An amazing incense tray carved with a Hossu Fly whisk and Nyoi scepter by Ichikawa Shudo (Shochikusai) enclosed in the original signed wooden box titled Hossu Nyoi Kizami Kobon. It is 31.5 x 46.5 x 3.5 cm (12-1/2 x 18-1/2 x 1-1/2 inches) and is in perfect condition. The artists seal carved into the underside in a large, elaborate design. This is a masterpiece by this craftsman. Ichikawa Shūdō (1868–1933), known by the art name Shōchikusai, was a master woodworker celebrated for his exceptional craftsmanship and for producing numerous elegant trays and other utensils associated with the cultivated world of sencha tea. His work imparted a distinctive character to the woodcraft traditions of Himeji. Revered as one of Harima's foremost master carvers, he stood at the very center of the Harima woodcraft tradition.
Nyoi (Chinese Ruyi) is a ceremonial scepter or talisman used by and seen in Buddhist and Daoist art an cultural references. It likely originated from Sanskrit anuruddha "a ceremonial scepter" used by Buddhist monks in India, who later brought the concept to China where it became a symbol of authority. There it blended with the back-scratcher, and there is an interesting story behind that. As a Buddhist monk was not meant to marry, he would forsake having children. The Back Scratcher (Mago-no-Te) literally translates as the “Hand of the Grandchild”. As a monk would have no grandchildren, thus no one to scratch his back or ease his old age, the spirits of those that were not born would be embodied in the scepter. It is one of the most precious objects to a priest. It is often seen also with literati and nobles who held Nyoi during social occasions, and there seems no doubt that the original function was that of a scepter qualifying the holder to "take the floor, similar to the fly whisk or fan. In art they often appear as attributes of Buddhist saints and Daoist immortals. Although Chinese Ruyi are often of precious materials such as jade, precious metals and or are jewel encrusted, the Japanese emphasis on frugality and self-effacement promotes an aesthetic of simple, unadorned natural objects, often of wood or bamboo.
