Page 37 - Art Auction December 7 & 8 2019 Lempertz (German Text)

JAPAN

Ishikawa Kômei (1852-1913) was the foremost ivory carver of The carvings on these tusk vases almost always display mytho-
the Meiji period. He was born into a family of miyabori-shi, logical heroes of Japan’s prehistory or samurai of the Japan’s
first learning woodcarving and later studying ivory carving Middle Ages who embody loyality to the emperor. In so far, the
under Kikugawa Masamitsu (1822-after 1879). From 1874 Chinese theme on the present ivory tusk, the Oath of the Peach
onwards he was considered a carver who specialised in ivory Orchard, a fictional event in the Chinese historical novel San-
and was designated teishitsu gigei-in (Imperial Household gokushi (Romance of the Three Kingdoms), is unusual. But the
Artist) in 1891. His output consisted of freestanding figures subject does indeed connect to the restorative mood of the first
(okimono), netsuke and kiseruzutsu. Only a single other ivory half of the Meiji period, which was eager to legitimise the new
tusk vase by him is known, today housed in the Walters Art Emperor Meiji. The purpose of Kan’u’s, Chôhi’s and Ryûbei’s
Gallery, Baltimore, USA. This vase is fitted with a metal base in oath of brotherhood was to reinstate the rightful Han dynasty.
the shape of breaking waves. (See: Martha Chaiklin, Politicking Ryûbei, who was a descendant of this dynasty, together with
Art: Ishikawa Kômei and the development of Meiji Sculpture, his brothers in oath, fought against the Yellow Turbans and
in: East Asian History, No. 39 [December 2014], p. 53-74) defeated the rebel Cao Cao in the year 208 AD. Thus the Three
Kingdoms of Wei, Shu and Wu were established, and Ryûbei
Such ivory tusks were produced for export to the West and as became founding emperor of Shu Han in 220 under his new
pieces to be sent to the numerous national and international name of Gentoku.
exhibitions. Illustrations of these objects are found in cont-
emporary publications on ivory carving. They are carved all Pictorial illustrations of the Oath of the Peach Orchard became
around and fitted with a moulded base on lobed feet. These a subject for Japanese artists from the 1850s onwards. In woo-
bases are variously decorated, mostly with chrysanthemums dblock prints, the three Chinese heroes were also embodied
and scrolls as on the present piece (compare the illustration by actors. Kan’u, Chôhi and Ryûbei are shown sitting at a set
in “Shinko chôkoku zusen”, 1891, page 10b). Metal rings and/ table, their corpulence, their manner of sitting with legs spread
or wood or ivory bases were necessary because the wall of the out and their bushy beards indicate their significance and
tusk at the bottom is very thin, and therefore the base provided power. These figure types were models for Komei’s design of
stability. this extraordinary ivory tusk vase. (PJS)

Shinko chôkoku zusen, 1891, S. 8b und 9a Animated 3D view

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