KAYA HOSUI: A MASSIVE INLAID LACQUER PAINTING DEPICTING THE NIO GUARDIANS AGYO AND UNGYO
Lot 294 - JPN0625

By Kaya Hosui (1899-1994), sealed Hosui
Japan, second half of the 20th century, Showa period (1926-1989)

A monumental lacquer painting, framed in metal and lacquered in vivid red and roiro (jet-black lacquer), exquisitely inlaid with soapstone. Agyo is prominently depicted in the foreground, rendered in thick red takamaki-e with dramatic, expressive features. Behind him, Ungyo appears as a soapstone silhouette set against the polished roiro background. Agyo’s eyes are inlaid with copper-patinated metal, adding further intensity to his gaze. With a soapstone seal to the lower right corner HOSUI.

SIZE 148.6 x 123.4 cm

Condition: Excellent condition. A few very fine cracks and a small area of re-touching to the upper right corner.

Kaya Hosui (1899–1994) was born in Takaoka City, Toyama Prefecture. In 1911, he began a long apprenticeship in lacquer arts under Ishii Yusuke III, which continued until 1929. His talent was recognized early when he received an award at the 17th Commerce and Industry Exhibition in 1930.

Kaya made his debut in government-sponsored exhibitions in 1936 at the Bunten Kansaten. He continued to exhibit regularly at the Shin-Bunten and Hoshukuten until the outbreak of World War II, and later at the Nitten. At the 6th Nitten, his work was honored with the Tokusen, or Highest Honors.

In 1947, he was chosen to create a lacquerwork as a gift for the Emperor during a visit to Takaoka. His contributions to the lacquer arts were further recognized in 1964, when he was designated an Intangible Cultural Asset of Toyama Prefecture. In 1973, he received the Order of the Rising Sun, Gold and Silver Rays, one of Japan’s highest honors.

Kaya played a key role in modernizing Yusuke-style lacquerware, blending traditional techniques with contemporary sensibilities, and leaving a lasting impact on the evolution of the craft.

Nio Guardians, also known as Kongo Rikishi, are two powerful and iconic figures in Japanese Buddhism, typically found at the entrance of Buddhist temples. They are portrayed in a dynamic, protective pose, each embodying a distinct aspect of guardian symbolism. Agyo, with his open mouth, represents the beginning, creation, and the expulsion of evil, symbolizing vitality and strength. In contrast, Ungyo, with his closed mouth, signifies the end, completion, and the containment of malevolent forces, offering a sense of finality and protection. Together, the two figures represent the cosmic balance between creation and destruction, life and death, and active and passive forces.