RITSUO: AN UNUSUAL INLAID WOOD ‘BUDDHIST RITUAL OBJECTS’ TOBACCO TRAY

拍品描述

RITSUO: AN UNUSUAL INLAID WOOD ‘BUDDHIST RITUAL OBJECTS’ TOBACCO TRAY By Ogawa Haritsu (1663–1747), signed Muchuan Haritsu with seal Kan Japan, 18th century, Edo period (1615–1868) Of rectangular form with gently rounded edges, the tray bearing a beautifully grained wood ground and finely inlaid with a sophisticated combination of materials. The surface depicts an arrangement of Buddhist ritual implements, including comma-shaped beads (magatama) rendered in ceramic and aogai (mother-of-pearl), a pewter-inlaid ritual gong (kei) decorated with finely incised scrolling motifs, and a negoro-style lacquered striker embellished with a mother-of-pearl-inlaid ribbon. The composition is further enlivened by two crescent-shaped apertures to the sides. Signed to one side Muchuan HARITSU [Haritsu of the Hut of Dreams], with the seal KAN. SIZE 10 x 24.1 x 14 cm Ogawa Haritsu (Ritsuo, 1663–1747) was one of the most innovative lacquer artists of the Edo period, renowned for his inventive combination of unconventional materials including pottery, shell, bone, lacquer, metal, and wood. His refined yet experimental aesthetic appealed strongly to the literati circles of eighteenth-century Japan, and he served as both artist and adviser to Tsugaru Nobuhisa, the daimyo of Hirosaki. Haritsu’s distinctive style, characterized by bold compositions and the creative integration of diverse materials, inspired numerous followers and continued to influence lacquer artists for generations. The signature on the present work reads Muchuan Haritsu, accompanied by the seal Kan. Muchuan (literally “hut of dreams”) was Haritsu’s studio name, derived from the Zhuangzi, the Chinese Daoist classic that deeply influenced his intellectual and artistic outlook. Works bearing this signature are particularly associated with his mature production and demonstrate his characteristic fusion of lacquer craftsmanship, natural materials, and scholarly taste. Ogawa Haritsu (Ritsuo, 1663-1747) specialized in the combination of unusual materials such as pottery, bone, lacquer, shell, and wood. His sophisticated taste and modern approach appealed to literati circles in the eighteenth century, and he served as both artist and artistic adviser to the Daimyo Tsugaru Nobuhisa. He had many followers and pupils, and his original style has been adapted throughout the centuries. The signature on the present lot reads ‘Muchuan Haritsu’ with the seal ‘Kan’, Muchuan (lit. hut of dreams) was Haritsu’s studio-name which derives from Zhuangzi, his favorite Chinese Taoist work. Museum comparison: Compare a related inlaid box depicting scrolls and a Buddhist kei, by the same artist, sealed Kan, dated to the 18th century, 11.7 x 23.8 x 22.2 cm, in the Metropolitan Museum of Art, object number 36.100.146a, b. Auction comparison: Compare a related inlaid lacquer stationary box with the same signature, Muchuan Haritsu and sealed Kan, 41.3 x 32.4 x 16.8 cm, dated 18th century, 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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