This woodwork depicts Ebisu, the god of prosperity and especially associated with fishermen. Here he carries a large sea bream or red snapper symbolizing good fortune.
Ebisu is one of the seven lucky gods (shichi fukujin) of Japanese mythology; he is associated with fishermen. Though this statue is carved from wood, during the Edo period it was common for such figures to be made of rice, which was not only a source of food and a sign of a bountiful harvest, but a form of currency.
Like Daikoku, Ebisu is also associated with the kitchen and were often enshrined there together to bring fortune and prosperity to the family. A lucky god, he can be found depicted in many folk paintings, including the art of Otsu-e.
Incense container in the shape of a plum blossom. The container consists of two halves opening horizontally, with the top of the container being very textured with a pattern of ridges. The container is bi-colored, with a whitish gray and reddish orange coloring.
This is an incense container in the design of a plum (ume) bloosom. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
It has deep cylindrical bowl supported by a little flared pedestal foot. Five raised band lines encircle the middle of the bowl. A single handle is attached to the body of the bowl. The foot is separated into two parts and has a lot of rectangular holes located in altering position. There is no design on the surface of the bowl and foot.
Footed bowl was found in the Three Kingdom and Unified Silla. It is one of the ritual vessels. It can be found in every tomb of that age. It is almost grayish-blue stoneware. At the beginning, It didn’t have lid and perforation. From 4C lid and perforation was made. Footed bowl is divided Silla style and Gaya style. The lid and bowl of Silla style are thick and the leg is slim. The perforation is located in altering position. In contrast, the lid and bowl of Gaya style is very flat and the leg is thick. The perforation is positioned in parallel.
Tall hourglass-shaped stand. Composed of three separate parts: two bowls and a connecting cylinder. The pieces are unified with appliquéd bands encircling the cylinder horizontally as well as evenly spaced cut-out shapes of rectangles and triangles leading up the stand vertically in lines.
Possibly for Shamanistic rituals or funeral offerings.
Goldweights are small objects cast from brass used to weigh out quantities of gold and gold dust. They are cast using a lost-wax casting technique, wherein wax is sculpted into the desired shape and a mold is pressed around the wax model. Then, the mold is heated and the wax drained out, leaving a void in the shape of the original wax model. Liquid brass is poured into the mold and allowed to set before the caster cracks the mold open and retrieves the finished goldweight.
The Akan gold fields were an important source of West African gold from antiquity through the 20th century. Gold was traded on a global scale through both the trans-Saharan and trans-Atlantic trades. The use of gold in long-distance exchange was facilitated by the use of standardized weight measurements. Goldweights, based on divisions of the Islamic ounce, were widely employed throughout the Akan area to measure the quantity and value of gold.
Akan goldweights take many shapes. Different sized goldweights measure different amounts and values of gold dust. Goldweights also vary by their aesthetic attributes. Geometric designs are common and are found in the earliest archaeological contexts. Later goldweights take many figurative forms, often linked to proverbs, jokes, and poems. Still other goldweights duplicate adrinka, a system of visual symbols used in cloth decoration.