Large bell supported by an oni. Japan, Meiji period (1868-1912).
GENRYUSAI SEIYA (active 1868-1912)
Patinated bronze.
The wooden base of the bell is decorated with elephant heads and the mon of the Tokugawa clan.
It has a seal on the back with the inscription "Da Nihon Genryusai Seiya zo".
Wooden stand.
Measurements: 119 x 54 x 47 cm (set); 7 x 63 x 53 cm (stand).
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BID HISTORY
DESCRIPTION
Large bell supported by an oni. Japan, Meiji period (1868-1912).
GENRYUSAI SEIYA (active 1868-1912)
Patinated bronze.
The wooden base of the bell is decorated with elephant heads and the mon of the Tokugawa clan.
It has a seal on the back with the inscription "Da Nihon Genryusai Seiya zo".
Wooden stand.
Measurements: 119 x 54 x 47 cm (set); 7 x 63 x 53 cm (stand).
Important Japanese bronze bell with patina martilé, on the sculpture of a standing oni holding it as an atlantean. The seal on the reverse identifies the renowned Genry?sai Seiya, one of the most famous bronze artists of the Meiji era, known for his sculptures of great detail, technical refinement and meticulous execution. His signature is found on some of the most sought-after pieces of the period, many of which were destined for export, especially in the context of the Universal Exhibitions, where Japan projected its art as a sign of modernity without renouncing tradition.
The horns, fangs and fearsome facial expression are distinctive elements of the oni in Japanese folklore, and in this patinated bronze sculpture has been skillfully characterized. They are ambiguous creatures, being considered both demonic and protective at the same time. Their feet slightly resemble claws, like hybrids between human and animal. It raises its sturdy arms to support the enormous weight of the bell, on whose wooden base are carved elephant heads and the Mon symbol of the Tokugawa shoguns, the clan that ruled Japan from 1603 until the beginning of the Meiji period in 1868.
The inclusion of the mon (heraldic emblem) suggests a possible link to a temple, shrine or high-ranking commission related to the heritage of the former shogunate. Its presence gives the piece an additional political and historical charge, functioning as a symbol of continuity with the feudal past in an era of imperial modernization.
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