Tribal and Textile Arts Show SF, CA 2014

Kammavaca with Chest, Burma, 19th Century

Fine Burmese Kammavaca in gilded lacquer with tamarind seed writing encased in an elaborate gilded lacquer box embellished with glass and mirrored mosaic pieces on a red lacquer stand, 19th century.

Kammavaca are the most sacred of Burmese religious texts and consist of nine Khandakas from the Pali Vinaya Pitaka that relate to specific ceremonies of Theravada Buddhism. Typically, 16 pages with five or seven lines of text and a cover and back made of lacquered and gilded wood were commissioned when a son entered the Buddhist Order as a novice or a monk.  The earliest date to the Pagan Period (1004-1287) and were simply incised on palm leaves, but by the 14th century, the palm leaves became much more ornate when they were lacquered and gilded before the text was applied in thick black lacquer, called tamarind seed, and by the end of the 17th century, a square writing style was introduced that continues to this day.  Heavy cotton replaced palm leaves as the medium for the leaves and tiny,ornate decorations including birds, florals, and mythological creatures were intricately applied in the negative process.  Elaborate lacquered and mirrored boxes were created to house and safeguard the sacred texts.  Burma, 19th century

30 x 12 x 12 inches

76.2 x 30.5 x 30.5 cm


Bronze Temple Bell, Japan, Edo Period, Dated Kyoho 19 (1734)

Japanese bronze temple bell, Edo period, of typical hemispherical shape with a hammered body and slightly beveled rim, with two incised inscriptions, one reading Chishin-in (place name) and the date Kyoho 19 (1734), third month, auspicious day, now with an iron stand of Western manufacture, overall: 25.25”h.

11.5 x 15.25 inches

29.2 x 38.7 cm


Sawankhalok Garuda, Vishnu’s Vessel, Sukhothai Period, Thailand, 14-15th Century

Thai Sawankhalok ceramic figure of Garuda, Sukhothai period, 14th/15th century, the part-human part-bird form divinity subduing a three-headed naga (snake deity) by standing on the sinuous body and holding two of the tails to either side of his bird-like face with its features accented with iron-oxide, all supported on a square plinth,  NB: similar reference  from James and Elaine Cornell collection at the Asian Art Museum of San Francisco.

17 inches tall

43.2 cm tall


Silver Chain Belt with Ornate Buckle, Northern Thailand,19th Century

Very heavy three-piece silver buckle featuring intricately chaste flowers and a butterfly is attached to five strands of chain mesh separated by three decorative sections of spiral wire.  It is typical of Northern Thailand in the 19th century and weighs 486 grams.

                                                                                                                                             31 inches long

78.7 cm long


Copy of Sesshu’s Long Scroll, “View of the West Lake”, Japan, Dated 1800,

The Japanese value Sesshu Toyo (1420-1506) as their greatest artist and his single most important work was his Long Scroll, entitled “Eight Views of the West Lake”, which became a complete text of instruction for generations of Japanese artists.

This work, apparently, is a copy of Kano Eishin’s (1730-1790) copy of Kano Yasunobu’s (1613-1685) copy of Sesshu’s Long Scroll.  It is an extremely long handscroll, entitled ”Eight Views of the West Lake,” the frontispiece with inscription ‘copied Kansei 12 (=1800) 6th month by Kano Kyuhaku [and] Shaku/Seki Tanzan [and] Baishin (possibly Kano Yuho 1752-1820)’ followed by the notation stating that it is a copy by Kano Eishin after a landscape by Sesshu, the box inscribed Saiko hakkei (=Eight Views of the West Lake) followed by ‘Bokushinsai Hogen Eishin sensei (Kano Yasunobu 1613-85) hitsu’ (some wear).  Since it is over 47 feet long, there are 24 images to capture the full length of the piece.

16  x 571.25 inches

40.6  x 1451 cm


Hand Painted Fukusa (Presentation Wrapping), Meiji Period, Japan

Japanese hand-painted silk fukusa, square shaped textile used for gift wrapping or for purifying equipment during a Japanese tea ceremony, with the outer cover painted in gilt and colored pigments featuring a floral ball and fan decorated with a court cart and pine on a cream-colored ground, and the red silk liner centered by an embroidered family crest of paulownia leaves, Meiji Period, Japan, Late 19th century

27.25 x 26 inches

69.2 x 66 cm


Embroidered Fukusa (Presentation Wrapping), Cranes, Meiji Period,Japan



Japanese ceremonial silk fukusa (textile used for gift wrapping or purification in tea ceremony) with the outer square-shaped cover of a pair of cranes embroidered in silk thread amid pine saplings on a matte gold ground, and the dark green silk backliner centered by a gold-embroidered family crest of three oak leaves within a ring/circle, each corner with a gilt tassel,

26 x 24.5 inches

66 x 62.2 cm


Japanese Scroll, Painting of Zen Patriarch, Kano Motonobu School, 16th Century

Japanese scroll of a Zen patriarch in suiboku ink on paper, signed and sealed Kano Motonobu (1476-1559), possibly from his studio, Muromachi/Early Edo Period, 16th-17th century

scroll, 39 x 27 inches

scroll, 99.1 x 68.6 cm


Japanese Hanging Scroll, Early Kano School, Hogen Motonobu, Muromachi Period, 16th Century

Japanese hanging scroll, Kano school, 16th century, depicting a solitary song bird perched on a withered branch above snow-covered banana fronds, with a single urn-form seal [unclear], with a certificate of authenticity attributing the work to Hogen Motonobu (son of Kano Masanobu, the founder of the Kano school of painting), box with attribution written by Kohitsu (extensive restoration to upper left, wear, patched, remounted, scroll ends loose).

scroll, 45 inches

painting, 14.5 x 10 inches

scroll, 101.6 cm

Painting, 36.8  x 25.4 cm


Large Kutani Charger with Shi Shi (Lion) and Flowers, Meiji Period, Japan

Fantastic Kutani charger with a playful Shi Shi in a square center panel highlighted by heavy gold clouds and two groups of multi-colored mushrooms, surrounded on all four sides by elaborate floral scenes with peonies, daisies, and small gold and white petals against a coral red background, inside a double set of rings, the outside ring created by a continuous band of Kinrande red, intricate, concentric  squares butting against each other.

15.5 inch diameter

39.4 cm


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