{"title":"Black Sake Cups and Vessels (Black Glaze, Tenmoku)","description":"\u003cp\u003eBlack glaze, oil-spot tenmoku, Seto-guro and black painting: in a jet-black vessel, every pour gains a deeper glow.\u003c\/p\u003e","products":[{"product_id":"271","title":"Winner of the Gold Prizes at the Prague and Vallauris International Ceramics Exhibitions, Founder of Sodeisha, Suzuki Osamu (鈴木治), \"Return to Primitive Art,\" Bakushu-nomi Beer Mug Ceramic Whisky Tumbler #271","description":"\u003cp data-path-to-node=\"9\"\u003eThis is a handled sake vessel directly crafted by Suzuki Osamu (1926-2001), a master who reigns at the pinnacle of Japan's contemporary ceramic art world, whose works are permanently housed in major modern art museums both in Japan and abroad. The dedicated wooden box (kyobako) bears the artist's own inscription, \"Bakushu-nomi,\" written in elegant, powerful cursive script. The vessel itself has a substantial cylindrical form that sits weightily in the hand, and a thick, powerfully drawn handle. While the artist created it as a vessel for savoring beer at its finest, in today's luxurious lifestyle, it also possesses an overwhelming presence as a supreme on-the-rocks Ceramic Whisky Tumbler for slowly enjoying rare aged spirits that have transformed into a beautiful amber color over many years, or premium single malt whiskies with large ice cubes. The extremely precise skeletal structure born from the bloodline of master potters, the carefully studied thickness, and the direct texture of the rough clay surface, which immediately conveys itself to the touch and sets it apart from blown glass or ordinary hand-formed vessels, elevates the time spent enjoying alcohol into an exceptional artistic experience. This is an avant-garde craft piece from Japan that is extremely difficult to obtain in overseas art markets and possesses the highest asset value to satisfy the discerning eye of an avid collector.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe artist, Suzuki Osamu, was born in 1926 as the third son of \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E5%AE%87%E6%BA%90%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Ugenji\u003c\/a\u003e, a renowned potter in Kyoto. Until his sudden passing in 2001, he relentlessly pursued avant-garde expressions that rewrote the history of Japanese craft. In 1948 (Showa 23), he formed the avant-garde ceramic art group \"Sodeisha\" with \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E7%94%B0%E5%85%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, Matsui Bisuke, and Kano Tetsuo, initiating a movement that fundamentally broke the spell of practicality (\"beauty of utility\") – the absolute norm in the Japanese ceramic world, where ceramics were primarily for serving food or pouring water. They redefined clay not merely as a material for vessels but as a medium for pure self-expression, giving birth to a completely new genre of art: objet ceramics, the first of its kind in Japan. Sodeisha subsequently led the forefront of Japan's contemporary art scene for half a century, and with its 50th exhibition in 1998, it dissolved amicably, having fully fulfilled its historic mission of elevating ceramics to contemporary art within the art world. Amidst this tumultuous movement, Suzuki preferred to use the term \"deisho\" (mud-form) for his works, meaning to manifest the form of the world through clay (mud), rather than simply calling them \"objects.\" He continued to pursue unique, poetic forms by deforming and deconstructing his superb potting wheel techniques. By 1999, his global status was firmly established, as evidenced by a large-scale retrospective exhibition held at the National Museum of Modern Art, Tokyo.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe distinctive face-shaped motif that dominates the front of this work perfectly embodies Suzuki's lifelong pursuit of reverence for nature and a return to primitive art. The eyes and nose carved into this circular bas-relief, along with the continuous spiral patterns arranged at the bottom, personify the life force of great nature, such as the sun and wind, with his unique poetic humor, imbuing the modern vessel with the pure magical energy of Jomon clay figurines and ancient masks. The surface of the vessel intentionally exposes a powerful, clay texture like Mikage clay containing coarse particles, over which a thin layer of feldspar glaze with a pale greenish-gray tint is applied. This masterfully merges the organic warmth of the clay with the sparkling beauty of the finely appearing crazing (fine crack patterns) on the surface. Furthermore, at the bottom edge of the vessel, a vibrant reddish \"hi-iro\" (fire color) has emerged, a result of the chemical reaction between the edge of the glaze and the unglazed body caused by the intense flames of the climbing kiln, thus encapsulating the dramatic moment when fire and earth became one within the vessel. At the base of the handle, Suzuki's circular \"治\" (Osamu) seal is clearly impressed, confirming its authenticity. The handwritten signature and seal on the lid of the wooden box, along with the official ceramic history (bookmark) from Yodo Gallery in Osaka, which conveys the atmosphere of his solo exhibitions at the time, are perfectly preserved. This is a supreme piece in excellent condition, condensing the artist's lifelong artistry, where Suzuki's object philosophy (Deisho) admirably returns to its origin as a functional vessel.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Suzuki Osamu (鈴木治, 1926-2001)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career History\u003c\/b\u003e: [1926] Born in Kyoto as the third son of master potter Suzuki Ugenji, [1948] Formed the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Yamada Hikaru, holding their first exhibition, [1961] Received the Japan Ceramic Society Award, [1962] Won a Gold Medal at the Prague International Ceramics Exhibition, [1968] Appointed Assistant Professor of Ceramics at Osaka University of Arts, [1970] Won a Gold Medal at the Vallauris International Ceramics Biennale and invited to exhibit at \"Contemporary Ceramics - Europe and Japan\" organized by the National Museum of Modern Art, Kyoto, [1971] Won the Minister of International Trade and Industry Award at the Faenza International Ceramics Exhibition and invited to exhibit at the Japan Ceramics Exhibition (subsequently exhibiting every time), invited to exhibit at \"Contemporary Ceramics - America, Canada, Mexico and Japan\" exhibition organized by the National Museums of Modern Art, Kyoto and Tokyo, [1975] Exhibited at \"International Ceramics Exhibition '75\", [1979] Exhibited at \"Art Now '79\", [1999] A large-scale retrospective exhibition \"Poetic Objects: Suzuki Osamu's Ceramics\" was held at the National Museum of Modern Art, Tokyo, [2001] Passed away at the age of 73\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,2,0\" data-index-in-node=\"0\"\u003eMuseum Collections\u003c\/b\u003e: Permanently housed in public collections of major modern art museums around the world, including The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955 (Presumed identical or same-series works are currently in the collection of institutions such as The National Museum of Modern Art, Kyoto)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Original wooden box, wrapping cloth, official ceramic history (bookmark) issued by Yodo Gallery.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (feldspar glaze)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Approx. 9.0 cm diameter, approx. 9.5 cm height\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products offered by our shop are new and unused, they are from a very old production period and are all listed as used items. The products may have damage due to age, so please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758725819,"sku":null,"price":260000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7923_result.jpg?v=1781230271"},{"product_id":"278","title":"Japan Ceramic Society Award Winner, Visiting Fellow at Harvard University, Kozuru Hajime (高鶴元), Black Glazed Platinum Painted Bellows-Structure Pitcher with Twisted Handle, Mizusashi Water Vessel #278","description":"\u003cp data-path-to-node=\"1\"\u003eBorn as the eldest son of \u003ca href=\"\/en\/search?q=%22%E9%AB%98%E9%B6%B4%E5%A4%8F%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Kazan\u003c\/a\u003e, a prestigious kiln master of Agano ware with approximately 400 years of history in Fukuoka Prefecture, Kozuru Hajime (b. 1938) is a master who was active at the pinnacle of Japanese traditional ceramic art, winning the Japan Art Crafts Association Chairman's Award at the Japan Traditional Art Crafts Exhibition for two consecutive years and receiving the 22nd Japan Ceramic Society Award. This highly original pitcher (mizutsugi \/ water vessel) is a work by him. In 1980, recognized for his research achievements in Old Agano ware and his exceptional modeling prowess, Kozuru Hajime was invited to the United States as a Visiting Fellow at Harvard University, where he built a kiln in the suburbs of Boston. After moving to the U.S., he transcended the boundaries of traditional tea ceramics, developing international contemporary art that fused Western aesthetic forms, geometric shapes, and metallic glazes such as platinum and gold luster. The Roman alphabet mark \"HK\" incised into the bottom of the piece symbolizing his style, the inscription \"Black Glazed Platinum Painted Pitcher\" on the original wooden box (Tomobako), along with the expression of the twisted handle and platinum luster, clearly tell that this is an authentic work created around 1985 to 1995 (mid-1980s to early 1990s), coinciding with the period of international exhibitions following his move to Harvard University in 1980.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThis work possesses a powerful and commanding presence with dimensions of approximately 18.5 cm in height, 20.0 cm in overall width including the handle, and 16.0 cm in body diameter. The body features the bellows structure (stepped horizontal ridges)—an architectural geometric modeling technique in which Kozuru Hajime excels—creating vivid sculptural light and shadow. The handle extending from the spout adopts a twisted (spiral) structure formed by tightly twisting two clay strands together, splendidly combining Western traditional pouring vessel designs with dynamic clay expression of Japanese ceramics. Over the matte black glaze covering the entire vessel, platinum painting (platinum luster) emitting a dull, heavy silver luster is applied, radiating an overwhelming presence through the chic, deep gradient created by the black and silver tones. Furthermore, the bottom features an octagonal carved base, clearly retaining the incised \"HK\" mark alongside shell-stacking marks (three spur marks) from high-temperature firing, bearing testimony to the artist's technical mastery and authenticity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing heavy form and metallic beauty reminiscent of antique silver, our shop proposes this pitcher (mizutsugi) tailored to modern lifestyles as a supreme Japanese Kogei sake vessel (water dispenser \/ decanter) for enjoying rich aged spirits, whisky, or shochu. The deep texture woven by the black glaze and platinum luster further enhances the beauty of amber-colored aged spirits and matured liquors, bringing the sophistication of dignified modern art to high-end bar counters and dining tables. With works collected in public museums such as the Peabody Museum at Harvard University and the Fukuoka Prefectural Museum of Art, this rare masterpiece by Kozuru Hajime represents a high-level realization where traditional craft and modern art intersect, serving as a luxurious craft piece that graces special spaces.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Artist's Message\u0026gt; \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eBorn out of ceramics, Not merely because of the circumstance of my birth, Just as a white flower blooms naturally from a white flower seed, And a red flower from a red flower seed, Before I realized it, I was sitting in the very heart of ceramic art. And now, I reflect. I want to create something true, To take the beautiful spirit and form created by our ancestors, Make it my own, and live in the present era... Wishing for nothing more than this, I sit amidst the clay again today.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\" style=\"text-align: right;\"\u003eKozuru Hajime\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKozuru Hajime (高鶴元, 1938-)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1968, 1969] Received the Japan Art Crafts Association Chairman's Award at the 15th and 16th Japan Traditional Art Crafts Exhibitions (won 2 consecutive years), [1975] Received the 22nd Japan Ceramic Society Award, [1980] Traveled to the U.S. as a Visiting Fellow at Harvard University, [1997] Received the 9th Fukuoka Prefecture Cultural Award\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eFukuoka Prefectural Museum of Art, Tagawa City Museum of Art, Peabody Museum of Archaeology and Ethnology at Harvard University, Forest Hills Park (Boston), etc.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e c. 1985–1995 (Period as Visiting Fellow at Harvard University to international expansion period)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), original leaflet included (\"Moto-gama\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Black glaze, platinum painted)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eWidth (including handle) approx. 20.0 cm, Depth (body diameter) approx. 16.0 cm, Height approx. 18.5 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191890619,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3230_result.jpg?v=1790256615"},{"product_id":"288","title":"Kanazawa Cultural Activity Award Winner, Hokuto Kiln, Iida Seppo (飯田雪峰): Oil Spot Tenmoku Glaze Sake Cup, Shot Glass #288","description":"\u003cp data-path-to-node=\"18\"\u003eBorn in 1941 in Noto (Uzitsu, Noto Town), Ishikawa Prefecture, Iida Seppo, the head of Hokuto Kiln, entered the world of ceramics drawing upon the sense of form he cultivated during his youth studying flower arrangement (kagei). He established his own unique ceramic techniques under the guidance of \u003ca href=\"\/en\/search?q=%22%E7%9F%A2%E9%83%A8%E8%AA%A0%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMakoto Yabe\u003c\/a\u003e (a lecturer at the University of Alaska), as well as senior masters in Kutani including Yoshida Shohachi (a Niten Special Selection artist) and Sakujiro Nakajo (former director of the Seto Ceramic Center). In 1974, he established Hokuto Kiln in Honda-machi, Kanazawa City—the former site of the Kaga Domain's senior retainer residence. In 1984, he founded Hokuto Co., Ltd. and assumed the position of representative director, and in 2015, he was awarded the Kanazawa Cultural Activity Award in recognition of his many years of promoting craft arts. Our shop presents this Tenmoku sake vessel, steeped in Kanazawa’s rich history and refined craftsmanship, to the global market not only for matcha and tea ceremonies, but also as a vintage sake vessel (Japanese Ochoko \/ Guinomi) for slowly savoring amber aged sake (koshu) or matured Japanese sake overflowing with rich umami over time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThis creation represents the perfect realization of \"precise flame operation and crystalline glaze control using a kerosene kiln,\" Iida Seppo’s most renowned specialty highly praised by scholars and ceramic masters alike. On the surface of the elegant Tenmoku-shaped cup, which gracefully opens from the foot to the rim, minute oil spots (oil spot crystals) emitting golden and silver metallic iridescence emerge densely across the jet-black background without a single gap. This is achieved through an extraordinarily difficult technique that requires adjusting oxidation and reduction flames millimeter by millimeter in a kerosene kiln to crystallize and fix the iron content within the glaze during high-temperature firing. Toward the interior base (mikomi), the crystals shimmer like golden stardust alongside light reflections; when sake is poured, the liquid and light reflect irregularly, creating a landscape akin to a profound microcosm. From the foot ring extending to the lower slope, the fine, unglazed white clay body is cleanly carved, and the artist's seal \"Setsu\" (雪) is clearly stamped inside the foot, offering a sophisticated contrast between the heavy dignity of the Tenmoku glaze and the elegant unglazed clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eRegarding the period of production, this work is identified as an authentic piece from his mature period created between 1985 and 1995, following the establishment of Hokuto Co., Ltd. in 1984, when his reduction firing technique for oil spot Tenmoku glaze in a kerosene kiln reached completion and was presented across numerous exhibitions. The vessel itself has no chips or cracks, maintaining an exceptionally beautiful condition in both crystal coloration and luster. It arrives as a complete set, accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Oil Spot Tenmoku Glaze Sake Cup, Seppo\" with a red seal stamped by the artist.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThe artist is Iida Seppo (Kiln: Hokuto Kiln), born in 1941, whose major career milestones include establishing the Hokuto Ceramic Workshop in 1974, founding Hokuto Co., Ltd. in 1984, and receiving the Kanazawa Cultural Activity Award in 2015. The period of production is circa 1985 to 1995, and the condition is very good with no chips or cracks. It comes with a dedicated Tomobako (wooden box), made of stoneware (oil spot Tenmoku glaze, Tenmoku shape, stamped seal), with dimensions of height approx. 4.3 cm and diameter approx. 7.0 cm. Please note that all products offered by our shop are pre-owned items due to their historical production period, even if unused, and we ask that you consider purchasing after understanding and verifying details regarding age-related wear.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Iida Seppo (飯田雪峰, 1941–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1974] Participated in the opening of the Hokuto Cultural Center Ceramic Workshop; [1984] Founded Hokuto Co., Ltd. and assumed position as Representative Director; [2015] Received the Kanazawa Cultural Activity Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Numerous public art pieces and ceramic monuments (Ceramic wall of the Kanaiwa Sea, facade of the Prefectural Housing Estate Assembly Hall, etc.)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 1985–1995\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako (wooden box), wrapping cloth, biography leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Oil spot Tenmoku glaze, Tenmoku shape, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 4.3 cm, Diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003e All products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193955003,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0614_result.jpg?v=1786024354"},{"product_id":"291","title":"Awarded Gifu Prefecture Cultural Achievement Award \u0026 Turkish Osman Hamdi Art Award, Turquoise Blue Sake Cup by Kato Kenji (加藤賢司, Shinsho Kiln), Arabesque Black-Painted Crafts Sake Vessel #291","description":"\u003cp data-path-to-node=\"29\"\u003eThis is a turquoise blue glaze sake cup crafted by Kato Kenji (1933–2008) of Shinsho Kiln in Tajimi City, Gifu Prefecture, an artist who graduated from Kyoto City University of Arts, studied under three Living National Treasures—\u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, Yuzo Kondo, and \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E6%9C%AC%E8%83%BD%E9%81%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYoshimichi Fujimoto\u003c\/a\u003e—and achieved high international acclaim as a full member of the Japan Art Crafts Association and the International Academy of Ceramics (IAC). After mastering traditional Mino ware techniques, Kato served as a visiting professor dispatched by the Japanese government to the Istanbul Academy of Fine Arts in Turkey in 1971. Through his research there, he established a unique sculptural world merging traditional Middle Eastern and Oriental ornamentation with Japanese ceramic aesthetics. His international achievements were highly recognized; he received the Osman Hamdi Art Award from the Turkish government in 1986 and the Gifu Prefecture Cultural Achievement Award in 1995, with his works housed in major public institutions including the Gifu Prefectural Museum of Art and the Aichi Prefectural Ceramic Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThis piece is a masterpiece that brilliantly exemplifies \"Turquoise Blue Glaze\" (Toruko-shō) and \"Black Enamel\/Underglaze Painting\" (Kokusai-monyō), the signature techniques most highly celebrated in Kato Kenji's oeuvre within Mino ceramic history and modern craft art. Turquoise blue glaze, which utilizes copper compounds as a coloring agent, is a highly challenging glaze whose coloration is heavily influenced by kiln temperatures and reduction atmospheres; achieving a turquoise blue with uniform transparency and depth requires precise formulation and advanced firing expertise. In this work, a beautiful glassy turquoise glaze covers the entire vessel, with countless delicate crackles (kannyu) reflecting light. Beneath the glaze, the artist—deeply versed in the traditional ornamentation of Istanbul and the Orient—has executed bold, dynamic black-painted botanical and geometric motifs extending from the exterior into the inner basin. The foot section reveals the robust texture of unglazed red clay resembling terracotta, stamped with the artist's mark \"Ken\" inside the base, creating a dignified contrast between raw earth, vivid turquoise, and black enameling.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWe propose this stemmed sake cup, possessing immense art-historical value and exotic elegance, as a supreme Japanese Kogei sake vessel for savoring aged spirits, premium whisky, or chilled sake in a sophisticated modern lifestyle. The comfortably handling stemmed structure and the amber or transparent tones of spirits poured inside reflect beautifully against the vibrant turquoise blue and black geometric motifs, elevating daily evening drinks into a special engagement with peak art. Because Kato Kenji devoted significant time to educational activities abroad and international cultural exchange projects, the absolute number of individual handcrafted sake cups he produced remains extremely limited. This masterpiece comes in an exceptionally rare condition, complete with its original wooden box (Tomobako)—inscribed on the lid with \"Turquoise Blue Sake Cup\" and \"Kenji\" in calligraphy alongside red seals—and a stamped original cloth (Tomonuno).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eKato Kenji (加藤賢司, Shinsho Kiln, 1933–2008)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003e[1956] Graduated from Kyoto City University of Arts, studied under Tomimoto Kenkichi, Yuzo Kondo, and Yoshimichi Fujimoto, [1968] Instructor at Ohio State University Department of Art, [1971] Appointed Visiting Professor at Istanbul Academy of Fine Arts (Turkey) by the Japanese Government, [1976] Cultural Envoy for Ceramics for the Japan Foundation, [1986] Awarded the Osman Hamdi Art Award by the Turkish Government, [1995] Awarded the Gifu Prefecture Cultural Achievement Award, [1997] Visiting Professor at Anadolu University (Turkey), Full Member of Japan Art Crafts Association, Member of International Academy of Ceramics (IAC), Senior Advisor of Mino Ceramic Artists Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eWorks in Collection：\u003c\/strong\u003eGifu Prefectural Museum of Art, Aichi Prefectural Ceramic Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003eLate Showa Period (1970s–1980s, Peak period after Turkish professorship)\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Turquoise Blue Sake Cup\" and \"Kenji\" calligraphic inscription and seal on the lid; original stamped cloth (Tomonuno) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Turquoise blue glaze, black underglaze painting, red earthenware body, crackle glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 5.3 cm, Mouth diameter approx. 5.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194053307,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9395_result.jpg?v=1784547320"},{"product_id":"317","title":"Ishikawa Intangible Cultural Property, Nitten Special Award Winner Matsumoto Saichi (松本佐一): Gold \u0026 Green Glazed Black-Painted Flat Sake Cup, Guinomi, Japanese Shot Glass #317","description":"\u003cp data-path-to-node=\"15\"\u003eCrafted by Matsumoto Saichi (1930–2021), a holder of Ishikawa Prefectural Designated Intangible Cultural Property for Kutani Ware and Nitten Special Award winner who was born in Kanazawa City, Ishikawa Prefecture, in 1930 and passed away at the age of 91 in 2021, this is a hand-painted flat sake cup adorned with gold and green glazes. Inheriting the legacy of the prestigious Matsuya Kiln and graduating from the Department of Ceramics at Kanazawa College of Art as well as the National Ceramic Experimental Station, Matsumoto Saichi broke free from the traditional \"five-color\" (Gosai) framework of Kutani ware, fusing gold and silver luster with graphic symbolic motifs to establish high acclaim as a leading figure in modern Kutani ceramics. Entrusted with creating the official sake cup gift for the Prime Minister during the normalization of Sino-Japanese diplomatic relations and furnishings for the Akasaka Palace (State Guest House), as well as winning the prestigious Nitten Special Award twice, he was a master who carried national honors. Featuring a shallow, gently flared flat-cup form measuring approximately 3 cm in height and 8 cm in diameter, this piece possesses high practical utility and aesthetic value, not only as a traditional cup for enjoying chilled sake, but also as a vintage shot glass (Japanese sake cup) for quietly savoring amber aged sake or single malt whisky straight.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003eObserving the details of this piece reveals a sophisticated fusion of Matsumoto Saichi's signature gold luster and translucent glazes, alongside his emblematic graphic design. Within the interior well (mikomi), a translucent, vibrant emerald-green glaze is layered over a brilliant gold leaf base, creating an enchanting visual effect where metallic radiance surges from the bottom of the vessel when struck by light. Rendered over this in black overglaze enamels are galloping four-legged animals, geometric fencing, and abstract motifs reminiscent of trees and birds, executed in fluid, expressive brushwork that constructs a modern aesthetic evoking ancient murals and primitive art. Meanwhile, the exterior walls are coated in a rich, vivid deep-blue glaze, and the unglazed white porcelain within the foot ring clearly displays his hand-painted signature reading \"Saichi\" in red overglaze, certifying it as an authentic creation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eRegarding the period of production, taking clues from his peak artistic era between his first Nitten Special Award in 1977 (\"Ginsai Kiku\") and his second Nitten Special Award in 1988 (\"Kinsai Henko\"), when his style reached full maturity and he was at the height of his creative power as a leader of modern Kutani ware, it is identified as an authentic creation made between the late 1970s and the 1980s (Showa 50s to Showa 60s). The vessel itself has no cracks or chips, maintaining extremely good condition in its gold and green glaze coloration as well as the adherence of the black brushwork. It arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed with the work's title on the lid and signed with a seal on the underside of the lid by the artist, alongside a wrapping cloth and a biographical brochure.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsumoto Saichi (松本佐一, 1930–2021)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1950] Graduated from the Department of Ceramics at Kanazawa College of Art; [1952] First selected for Nitten (exhibited work purchased by the Tokyo Metropolitan Government); [1972] Commissioned to create the official Prime Minister gift sake cup for the normalization of Sino-Japanese relations; [1974] Commissioned to create furnishings for Akasaka Palace; [1977, 1988] Won the Nitten Special Award; [1999] Designated as a holder of Ishikawa Prefectural Intangible Cultural Property for Kutani Ware\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eMain Public Collections:\u003c\/strong\u003e Tokyo Metropolitan Government, Kanazawa City, local governments, art museums, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa late 1970s–1980s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None (item only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (gold \u0026amp; green glaze, black overglaze decoration, painted signature)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 3.0 cm, Mouth diameter approx. 8.0 cm\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48093149266107,"sku":null,"price":15000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1101_result_d8e3eb91-f08e-4300-a73c-3c83a1d73d95.jpg?v=1787108502"},{"product_id":"334","title":"Winner of the Gold Prizes at the Prague and Vallauris International Ceramics Exhibitions, Founder of Sodeisha, Suzuki Osamu (鈴木治), \"Return to Primitive Art,\" Bakushu-nomi Beer Mug Ceramic Whisky Tumbler #334","description":"\u003cp data-path-to-node=\"9\"\u003eThis is a handled sake vessel directly crafted by Suzuki Osamu (1926-2001), a master who reigns at the pinnacle of Japan's contemporary ceramic art world, whose works are permanently housed in major modern art museums both in Japan and abroad. The dedicated wooden box (kyobako) bears the artist's own inscription, \"Bakushu-nomi,\" written in elegant, powerful cursive script. The vessel itself has a substantial cylindrical form that sits weightily in the hand, and a thick, powerfully drawn handle. While the artist created it as a vessel for savoring beer at its finest, in today's luxurious lifestyle, it also possesses an overwhelming presence as a supreme on-the-rocks Ceramic Whisky Tumbler for slowly enjoying rare aged spirits that have transformed into a beautiful amber color over many years, or premium single malt whiskies with large ice cubes. The extremely precise skeletal structure born from the bloodline of master potters, the carefully studied thickness, and the direct texture of the rough clay surface, which immediately conveys itself to the touch and sets it apart from blown glass or ordinary hand-formed vessels, elevates the time spent enjoying alcohol into an exceptional artistic experience. This is an avant-garde craft piece from Japan that is extremely difficult to obtain in overseas art markets and possesses the highest asset value to satisfy the discerning eye of an avid collector.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe artist, Suzuki Osamu, was born in 1926 as the third son of \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E5%AE%87%E6%BA%90%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Ugenji\u003c\/a\u003e, a renowned potter in Kyoto. Until his sudden passing in 2001, he relentlessly pursued avant-garde expressions that rewrote the history of Japanese craft. In 1948 (Showa 23), he formed the avant-garde ceramic art group \"Sodeisha\" with \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E7%94%B0%E5%85%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, Matsui Bisuke, and Kano Tetsuo, initiating a movement that fundamentally broke the spell of practicality (\"beauty of utility\") – the absolute norm in the Japanese ceramic world, where ceramics were primarily for serving food or pouring water. They redefined clay not merely as a material for vessels but as a medium for pure self-expression, giving birth to a completely new genre of art: objet ceramics, the first of its kind in Japan. Sodeisha subsequently led the forefront of Japan's contemporary art scene for half a century, and with its 50th exhibition in 1998, it dissolved amicably, having fully fulfilled its historic mission of elevating ceramics to contemporary art within the art world. Amidst this tumultuous movement, Suzuki preferred to use the term \"deisho\" (mud-form) for his works, meaning to manifest the form of the world through clay (mud), rather than simply calling them \"objects.\" He continued to pursue unique, poetic forms by deforming and deconstructing his superb potting wheel techniques. By 1999, his global status was firmly established, as evidenced by a large-scale retrospective exhibition held at the National Museum of Modern Art, Tokyo.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe distinctive face-shaped motif that dominates the front of this work perfectly embodies Suzuki's lifelong pursuit of reverence for nature and a return to primitive art. The eyes and nose carved into this circular bas-relief, along with the continuous spiral patterns arranged at the bottom, personify the life force of great nature, such as the sun and wind, with his unique poetic humor, imbuing the modern vessel with the pure magical energy of Jomon clay figurines and ancient masks. The surface of the vessel intentionally exposes a powerful, clay texture like Mikage clay containing coarse particles, over which a thin layer of feldspar glaze with a pale greenish-gray tint is applied. This masterfully merges the organic warmth of the clay with the sparkling beauty of the finely appearing crazing (fine crack patterns) on the surface. Furthermore, at the bottom edge of the vessel, a vibrant reddish \"hi-iro\" (fire color) has emerged, a result of the chemical reaction between the edge of the glaze and the unglazed body caused by the intense flames of the climbing kiln, thus encapsulating the dramatic moment when fire and earth became one within the vessel. At the base of the handle, Suzuki's circular \"治\" (Osamu) seal is clearly impressed, confirming its authenticity. The handwritten signature and seal on the lid of the wooden box, along with the official ceramic history (bookmark) from Yodo Gallery in Osaka, which conveys the atmosphere of his solo exhibitions at the time, are perfectly preserved. This is a supreme piece in excellent condition, condensing the artist's lifelong artistry, where Suzuki's object philosophy (Deisho) admirably returns to its origin as a functional vessel.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Suzuki Osamu (鈴木治, 1926-2001)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career History\u003c\/b\u003e: [1926] Born in Kyoto as the third son of master potter Suzuki Ugenji, [1948] Formed the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Yamada Hikaru, holding their first exhibition, [1961] Received the Japan Ceramic Society Award, [1962] Won a Gold Medal at the Prague International Ceramics Exhibition, [1968] Appointed Assistant Professor of Ceramics at Osaka University of Arts, [1970] Won a Gold Medal at the Vallauris International Ceramics Biennale and invited to exhibit at \"Contemporary Ceramics - Europe and Japan\" organized by the National Museum of Modern Art, Kyoto, [1971] Won the Minister of International Trade and Industry Award at the Faenza International Ceramics Exhibition and invited to exhibit at the Japan Ceramics Exhibition (subsequently exhibiting every time), invited to exhibit at \"Contemporary Ceramics - America, Canada, Mexico and Japan\" exhibition organized by the National Museums of Modern Art, Kyoto and Tokyo, [1975] Exhibited at \"International Ceramics Exhibition '75\", [1979] Exhibited at \"Art Now '79\", [1999] A large-scale retrospective exhibition \"Poetic Objects: Suzuki Osamu's Ceramics\" was held at the National Museum of Modern Art, Tokyo, [2001] Passed away at the age of 73\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,2,0\" data-index-in-node=\"0\"\u003eMuseum Collections\u003c\/b\u003e: Permanently housed in public collections of major modern art museums around the world, including The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955 (Presumed identical or same-series works are currently in the collection of institutions such as The National Museum of Modern Art, Kyoto)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Original wooden box, wrapping cloth, official ceramic history (bookmark) issued by Yodo Gallery.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (feldspar glaze)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Approx. 9.0 cm diameter, approx. 9.5 cm height\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products offered by our shop are new and unused, they are from a very old production period and are all listed as used items. The products may have damage due to age, so please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48133573312699,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0147_result.jpg?v=1785638661"},{"product_id":"379","title":"Seto City Designated Intangible Cultural Property Holder, Prince Kiln, Suzuki Hachiro (鈴木八郎): Tenmoku Tea Cup, Oil Spot Tenmoku, Cylindrical Sake Vessel, Japanese Rocks Glass #379","description":"\u003cp data-path-to-node=\"17\"\u003ePursuing the traditions and innovations of Seto ware from the Taisho through Heisei eras, this Tenmoku tea cup was crafted by Suzuki Hachiro (1915–2005) of Prince Kiln (Taishi-gama), who was designated a holder of Seto City Designated Intangible Cultural Property for ceramic ash glaze techniques. Suzuki Hachiro studied under. \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E4%BA%95%E9%81%94%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFujii Tatsukichi\u003c\/a\u003e, a giant of modern Japanese crafts, to master design and craft philosophy, and after honing his skills under. \u003ca href=\"\/en\/search?q=%22%E4%BA%80%E4%BA%95%E6%B8%85%E5%B8%82%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamei Seiichi\u003c\/a\u003e, he traveled to Manchuria from 1944 to 1945 for ceramic research, deeply studying ancient Chinese ceramics. In the post-war period, he achieved selection 13 times in total for the Bunten and Nitten exhibitions, and earned high acclaim as a master representing the Seto ceramic world through selections for the Japan Traditional Art Crafts Exhibition and exhibiting at The Metropolitan Museum of Art in the United States, as well as having his works collected and permanently preserved in institutions such as the Aichi Prefectural Museum of Art, Aichi Prefectural Ceramic Museum, Ichinomiya City Museum, Hekinan City Fujii Tatsukichi Museum of Contemporary Art, and Seto City. Our shop offers this heavy, dignified piece—originally created as a traditional Tenmoku tea cup—to the global market as a luxurious Japanese-style rocks glass (cylindrical free cup) for quietly savoring the rich aroma and flavor of amber aged sake, matured whisky, or authentic shochu over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully examining the details of this work clearly reveals the scenery of Oil Spot Tenmoku (crystal Tenmoku), in which the beauty of ancient Chinese Tenmoku ceramics deeply researched by Suzuki Hachiro during his Manchurian travels and his masterful firing technique have brilliantly come to fruition. Over a pitch-black glaze ground, beautiful silver-white oil-spot and crystalline markings float densely across the entire vessel body down to the mikomi (inner bottom), creating a fantastical sense of depth depending on the light angle. The cylindrical form features powerful manual horizontal carving and organic warpage, bestowing three-dimensional shadows and a delightful, palm-fitting tactile feel not found in simple cylinders. Around the foot ring, the glaze is cleanly scraped off to reveal the tight, rustic clay unique to Seto (\"tsuchimise\"), while beautiful spiral carving is executed inside the foot ring. Standing approximately 10.7 cm in height with a mouth diameter of approximately 7.7 cm, the cylindrical structure with moderate thickness and height offers excellent heat insulation and cold retention, serving as a perfect stage for savoring the deep flavor of aged spirits and the resonant sound of ice through all five senses.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be estimated to be an authentic work created in the 1980s to 1990s (latter Showa to early Heisei period), when his Tenmoku and ash-glaze techniques—the fruits of his ancient Chinese ceramic research—reached a complete pinnacle of maturity following the opening of his anagama kiln in 1975, the publication of his book \"Kusetomonyou Tehikaecho\" in 1980, and the selection of his work for permanent preservation by Seto City in 1981. With Suzuki Hachiro's passing in 2005, the creation of new works has completely ceased, establishing its enduring value as a legacy of a master recognized even by The Metropolitan Museum of Art. The vessel itself has no cracks or chips, maintaining extremely good condition in its oil spot Tenmoku glaze coloration, appearance of spot markings, and glaze texture. The piece arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed on the lid with \"Tenmoku Chahai\" in ink and stamped with Hachiro's red seal, alongside a dedicated cloth stamped with his seal stamp.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eSuzuki Hachiro (鈴木八郎, 1915–2005)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e Studied under Fujii Tatsukichi and Kamei Seiichi; Traveled to Manchuria for ceramic research from 1944–1945; Selected 13 times for Bunten\/Nitten exhibitions; Selected for Japan Traditional Art Crafts Exhibition; Received National Ceramic Exhibition Toto Encouragement Award and Toto President's Award; Exhibited at The Metropolitan Museum of Art (USA); Held anagama kiln ceramic exhibitions from 1975; Published book \"Kusetomonyou Tehikaecho\" in 1980; \"Fern Motif Large Bowl\" selected for permanent preservation by Seto City in 1981; Designated as holder of Seto City Designated Intangible Cultural Property for \"Ceramic Ash Glaze Technique\" in 2003\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Aichi Prefectural Museum of Art, Aichi Prefectural Ceramic Museum, Ichinomiya City Museum, Hekinan City Fujii Tatsukichi Museum of Contemporary Art, Seto City\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980s–1990s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks, excluding age-related character inherent to antique crafts)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, dedicated cloth with seal stamp included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Seto ware, Tenmoku glaze, Oil Spot Tenmoku)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 10.7 cm, Mouth diameter approx. 7.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are historical craft items with older production periods and are listed as antiques\/vintage art. Products may exhibit minor changes over time, so please consider purchasing after understanding and verifying the essential nature of antique crafts.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439183035,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1595_result.jpg?v=1787563610"},{"product_id":"396","title":"Seto Oyoshi the Fourth, Kato Yasuhiro (加藤恭博): Oil Spot Tenmoku Chawan, Matcha Bowl, Sake Vessel, Japanese Rocks Glass #396","description":"\u003cp data-path-to-node=\"17\"\u003eBorn as the eldest grandchild (fourth generation) of Oyoshi Kato the Second from a traditional kiln in Seto City, Aichi Prefecture, Kato Yasuhiro (1926–) studied traditional techniques such as Seto-Sometsuke under his grandfather after graduating from Aichi Prefectural Seto Ceramic High School in 1944, creating this \"Oil Spot Tenmoku Chawan.\" Engaging in the technical development of large-scale public art, such as the production of soundproof ceramic walls at the Ebetsu City Public Hall in Hokkaido in 1971 and pictorial tiles on the Yokohama City Promenade in Kanagawa Prefecture in 1976, he taught for many years as an instructor at the Meiji Life Ceramic Class starting in 1985; in 1994, taking the opportunity of crafting a set of vessels for the Crown Prince and Crown Princess (the current Emperor and Empress) at Kagaya in Wakura Onsen, Ishikawa Prefecture, he embarked on full-scale research into oil spot glazes and gold crystal glazes. Originally crafted as a dignified Tenmoku-shaped tea vessel, our shop presents this piece to the global market not only as a Matcha bowl for enjoying a bowl of tea, but also as a luxury Japanese rocks glass (sake vessel) for quietly pouring amber aged sake, matured whisky, or authentic shochu over large ice cubes—taking advantage of its exquisite depth and beautiful mortar-shaped slope—to savor alongside the mystical brilliance woven by silver oil spot mottling.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully inspecting the details of this piece reveals in full the advanced control technology of oil spot glaze research achieved by Kato Yasuhiro after 1994. Along the sculptural beauty of the taut Tenmoku shape with a turtle-beak rim (suppon-guchi), fine oil spot spots (crystal spots) shining dazzlingly in silver and silken silver precipitate in high density and three-dimensionally across the entire body, which transitions from jet-black to deep brown. Spreading seamlessly from the vessel's exterior to the interior bottom (mikomi), these crystal spots represent an extraordinarily high-difficulty technical scene that manifests solely through precise temperature management during high-temperature firing and cooling processes inside the kiln, irregularly reflecting light to emit a splendid coloration like a nebula twinkling in the night sky. When liquid is poured in, the silver oil spot mottling focused at the center of the interior sways, imparting a mystical depth and luxurious air to the poured sake or tea. Beside the foot ring, the raw reddish-brown ceramic body is exposed, where the artist's stamp mark \"Yasu\" (恭) is clearly carved by his own dependable hand.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, based on the explicit biography in the accompanying pamphlet noting that he \"embarked on full-scale research into oil spot glazes following the production of a set of vessels for the Crown Prince and Crown Princess at Kagaya in Wakura Onsen in 1994,\" it is identified as an authentic work produced in 1994 or later (circa mid-1990s to 2000s). In Oil Spot Tenmoku, where variations in individual completion tend to occur due to the requirement for advanced temperature control within the kiln, this piece stands out as a masterpiece boasting exceptional completion in both spot coloration and density. The vessel body itself suffers no damage such as cracks or chips, maintaining excellent condition in both the brilliance of the oil spot spots and the clay body. It arrives in complete condition accompanied by its dedicated paulownia Tomobako inscribed on the lid face with \"Oil Spot Tenmoku Chawan\" and on the lower left with \"Made by Yasuhiro\" stamped with his red seal, along with the accompanying pamphlet.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKato Yasuhiro (加藤恭博, 1926–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1944] Acquired techniques under Oyoshi Kato the Second after graduating from Aichi Prefectural Seto Ceramic High School; [1971] Crafted soundproof ceramic wall at Ebetsu City Public Hall, Hokkaido; [1976] Crafted pictorial tiles for Yokohama City Promenade, Kanagawa Prefecture; [1985] Appointed instructor at Meiji Life Ceramic Class; [1994] Crafted the \"Fureai Large Ceramic Wall\" at the Seto Riverbed, Seto City, Aichi Prefecture; [1994] Crafted a set of vessels for the Crown Prince and Crown Princess at Kagaya in Wakura Onsen, Ishikawa Prefecture (commenced research into oil spot glazes and gold crystal glazes thereafter)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In \/ Production Achievements:\u003c\/strong\u003e Ebetsu City Public Hall (Hokkaido), Yokohama City Promenade (Kanagawa Prefecture), Seto Riverbed (Seto City, Aichi Prefecture), Kagaya in Wakura Onsen (Ishikawa Prefecture; vessels for the Crown Prince and Crown Princess)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1994 or later (Circa mid-1990s–2000s, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, pamphlet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Seto ware, oil spot Tenmoku, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.6 cm, Mouth diameter approx. 12.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48302504575163,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2300_result.jpg?v=1788485953"},{"product_id":"434","title":"Mashiko Folk Kiln Sakuma Totaro Kiln (佐久間藤太郎窯), Pair of Teacups with Black Base Glaze and Rice-Husk Ash White Glaze Pouring, Pair of Sake Cups, Japanese-Style Liquor Glass Pair Set #434","description":"\u003cp data-path-to-node=\"1\"\u003e\u003ca href=\"\/en\/search?q=%22%E4%BD%90%E4%B9%85%E9%96%93%E8%97%A4%E5%A4%AA%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSakuma Totaro\u003c\/a\u003e (1900–1976) was a master craftsman who, alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, elevated Mashiko ware into everyday functional art within the Mingei (Folk Crafts) movement. This pair of teacups (kumi-yunomi) featuring rice-husk ash white glaze poured over a rich black base glaze was crafted by Mashiko Folk Kiln Sakuma Totaro Kiln (Sakuma Kiln), which has continuously inherited his tradition and high technique. On the reverse side of the lid of the accompanying dedicated wooden box (tomobako), the calligraphy reads \"Mashiko Folk Kiln Sakuma Totaro Kiln\" accompanied by a red seal with \"Ma\" (間), the kiln mark of Sakuma Kiln. Furthermore, the enclosed leaflet titled \"Mashiko, the Village of Pottery\" includes the statement: \"It has already been more than sixty years since Mr. Hamada Shoji came to Mashiko and began creating new works alongside traditional kitchen utensils.\" Based on the inscription on the box and the leaflet text, it can be objectively deduced that this piece was created and distributed between around 1984 and 1988 (late 1970s to 1980s in the Showa era) by the successors and craftsmen of Sakuma Kiln who received the guidance of the first generation, Totaro. As expressed in the leaflet, the strength of work that utilizes local clay and firewood to bring traditional techniques into modern living utensils imparts a sufficient healthiness to the items, displaying the true spirit of Mashiko ware where the clay texture and glaze character grow richer with long use.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAmong the techniques handed down continuously at Sakuma Kiln, the pouring (uchikake) technique—in which traditional local glazes are combined and ladled over the vessel in a single, fluid motion—is most symbolic of the robust strength of Mashiko ware. Examining the design of this pair, a milk-white rice-husk ash glaze is dynamically poured over a deep, lustrous jet-black base glaze, with every single flow line and splash creating a rhythmic vibrancy reminiscent of abstract painting. The lower part of the body and the area around the foot ring are left unglazed (rotai), exposing the raw clay. The rustic, powerful texture of the iron-rich local Mashiko clay gives the overall form a grounded sense of weight and stability.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eThe interior (mikomi) of the vessels is covered with a soft, yellowish-brown glaze, presenting a warm expression that contrasts sharply with the bold black-and-white exterior. Originally created as a matched pair of teacups (kumi-yunomi), their comfortable dimensions—Large (approx. 7.7 cm diameter, 8.1 cm height) and Small (approx. 7.5 cm diameter, 7.6 cm height)—along with their hand-fitting thickness and cylindrical form gently tapering toward the foot ring, allow them to function perfectly as supreme Japanese-style pair rocks glasses in modern settings. Placing a large ice cube inside and pouring well-aged amber spirits, vintage whisky, or Japanese shochu allows the serene clay texture of the interior to beautifully enhance the color of the drink. This fine pair of vessels is a valuable kiln creation from the late Showa period in which the aesthetics and craftsmanship of Mashiko Mingei pioneered by Sakuma Totaro I bore fruit, allowing one to fully savor Japanese folk craft aesthetics through both touch and sight.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e《Contents of the Included Brochure》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eMashiko, Home of Pottery Clay dug from the hills behind and firewood cut from the mountains opposite, the kilns of Mashiko have continued to fire ceramics for more than 130 years. It has unconsciously become more than sixty years since Mr. Hamada Shoji came to Mashiko and created new works in addition to conventional kitchen utensils. While excellent folk kilns preserving tradition remain throughout various regions of Japan, I believe this is perhaps the earliest kiln among folk kilns nationwide to attempt and produce in large quantities flower vases and tableware that bring ancient techniques to life in modern living utensils. The strength of work employing correct techniques with good raw materials and natural fuel imparts a thoroughly healthy quality to the items, further enlivening them by adding the folk art of the local area. As an inevitable result of being blessed with such favorable conditions, the longer they are used, the better the tone of the clay texture and glaze surface becomes, which can be called a rare characteristic in these times. For those who purchase Mashiko ware, we hope you will make daily use of them, as the more they are used, the more their inherent qualities emerge and improve, which can indeed be called the defining feature of Mashiko ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cstrong\u003e《Words from Living National Treasure, Hamada Shoji》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eLooking at Sakuma Totaro's pottery over the past two or three years, his work seems enviably free and enjoyable; whether pouring various glazes over the surface or applying Hakeme (brushed slip) with white slip or colored glazes, it seems that things he wants to do spring up one after another, faster than he can keep up with. Whether good or bad, there is no unnatural strain. Even if he does something curious, unlike taking something from the outside and failing to catch it, he is grasping it from within, so there is always something worthy of attention. Sakuma has certainly struck underground water right beneath his own feet; he needs no priming water. It is said that a potter becomes fully fledged only when his personality begins to show in his work, but in Sakuma's recent work, in addition to that, the local flavor of the land bleeds through strongly, and that point strikes people particularly deep. Sakuma's work has acquired an expansive freedom, like a garden tree growing into a mountain tree. Even though he freely adopts techniques not originally found in traditional Mashiko, the work is filled to the brim with the scent of Mashiko. These days, I am deeply moved by the many things I am learning from Sakuma, and I consider it a great blessing for Mashiko to have gained such a potter after more than thirty years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMashiko Folk Kiln Sakuma Totaro Kiln (佐久間藤太郎窯, Sakuma Kiln)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003eBorn into a family of Mashiko ware potters. Met Hamada Shoji when he moved to Mashiko in 1924 and became deeply involved in the Mingei movement. Spearheaded the transition of Mashiko ware from traditional kitchen utensils to modern daily ceramics. Designated as a Tochigi Prefecture Designated Intangible Cultural Property Holder in 1972, received the Tochigi Prefecture Cultural Merit Award, and was awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 1984–1988 (Late 1970s to 1980s, Showa era)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako), brochure featuring artist's biography included\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (Mashiko ware, Jiguro black glaze, Nukajiro white rice-husk glaze pour-over)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eLarge (Height approx. 8.1 cm, Rim diameter approx. 7.7 cm, Foot diameter approx. 5.2 cm) \/ Small (Height approx. 7.6 cm, Rim diameter approx. 7.5 cm, Foot diameter approx. 4.8 cm)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332227543227,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3017_result.jpg?v=1789967531"},{"product_id":"464","title":"Artisan Supplying the Imperial Household Agency's Togu Palace, Kimura Ichiro (木村一郎), Black Persimmon Glaze Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #464","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a black persimmon glaze (kuro-kaki-yu) tea bowl created by Kimura Ichiro, a master artisan who studied modern glaze chemistry and firing theory at the National Ceramic Experimental Station under the Ministry of Commerce and Industry and built the modern ceramic art history of Mashiko ware alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e. Having established his kiln in Mashiko after graduating from the National Ceramic Experimental Station, Mr. Kimura received high acclaim both domestically and internationally: he won special prizes at the Kokuten and Modern Japanese Ceramic Art Exhibitions, received the honor of crafting items for the Imperial Household Agency's Togu Palace (the Crown Prince's Residence), and was invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France. This piece can be estimated as an authentic work created between the late 1960s and early 1970s (Showa 40s), a period when his technique and artistic dignity reached their peak following his production of Imperial Household items.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe greatest highlight of this work lies in the fluid expression of the black persimmon glaze—boldly combining Mashiko's traditional persimmon glaze with black glaze—and the creative, sculptural beauty of the exterior bottom of the bowl (inside the foot ring) rising powerfully into a conical shape. On the surface of the vessel, through precise glaze control cultivated at the experimental station, deep dark brown persimmon glaze and lustrous black glaze overlap like crackle patterns, drawing a pictorial and dynamic contrast. Turning the bowl upside down reveals that the interior of the foot ring rises sharply toward the center into a conical shape (a technique known as Tokin-kodai, or helmet-crest foot), featuring an extraordinarily rare and powerful carved sculpting technique. The area around the contact surface of the foot ring is intentionally left unglazed, exposing Mashiko's characteristic rough and rustic unglazed clay body (rotai), where the circular stamp \"Ki\" (木), proof of Mr. Kimura's craftsmanship, is clearly impressed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith its substantial form that rests comfortably in the hand, our shop proposes this work, tailored to modern refined lifestyles, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or spirits over a large ice cube. Floating a large ice cube inside the grand tea bowl and watching the poured amber liquor reflect against the heavy brown and black glaze tones of the black persimmon glaze creates a visual effect that dramatically elevates a special evening drink. The conical rise at the bottom and the rough clay texture that touch your fingertips every time you lift the glass are hidden sculptural marvels secretly savored by the user. A masterpiece in which the technique and aesthetic sensibilities of a master who established the pinnacle of modern Mashiko ceramic art coalesce, this piece allows one to relish Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKimura Ichiro (木村一郎, 1915–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e [1938] Completed the 20th class of the National Ceramic Experimental Station under the Ministry of Commerce and Industry, [1945] Established a kiln in Mashiko-machi, Tochigi Prefecture, [1949] Special Prize at the 2nd Tokyo Craft Exhibition, [1955] Special Prize at the 4th Modern Japanese Ceramic Art Exhibition, [1965] Crafted items for the Imperial Household Agency's Togu Palace, invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; Tochigi Prefectural Museum of Fine Arts; Mashiko Museum of Ceramic Art\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1960s–early 1970s (Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Black Persimmon Glaze Tea Bowl\", signature seal, and seal stamp on the inside of the lid), explanatory pamphlet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic \/ Pottery (Mashiko clay, Black persimmon glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.6 cm, Diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm that the item may have age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598482440379,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4041_result.jpg?v=1791082190"},{"product_id":"470","title":"Recipient of the Gifu Prefecture Arts and Culture Honor and the Turkish Government’s Osman Hamdi Art Award, Shinsho Kiln, Kato Kenji (加藤賢司), Turkish Blue Sake Cup, Arabesque Black-Painted Craft Sake Vessel, Stem Cup (Bajohai) #470","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a \"Turkish Blue Sake Cup\" made by Kato Kenji, a ceramic artist who crafted works at the Shinsho Kiln in Tajimi City, Gifu Prefecture. Formed as a stem cup (bajohai) featuring a tall foot, the lid of its dedicated tomobako (wooden box) bears the handwritten title \"Turkish Blue Sake Cup,\" along with the artist's signature and seal stamp. It is also accompanied by a shiori (leaflet) printed with the artist's own ceramic career history and a wrapping cloth stamped with a seal. Taking advantage of its compact size that fits comfortably in the palm, our shop proposes it as a Japanese-style shot glass for savoring aged spirits neat, a little at a time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eKato Kenji was born on July 21, 1933 (Showa 8), in Tajimi City, Gifu Prefecture, a region renowned for Mino ware production. He graduated from Kyoto City University of Fine Arts (now Kyoto City University of Arts) majoring in ceramics within the Department of Crafts, and studied under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, Yuzo Kondo, and \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E6%9C%AC%E8%83%BD%E9%81%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYoshimichi Fujimoto\u003c\/a\u003e. All three masters were later designated Holders of Important Intangible Cultural Properties (Living National Treasures). According to the shiori, in 1959 he established the \"Shinsho Kiln,\" named by Tomimoto Kenkichi, and was selected for the first time for the 6th Japan Traditional Art Crafts Exhibition with a \"Bowl.\" According to records of the Japan Kogei Association, a public interest incorporated association, he passed away in 2008.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eKato became active internationally from an early stage. In 1968, he served as a lecturer in the Department of Art at Ohio State University in the United States, and in 1969 he held a solo exhibition at the Helen Winnemore Gallery in the US. From 1971 to 1973, dispatched by the Japanese government, he served as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts (now Marmara University). From 1976 to 1981, as a ceramic art envoy dispatched by the Ministry of Foreign Affairs and the Japan Foundation, he visited Australia, New Zealand, Canada, Denmark, Norway, and other countries several times. In 1981, he appeared on the NHK Educational TV column \"Japanese Ceramics Going International,\" and in 1984, he was invited to exhibit at the U.S. Northwest Regional Touring Ceramic Art Exhibition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eHis connection with Turkey continued thereafter. In 1986, he received the Osman Hamdi Art Award from Turkey. He presented a \"Turkish Blue Vase\" to His Imperial Highness Prince Mikasa and held two solo exhibitions at the Embassy of the Republic of Turkey in Japan. Domestically, he received the 5th Kobei Prize in 1987 and the Education and Culture Award at the 38th Gifu Shimbun Grand Prize in 1988. According to records of Gifu Prefecture, in fiscal 1995 (Heisei 7), he received the Gifu Prefecture Arts and Culture Honor for \"creative activities and promotion\/advancement of ceramic art.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eIn addition, he won awards such as the Japan Kogei Association Award at the Tokai Traditional Art Crafts Exhibition, served as an invited exhibitor, and acted as a judge. He also successively served as an expert committee member for the International Ceramics Competition MINO, an executive committee member and judge for art exhibitions of Tajimi, Gifu City, and Gifu Prefecture, and a director of the Mino Ceramic Art Association. He was a regular member of the Japan Kogei Association, a member of the International Academy of Ceramics (IAC), and served as a lecturer in the Department of Craft Art within the Faculty of Education at Gifu University. His works are held in the collections of Gifu Prefectural Museum of Art, Gifu Prefectural Museum, University of Michigan, Swiss National Museum, Museum für Kunst und Gewerbe Hamburg, Seattle Art Museum, Canterbury Museum, Everson Museum of Art, Cincinnati Art Museum, Art Gallery of South Australia, Embassy of Japan in Denmark, among others.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eTracing the exhibition records of the Japan Kogei Association, Kato presented nukie tenmoku (tenmoku with resist decoration) from the mid-1960s to the early 1970s, and red overglaze enamel (akae) works from the late 1970s to the early 1980s. From 1984 onward, he exhibited blue-glazed flattened flasks, and at the 33rd Japan Traditional Art Crafts Exhibition in 1986, he exhibited \"Turkish Blue Flattened Flask.\" Thereafter, until the 48th exhibition in 2001, he continuously submitted Turkish blue vases and incense burners. Turkish blue became Kato's most widely recognized signature style, and this piece is precisely one created using that technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eVivid Turkish blue glaze covers the inside and outside of the vessel, with fine crackle (kannyu) running across the entire surface. The interior bowl (mikomi) is a deep single shade of blue, and when viewed up close, minute air bubbles can be seen within the glaze, creating a tone with depth depending on the light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eOn the exterior, large arching leaf-like and petal-shaped patterns are arranged as if encircling the body. The patterned areas sink into a dark navy-gray tone, with purplish-blue bleeding along their outlines. Overlapping with the background Turkish blue glaze, this adds gradation and three-dimensional depth to the single-color glaze. A line circles horizontally below the rim, while the rim itself is thinly glazed, allowing the dark underlying clay tone to peek through and displaying a white, flowing glaze character.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe slender stem features alternating vertical stripes of Turkish blue and dark color. This contrasts with the curvilinear pattern of the bowl portion and accentuates the verticality of the vessel shape. The bottom and interior of the stem are unglazed, leaving the reddish-brown clay body exposed. The contrast between the cool tone of the Turkish blue and the warm red clay is also one of the highlights of this piece. A minute dot-like mark can be seen on one spot of the body.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe production period is estimated from the content of the accompanying shiori. The most recent dated entry in the shiori's career history is the Education and Culture Award at the 38th Gifu Shimbun Grand Prize in 1988. On the other hand, the Gifu Prefecture Arts and Culture Honor received in fiscal 1995 (Heisei 7) is not listed. The postal code is also printed in the three-digit format used prior to 1998. Based on these points, this cup is considered to have been made between around 1988 and around 1995. This aligns with the period when he was submitting Turkish blue works to the Japan Traditional Art Crafts Exhibition, though since the shiori may have continued to be used for a certain period, this remains an estimate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe piece has no chips or cracks and remains in very good condition. Although an artist who is hardly introduced abroad, this piece allows one to experience the charm of Turkish blue—which Kato pursued for many years alongside his educational activities and awards in Turkey—in a size that rests comfortably in the palm of your hand.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"12,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKato Kenji (加藤賢司, Katō Kenji, 1933–2008)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1959] Established Shinsho Kiln named by Tomimoto Kenkichi; first selected for the 6th Japan Traditional Art Crafts Exhibition with \"Bowl\"; [1968] Lecturer in the Department of Art at Ohio State University; [1969] Solo exhibition at Helen Winnemore Gallery, USA; [1971–1973] Dispatched by the Japanese government as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts (now Marmara University); [1976–1981] Ceramic art envoy dispatched by the Ministry of Foreign Affairs \/ Japan Foundation (Australia, New Zealand, Canada, Denmark, Norway, etc.); [1981] Appeared on NHK Educational TV column \"Japanese Ceramics Going International\"; [1984] Invited exhibitor at U.S. Northwest Regional Touring Ceramic Art Exhibition; [1986] Osman Hamdi Art Award (Turkey); [1986] Selected for 33rd Japan Traditional Art Crafts Exhibition with \"Turkish Blue Flattened Flask\"; [1987] 5th Kobei Prize; [1988] Education and Culture Award at 38th Gifu Shimbun Grand Prize; [1995] Gifu Prefecture Arts and Culture Honor (fiscal 1995); [2001] Selected for 48th Japan Traditional Art Crafts Exhibition with \"Turkish Blue Vase\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,2,0\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eGifu Prefectural Museum of Art, Gifu Prefectural Museum, University of Michigan, Swiss National Museum, Museum für Kunst und Gewerbe Hamburg, Seattle Art Museum, Canterbury Museum, Everson Museum of Art, Cincinnati Art Museum, Art Gallery of South Australia, Embassy of Japan in Denmark, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1988 to c. 1995 (estimated from the content of the accompanying shiori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,4,0\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (original wooden box), wrapping cloth, shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,6,0\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery \/ Stoneware (Turkish blue glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,7,0\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.0 cm, Mouth diameter approx. 5.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615312642235,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4626_result.jpg?v=1791639264"},{"product_id":"495","title":"Two-Time Nitten Special Selection Winner, Pupil of Kiyomizu Rokubei VI, Suzuki Kenji (鈴木健司): Yuteki Tenmoku Bajohai Stem Cup, Japanese Tasting Cup for Vintage Spirits #495","description":"\u003cp dir=\"ltr\"\u003eThis is a bajohai (stem cup) in yuteki tenmoku (oil-spot tenmoku) glaze by Suzuki Kenji, a ceramic artist from Kyoto. Suzuki was born in 1935 (Showa 10) in Kyoto City. After studying in the ceramics course at Kyoto Municipal Fushimi High School, he graduated from the Department of Ceramics at Kyoto City University of Fine Arts (now Kyoto City University of Arts) in 1957, and completed the university’s postgraduate program in 1959. As a student, he trained under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, who served as a professor and as president of the university, and under Kondo Yuzo. From 1959, he studied under \u003ca href=\"\/en\/search?q=%22%E6%B8%85%E6%B0%B4%E5%85%AD%E5%85%B5%E8%A1%9B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu Rokubei\u003c\/a\u003e VI, head of the Kiyomizu family, one of the most distinguished lineages of Kyo-yaki (Kyoto ware). Suzuki belonged to the Kyoto Ceramic Artists Club, which Rokubei VI founded in 1948 to nurture young potters, and he continued to work with Kyoto as his base.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSuzuki was first accepted into the Nitten (Japan Fine Arts Exhibition), one of Japan’s largest open-entry art exhibitions, at its 13th exhibition in 1957. At the 10th exhibition in 1967, he received the Special Selection (Tokusen) prize and the Hokuto Prize for “White Pearl,” and at the 5th exhibition in 1973, he received the Special Selection prize again for “Heartbeat.” According to the Nitten’s official records, only eight artists received the Special Selection prize in each of those years across the entire Crafts division, which includes ceramics, lacquer, metalwork, dyeing and weaving, and other fields. The Hokuto Prize was an additional award given with the Special Selection prize only from fiscal 1959 through fiscal 1970. In 1975, Suzuki was nominated as an itaku (invited) exhibitor of the Nitten. According to the artist’s biography that accompanies this work, he was accepted into the Nitten 15 times and exhibited twice as a mukansa (jury-exempt) artist.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHe also received the Mayor’s Prize twice at the Kyoten (Kyoto Art Exhibition), organized by the City of Kyoto, and the Governor’s Prize at the Kyoto Crafts Art Exhibition. He served as a juror for the Kyoten, the Kyoto Crafts Art Exhibition, the Japan New Crafts Exhibition, and the Japan Contemporary Arts and Crafts Exhibition, and was a councilor of the Japan New Crafts Artists Federation. Outside Japan, his work was shown in the Selected Japanese Contemporary Arts and Crafts Overseas Exhibitions held in Mexico and Canada, Australia and New Zealand, Northern Europe, and Europe. Between 1972 and 1985, he held fourteen solo exhibitions at venues including Osaka Mitsukoshi, Kyoto Takashimaya, and Nihombashi Takashimaya in Tokyo. His prizes are confirmed in the Nitten’s official records, and he was an accomplished Kyo-yaki artist, yet his work has rarely been introduced outside Japan.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSuzuki’s most highly acclaimed works are his Nitten Special Selection pieces, “White Pearl” and “Heartbeat.” No museum or public institution has published materials explaining the techniques of these works. His son, also a ceramic artist, describes the white pearl glaze and the purple pearl glaze as glazes his father created. The tomobako (the box signed by the artist) for this piece is inscribed “Yuteki Tenmoku,” and the work uses a tenmoku glaze that differs from those glazes.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eYuteki tenmoku is a type of tenmoku glaze in which countless spots, like droplets of oil, float on a black glazed surface. It is best known from the tea bowls of the Jian kilns in China during the Song dynasty. The way the spots appear is said to depend closely on the thickness of the glaze and the firing conditions.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn this piece, reddish-brown spots appear clearly across the entire vessel against a blackish-brown ground. On the exterior, the spots are fine and dense on the upper body, and they grow larger toward the lower body, the stem, and the foot. On the interior, large reddish-brown spots spread near the rim. At the center of the well (mikomi), where the glaze has pooled, silvery-white spots cluster densely, in contrast to the reddish-brown spots around them. At the very edge of the rim, the glaze is thin and forms a smooth dark-brown band with few spots. When light strikes the surface, the spots glint silver, and their appearance changes with the viewing angle.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe cup has a refined bajohai form: a straight, flaring bowl on a slender cylindrical stem with a flat, disc-shaped foot. The glaze extends down to the side of the foot, and only the edge that rests on the surface is left unglazed, showing the pale clay body. The underside of the foot is shallowly recessed and glazed. At its center is an impressed seal reading “Kenji” within a rectangular frame.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe bajohai is said to be a cup given a tall stem so that one could drink while on horseback. We suggest this piece as a Japanese-style tasting cup for savoring small amounts of vintage liquor, aged spirits, whisky, and similar drinks. The slender stem is easy to hold between the fingers, and you can see the silvery-white oil spots in the well through the liquor you pour. The piece comes with its tomobako, a tomonuno (the artist’s cloth wrapper), and a leaflet (shiori) listing the artist’s own career history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSuzuki Kenji (鈴木 健司、born 1935 in Kyoto City)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1957] Graduated from the Department of Ceramics, Kyoto City University of Fine Arts; first accepted into the 13th Nitten, [1959] Completed the university’s postgraduate program; began studying under Kiyomizu Rokubei VI, [1967] Special Selection prize and Hokuto Prize at the 10th Nitten for “White Pearl”, [1973] Special Selection prize at the 5th Nitten for “Heartbeat”, [1975] Nominated as an itaku exhibitor of the Nitten, Mayor’s Prize at the Kyoten (twice), Governor’s Prize at the Kyoto Crafts Art Exhibition, exhibited in the Selected Japanese Contemporary Arts and Crafts Overseas Exhibitions (Mexico and Canada; Australia and New Zealand; Northern Europe; Europe)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e No records of works in public museum collections have been confirmed.\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eAfter August 1985 and before February 1998 (based on the accompanying leaflet. Its most recent entry is a solo exhibition in August 1985, and it was printed with the three-digit postal code “607,” used before Japan changed to seven-digit postal codes in February 1998. This estimate assumes the leaflet was included with the work when it was made.)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks; light wear from age)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eWooden tomobako (lid inscribed in ink “Yuteki Tenmoku Bajohai,” signed “Kenji zo” (made by Kenji), with a red seal), tomonuno bearing the artist’s seal, leaflet with the artist’s career history\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery (yuteki tenmoku glaze)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.8 cm, rim diameter approx. 5.8 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eThe items we offer, even when new and unused, were produced long ago, and all are listed as pre-owned. Items may show age-related damage. Please review and understand this before you consider a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67679952666811,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5968_result_a3e64876-acdb-49f4-9296-1752e22a3351.jpg?v=1792904844"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/color-black.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}