Savanna in the Library

Funakoshi achieves a harmonious balance between Medieval European wood sculpting and Japanese wooden sculptures of the 'Busshi,' a titled granted upon makers of Buddhist images. This dialogue between East and West is evident as his sculptures hint at Christian icons, and Japanese temple portraits by the likes of Unkei Busshi - who was responsible for bringing new realism to Japanese Buddhist figures, and whose works' spirituality was a quality Funakoshi tried to adopt. To capture the strong presence of the person depicted, Funakoshi starts his sculptures from the waist instead of the shoulders - the norm for a bust. Achieving this 'physical presence' was an ongoing quest and Funakoshi wanted his sculptures to express, "quietude and spirituality along with power and energy." His sculptures often have an absent-minded expression, gazing into the distance; their eyes rarely meeting that of the viewer's. This contemplative effect is determined by the positioning of the eyes which are inserted after a month of painstakingly carving the head.
Funakoshi's above-the-waist sculptures utilises camphor wood and inserts painted marble for the most striking feature – the eyes. This idea of inlaid stones derives from the Kamakura period (1185-1333) when crystals were used for the eyes, also a common practice in Egypt. Carving marks are left visible with intricate details indicated with applied pigment, for example in Savanna in the Library (Lot 301). Other times he mixes realism with fantasy and unusual body parts are added, or the neck elongated. The covert expression in his figures emanates an attentive, observant yet absorbing expression.