth side is the three characters
signature, and on the edge there is a decoration in the shape of fish scales.
Edo period, 18th century.
36) Sennin, old man with a big stick and leaf-shaped fan, ivory (5.3 cm)
An old man dressed in a traditional folded chest costume with a diamond
pattern drawn in ink. In his right hand he is holding a rod that is extending
from the head to the ground, and a leaf-shaped fan in his left hand. His
sleeves are long and wide. The head is slightly tilted to the left, covered with
long hair, beard and mustache. Eyebrows and eyes are drawn in ink. Feet
from the ankles and feet are bare. At the bottom of one foot there is a twocharacter
signature. Edo period, 18th century
37) Person with a mask on his head and a book in his hand, ivory, (4.2 x 1.3 cm)
The person is clearly an actor with a mask lifted on his head and a book
in his hand. The mask and the face are both drawn in ink. The hair is
tightened into a chignon on top. The clothes are traditional, folded on the
chest, with wide trousers. All the contours are drawn in ink. There is a flipflop
showing on a bare lifted leg. There is a gourd thrown over the shoulder
in the chest area, near to her left hand. On the right arm, in the upper part
there is a two-character signature. Edo period, 18th century
38) Couple of men playing go, ivory, (7 x 3.2 cm)
A couple of men are sitting with their legs folded under them, beside a
low table, playing with pawns drawn in ink. Both of them are dressed in
traditional clothes folded on the chest. The only element drawn in black ink
is the long hair twisted into a pigtail in both of them, as are the eyes. The
basis with the two players and a small table is marked with black ink and
• 115
bare. With both hands, he is holding a bundle of wood tied with a rope and
matting, reaching from his waist to the top of his head. His head is slightly
tilted to the left with a cap. His hair blackened with ink is visible on the
temples. Eyebrows, eyes and nose as well as slightly red mouth, accentuate
his face. At the bottom of one foot there is a two-character signature, as in
the previous example. Meiyi period, 19th century
45) The garbage man, ivory
A man dressed almost in the same manner as in the previous two examples,
he is wearing the same hat. These clothes may be called “work” clothes.
Motives made in ink are somewhat different. The feet are bare. With
both his arms in front of him he is holding a large broom. As in previous
examples, some hair blackened in ink is peeking at the temples below the
cap. The eyebrows, eyes and nose are emphasized with ink, while the mouth
is slightly red. The two characters on the feet’s bottom are similar to the
previous signatures. Meiyi period, 19th century
46) Man with a basket of wood, ivory, (5.3 x 2.1 cm)
The man is dressed the same as in the previous examples, with a cap and
barefoot. Some hair showing at the temples is drawn in ink, as are the
eyebrows, eyes, nose and mouth. In front of himself on the left side of the
floor he is holding a large bundle of wood wrapped in a mat and tied in
three places with a rope. On the bottom of the right foot are the same the
previous two characters. Meiyi period, 19th century
47) Sumo wrestler, ivory, (4.3 x 4.2 cm)
The sumo wrestler is dressed in scanty shorts drawn in ink. His large body
is bent in a position to attack. The lengthy hair in chignon on top, the eyes
and gaping mouth are outlined in ink and give the fighter an expression of
anxiety. On the bottom of the foot there is a two-character signature. Meiyi
period, 18th century
48) Sumo wrestler, ivory, (3.7 x 3.7 cm)
The sumo wrestler is dressed in skimpy little pants with floral patterns,
drawn in colour and ink. His naked large body is ready to attack. The large
head with longer hair outlined in ink, the face with black eyebrows, eyes
and red accentuated lips give him a feisty expression. On the bottom of the
bare foot there is a red two character signature. Meiyi period, 18th century
49) Man with a dog and a pipe, ivory, (4 x 3.3 cm)
The man is half kneeling, dressed in a traditional costume - knee-length
jacket folded on his chest and tied in the waist with an obi belt, and
trousers. With both his hands he is holding the pipe. In the middle a dog is
lying with long, wide ears. Everything on them is white, except for the tufts
of hair showing beneath the round cap. The eyebrows and eyes are in form
of horizontal lines, as well as the dog’s eyes. On the lower side of the foot is
a two character signature. Edo period, 18th - 19 century.
50) Man with his hands behind his head, ivory, (4.5 x 3.2 cm)
The man is dressed simply with his jacket open and the skirt below the
stomach. His clothes have mild patterns drawn in ink, with wide sleeves
lifted up to the elbows and a skirt with a bow that fell below the stomach.
The feet are bare. The total composition is dominated by the bare round
stomach and the head resting on the chest with the eyebrows and eyes
blackened drawn in ink, and the red smiling lips. He has no hair, and his
chubby arms are thrown back behind his head. On one of his feet there is a
two character signature. Edo period, 18 - 19th century
51) Child with a double gourd, ivory, (3.5 x 2.5 cm)
The child with a wide rope around his shoulders and a double pumpkin
with branches and leaves hanging from it is bent on a pumpkin larger
than him. He is dressed in simple traditional folded clothes with plant
motifs drawn in ink. The feet are bare. With his one hand he is holding the
rope around the pumpkin, and the head is turned on the side. The hair is
combed back in a chignon. The eyebrows, round eyes, nose and mouth are
emphasized with ink. On the pumpkin above the two holes for the cord
there is a two-character signature. Edo period, 17 - 18th century
52) Man with a drum, (5 x 3.5 cm)
The man is sitting with his legs crossed, dressed in a traditional costume
with a cap, knee-length socks and trousers with black engraved wattle
pattern. With his both palms he is holding a hand drum tzuzumi made of
pressed horse leather strung for kicking over a wooden cup-shaped body
made of cherry wood with hemp rope. It is held beside the right shoulder,
hit with the right hand and fingers, with the left hand increasing and
decreasing the tension. The body of the drum is decorated with the Maki
varnish technique. Top quality techniques of making need to be shown. The
head of the musician shows pleasure. He has prominent eyebrows, clenched
eyes, widened nose and mouth drawn in ink. On his head he has of a large
cap. On the bottom, between the holes for the cord there is an inscription
with four horizontal strokes, one of which is barely drawn on, probably a
sign of a workshop or a master Meiyi period 19th century.
Bibliography: Catalogue Kunstahus Zacke “Asiatika” 4 Featured items
31/5/1997, Vienna, Hilton Hotel, pg. 192, no. 1075
tzuzumi - In the drama NO which consists of dancing and masking,
the musical instrument consists of a no-kan transverse flute, hand drum
tzuzumi, o-kawa - drum on the side, and Taiko drum that is played with
chopsticks. They are made by pressing two horse skins in order to obtain
a percussion instrument. Two skins are strung over the cup-shaped body
made of cherry wood with hemp rope.
53) Family with a rattle, ivory, (5 x 4.5 cm)
A family of three with the father, mother and a child in her lap, dressed in
traditional costumes with a jacket and knee-length trousers with delicate
patterns and round carved in collars. The man is holding a large rattle in
front of the child with a round face. It looks cheerful with his eyes drawn
in ink. The mother has a slightly raised head and eyebrows drawn in ink, as
does the father who has a round cut hair on the top of the head. They have
a cheerful and enthusiastic look. At the smooth bottom lies a two-character
signature. Edo period 18 - 19th century
54) Man with a drum, ivory, (3.5 x 4 cm)
The man kneeling is dressed in a traditional costume with motifs drawn in
ink. In front of him there is a large drum hit with the hands (o-kawa). A
round face has elaborated eyebrows, eyes, nose and mouth. He is wearing
a headscarf on his head. The contours are drawn in ink. Meiyi period 19th
century
55) Man with a basket, ivory, (3.5 x 3.5 cm)
A man is sitting in a traditional costume. The legs are bent at the knees. The
half of the figure is covered by a large spiked basket which he is holding
with his right hand, while the left one is on his left knee. The head holds
a cap, he has small ears, the face has a somewhat worried expression with
eyebrows and eyes drawn in ink and red lips. Between the two feet in the
bottom is a two-character signature. Meiyi period 19th century
• 116
which emphasizes the physiognomy. On the bottom of the fan there are
two characters, the signature. There are well shaped holes for cord threading
meant for hanging items. Meiyi period, 19th century
62) Woman with a rabbit, ivory, (4.6 x 2.8 cm)
A woman is kneeling in a richly decorated traditional clothes kimono with
red paint and floral motifs drawn in ink. She has an emphasized obi belt
and on the front a fold in shape of “V” on the outer and inner gown. The
head is slightly thrown to the right. She has a chignon emphasized with ink.
The face has a mild expression with expressive eyebrows, eyes and mouth.
In his left arm from his elbow to his ear she is holding a large rabbit with
hanging ears, snout and round black eyes, all drawn in ink. The upper right
paw is on the woman’s ear, and the left one is hanging freely in the air. Two
characters are written on the bottom - the signature of a master, Meiyi
period, 19th century
63) Man with a goatee and good wish symbols, ivory, (5.1 x 2.6 cm)
A man is holding in his right hand a mallet and in his left hand he has a
peach which is probably supposed to represent symbols of Daikoku, the
god of agriculture, commerce and trade. He is dressed in traditional clothes
with a knee-length robe with geometric motifs drawn in ink. He has a
round head with no neck with a cap and some hair showing under it. The
eyebrows, eyes, moustache and small beard are emphasized on his cheerful
face. There is a sign with one to two characters on the bottom. Meiyi
period, 19th century
64) Wise man with a cane, ivory, (4.5 x 2.8 cm)
A wise old man with a cane reaching from his shoulder to the ground is
dressed in a traditional costume with a long, almost floor-length robe, with
wide sleeves and tied with obi belt. He is wearing a long skirt, with only
slightly visible shoe toes. The round head with large ears is covered by a
rich cap falling from the forehead to the back of the head. The face has a
good-natured expression, with a long beard and moustache covering his
chest, while the mouth is drawn in ink. On the bottom there is a signature
consisting of two characters drawn in ink. Meiyi period, 19th century
65) Man with a fishing coop and fish, ivory, (5.2 x 2.8 cm)
A man in a simple knee-length robe with cloud motifs drawn in rare ink
traits is standing with his bare feet apart. His head is slightly tilted to the
right, the hat has a top leaning forward, reaching to the ears, with some hair
drawn in ink showing. A cheerful face has eyebrows and eyes emphasized
with ink and the gently smiling lips are red. Both his arms are thrown back
to the left, holding a wicker “hive” or fishing coop, under it there is a big fish
with scales and an eye that has just fallen out of coop drawn in ink. There
are two characters on the bottom of the bare foot representing the author’s
signature. Meiyi period, 19th century
66) Man with a knife, ivory, (5.3 x 2.7 cm)
A man wearing a short knee-length robe folded on the chest with a cloud
motif and an obi belt tied in the waist is standing barefoot with the flipflops
on. The round head has a cap pulled to the ears with some blackened
hair showing under it. The face is enriched with eyebrows, eyes, nose and
mouth drawn in ink. There are two characters on the bottom - the author’s
signature. Meiyi period, 19th century
67) Woman with fish, ivory, (5.3 x 2.5 cm)
The woman is standing with legs apart, wearing a traditional knee-length
robe with a drawn cloud motif. With her both hands she is holding a large
56) Man with a fan in his left hand, drawn ivory, (5.5 x 2.5 cm)
The man is wearing a traditional floor-length robe, open in the upper part
and giving the dominant role to the round stomach. The robe is tied with
an obi belt below the navel. The bare feet are showing under the edge of
the robe on the ground. A fan is peeking from the left wide sleeve, while
the right palm is on the bare chest. The robe is completely decorated with
dark floral motifs. The round head with no neck is framed by meaty ears,
the facial expression is merry, and the eyebrows and eyes are drawn in ink
with emphasized red lips. In the bottom of the feet there is a two-character
inscription. Meiyi period, 19th century
57) Man sitting on wood with a bag, ivory, (5.1 x 7.2 cm)
The man is sitting on stacked wood and in his right hand he is holding a
bag from which he probably took the tobacco he is smoking, holding a thin
pipe in his left hand. He is wearing a thick long robe tied with an obi belt.
On his head he has a large turban. The hair blackened with ink is showing
under the turban. The eyebrows, eyes, nose and mouth are also emphasized
with ink. The legs are covered with socks with flip flops on. On the bag
there is a three or four character signature. Meiyi period, 19th century
58) Man with a rabbit and a double gourd or bellow, ivory, (3.6 x 3.3 cm)
The man is dressed in a simple knee-length robe with rare floral motifs
drawn in ink. He is sitting with his one leg raised in the knee and the
other one on the ground. In front of him, on the right he is holding a large
bloomed pumpkin, on his shoulder he has a long-eared rabbit with round
eyes and a snout, with the fur drawn in ink. The man has one bare foot. His
left hand is on the fold of the robe, his head is slightly tilted to the right
and the hair is combed back with a chignon on top, blackened with ink.
He has a high forehead, while the mild physiognomy is emphasized by the
eyebrows, eyes and mouth drawn in ink. On the bottom of the foot is a
two-character signature. Meiyi period, 19th century
59) The old man Sennin with all his gadgets, ivory, (5 x 3.5 cm)
The old man dressed in a knee-long robe with floral motifs drawn in ink
and in red and green colour. The legs are bare. In his both hands he is
carrying the equipment, in the right hand he is holding the rakes and a bag
drawn in ink, and in the left hand he has a stick and a pumpkin. The figure
is placed askew with the head turned to the right. The eyes are drawn in
ink, the lips are red, and the long moustache and beard cover his chest. On
the top of his bald head he has a small pigtail. On the bottom of the left
foot there are two characters framed in shape of a seal. Meiyi period, 19th
century
60) Child with a shell, ivory, (7.5 x 2.2 cm)
A child standing in a short robe, apron, shoes and headwear richly drawn
in ink. The legs are straight with the decorated toe-warmers. With his right
bare hand he is holding a shell on his mouth, and the left one is hanging
almost on the edge of the garment. The round head has no neck. The face
is highlighted by eyebrows, eyes and nose drawn in ink. On the bottom of
the left foot there are two characters framed in shape of a seal. Meiyi period,
19th century
61) Man with a fan, ivory, (1.5 x 4 cm)
The man is kneeling dressed in a long traditional clothes tied with an obi
belt. In his right hand he is holding a semi-open fan, and in the left one
a bag. The head is slightly raised with his hair combed back blackened in
ink. The eyebrows, eyes, nose and mouth are also highlighted with ink,
• 117
fish with drawn motifs on tails, scales and eyes, set from the right ear to the
waist. The woman’s head is tilted slightly to the left, has a round cap, the
face is refreshed with ink traits on the cheeks and eyes as well as on the lips.
Under it there is a signature consisting of two or three characters. Meiyi
period, 19th century
68) Merry man with a glass “- the god of satisfaction, ivory, (5.1 x 4 cm)
The god of satisfaction is shown sitting on a rock wearing a traditional long
robe with wide sleeves, folded on his chest. In his right hand he is holding
a glass and the left one is resting on the left leg folded in the knee with
the foot turned outward, while the right foot is on the ground. The head
with big mouth, hairless and with a protruding part on the top is tilted
on the right. A cheerful face has a large open mouth, eyes, eyebrows and
a well shaped nose. In the bottom, in the middle there is a two-character
signature. Meiyi period, 19th century
69) Boy with a frog, ivory, (2.5 x 4.5 cm)
The boy in a semi-lying position on the side with the right leg folded in the
knee and the left folded resting on his right hand. The left arm in a wide
sleeve is slightly bent in the air in the phase of wonder. The whole body is
dressed in a traditional long robe with a flap on the chest and a geometric
pattern drawn in ink. The main motif is the big frog in front of the boy
shown from the back with skin freckles and big black eye drawn in ink. The
boy’s upper body is paused in amazement, the round head is tilted slightly
to the right, and he has short hair drawn in ink, while the black eyes,
eyebrows, wide nose and mouth are nicely outlined. There are two signature
characters in the bottom. Meiyi period, 19th century
70) Man with a basket, ivory, (3.5 x 2.3 cm)
The man is kneeling with his legs folded under him, dressed in a traditional
costume overlapping on the chest. His clothes have wide sleeves and finely
engraved decorative patterns, on his head he has a tapered cap and a face
with eyebrows and eyes blackened with ink. With his one hand in front of
him he is holding a large wicker basket and kneading something in it. On
the bottom there is a rectangle divided into eight equal parts, in reddish,
brown and white colour, probably a signature of a master or a workshop.
Meiyi period, 19th century
71) Farmer with a buffalo, ivory, (3 x 4.5 cm)
A peasant dressed in a simple knee-length robe has bare legs and feet. The
parts of the clothes and the facial expression with a moustache and a little
hair on top of the head are emphasized with ink. The enraged big buffalo
with a basket on the flank is marching beside him. The cord, hair and the
tail are drawn on one side, as is a big basket. The signature is unclear, the
bottom round hole is a in the usual signature place. Meiyi period, 19th
century
72) Two men conversing or playing a game of guessing numbers (folk play
“šie šete” still exists in Dalmatia, where it arrived from the Far East), ivory,
2.7 x 4.6 cm
The two men are sitting opposite one another with their legs folded under
them. They are wear traditional clothes folded on the chest and tied with
an obi belt, a jacket and trousers. The clothes are decorated with floral
patterns drawn in ink. The hair is combed back with a chignon on the top.
The facial features (eyebrows, eyes, mouth) are drawn in ink. On the oval
plate on which they are kneeling there are two holes for threading cords in
the middle. In the bottom there is a single flower with eight petals and a
circular pestle - which can probably be read as an inscription. Edo period,
18 - 19th century.
Bibliography and comparisons, “Asiatika” Zack auction house in Vienna,
no. 1109, Tafel 47th Two students playing go boxwood 19th century. The
signature on the other side seizan, 1997, SAS Palais Hotel, Tafel, 47, no.
1109
73) Samurai with three movable faces showing different moods, ivory
(5 x 3 cm)
Samurai is wearing a traditional floor-length robe with geometric patterns
drawn in ink. His right hand protruding from the wide sleeve is holding
a large sword. His left hand is covered with the sleeve but also placed on
a sword. The foot is barely visible under his long clothes. The head with
long hair is richly drawn in ink and decorations like ears and a round face
that changes when pressed. Faces are showing three different moods and
expressions are drawn in ink. Edo period, 18th - 19th century
74) Samurai with two movable faces showing two different moods, ivory
(6 x 3.2 cm)
Samurai is wearing a traditional floor-length robe with different patterns
drawn in ink. His clothes are tight around the waist, with long tight sleeves
and square and circular apron. In his right hand he is holding a sword
above his head and indicating an action with his left hand and two fingers.
His long hair is drawn in ink and has two horns. First face is has gentle
expression. Eyebrows and eyes are blackened with ink. Another face has
gloomy expression, bulging eyes, grin and a big nose. The signature is on the
bottom. Edo period, 19th century
75) Old man holding two peaches in one hand, and a fan in another
(tobosacu sennin), ivory (13.5 cm)
An old man dressed in a traditional floor-length kimono with plant motifs
emphasized with ink apparently represents the deity of happiness and
longevity. In his right hand he is holding a branch with two large peaches -
symbols of long life and happiness, and in his left hand he is holding a large
fan lowered towards the ground. Everything on this figure is emphasized
with ink, as well as the head with a thin goatee in the width of the mouth
and nose and elongated eyes. His hair is neatly combed in a chignon shaded
with ink. Edo period, 19th century
Bibliography and comparison: “Asiatika”, 2nd special auction, Saturday,
20/4/96, Vienna, Hilton Hotel, Kunsthaus Zacke, see tobosaku sennin no.
236, pg. 39
76) Farmer, ivory (5.5 x 3 cm)
A man dressed in thick traditional clothing with engraved ornaments is
sitting on a stool with his legs curled under. Boots and laces are visible on
his feet. There is a cap with plant motifs on his head. In one hand he is
holding a device for scaring animals. His round face is framed by the big
ears - a symbol of happiness. The face is cheerful, though frozen with round
eyes emphasized with ink and open mouth - the tongue is visible. Edo
period, 18 - 19th century
77) Reiden - god of thunder (Man with a bag and a drum), ivory
(3 x 3 cm)
Reiden is like a demon with bulky body, little horns and large pointed
teeth. Each hair is emphasized with ink. It is almost naked, bent over, with
one leg drawn to the elbow and the other placed next to the round drum
and a bag on the other side. All parts of his robust body, head, drum and a
bag, have details emphasized with ink. Meiyi period, 19th century
• 118
Hotel, Kunsthaus Zack, pg. 11, no. 45, (Fukurokoju, the god of good
fortune, no. 780, pg. 140 and no. 783, pg. 140 Gama Sennin)
83) Fisherman - Ebisu, the god of food and fishermen with a fishing rod
and a big fish “tai”, ivory (height 7 cm)
This fisherman, wearing a skirt made of leaves tied around his waist, has
bulky bare torso with prominent stomach, chest and hands. He is holding a
large fish under his left arm. The fish is placed laterally and is only partially
visible. His legs and feet are bare. The head is in profile to the left and half
bald with long hair locks blackened with ink (from the only visible ear to
the shoulder). A striking physiognomy is increased by a swarthy eyebrow, an
eye, nose and mouth with small moustaches. Meiyi period, 19th century
84) Man with a fan and a bag (Hotei, the god of fortune), ivory (4.4 x 3.2 cm)
A man with a fan in his left hand and a bag in his right hand is quite crudely
made. He is wearing a traditional costume with an open robe showing a
prominent bare stomach with contours heavily emphasized with black ink.
A skirt just below the navel is reaching to the floor. Only one bare foot is
visible. Left hand protruding from the wide sleeve is holding a large fan
reaching up to the head. In his right hand he is holding a rope of the pleated
bag lying on the ground. His round head has a serious expression due to His
round head, eyes blackened with ink and area around the mouth tend to
give a serious expression. Meiyi period, 19 century
Comparison: pg. 18, no. 101, Asiatika, Kunstahaus Zacke, 2nd special
auction, 20/4/96, Vienna, Hilton Hotel
85) Man with a fan above his head, ivory (4.3 x 2.3 cm)
A man is sitting with one leg curled under him and the other in a bent-knee
position and drawn to the chest. He is wearing traditional clothes with
simple trousers with plant motifs drawn in ink along the edge and open
jacket showing his round stomach. His round head is tilted towards the
chest like he has no neck. He has no hair and his facial features, eyebrows,
eyes and nose are emphasized with ink. Wide sleeves are pulled up showing
both hands holding a fan above the head. Meiyi period, 19th century
86) Boy with a scroll, ivory, height 4 cm
A boy is wearing traditional clothes with a robe and very simple trousers.
He is holding an unrolled scroll with both hands with his right hand
raised up to head height. His round head is tilted slightly to the left and
has slightly slanted eyes blackened with ink. Gentle child’s expression is
emphasized with mouth drawn in ink. Meiyi period, 19th century
87) Child kneeling with legs curled under him, ivory (4.3 x 2.2 cm)
A child is kneeling dressed in a nightshirt with geometric patterns drawn in
ink. His right leg is curled under him and the left is raised. His hands are on
his knees, and face is framed with short-cropped hair, and features eyes and
eyebrows emphasized with ink. The signature is at the bottom, next to the
hole for threading a cord. Edo period, 19th century
88) Boy with a turtle, ivory (3.9 x 3.5 cm)
A boy dressed in a colourful dress and a vest mottled with ink and
geometric pattern is kneeling with his left leg raised at the knee. In front of
him is a large turtle - a symbol of longevity. He is touching it with his left
hand, and his right hand is placed on his hair blackened by spreading the
ink with circular strokes. His round head has black eyes, eyebrows, little
nose and mouth in an expression of amazement, but there is no neck. His
feet are bare. Meiyi period, 19th century
Bibliography and comparison: “Asiatika” Zacke auction house, Vienna,
20/4/96 (2nd special auction), no. 118, pg. 20, Hilton Hotel
78) God of lightning, ivory (4 x 3.3 cm)
The god of lightning is very similar to the god or demon of thunder. He has
a bulky, almost bare body with each part emphasized with ink. He is sitting
with one knee raised towards the elbow, and the other curled on a panel
with circular markings. His large head is tilted to the chest, and has two
little horns. A wide face features large round eyes, nose and wide mouth.
All details, from the panel with dotted motives on which he is sitting to his
muscular body, are emphasized with ink. Meiyi period, 19th century
Bibliography and comparisons: Tafel 47, pg. 1110, a figure washing a coat,
boxwood tree, “Asiatika”, Gallery Zacke auction house, Vienna Sas Palais
Hotel 4/11/97
79) Girl with a basket of fruit, ivory (12 x 2.5 cm)
A girl is standing slightly bent in line. She wears a two-piece outfit - a large
knee-length robe and a floor-length skirt, so only the tips of her toes are
visible. Clothing is entirely decorated with carved geometric patterns. She
is holding a large wicker fruit basket with both hands in the area around the
waist. All parts are emphasized with ink. On her beautiful head she has a
back-combed chignon with floral decorations baring her ears and neck. The
face is expressive and features eyes and ears emphasized with ink and rosy
mouth. Meiyi period, 19th century
80) Old man with a double gourd, ivory (7.5 x 3 cm)
An old man is sitting with both legs in a bent-knee position and feet
protruding below the long robe with a flap, tied in a bow around the waist
with a narrow obi. Hands are protruding from wide sleeves. His right
hand is on the knee, and left is holding a double gourd at chest height. An
elongated head has a Confucian chignon on top and ears close to the head.
Deep wrinkles are carved into the forehead, face is expressive and features
eyes emphasized with ink, beard and long moustache reaching down to his
chest in the width of the mouth. Meiyi period, 19th century
81) Old man with a gourd, ivory (7.5 x 3.5 cm)
An old man wearing a simple long robe with a flap on the chest with large
sleeves is sitting with his right leg on the floor, and left leg is raised in the
knee towards the hip. Shoes are protruding under his clothes. Right shoe
is flashing the sole. He is holding a large double gourd with both hands - a
symbol of good wishes, which dominates the composition. He is wearing
a cap pulled down to the ears. His face is expressive and features eyes
emphasized with ink and a narrow beard growing below his mouth and
reaching down to his chest. Meiyi period, 19th century
82) Old man with a frog (or Hotei Jurojin Gama Sennin), ivory (5.5 x 5 cm)
An old man sitting with his right leg curled under him and left leg in a
bent-knee position and raised towards the hip. He is wearing a simple
traditional robe which is open in the upper part showing his bare, round
stomach and cord fastened trousers below the navel. In his right hand he is
holding a gnarled stick extending from the head to the ground. Left hand is
covered with a robe with drawn leaves. The head is heavily tilted to the left
with a nicely sculpted cap, two folds - forehead wrinkles, large eyebrows,
nose, mouth and visible teeth. His eyes are looking up. There is a large frog
on his left shoulder touching the stick with its front leg. Meiyi period, 19th
century
Comparison: Asiatika, 11/4/97, special auction in Vienna, SAS Palais
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89) Child - little devil, ivory (5.2 x 2 cm)
A child dressed in a typical apron covering only his chest and stomach, is
doing mischief. He has one bracelet around each wrist as well as each ankle.
The figure is “playing” while holding on to the metal ring with his right
hand. His fat right leg is outstretched and his left leg is raised at the knee.
His left hand is on his chest and the round head is tilted slightly to the left.
The child has large fleshy ears and round eyes emphasized with ink like
“marbles” and a wide nose. He has no hair what is common when displaying
small children. Meiyi period, 19th century
90) Man with a bag, ivory (4.2 x 1.8 cm)
A man under the weight of a bag on his back is slightly stooped and dressed
in a traditional knee-length jacket and tight trousers. Everything is mottled
with ink and black geometric pattern. There is also a dense pattern on the
trousers, except the knee patches. He has flip-flops on his feet. With both
hands slightly reclined to the right, he is holding a bundle with plant motifs
loaded on his back. On his back, below the bundle, there is a wide obi. He
has short, back-combed hair emphasized with ink. The forehead is high and
bare, and face has wrinkles above the eyebrows. His eyes, moustache, mouth
and nose are heavily blackened with ink. Meiyi period, 19th century
91) Two people playing go game inside a gourd, ivory (3.5 x 3.5 cm)
A large guard’s bark is drawn in ink and leaves with a heart-shaped hole
on both sides. Within the guard, there is a table with a board on which
two players in profile play go game. Everything is wittily solved with the
extensive use of ink. Meiyi period, 19th century
92) Six people on a boat trip, drawn ivory (6.5 x 4.2 cm)
There are six people on a junk decorated with ink with one sail and a
dragon on the side and a shell on top. They are in different positions and
dressed in a different way. Meiyi period, 19th century
93) Buddha with big ears (an old man with a rather large head and a beard
on his chest, probably Fukurokuju), ivory (4 x 2.3 cm)
An old man in a traditional robe is sitting curled up with one hand pressed
against the floor and another on his left knee. His legs are bent. His right
leg is in front of the body and left leg is bent at the knee and raised to the
hip level. His clothing is decorated with light dots in a row. The enlarged
head, slightly tilted to the right with a large shiny forehead with three
notches - wrinkles - between the eyebrows emphasized with ink, dominates
the overall appearance of the sculpture. Eyes, wide nose and opened mouth
are emphasized so even teeth are visible. Ears are derived in the form of
large fleshy sacks framing the head on both sides. A large beard emphasized
with ink is combed across his chest falling obliquely over his right knee.
Meiyi period, 19th century
94) Old man with a stick (Fukurokuju), ivory (4.8 x 3 cm)
An old man is standing dressed in traditional clothes with a knee-length
robe and wide trousers below which protrude the tops of shoes. Obi is tied
around his waist. His wide sleeves reach nearly to the floor. He is holding
a gnarled stick, a symbol of wisdom, almost in the middle, extending from
the top of the head to the ground. Peaches are tied to it - symbols of good
wishes. With his left hand, he is stroking his beard reaching down to his
chest. There is a cap on his head, and his physiognomy is emphasized by
eyebrows, eyes, nose and smiling mouth - one of the symbols of Fukurokuju.
Nothing on this figure is drawn in ink. Meiyi period, 19th century
95) Man lying on a bag, ivory (1.5 x 4.2 cm)
A man dressed in a traditional nightshirt with a jacket and trousers with
square motifs is lying cramped in a face down position. He has the invisible
belt on his back - obi, arms and round head are resting on a bag on the floor
in front of him. The head has no hair, and round face has eyebrows and
round eyes drawn in ink and red mouth. Meiyi period, 19th century
Bibliography and comparisons: Asiatika, Zacke auction house in Vienna,
4/11/97, 6th special auction SAS Palais Hotel, Tafel 8, picture no. 128, a
man with a shell, ivory, ca 1900, 3.5 cm
96) Fukurokuju Wise old man with a big head, ivory (3.1 x 1.6 cm)
An old man is sitting with his legs bent at the knees reaching to the hand of
his right arm and his covered left arm. He is dressed in a traditional costume
with ornaments and his chest is covered with a long beard. He is wearing a
huge cap covering his ears. An old man’s face is drawn in ink and features
eyebrows, eyes and red mouth, Meiyi period, 19th century
Comparison: many examples in the catalogues of Zacke auction house in
Vienna, for example, no. 104, pg. 18, Asiatika, 2nd special auction, 20/4/96
97) Man holding a fan, ivory (1.8 x 3.2 cm)
A man dressed in a traditional costume with a jacket opened at his chest
and trousers on legs curled under him. Clothing items are discreetly
engraved with geometric patterns. He is holding a fan in his right hand.
Wide sleeves reach down to his knees. His round head is slightly tilted
back, and he almost has no neck or hair. Eyebrows and eyes are drawn with
ink. Meiyi period, 19th century
98) Man with a mask and a fan, ivory (3.5 x 7cm)
He is wearing a traditional jacket and trousers and sitting with legs curled
under him with a large mask. His eyebrows and eyes are drawn in ink. In his
left hand he is holding the mask and a folded fan in his right hand. His head
is slightly tilted back. Meiyi period, 19th century
99) Man sitting and holding a fan in his hand, ivory (3.2 x 2.5 cm)
A man is sitting slumped to one side with one leg curled under him and one
bent at the knee reaching to the right hand holding a fan in the shape of a
large leaf. He is wearing a traditional robe with engraved circular pattern
that is opened at his chest, showing his bare chest and round stomach.
Head without hair is slightly tilted back and has large ears. His round face
features eyebrows and eyes drawn in ink as well as red mouth. He has visible
dimples on his cheeks. Meiyi period, 19th century
100) Man sitting with a fan, ivory (3 x 2.5 cm)
A man is sitting bent over and dressed in traditional clothes looking ahead.
His jacket is opened showing his chest and round stomach. His legs are
curled under him. He is holding one foot with his left hand and his right
hand is pressing against the floor with a large leaf-shaped fan. His shoulders
are extremely rounded and lowered and his round head is nearly bald and
without a neck, bordered by large fleshy ears. Everything on him is round
and soft, thus his pale eyebrows and eyes, just indicated with ink, nicely
blend into the whole. Meiyi period, 19th century
101) Man sitting with a raised fan, ivory (3.5 x 2.3 cm)
A man in trousers with plant motifs is sitting with his legs together in front
of him. He is holding a fan facing upwards in his right hand. He is wearing
a traditional robe opened at the chest, showing his bare stomach. His bald
• 120
legs under a large stomach are covered with a skirt with a diamond pattern
on the front side. His bare feet are protruding beneath it. The round bald
head without the neck determines the face that features eyebrows, eyes,
wide nose and mouth drawn in ink. Meiyi period, 19th century
109) Old man with an elongated head (Fukurokuju), ivory (3.5 x 1.7 cm)
An old man dressed in traditional clothes with a wide-sleeved robe is
wearing trousers with a diamond pattern and sitting with one arm crossed
on his knee and another placed on a leg curled under him. Diamond
patterns drawn in ink are visible from the front side. His feet are barely
visible beneath wide trousers. He is holding his right hand on his knee, and
with his left hand he is stroking his beard covering his entire chest. The head
is enlarged and separated with a very high forehead and eyebrows and eyes
emphasized with ink. His satisfied face features a smiling mouth and two
dimples on his cheeks. Meiyi period, 19th century
110) Old man holding a box, ivory (3 x 1.8 cm)
An old man crouching with one leg curled under him, and the other bent
at the knee. He is dressed in traditional clothes and one shoe is protruding
from under the trousers. He has a wide-sleeved robe and hands can be seen
protruding from under it. He placed his right hand on his knee and his left
hand is holding a square box in the level of obi belt. The head is enlarged
and ends with a circular cap, bounded by large ears. The face is accentuated
by a long beard and eyebrows and eyes drawn in ink. He has rosy mouth
and dimples on his cheeks. Meiyi period, 19th century
111) Man in a sitting position - Hotei, ivory (2.2 x 2.3 cm)
A man is sitting with his right leg curled under him and his left leg bent at
the knee. He is dressed in a traditional costume with a robe and trousers
with square patterns drawn in ink visible on his front left leg. His bare
foot beneath it is barely visible. His left hand is on his knee and his right
arm with an outstretched hand is hanging loosely toward the ground. The
entire figure has a spherical appearance with the prominent stomach and
the round bald head surrounded by fleshy ears. His smiling face features
eyebrows and eyes emphasized with ink and a smiling mouth. MEIYI
period, 19th century
Comparison: pg. 140, no. 744, Hotei, Asiatika, Kunstahaus Zacke, 3rd
special auction, 29/11/96, Vienna, Hilton Hotel
112) Man with a bag or ball (Hotei, the god of contentment and happiness),
ivory (3 x 1.5 cm)
A man is sitting with his legs curled to the side. He is wearing a simple
traditional robe and trousers. On the front side, in his hands he is holding a
bag or a ball, which has circular ink spots drawn in places. His round head
has a cap on top, and his face is expressive and features eyebrows and eyes
blackened with ink and rosy mouth. Meiyi period, 19th century
Comparison: pg. 108, no. 565, Asiatika, Kunsthaus Zacke, 3rd special
auction, 29/11/96, Vienna, Hilton Hotel
113) Woman with two bowls, ivory (4.3 x 2.3 cm)
An older women simply dressed in a floor-length robe has one deep bowl
reaching to her elbow under her right arm and one shallow bowl on her
left shoulder. Her head is covered with a scarf and her round face features
eyes, nose and mouth drawn in ink. Everything is drawn in ink lined pleats
of the wide-sleeved robe, top coat and a high base on which the woman is
standing. Meiyi period, 19th century
head is slightly raised, framed with fleshy ears, a sign of happiness. Eyebrows
and eyes are drawn in ink in the form of arches, thus emphasizing the
physiognomy. Meiyi period, 19th century
102) Man with a box, ivory (3.2 x 2 cm)
A man is in a sitting position with his legs together in front of him dressed
in traditional clothes with wide sleeves. He is holding a box in his right
hand, while the left hand is covered with long sleeves. A simple engraved
pattern of clothing resembles waves on the front part of the sleeve. The head
has a cap embroidered on the edge and eyebrows, eyes and nose emphasized
with ink as well as red mouth. Meiyi period, 19th century
103) Man in a kimono with embroidered leaves motif, ivory (3.5 x 2 cm)
A man is in a sitting position with his legs together dressed in a kimono
with visible leaves (especially on the trousers). His hands are visible and
placed around his knees. He has a well-proportioned head with a shaded
cap on top of it, as well as eyebrows, eyes and red mouth drawn in ink.
Meiyi period, 19th century
104) Man with a bag, ivory (3 x 1.6 cm)
A man is wearing traditional clothes with diamond patterns drawn in ink.
Only his hands are visible. He is holding an empty folded bag in his right
hand. His round head protrudes beneath the fabric with one fleshy ear and
face that features eyebrows and eyes drawn in ink, and mouth outlined with
broad strokes of red colour. Meiyi period, 19th century
105) Man in a kimono with floral pattern, ivory (3.5. x 2.1 cm)
A man is standing in a floor-length kimono with flower motifs, particularly
evident on wide sleeves with hands inside the sleeves. His round head ends
with a cap, while the face is accentuated by eyebrows and eyes drawn in ink.
Besides the head, only the tops of shoes protruding beneath kimono are
visible. Meiyi period, 19th century
106) Man with hands clasped together in a kimono with a circular pattern,
ivory (4 x 1.5 cm)
A man is wearing a kimono with a circular pattern, particularly evident on
wide sleeves with hands inside the sleeves. His head ends with a cap, while
the face is accentuated by his long beard and eyebrows and eyes drawn in
ink. Besides the head, only the tops of shoes protruding beneath kimono
are visible. Meiyi period, 19th century
107) Old man holding a box with two drawers in his right hand, ivory (3 x
1.8 cm)
An old man is sitting with his legs curled under him dressed in a traditional
costume with flaps on his chest and wide sleeves. His left hand is resting on
his left knee and a box with two drawers is cradled in his right hand. His
round head has a cap and the face features eyebrows, eyes, nose and mouth
drawn in ink. All contours of a figure and box are drawn with black ink.
Meiyi period, 19th century
108) Fukurokuju, an old man with a big stick and a fan, ivory (3.5 x 2 cm)
A man is dressed in traditional clothes with opened dress showing his bare
round stomach, chest and bald head with big ears, which are dominating
the entire figure. He is holding a gnarled stick in his right hand, extending
from the top of the head to the ground and a fan in his left hand. From the
rear, a wide-sleeved robe is barely visible around the edges of the hands. The
• 121
114) Buddha of contentment, bone (4.2 x 3 cm)
Buddha is kneeling with one leg bent at the knee and the other leg bent
almost to the ground. He is wearing a simple robe, pleated on the back and
shoulders. A round stomach, chest and arms from the shoulders and legs
bare from the knees down are visible. The round bald head has large fleshy
ears and his face features eyebrows, round eyes, fleshy nose and mouth. He
is holding a wicker basket in his right hand in front of him. Meiyi period,
19th century
115) Erotica, ivory (4.7 x 2.7 cm)
A bare woman and a man are sitting. A woman is sitting in the man’s lap
with crossed legs stroking man’s head with her right hand, while her left
hand rests on her foot. A man embraced her from behind stroking her
breast with his right hand, while his left hand rests on her left hand. A
woman’s head is slightly slanted to the left with her hair neatly combed in a
chignon shaded with ink with a bright decoration like a ribbon on the front
side in the width of raised hair. Her face features eyebrows blackened with
ink, a nose and red mouth. It seems like she is gazing obliquely downward,
aware of pleasure. The head of the man behind her is slightly tilted to the
right, looking down at the woman’s body. His hair is combed behind the ear
and shaded with ink, as well as his eyebrows, eyes and mouth. His forehead
is high. At the foot of a woman, there is a two-character signature. Meiyi
period, 19th century
116) Erotica, ivory (4.7 x 2.7 cm)
A bare couple is dressed in knee-length robe richly decorated with ink and
colour. The woman is lying face down on slightly raised hands. Her head
is raised in half-profile and tilted to the right. She has a combed chignon
drawn in ink covering the ears. Her face is dominated by round eyes and
red mouth. Her raised hands reveal bare breasts. The man is kneeling over
the woman and her bare feet are wrapped around him. He placed his hands
akimbo at her waist height dressed in a robe richly decorated with ink and
colour. His head is in half profile, slightly turned to the right in relation to
her body. He has combed hair blackened with ink reaching to his ear and a
slight expression of pleasure noticeable on his face. At the edge of the right
sleeve decorated with a pattern, there is a signature in the form of a seal.
Meiyi period, 19th century
117) Erotica, ivory (6 x 8.5 cm)
A figure consisting of two parts of a man and a woman in traditional
costumes. The woman is lying down with a raised skirt and the man is only
wearing an upper robe with floral and geometric patterns. All is drawn in
ink and colour. The woman’s legs are raised and she is looking down. She
has a wide OBI. The man is kneeling. The woman has a chignon blackened
with ink with a white little cap and black eyes, red mouth and a nose. The
man’s hair is blackened with ink from his ear upwards with a small chignon
on top, black eyebrows and eyes, nose and rosy mouth. Meiyi period, 19th
century
118) Kagami netsuke - Buddha of contentment, ivory and silver, 4.2 cm in
diameter
Kagami netsuke can be made of ivory, as in this example, or wood like a little
flat bowl with a metal cover, in this case silver. Buddha of contentment with
big bare stomach and chest, wearing a long robe and legs curled under him
with a fan in his right hand. Meiyi period, 19th century
119) Child with a flute in a perforated flower garden - ryusa manju
netsuke, ivory and mother of pearl, 4 cm in diameter
A beautiful circular netsuke with punched decoration of mother of pearl
flowers. A child sitting and playing a flute is in the centre and in the
background and on the back side are flowers with inlaid mother of pearl for
the petals. The child is shown realistically dressed in a knee-length kimono
with plant motifs and tight trousers. His feet are bare. Both hands are
turned to the right and holding a flute. His chubby head has short hair with
a middle parting, small ears and eyes blackened with ink, nose, and open
mouth while blowing into a flute. There is a large wicker basket and flowers
with mother of pearl heads behind him. On the back side there are also
flowers along the edge and a signature in the form of a square seal consisting
of two or three characters. Edo period, 18 - 19th century
120) Japanese woman with a fan standing on a wolf, manju netsuke, ivory, 6
cm in diameter
A beautiful manju netsuke has the whole story engraved and emphasized
with ink. On the front side there is a Japanese woman in a rich floral
floor-length kimono with wide sleeves. There is a large fan in her left hand
protruding from the sleeve. The woman with her hair hanging down to her
waist is shown in half profile with eyebrows, eyes and ears drawn in ink.
The figure is standing on a large flat wolf and there is a star behind her back
made of series of small light rays drawn with ink, which probably represent
the Sun. On the back side there is a wolf ’s head within the opening of
waving lace shawl, and the bow and arrow are on the opposite side. There
is a hole for threading a cord in the middle which is closed with the ivory
button on the front side. The drawing is unusually harmonious and seems
like it is telling the whole story of a beautiful fairy and an evil wolf. Edo
period, 18th century
121) Dragon and birds, riatsu netsuke, round netsuke with motifs made by
creating perforations ryusa like a button decorated with the hole, ivory, 4
cm in diameter
Motives of a dragon and birds in the clouds are made by creating
perforations. On the front side there is a dragon in profile with a body
covered with scales and head with a large eye, eyebrows and diluted jaws
among the circular clouds. On the back side of the sutii head there is a bird
in profile, with a large dark eye and curved beak next to the central circular
hole connected to the rim of netsuke with three elliptical leaves - openings.
Everything is richly drawn in ink. Meiyi period, 19th century
122) Child with a crab - round manju netsuke, ivory, 4.7 cm in diameter
manju - round netsuke reminding of a sweet pillow stuffed with bean paste
is symmetrical and smooth. There is a hole in the middle with a small
ivory circle for threading cords for fastening obi. On the front side there
is a life scene: a child in a kimono tied with a bow on a bare stomach with
outstretched arms and legs and frightened physiognomy with eyes, nose,
small ears and curled hair, chasing a large crab. All contours are emphasized
with ink giving a stronger impression of this funny scene. Meiyi period,
19th century
123) Netsuke mask, ivory (5.2 x 3.1 cm)
Netsuke mask has hair over the ears, eyebrows, large eyes, full mouth and a
broad nose. A hole for threading a cord is perforated from below and there
is a two-character signature. Meiyi period, 19th century
124) Demon mask - netsuke, ivory (5.1 x 2.2 cm)
A demon mask has gaping mouth, so all teeth are visible as well as all four
canines. The nose is broad, and below are two holes for threading a cord.
• 122
it is squeezing a double guard against its body. There are two holes for the
cord from below, and in the middle of the monkey’s stomach there is a twocharacter
signature. Meiyi period, 19th century
130) Three monkeys, ivory (7 x 4.3 cm with a pedestal)
Three monkeys are placed one on top of the other. The bigger one is inbetween
smaller ones. All motifs are made in detail, but there is no use of
ink. 20th century
131) Monkey, ivory (3.8 x 3 cm)
A monkey is sitting with outstretched front legs and bent hind legs. Hair
and nails are drawn with ink in details. The head is turned to the right with
the prominent small raised ears, deep shaded holes for the eyes with ink
drawn eyes, slightly upturned nose and mouth. Meiyi period, 19th century
Bibliography: Asiatika, auction catalogue, Auktion haus Zacke, pg. 34 and
35, no. 221, 2nd special auction, 20/4/96, Vienna, Hilton Hotel
132) Monkey under the palm trees, ivory (6.3 x 3.5 cm)
Three monkeys are climbing on palm tree branches, while the fourth is
against the trunk. All palm trees are arranged one next to another with
strong trunks divided into rings and large branches that are placed one
above the other and dense leaves. Soil, monkeys, trunks and leaves are
slightly drawn in ink. Meiyi period, 19th century
133) Dog (lion) from the temple with a hollow ball (shishi), ivory (3.3 x 3 cm)
Shishi, a little dog or lion from the temple is standing on all fours holding a
big hollow ball with all four paws and his colourful tail. The head has lush
mane, big round eyes, small nose and gaping jaws. All contours of a body
and ball are emphasized with ink. Meiyi period, 19th century
Comparison: Asiatika, Kunsthaus Zacke, 4/11/ 97, Vienna, SAS Palais
Hotel, pg. 200, no. 1112
134) Dog with a little metal bell, ivory (4 x 20 cm)
A dog, probably a Shar-Pei, has a tail raised in the air and two parallel
tense legs. Dog’s groin area with prominent ribs is lowered to the front
paws. There is a little metal bell around his neck. Its round head has small
ears blackened with ink, large round yellow eyes and a small snout. Meiyi
period, 19th century
135) Dog, ivory (3.2 x 3 cm)
A dog is shown in motion with each leg in different position and a small
truncated tail in the air. There is a black ink-coated collar around its neck.
The head is turned to the left and back with round black eyes, black snout
and small folded ears on top. Meiyi period, 19th century
136) Cat with a mouse, ivory (6.5 x 5 cm with a pedestal)
A cat has just caught the mouse and is being very still. It is sitting on her
rear paws, with a long tail against the right flank and a paw. Front paws are
bent at the knee. It is holding a mouse in its mouth. The round head has
erect ears, large eyes and a small nose. The hair is slightly marked with ink.
Meiyi period, 19th century
Bibliography: Early fantasy and reality in Japanese miniature sculpture,
Boston, 2001
137) Chick, ivory (3.5 x 4.5 cm)
A chick is sitting crouched with only his head raised. It has two prominent
round eyes made of red gemstones and a beak. Meiyi period, 19th century
Eyes are huge with the bushy eyebrows squeezed together. Little horns are
protruding from the hair. The ears are small. Everything is drawn in ink.
Meiyi period, 19th century
125) Four netsuke masks, drawn ivory (2.3 x 1.8 cm, 1.8 x 1.5 cm, 1.9 x 1.5
cm, 1.9 x 1 cm)
Masks are framed in one European framework. On the top is a mask in the
form of a demon with horns protruding from short hair blackened with
ink reaching to the ears. The face features big eyes blackened with ink and
gaping mouth with a touch of red and white, so that the teeth are visible.
There is a dimple on the chin. Right next to it, there is a male mask with
a small pointed drawn cap showing a bit of hair blackened with ink up
to large fleshy ears. Pear-shaped face features eyebrows and eyes drawn in
ink, a nose, short moustache and a rosy mouth. Below is the mask of what
may be a Buddhist priest with a round bald head, framed by large fleshy
ears. A wrinkle is curved into a forehead, and eyebrows, small eyes, nose,
moustache and a smiling mouth are beneath it, all drawn in ink with a
touch of red and white. Face of a woman with a combed wavy chignon with
a red-drawn cap. The face has small eyebrows and eyes, nose and a mouth
drawn in ink with a touch of red. Meiyi period, 19th century
Comparison: Tafel, no. 18, pg. 10, Copper demon mask 19th century,
Asiatika, 6th special auction, Vienna, SAS Palais Hotel, Kunsthaus Zacke,
4/11/97
126) Horse with a mouse on its back, ivory (4.2 x 2.5 cm)
A horse is lying with his front legs together and hind legs slightly apart.
On the body from below there are two holes for threading a cord for OBI
belt. The head is raised and has mane on the neck drawn in ink and facing
the mouse on its back. Small ears, large eyes and a muzzle are drawn in ink.
A little mouse on his back has all important details drawn the same way.
There is a marking on the back right hoof probably indicating a master or
workshops. Meiyi period, 19th century
127) Horse - grazing uma, ivory (4.8 x 3.5 cm)
A horse standing and grazing - a theme popular in the early period of
the 18th century. It has a straight body with two parallel hind legs and a
tail drawn in ink turned to the left. One front leg is bent and the other is
slightly angled towards the head. The head on the neck has an ink drawn
and engraved mane, small ears, large almond-shaped eyes and nostrils and
nose pressed against the ground (grazing). On the back side, next to the tail
there are two holes for threading a cord - himotoshi two-character signature.
Meiyi period, 19th century
Comparison: Asiatika, 3rd Special auction, 29/11/96, Vienna, Hilton
Hotel, Kunsthaus Zacke, no. 757, pg. 142
128) Rabbit on a sheep, ivory (2.5 x 3.7 cm)
A large rabbit is lying on the sheep of the same size and squeezed
underneath. Proud rabbit with the raised head, large eyes and small ears
is simply made. It has a two-character inscription on the front side. Hair
of the sheep crouching beneath the rabbit is drawn in ink. Two markings
below the sheep’s back hoof probably represent the signature. Meiyi period,
19th century
129) Monkey, ivory (4.1 x 2.7 cm)
A monkey is sitting on its hind legs holding its tail close to the body. The
head with ears is raised, eyebrows are emphasized, round eyes and a nose
are drawn in ink. Its right paw is resting on his nose, and with its left paw
• 123
138) Squirrel, ivory (4 x 3.5 cm)
A squirrel is realistically shown sitting with folded hind legs and
outstretched front legs and a front paw raised. Its fluffy tail is turned to the
right. The head is raised with an elevated snout, mouth, almond-shaped
eyes and ears thrown back. Meiyi period, 19th century
139) Young lion, ivory (3 x 3.5 cm in profile)
A young lion is standing in profile with a bristly tail. The fur on its tail and
thighs is drawn in ink. The head has gapping jaws so you can see all teeth,
big round eyes and small ears. Eyebrows are drawn in ink. Meiyi period,
19th century
140) Two mice eating a pumpkin, ivory (2.2 x 3.5 cm)
Two mice are eating a big gnarled pumpkin. One has climbed up, while the
other is standing at the bottom and looking wistfully. Their hair is drawn in
ink. Meiyi period, 19th century
141) Woman with a dog and a bird, ivory (7 x 3 cm)
A woman richly dressed in a two-piece dress. The upper part of the dress
is embroidered and has wide sleeves and a strained collar. Hands holding
a piece of embroidered fabric are visible. The robe reaches to her waist
and below is the embroidered skirt cut into jagged pieces. The head has
hair down to the shoulders with a chignon on top like a wig. The face is
elongated with carved eyebrows, eyes, nose and mouth. Feet below the
skirt are bare. There is a dog and a bird next to the figure. No signature. It
belongs to the art of Japan, or south China. 20th century
142) Man with a box and a rat - the rat catcher (4.6 x 5 cm)
A man dressed in a skimpy way wearing a scarf wrapped around his rear,
hips and stomach, is sitting with one leg raised and bent at the knee and
the other lowered on the ground and also bent at the knee and resting on
the toes, with a foot visible from behind. The figure looks cramped and
angry, that is, desperate. He is holding a box with his right hand and a big
stick in his left hand. The head is turned to the right; the hair is combed
above the ear with a small chignon on top. The face has a desperate grimace
with wrinkles on the forehead, large concave eyes, broad nose and a gaping
mouth, so you can see teeth and a tongue. There is a big rat on his right
shoulder strolling towards the back with hair blackened with ink. The man
is “yelling” at it. There is a three-character signature on the bottom side of
the scarf. Meiyi period, 19th century
Comparison: London, Victoria and Albert Museum Far eastern series, Julia
Hutt: Japanese Netsuke - almost the same composition in ivory, pg. 54, no. 42
143) Tiger, wood (3 x 3 cm)
A tiger is sitting with rear paws curled under him and tail bent to the right
to the outstretched front paws. Its back is rising from the rear to the head.
A large head turned to the right has small prostrate ears, big eyes, a nose
and gaping jaws with all teeth visible. Hair colour is a combination of light
and dark, ink-shaded stripes with a narrow line from tail to head going in
another direction, dividing the body into two segments. There is a twocharacter
signature in ink on the tail from below, next to the four paws with
claws. Edo period, 18th century
Comparison: Japanese Netsuke, Julia Hutt, Victoria and Albert Museum,
Far eastern aeries, no. 105, pg. 95, Tiger, wood, eyes with inlaid mother of
pearl and other material. Signed by “Tomin”, 1775-1825
144) Eagle with a snake, wood (7 x 3.2 cm)
An eagle is standing on wood furrowed with longitudinal lines like cones,
holding a snake in its beak. The body is loaded with detailed drawn wing
feathers falling down to the tail. The head is bowed with large eyes drawn
in ink and a beak holding the snake. The snake’s mottled body is bent with
a head and eyes placed next to the beak of an eagle and a tail below a strong
mottled claw. There is a two-character signature at the bottom. Meiyi
period, 19th century
145) Cook, wood (3.5 x 2.5 cm)
A cook is kneeling next to a wooden tray putting noodles from a big
plate into his small bowl with sticks. He is dressed in a simple traditional
knee-length robe and trousers. The legs are bare. His round head with
short hair blackened with ink is reaching up to the ears. It is invisible on
the face diluted with clenched eyes, wide nose and mouth spread in order
to promptly swallow the first bite of cooked noodles. Meiyi period, 19th
century
146) Rat, wood (3.5 x 3.2 cm)
A rat is lying curled up on the floor with bent hind legs and a long tail
wrapped around them. Front paws are under the snout holding the fruit he
is biting. The head has a long snout, ears thrown back and round eyes. The
entire body is covered with hair drawn in ink and the tail is divided along
its whole length into circles like rings. Meiyi period, 19th century
147) Bull, stone, 5 cm
A bull is made of dark stone and is realistically shown lying curled up with
knees bent and a tail. Only the head rises above the body with a large snout,
round eyes, and horns drawn in ink and thrown back. Meiyi period, 19th
century
148) Inro medicine box, black lacquer on wood, paint, mother of pearl (6.5
x 4.8 cm)
INRO box consists of five compartments and is connected with a cord on
both sides to form a whole. There is a button on top. Each compartment
has different motif drawn with colour or mother of pearl like displays of
different “cooking stove” containers. Meiyi period, 19th century
149) Inro box, black lacquer, wood and paint (29 x 16 cm, 8.5 x 6.5 cm, 3.6
x 2.4 cm, 3.1 x 1.6 cm)
A box is divided into five segments and connected with a purple cord on
both sides to form a whole. That way inro looks like a picture with the
people motif - workers on a boat pulling it toward the shallow water. Meiyi
period, 19th century
150) Inro box, wood, lacquer, gilding (5.5 x 5.8 cm)
A box is divided into four parts and connected with a cord on both sides to
form a whole. It’s like a picture of mountain landscape with trees, wooden
houses, castle and a bridge with people on it. Everything is drawn gold.
There is a button on the brown cord which forms a whole when tied tight.
Meiyi period, 19th century
151) Round inro and netsuke, wood, red lacquer, gilding (4.5 x 4 cm and
netsuke 5.5 cm in diameter)
A round box is divided into three parts, with red lacquer and gilded
chrysanthemums on the outside and red lacquer from the inside. There is a
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cord on both sides connecting all the pieces together and a button on top
shaped like a water chestnut. Netsuke is in the form of an actor with a long
red robe, holding an open fan in his left hand and mouth, eyes and nose
drawn in ink, and a little chignon on top of the head. Meiyi period, 19th
century
152) Stands for photos and a hairpin (four pieces)
Bronze, gold, silver, black lacquer, 1) bigger fan (8 x 5 cm), 2) smaller fan (5
x 3 cm), 3) “Samurai” (4 x 4 cm), 4) a hairpin (2.2 cm in diameter)
1) bottom left and right edges are trimmed with gold. The main part is
coated with black lacquer with floral branches and two birds in gold dust.
2) the upper edge and structure of the fan are in gold. The main part is
coated with black lacquer with floral branches, leaves and a tendril in gold
dust.
3) “Samurai” has a traditional martial arts equipment with long and short
sword tucked into the obi. His clothes are decorated with gold and silver
in relief. Both swords are properly tucked - big one upwards, smaller one
downwards. The face is scary with gilding and a little chignon on top of the
head.
4) a hairpin with black lacquer background decorated with flowering
shrubs and birds
Meiyi period, 19th century
153) Pair of bronze vases, partly gilded bronze (36 x 24 cm each)
A pair of vases in relief, decorated with golden birds and branches. Motifs
around the opening are as shallow as those along the lower edge which is
slightly expanded. Meiyi period, 19th century
154) Vase with a lid, porcelain drawn over the enamel (29 x 16 cm)
The entire vase with a lid is drawn over the enamel. The motif is the
orchestra of cord instruments in a blooming garden. On a leg and along the
neck are floral motifs on a turquoise background. The neck is covered with
gold geometric motifs and the lid has flowers on a black background. There
are stylized flowers along the edge. Part of this “tear” is richly gilded. Meiyi
period, 19th century
155) Incense burner, porcelain drawn over the enamel (8 x 6.5 cm)
An incense burner made of porcelain is drawn over the enamel. On
its rectangular body there are Buddhist figures sitting with mandorlas
(almond-shaped halo) around the heads of Buddhist followers. The
upper brown part with a perforated lid has turquoise little dots, and its
rectangular body has three rows of spacing decorated with brown dots.
There are circular openings for the escape of smoke on each of four corners.
On the bottom there is an inscription with one character within a circular
wreath. There is a three character inscription “da Riben” meaning “big
Japan” visible from below. Meiyi period, 19th century
Karolina Franc
• Xylograph - ukiyo - e
The word ukiyo-e literally means “pictures of the floating world.” During
the second half of the 15th century it began to be used in poetry and prose
as an expression of the idea that life is a only a passage to a dream. In the
days of the feudal Edo period from 1600 to 1868 it indicated the world of
pleasures.
Hishikawa Moronabu 1618 - 1693 is the founding artist of the ukiyo-e
art. Upon moving to Edo, today’s Tokyo in 1658, he began illustrating
books and drawing pictures of ordinary people’s everyday activities using
the method of printing by using wooden panels known in Japan since the
8thcentury. The printing of the Buddhist scriptures was commissioned by
the Empress Shotoku in 770. This is the first document printed in Japan
and the oldest example of printing in the world. Printing techniques had
remained rough until Morunobu began using the technique of ukiyo-e
woodprints. The lines were soft, sometimes irregular and the works were
printed in ink with vermilion or yellow colour later applied on it with a
brush. His contemporaries were using a large scale of earth colours to show
the elegant patterns on the dresses of beautiful women they portrayed.
The work of Okamura Masanobu 1686 - 1764 significantly enhanced
the development of wooden plates engraving and their shape and size. In
addition to being an artist he had owned his own printing press. He liked to
experiment, he began using purple colour, mixed bone glue with ink which
made the glossy imprints look as if they were varnished, later known as E.
urushi- e. He introduced clear strong lines visible in all subsequent ukiyo-e
woodcuts. Masanobu also introduced perspective, which was used to depict
landscapes, known as uki-e. Beni-O-Zuri is a style in which a separate panel
is used for each colour. In 1765 Suzuki Haronobu made the first painting
by using various ranges of colours - nishiki-e woodprint. Ukoyo-e printing
techniques are unique in the world, with three independent experts
involved in the process. One artist makes the sketch, the xylographer carves
it on a wooden panel and the printer prints it on paper. The sketch is drawn
on a special thin paper suitable for transfer to the wood. The xylographer
would select a piece of wild cherry wood with regular rings, planed it to
get a perfectly smooth surface, which was covered with adhesive paste. The
paper with the sketch was laid on top of this and everything was left to dry.
The xylographer would rub the paper with his fingers pressing it, in order to
leave the drawing printed on the wood surface. With a small knife he would
cut both sides of each line leaving the drawing in wood. Then he would
use a chisel and a hammer to cut up pieces of wood that did not have the
drawing, leaving a sharp relief on the wood in accordance with the lines on
the sketch. The complete panel was reviewed by the artist, and if everything
was all right the panel was given to the printer, who would use the brush
to cover the plate in ink an make the first print on quality paper. After the
evaluation of the artist and the printer, ten new prints were given to the
artist who applied special color on each of them.
On the basis of the painter’s templates, the xylographer would then make
a separate wooden board for each colour and finally put them together.
A thin paper called nishi-no-uchi was used, and with the invention of
polychromatic nishiki-e a thicker version of the paper was introduced -
echizen-hoshi. The paper for the ukiyo-e is covered with emulsion of glue
dissolved in warm water in order to become water resistant. Nevertheless,
if left too long on the paper it rejects paint. Before printing, the paper
covered with emulsion was left under pressure for a short time so that the
moisture and emulsion evenly spread across the paper, making the paper
softer and prone to colour absorption. Plant pigments of flowers and tree
bark are used for printing. Pigments fade over time and only few prints have
retained gloss and colour. In 1780 the Tokugawa government introduced
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a system of censorship in Japan for the ukiyo-e. The publisher was obliged
to take the sketches to the censorship office for approval and for obtaining
a stamp on the sketch, which meant that he had received approval for
woodcuts and printing. The censorship stamp had to be visible on the final
woodcut. There were several types and sizes of censorship stamps from
the beginning of the Meiyi period. In 1868 the censorship stamp is placed
outside the woodprint frame. The first step in determining the originality
of ukiyo-e prints is the studying the quality of paper. The original old prints
were made on thin paper and are a soft to touch, while the newer copies
and reproductions are made on thick paper with a shiny rough surface.
Reproductions need to distinguished from the forgeries. Due to sensitivity
and fragility, the experts keep the originals in storages while performing
their work on well-made reproductions. The making of reproductions
demands the same procedure as does the production of the original. In
the printing phase the original is used as a template. ukiyo-e was the art of
citizens. The most popular subjects were beauties - biyin-ga, the kabuki
theatre actors and landscapes uki-e. The most popular artists of different
styles and subjects of ukiyo-e woodprints:
1. Toyokuma Utagawa 1769 - 1825. Since 1786, the student of Utagawa
Toyoharu in Tokyo has devoted his work to the characters from the kabuki
theatre and actors’ portraits - yakusha-e. He obtained monopoly status
among the kabuki-e artists during the 19th century.
2. Audo Hiroshige 1797th - 1858th Brought landscape woodprints
to perfection. Thanks to his series of uki-e woodprints with the use of
perspective under the title “Famous places in the Eastern Capital” (Tokyo)
ukoyo-e woodcuts soon became popular in other countries more than in
Japan. During the 19th century a large number of ukiyo-e was brought to
France, especially during the world exhibition of 1867th. Painters such as
Monnet, Manet, Degas and Van Gogh became great collectors fascinated
by the brilliance and richness of sketching.
3. Utamaru Kitagawa 1753 - 1806 Made portraits of bijinga beauties from
up close o-kubi-e. He emphasized an idealized female beauty, accentuating
clean complexion and feelings. He painted women from all classes of
society: geishas, courtesans, housewives and their children. He used a new
element- the background in yellow or light gray colour with a thin red
line marking the edge of face and hands in order to underline the softness
and whiteness of female flesh. Thanks to these new techniques he became
the most popular ukiyo-e painter of his time (merge with the text of the
description of the catalogue unit).
• Sculpture
During the Nara and Heian period (794-1185), new conditions of life
appeared in Japan. Buddhism arrived from India as a very important factor.
Until then, Japan’s main religion was Shintoism - original belief in natural
forces, above all associated with the goddess of the sun over Korea. In
538, the Nara province with its capital Suka was known for spreading the
influence of Buddhism and Chinese style in sculpture, painting and all
decorative arts. The Imperial House with the Prince Shotoku, Regent of the
Empress Suike (592-628) supported the new religion. Great temples were
constructed and working techniques of all materials progressed. During
756, the precious Karashomu collection of about 3,000 items was donated
to the Todaiyi temple in Nara, located in the Shoshoin building. Fire and
earthquakes destroyed many treasures but Shosoin miraculously survived
and today it represents a unified entity of the Chinese art of this period.
During the Heian period, with its center in Kyoto (early name Heian) the
classic Japanese art style began to take shape. Buddhist sculptures were
made following in the footsteps of secular art, such as items for decorating
houses - screens, sliding doors, etc., showing the everyday life, and elegant
and elaborate taste of imperial officers. Over the centuries a Japanese style
in sculpture is developed, going from monumental religious art usually
made of wood to decorative art made mostly in ivory during the 18th and
19th century, often meant for foreign collectors. These are often signed and
make part of collections of now famous museums and private treasuries.
Subjects are taken from the realistic everyday life and made with a lot of
attention.
• Netsuke
Kimono Traditional Japanese clothing for women and men is broad,
comfortable and tied with obi belt. It has no pockets, so objects for everyday
use such as pipes, tobacco bags, medicine boxes, etc. were hanged on the
belt. Little knots or so-called Netsuke were used to attach such objects. The
word Netsuke is a combination of two words, ne and tuske. Ne means root
and tsuke means to fasten, hang or attach.
The Japanese sense of natural beauty made things more elaborated over
time. Knots became real miniature works of art made from various
materials. netsuke - the knots for hanging things- were mentioned for
the first time in 1680 in the kimmozui woodcut book. In order to hang
netsuke on the belt obi, there are two holes on the back through which
a string is threaded. netsuke can be of various shapes, with scenes from
real life showing animals, various objects, mythological creatures and so
on. According to subjects, the netsuke are divided into 12 animals of the
Zodiac, a group of other admired creatures, mythical creatures, deities
and mythological creatures, 7 gods of good fortune, Japanese legends and
history. netsuke can be naturally shaped, round, and - manju, small, round
with a metal part - kagamibuta round, with a punctured decoration like the
square ones.
The first mention of the netsuke carvers by name is in the book of woodcuts
soken kisho published in 1781. Masters were allocated among the provinces
and were known during the 18th and 19th century in Japan and in the
20th century in Europe among collectors. The netsuke are made of different
materials, such as various types of wood, ivory, metal, hard rock, nuts and
pumpkin. They are real three-dimensional miniature sculptures that need
to be adjusted to the form of clothing. Over time, wood and ivory gain a
unique patina. The early masters can be recognized by the freestyle cut, but
during the 19th century the work becomes more detailed and graceful. The
best netsuke is a miniature top achievement made with love and care during
the period of several months. Such works are beautiful from all sides, wellbalanced
and offer the best of the materials and master’s personality. No
other nation offered more when it comes to inventing terrifying phantoms
or legends. Perhaps this is linked to its very nature full of dark forests,
waterfalls, mountains and hot springs. The miracles of carving are only a
few centimeters high, and show every subject you can imagine.
• Inro
The small wooden box with a personal stamp in ink probably originates
from China. In the beginning they were made of wood, with time they
were divided into small drawers that fit well and were interconnected
with ribbon and eventually they became original Japanese art. The earliest
examples belong to the Momoyama period (1568-1600). During the
Edo period from 1600 to 1868, they become richly decorated to match
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• Chronology
Jômon - the oldest period of the archaic period of Japan. It was named
after the “cord-patterned” pottery style. It has been shown that this period
extends to at least seven thousand years BC.
Yayoi - builds on the Jômon period and lasts from 300 BC to 300 AD.
Yayoi pottery is a characteristic of this period. Its name derives from the
name of the part of Tokyo where the first examples of such pottery were
excavated in 1884. At that time, residents of Japan were farmers, and rice
cultivation was a major branch of agriculture. The use of bronze and iron
is taken over from China, for making swords, spears and ritual bells. Yayoi
period marked the beginning of social stratification and separation of
powerful families, especially the Yamato group from which later came the
imperial family.
Kofun - the last pre-Buddhist period, about 3rd - 7th century AD.
The name derives from the name of burial mounds of the time. The
Haniwa are terracotta clay figures which were frequently buried with the
dead as funerary objects. These are usually models of humans, animals,
houses, furniture and other items produced under the strong influence
of China. During the 5th century, Japan has already had diplomatic
relations with China, which has contributed to the acceptance of Chinese
literature, medicine, astrology, silk production and weaving techniques.
It has also enabled the first acquaintance with Confucianism and
Buddhism. The indigenous Japanese religion Shinto (“the way of the
gods”) originated in this period.
Asuka - a period from 552 to 645 AD named after the homonymous
district in the province of Yamato, which was the centre of the Empire
at the time. Buddhism came from China to Japan together with other
influences. The Prince Shôtoku Taishi, the Son of the Sun (573 - 621
AD) is its special advocate. He introduced Buddhism as the official
religion. A text he wrote containing 17 articles is considered to be the first
Japanese constitution and indicates that the commitment to Buddhism
was politically motivated, and has served him to strengthen the central
government. He has built many Buddhist temples like the famous
Hôryûji in Nara.
Nara - a period of 645 to 794 AD characterized by arranging legislation
according to the Chinese model, as well as opening towards other
influences: cultures of the Eastern Roman Empire, Persia, India and
Central Asia, and even Greece, Assyria and Egypt. The Ritsuryô Code
enacted in 701, stipulates that all land and people (except slaves) fall under
the jurisdiction of the imperial court. A population census was made
based on which the distribution of land and tax assessment was executed.
The provincial schools and central high school were established for the
education of administration officers. Upon these reforms and according
to the Chinese model, a permanent capital was established. In 710, Nara
was built where the imperial power was centralized. The golden age of the
Nara period was during the reign of the emperor Shômua (724-748 AD),
who encouraged the building of Buddhist temples. At that time, more
the unity of motif with etsuke. The work is often based on teamwork.
Boxes with drawers become more and more usable, mostly in medical
purposes. Besides wood, a lot of different coating techniques were used,
with polychromatic varnish and the addition of metal powders - maki-e,
although of Chinese origin becomes a typical Japanese technique. The word
maki-e literally means ‘sprinkled picture’. The design is made by sprinkling
or spraying wet lacquer with metallic powder, usually gold or silver, from a
dusting tube onto the surface while the coating is still wet. There are three
main types:
Hiramaki-E - a design is raised from the surface only by the thick layer of
paint.
Tukamaki-E - a lacquer mixed with powdered charcoal or clay so that it can
be built up in relief before metal dust is applied.
Togidashi-E - a complex technique where hiramaki-e design and the basis
are painted in lacquer, which is polished and removed, until it reaches the
drawing. These lacquer techniques as well as the combination with the
insertion of other materials like mother of pearl, gemstones and metal
reflect the uniqueness of Japanese techniques. In addition to the use of
different lacquer techniques on inro boxes, these techniques are used to
create designs, such as no. 5 in our catalog, and miniature objects such as
beads tightening the cord on netsuke, the so-called oyime.
• Porcelain
Japan has been a country of great diversity in art from the very beginnings,
as early as during the Neolithic period items were made in ceramics with
embossed motifs of rope and matting, the so called Yomon, that is, “the
rope motif.” Then comes the Yayoi period which was named after Yayoi-cho
near Tokyo where in 1884 figures of different shape - the cemetery keepers
hahiwa were found together with the objects shaped on a potter’s wheel.
Unfortunately the exhibition does not contain such early works, nor the
ceramics or porcelain associated with the custom of drinking tea cha-noya.
There are only three later works from the 19th century - porcelain with
motifs drawn on the enamel.
*Although her profession is not related to this field, Mrs. Karolina Franc,
the author of this text, tried to evoke the artistic value of the Japanese
objects in this catalogue to our audience by offering us their description.
Please accept her sincere apologies for any omissions or inaccuracies that
may have occurred.
• 127
than a hundred artists were on the payroll of the court. The preserved list
of lost paintings indicates that this was a period in which art flourished.
Heian - covers the period from 794 to 1185, which marked the end of the
former aristocratic system. Fujiwara clan managed to establish the control
over competing nobility and Buddhist priests. In 794, during the reign
of the emperor Kammua, the capital of Japan was moved from Nara to
Heian (meaning “peace and security”), present-day Kyoto, built on the
model of Nara. Heian/Kyoto remained the capital for over a thousand
years. The fall of the Chinese Tang Dynasty, around 900 AD, broken
off the relations with China. The influence of China weakened, which
encouraged the development of Japanese expression in all fields of art.
Kamakura - a period from 1185 to 1392 brought new changes. Kyoto
formally remained the cultural center with the imperial palace, but in
1192 Yorimoto Minamoto established the hereditary Shogunat (Sei - I -
Tai Shogun) with military rule and moved the administrative center in
Kamakura, where strict and ascetic lifestyle of a warrior was established.
Back then feudal lords (daimyo) were vassals of the Shogun, and knights
during the 13th century. The whole period was marked by military
and political uncertainty that continued during the Muromachi and
Momoyama period. The Kamakura period is marked by the deepest,
strongest and most durable impact on the development of Buddhism in
Japan, which was strongly reflected in the overall Japanese art. Monks
brought Zen Buddhism from China to Japan. Zen then imbued each
stage of cultural life. Morality was placed above dogma, meditation and
asceticism were preached. Song and Yuan Dynasties revived the Chinese
influence.
Muromachi - a period from 1392 to 1573 was also characterized by
insecurity and fighting. That was the period of bloody civil wars. The
country was torn and destroyed. Nevertheless, there was a gradual
development of towns and middle-class society. During the late 16th
century (1542), first citizens brought the first signs of the new era. During
that period Zen had the greatest impact on the development of art. The
lavish art of the Kamakura period was replaced by the simplicity and
purity of the composition. Zen also influenced the introduction of the
tea ceremony - cha noyu, which encouraged the development of fine
glazed pottery and lacquer ware. The Master Sen Mo Ruikyu realized the
expression of wabi - tranquillity, balance and purity.
Momoyama - a period from 1573 to 1615 was a turning point for divided
Japan. A Japanese warrior, Oda Nobunaga, lived a life of continuous
military conquests and eventually conquered a large part of Japan before
his death in 1582. Toyotomi Hideyoshi continued the unification of
the country achieved in 1582. He introduced the new legislation on
land and taxes and laid the solid foundation of feudalism. He separated
peasants from the middle-class and banned them from getting the
status of samurai. Like his predecessor, he was radically undermining
the power of the Buddhist and Shinto priesthood. They both executed
economic reforms for the benefit of commerce and industry. The name
of the Momoyama period, “Peach Hill” derives from the later name
of the southern part of Kyoto where the Hideyoshi built the Fushimi
Castle. At that time, the construction of castles and residences has begun.
Local feudal lords - damyo, citizens and merchants were the holders of
the culture. The Japanese art form of Ukiyo-e was introduced, featuring
motifs from everyday life. After the invasion of Korea, the arrival of
Korean potters in Japan accelerated the boom of pottery making. The
first missionaries arrived along with the first Europeans, Portuguese
and Spaniards, the first of which was a Jesuit, St. Francis Xavier (1549).
Christianity started spreading but it was quickly proclaimed dangerous.
In 1612 Christianity was banned altogether in Japan and persecution of
Christians begun.
Edo - a period from 1615 to 1867 was militarily and politically the most
stable period in the history of Japan. Iyeyatsu Tokugawa was the founder
of the rigid military shogunate of Japan from the beginning of the 17th to
the mid-19th century. Residents were divided into four classes: samurai or
the warriors, peasants, craftsmen and traders.
Although the class of warriors rose above the rest, this was the period of
true prosperity of the middle-class, which unlike the samurai class, was
gaining more and more economic power what has also reflected in the
development of all arts.
The country with the capital of Edo (Yedo, from 1868 - Tokyo) was living
in isolation in order to avoid Christianization. Only non-Christian
Chinese and Protestant Dutch were allowed to stop in Japan. With
such isolation, the Tokugawa Shogunate ensured over two and a half
centuries of uninterrupted rule. But it was done at the cost of a gradual
accumulation of contradictions in Japanese society and state, which
finally led to the fall of Shogunate at end of the 19th century.
New Japan - Tokyio period
Divided into:
Meiyi 1868- 912
Taisho 1912-1926
Showa 1926- until today
After the fall of the Tokugawa regime in 1868m the Emperor Mutscihito
(Meiyi) took over the power. The foundations were laid for rapid capitalist
development of the country. The court was moved from Kyoto to Edo -
Tokyo (eastern capital).
• 128
• PEOPLE, DEITIES, WIZARDS AND DEMONS
Amitabha - Buddha of the western sky
Chonin - people in the city
Daikoku - god of happiness
Daimyo - feudal lord
Daruma - founder of Chan (Zen) Buddhism
Ebiso - god of good luck and fishermen
Fujin - god of the wind
Fukurokuyu - god of happiness with a big bald head
Gama sennin - immortal; named after the frog (gamma) at his shoulder or back
Hotei - god of contentment and happiness with a big belly
Juroyin - god of happiness
Kubara - god of justice
Nue - national monster with the head of a monkey, a tiger’s paws and the tail of
a snake
oni - demon
Rajin or Raiden - god of thunder
Sennin - Chinese Taoist immortals
Shogun - military governor of Japan, managed the country on the ruling
emperor’s behalf
shoki - demon catcher
Shou Lao - god of longevity
• SEVEN GODS OF FORTUNE
Benten - goddess of love and music with a musical instrument
Bishamon - god of wealth and warriors
Daikoku - god of commerce, agriculture and trade with a sledgehammer and a
rat
Ebisu - god of floods and fishing with a fishing rod and a big fish tai
Fukurokuyu - god of longevity, with elongated head, always smiling
Hotei - god of happiness and children with a big belly and a bag
Juroyin - god of longevity and learning with a scroll, deer or a heron
• ANIMALS AND MYTHOLOGICAL CREATURES
Amaryo - rain dragon without scales. In China it is yellow, without horns, like
a sea horse
kirin - mythology four-legged creature with the head of a dragon, the body of
an ox, a body covered with the scales of a fish, and a single horn. Good creature,
which cannot hurt anyone.
Shishi - dog / lion mythological creature from the temple
• PHENOMENON, OBJECTS
daisho - a matched pair of traditionally made Japanese swords (long and
short) katana and wakizashi. The wearing of a pair of swords started in the late
Monoyama period. It was codified during the Edo period and limited to the
samurai class.
hako - netsuke in the form of small chest or other container made of wood
himotoshi - two holes through which the strings are threaded on obi belt
imari - drawing on porcelain: iron red and gold ton the glaze and cobalt blue
under the glaze
inro - originally made for seals during Edoperiod evolved into a small medicine
container worn hanging from obi belt
kabuki - Japan’s popular theatre from the 17th century
• Glossary
kagami netsuke - shaped as a bowl made of ivory or wood and fitted with a
decorated metal lid
kara netsuke - netsuke with a thick ring with a narrow aperture
kasu obi - for tying around the waist or hips
katabori - circular cutting
katana - long sword
kateruzutzu - pipe case
kazura obi - narrow cord for tying wigs
kimono - a Japanese traditional garment worn by men and women with wide
sleeves, that wraps around the body and is tied at the front
kinchaku - money bag
kiserozutsku - tobacco box
kiseru - typical Japanese smoking pipe for tobacco smoking with a small bag
koshirae - sword mounts
maki-e - method of lacquer decoration, technique occurred during Hzijan
period. It can be divided into:
togi dashi maki-e - polished maki-e
hira maki-e - fine metallic powder is sprinkled onto a lacquered surface
tara maki-e - applied onto a surface in relief
manju - circular netsuke, reminiscent of a sweet roll stuffed with black beans
mon - family crest
netsuke - obi belt cord holder
obi - wide tying cord worn around the waist
obiguruma - netsuke shaped like the bracelet through which the sash obi goes
obihasami (panae) - flat netsuke lying behind the waist with a prominent part
oyime - sliding bead fastener through which the cord is threaded, used to keep
the cord on obi tightly closed
ryusa - a type of manju or kagami netsuke, the core is removed and the surface is
pierced with an openwork pattern
sagemono - all hanging objects that were suspended by a kimono’s sash (belt)
sashi - long netsuke worn between sashi and kimono
shamisen - Japanese instrument with three strings
shoin - a writing niche
Shoshoin - a collection of decorative objects of Chinese Tang Dynasty preserved
in Nara, Japan. In 756 the empress Koken dedicated to the great Buddha of
Todaiji at Nara the treasures her deceased husband Shomu had collected in
his lifetime. These objects were put in a treasury, called the Shosoin, in which
they have survived virtually intact until this day. That is the richest collection of
Chinese art of that time
tabakoire - tobacco bag worn hanging from the belt
tachi - long sword, worn hanging from the belt edge down
temmoku - glazed pottery, the name derives from Tien -Mu Mountain in the
Chinese province of Zhe Zhiang, which is the source of the first bowl brought
to Japan by the Buddhist priest during the Kamakura period. The main way of
assessing is brown-black iron glaze like oil stains or rabbit hair.
Tonkatsu - tobacco box worn hanging from the belt
wakizashi - short sword with a blade between 30 and 60 cm
yatate - a portable writing kit worn hanging from the belt
• 129
1. Eastern cultures, no. 5, July - September 1985, Journal of Philosophy,
literature and arts of the East, published by HIRO Decje novine, Gornji
Milanovac, Tihomira Matijevića 4
From the world of the Samurai, Vladimir Devidé, exhibition catalogue, Museum
premises, Jezuitski trg 4, Zagreb, 6/4 – 16/6/1985
Items: a pair of vases from the 19th century, silver, partly gilded with a
decoration in mother of pearl and various gemstones, height 34.5 cm, aperture
10 cm
Tsuba samurai sword guard, 16 – 18th century
A box, 18 – 19th century, ivory decorated with gold dust, mother of pearl and
various gemstones, height 13 cm, width 18 cm
A figure of the Buddhist beggar, 8th century, lacquered and gilded wood, height
88 cm, width 68 cm
2. The architecture of futurism and Zen philosophy, “Nacional”, independent
news magazine, no. 819, 26/7/2011, interview: Nina Ožegović, recorded
by Oleg Moskaljov, exhibition: Parallel Nippon: Contemporary Japanese
Architecture 1996-2006 in the Museum of Contemporary Art. An interview
with Melita Rački, an architect who spent 9 years in Japan and completed her
graduation there.
3. “National Geographic”, Croatia, December 2003, no. 2, “The Samurai 400th
anniversary of the Edo period 1603 - 1875”
4. Auction catalogues
Asiatika – 2nd Special auction, 20/4/1996, Vienna, Hilton Hotel, Kunsthaus
Zacke
Kunsthaus Zacke Asiatika, 4th Special exhibition, 31/5/1997 Hilton Hotel, pg.
26, no. 84
Sotheby,s 34&35 Bond Street, London, Fine Japanese Works of Art,
20/10/1982 and 21/10/ 1982
5. Julia Hutt: Japanese Netsuke, Victoria and Albert Museum, Far Eastern
Series, 2003
The exhibits from the exhibition: No. 105 – tiger, wood, eyes with mother of
pearl and other materials, signed by TOMINI, 1775 – 1825, height 3.5 cm, pg.
95 and the cover;
Rat, wood with inlaid eyes, 1750 – 1800, height 4.8 cm;
Rat catcher, signed by MASAMARIKI SEIKI, 19th century, ivory, height 3.9
cm
Horse with inlaid eyes, 18th century, height 5 cm
No. 895 - Tiger, boxwood, signed by MASAMORI, 19th century, pg. 127
6. Joe Earle: Japanese Early Netsuke Fantasy Japanese Miniature Sculpture, 2011,
and 2001 Museum of Fine Arts, Boston, pg. 312, 274 and 275 “Grazing horse”,
ivory and horn Darkened boxwood, mid or late 18th century, height 8.2 cm
7. Harold Osborne: The Oxford Companion to the Decorative Arts, Oxford,
the Clarendon Press, 1975
8. Ukiyo-e, “pictures of the floating world”, the Akinsha Ukiyo-e Collection,
Exhibition Catalogue Stari Grad Hvar, August 10 – October 10, 2008, Juraj
Plančić Gallery, the Museum of Stari Grad, curator Aldo Čavić, the Museum of
Stari Grad, Ulica braće Biankini, 21460 Stari Grad, www.stari-grad-museum.net
• References and Magazines
9. Professor William Watson: The great Japan exhibition art of the Edo
period, 1600 – 1868, Catalogue published in association with Weidenteld and
Nicolson, London, 1980, 24 October – 20 December 1981 i 28 December – 21
February, 1982
10. The shogun age exhibition from the Tokugawa art museum, Japan, The
Shogun age exhibition executive committee, 1983
www.netsuke.org
• 130
Umjetnost prolaznoga svijeta / Art of the transient world
Skulpturalne minijature iz japanske zbirke dr. Damira Kovača / Sculptural miniatures from the collection of Dr. Damir Kovač
Galerija Klovićevi dvori
20. prosinca 2011. – 22. siječnja 2012. / 20 December – 22 January 2012
Nakladnik / Publisher
Galerija Klovićevi dvori, Jezuitski trg 4, Zagreb
Za nakladnika / For the publisher
Vesna Kusin
Urednici / Editors
Damir Kovač
Koraljka Jurčec Kos
Vesna Kusin
Autorice tekstova / Text written by
Karolina Franc
Vesna Kusin
Prijevod na engleski jezik / Translation into English
Neven Tomić
Lektura i korektura hrvatskog teksta / Croatian language editing
Živana Morić
Fotografije / Photographs
Petar Strmečki
Oblikovanje kataloga, plakata i pozivnice / Design and layout of catalogue, poster and invitation
Marko Erben
Tisak / Printed by
PrintGrupa
Naklada / Printing run
500
Tiskano u Hrvatskoj, prosinac 2011.
ISBN
978-953-271-057-1
CIP
CIP zapis dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 789961
Entry accessible in the computer catalogue of the National and University Library in Zagreb under number 789961
• 131
• 132