OGAWA HARITSU: A SUPERB INLAID LACQUER ‘SEVEN SAGES OF THE BAMBOO GROVE’ BUNKO (DOCUMENT BOX)

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OGAWA HARITSU: A SUPERB INLAID LACQUER ‘SEVEN SAGES OF THE BAMBOO GROVE’ BUNKO (DOCUMENT BOX) By Ogawa Haritsu (1664-1747) or a close follower, sealed Kan Japan, late 18th century, Edo period (1615-1868) Of rectangular form with gently rounded sides, finely carved from richly grained wood and decorated in gold takamaki-e and hiramaki-e, further enriched with a harmonious array of inlays in diverse materials. The inrobuta (flush-fitting) lid is composed with a circular panel in the lower right corner depicting the Seven Sages of the Bamboo Grove in a moment of relaxed conviviality, some visibly inebriated, one yawning and another drifting into sleep. Above, bamboo branches and drifting clouds are rendered in a striking combination of red lacquer, aogai, and ceramic inlays, creating a layered and highly tactile surface. The sides are adorned with further inlaid scholar’s objects, including a handscroll, a nyoi sceptre, a fan, and reishi fungi, all executed with exceptional refinement and variety of materials. The piece is sealed to the side with a green ceramic seal KAN. The interior is finished in fine nashiji with fundame rims. SIZE 13 x 26.4 x 22.2 cm The Seven Sages of the Bamboo Grove represent a celebrated group of third-century Chinese scholars and recluses who withdrew from official life during a period of political upheaval. Embracing Daoist ideals of spontaneity, personal freedom, and harmony with nature, they gathered in bamboo groves to compose poetry, drink wine, and engage in philosophical discourse. Their rejection of rigid courtly conventions and their pursuit of artistic and intellectual expression made them enduring symbols of cultivated eccentricity. The theme was widely embraced in Japan, where it resonated with literati and samurai culture alike, evoking ideals of retreat, refinement, and artistic independence. Ogawa Haritsu, also known as Ritsuo, was renowned for his innovative use of mixed materials, incorporating ceramics, shell, lacquer, wood, and other elements into highly original compositions. His refined aesthetic and experimental approach appealed strongly to literati circles of the 18th century, and he served as both artist and artistic advisor to the daimyo Tsugaru Nobuhisa. His distinctive style proved highly influential, inspiring numerous followers and continuing to be emulated well into later periods. Literature comparison: Compare a closely related suzuribako showing a near-identical design to the cover, unsigned, dated 19th century, in the Khalili collection, illustrated in Meiji no Takara: Treasures of Imperial Japan - The Nasser D. Khalili Collection, The Kibo Foundation, 1995, Lacquer part I, no. 49. Auction comparison: Compare a related inlaid wood ryoshibako, also bearing a green seal Kan, similarly decorated with foliage, dated 18th century, 16.8 x 32.4 x 41.3 cm, at Christie’s, Japanese & Korean Art, 11 September 2012, New York, lot 82 (sold for USD 116,500 or approx. EUR 140,000 converted and adjusted for inflation at the time of writing).

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