Ivory sculpture with rooster and oriental zodiac
The owner of an oriental sculpture depicting a rooster surrounded by the animals of the Chinese zodiac requested a preliminary appraisal to prepare a subsequent appraisal. The work was presented as an ivory sculpture and accompanied by a commercial document dated August 30, 2006, in which it is described as a 19th-century Japanese artifact, signed with a red seal and attributed to the “Tokyo School.”
The intervention aimed not only at the iconographic identification of the subject, but also at verifying the evidentiary value of the document produced, with particular attention to its possible relevance for CITES purposes.
Iconographic analysis, documentary verification and preliminary assessment for CITES purposes
Technical-historical analysis
- Object: free-standing sculpture, probably attributable to the okimono typology.
- Declared material: ivory, to be verified by direct examination and non-invasive analysis.
- Subject: monumental rooster with animals related to the zodiac cycle of Eastern Asia.
- Cultural context: Eastern, likely Japanese or Sino-Japanese, possibly destined for the Western market.
- Period proposed by the document: 19th century; dating to be confirmed through material, technical and stylistic verification.
- Function: ornamental, collectible and auspicious.
The composition is dominated by the figure of a rooster facing frontally, with incised plumage, a pronounced comb, wattles, and an open tail. On the body and at the base, various animals related to the cycle of the twelve zodiac signs can be recognized: rat, ox, tiger, rabbit or hare, dragon, snake, horse, goat, monkey, rooster, dog, and pig or wild boar.
The centrality of the rooster is no coincidence. The rooster is one of the twelve animals of the Eastern zodiac and, as in Western culture, in Chinese and Japanese culture it is associated with vigilance, the announcement of the day, good luck, and prosperity. The choice to make it the main figure also allows for a particularly dramatic sculptural execution, thanks to the rendering of its plumage and tail.
Function of the work
There are no elements that suggest a practical function. No lids, compartments, incense holders, or mechanical parts are visible. The most likely purpose is therefore as a display case or writing desk, intended for contemplation and collection.
The presence of the zodiac animals also gives the work a symbolic and auspicious function: the zodiac cycle recalls time, the calendar and the cosmic order.
Verification of the document produced by the owner
The submitted document is written on a commercial operator’s letterhead and is dated August 30, 2006. It describes a “19th-century Japanese-made ivory sculpture” depicting a rooster with the other signs of the Chinese zodiac, as well as a second ivory sculpture referred to as a netsuké.
The document is consistent with the subject of the photographed work and can be considered a useful clue in establishing its prior commercial circulation. However, it presents significant limitations, as it does not comply with the circulation provisions set forth in Article 64 of the Cultural Heritage Code: it does not contain attached photographs, measurements, weight, description of the state of conservation, precise indication of the signature or seal, CITES documentation, complete tax information, or technical-historical justification for its 19th-century dating.
Document reliability
- Usefulness as an indication of commercial provenance: significant, but not conclusive.
- Usefulness to confirm material: insufficient without direct examination.
- Usefulness in confirming the 19th century dating: limited, in the absence of technical and comparative evidence.
- Useful for confirming the attribution to Japan, Tokyo School: to be verified by reading the seal and comparing with a specialist.
- CITES utility: limited; the document does not replace the certificate or required documentation.
CITES Requirements Verification
Since the work is designated as ivory, any evaluation must distinguish between its historical and artistic description, attribution, cultural value, and commercial viability. The 2006 document may help reconstruct the previous circulation of the item, but it does not in itself constitute sufficient evidence of the nature of the material, the period of its creation, its legitimate provenance, or its current marketability.
To assess whether a work falls into the category of worked specimens acquired more than 50 years ago, according to the regulations issued by the European Commission, it is necessary to proceed with objective and documentary checks.
- esame diretto del materiale;
- search for Schreger lines in suitable points, without invasive interventions;
- survey of measurements, weight, structure, joints and applied parts;
- macro-photographs of the base, of the presumed red seal and of any inscriptions;
- verification of restorations, missing parts, fractures, regluing or additions;
- request for the original document, any invoice or receipt, and historical photographs;
- verification of CITES documentation and the legitimate possession or circulation of the goods.
Conclusion
The sculpture can be preliminarily interpreted as an oriental ornamental work, probably conceived as an auspicious object. Its freestanding nature and display function make it appropriate to call it an “okimono.”
The document produced by the owner is consistent with the subject and represents a useful accessory for reconstructing the commercial provenance. However, it alone is not sufficient to certify the material, age, attribution, signature, value, or marketability. A definitive appraisal requires direct examination, verification of the material, verification of the seal, and verification of the CITES documentation.