4th Nov, 2022 13:00
Fine Netsuke & Sagemono
57
TAMETAKA: A RARE WOOD NETSUKE OF KIYOHIME
Sold for €6,175
Estimated at €3,000 - €6,000
including Buyer's Premium
By Tametaka, signed Tametaka 為隆
Japan, Nagoya, late 18th century, Edo period (1615-1868)
Kiyohime is depicted in humanoid form, rather than as a serpentine monster, standing next to a Buddhist temple bell and holding a striker in her hand, her face with a triumphantly smug expression as she succeeded in her endeavors, casually leaning against the handle of the temple bell, which is finely engraved with bosses, key-fret, floral medallions, and surmounted by a double-dragon head handle. The expression is superbly carved and imbued with Tametaka’s idiosyncratic humor, the details are boldly carved, and the reddish cherry wood bears a fine, typical patina. Himotoshi through the bell and signed in partially worn ukibori characters TAMETAKA at the rim of the bell.
HEIGHT 4 cm
Condition: Very good condition, minor wear, light surface scratches.
Provenance: European collection.
Tametaka is the earliest recorded netsuke artist from Nagoya and is listed in the Soken Kisho, the first publication on netsuke published in 1781. He is credited with the invention of the relief-carving technique (ukibori) associated with the Nagoya school. Kiyohime appears to be a favored subject, depicted in various stages of the story and each one carved in a different manner, yet still retaining the idiosyncratic style of this celebrated artist.
In this story, Kyohime fell in love with a Buddhist monk named Anchin but was rejected. In despair she pursues the monk and transforms herself into a Hannya-like demon with a snake body and horned head. The pursued Anchin hides under a temple bell. When she discovers him there, she wraps her snake body around the bell and the glow of her passion melts the metal and burns the monk hiding in the bell.
Literature comparison:
Compare to a closely related wood netsuke of Kiyohime by Tametaka, also signed in ukibori characters, illustrated in Coullery, Marie-Therese and Newstead, Martin S. (1977) The Baur Collection, p. 168-169, no. C 402. Compare also to another closely related wood netsuke of Kiyohime, by Tametaka, dated 1773, illustrated in Neil Davey (1974) Netsuke, p. 188, no. 567.
Museum comparison:
Compare to a closely related wood netsuke of Kiyohime, depicted in a similar posture as the present netsuke, by Tadatoshi, late 18th century, Nagoya, at the Walters Art Museum, accession number 61.236.
Auction comparison:
Compare to a closely related wood netsuke of Kiyohime by Tametaka, 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art, Part IV, 6 November 2013, London, lot 70 (sold for 8,125 GBP).
By Tametaka, signed Tametaka 為隆
Japan, Nagoya, late 18th century, Edo period (1615-1868)
Kiyohime is depicted in humanoid form, rather than as a serpentine monster, standing next to a Buddhist temple bell and holding a striker in her hand, her face with a triumphantly smug expression as she succeeded in her endeavors, casually leaning against the handle of the temple bell, which is finely engraved with bosses, key-fret, floral medallions, and surmounted by a double-dragon head handle. The expression is superbly carved and imbued with Tametaka’s idiosyncratic humor, the details are boldly carved, and the reddish cherry wood bears a fine, typical patina. Himotoshi through the bell and signed in partially worn ukibori characters TAMETAKA at the rim of the bell.
HEIGHT 4 cm
Condition: Very good condition, minor wear, light surface scratches.
Provenance: European collection.
Tametaka is the earliest recorded netsuke artist from Nagoya and is listed in the Soken Kisho, the first publication on netsuke published in 1781. He is credited with the invention of the relief-carving technique (ukibori) associated with the Nagoya school. Kiyohime appears to be a favored subject, depicted in various stages of the story and each one carved in a different manner, yet still retaining the idiosyncratic style of this celebrated artist.
In this story, Kyohime fell in love with a Buddhist monk named Anchin but was rejected. In despair she pursues the monk and transforms herself into a Hannya-like demon with a snake body and horned head. The pursued Anchin hides under a temple bell. When she discovers him there, she wraps her snake body around the bell and the glow of her passion melts the metal and burns the monk hiding in the bell.
Literature comparison:
Compare to a closely related wood netsuke of Kiyohime by Tametaka, also signed in ukibori characters, illustrated in Coullery, Marie-Therese and Newstead, Martin S. (1977) The Baur Collection, p. 168-169, no. C 402. Compare also to another closely related wood netsuke of Kiyohime, by Tametaka, dated 1773, illustrated in Neil Davey (1974) Netsuke, p. 188, no. 567.
Museum comparison:
Compare to a closely related wood netsuke of Kiyohime, depicted in a similar posture as the present netsuke, by Tadatoshi, late 18th century, Nagoya, at the Walters Art Museum, accession number 61.236.
Auction comparison:
Compare to a closely related wood netsuke of Kiyohime by Tametaka, 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art, Part IV, 6 November 2013, London, lot 70 (sold for 8,125 GBP).
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