{"title":"Lapis \u0026 Blue Sake Cups and Glasses","description":"\u003cp\u003eRuri glaze, sometsuke, celadon and blue glass: deep blues that set off an amber pour beautifully.\u003c\/p\u003e","products":[{"product_id":"3","title":"Arita ware Seiran Kiln (青藍窯) gold color ceramic glass set of 2 #3","description":"\u003cp\u003eSeirangama is a potter located in Arita-cho, Saga Prefecture, and produces works incorporating modern designs while inheriting the traditional techniques of Arita ware. Therefore, Seirangama's works are generally classified as Arita ware. How about using them as glasses for Japanese whisky?\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Arita ware Seiran kiln studio\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction year:\u003c\/strong\u003e 2000s\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 13cm, diameter approx. 6.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (pottery)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products we offer are new and unused, they are all listed as second-hand products because they were produced very long ago. Please note that the products may have damage due to aging, so please understand and check before considering purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"青藍窯工房","offers":[{"title":"Default Title","offer_id":46615745331387,"sku":"","price":10000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0061.jpg?v=1746522822"},{"product_id":"162","title":"Matsumoto Isami (松本為佐視), Celadon Stem Cup (Bajohai): A Masterpiece of Modern Kyoto Porcelain #162","description":"\u003cp data-path-to-node=\"7\"\u003eMatsumoto Isami (1931–2012) was an artist of the highest pedigree in contemporary Japanese ceramics, having studied under the legendary \u003ca href=\"\/en\/search?q=%22%E6%A5%A0%E9%83%A8%E5%BD%8C%E5%BC%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYaichi Kusube\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E5%AE%AE%E4%B8%8B%E5%96%84%E5%AF%BF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eZenju Miyashita\u003c\/a\u003e, both recipients of the Order of Culture. The spirit of ceramics as a pure art form that transcends mere utility—a philosophy inherited from his masters—is consistently reflected in his work through elegant aesthetic forms and the delicate layering of color. The emerald green hue achieved by Matsumoto in this piece is the result of a precise physical phenomenon. It requires controlling the iron oxide content in the glaze within an incredibly minute range of 0.1 to 0.3 percent while maintaining a perfectly constant reducing atmosphere in the kiln at high temperatures around 1,300 degrees Celsius. This technique represents a modern chemical redefinition of the celestial sky-blue (Ten-seisho) achieved by the Ru kilns of China's Song Dynasty. By intentionally inducing Rayleigh scattering—a phenomenon where light reflects off microscopic air bubbles and undissolved particles within the glaze layer—he creates a profound depth and transparency that industrial colorants cannot replicate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eIn terms of form, the stem of this Bajohai (stem cup) is an exercise in extreme craftsmanship. Due to the high shrinkage rate characteristic of porcelain clay, such a design is prone to warping or collapsing under its own weight during firing, resulting in an exceptionally low yield. Furthermore, the line-engraving (Senkoku) technique inherited from his master requires an extraordinary level of sensitivity. The artist must maneuver a needle with sub-millimeter precision during the brief window when the clay is semi-dry—an irreversible process where a single mistake is fatal to the piece. The fact that the deep celadon glaze is applied so evenly to such thin, exquisite porcelain while perfectly controlling the crackle pattern (Kanyu) serves as a testament to his absolute mastery of firing schedules, honed through his long tenure as a judge for the Nitten (Japan Fine Arts Exhibition).\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eOwing to this overwhelming technical prowess and artistic dignity, Matsumoto twice won the Special Selection (Tokusen) award at the Nitten, Japan's most prestigious art exhibition, and later assumed key roles as a judge and councilor, leading the Japanese art world. His reputation extends internationally, with his work held in the permanent collection of the Spencer Museum of Art at the University of Kansas. The museum holds his work in high academic regard, utilizing it as a living educational resource for students and researchers to study the modern reinterpretation of Ru-ware celadon and the evolution of Kyoto porcelain.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eStanding approximately six centimeters tall, this diminutive stem cup embodies a celebratory prayer that transcends its function as a drinking vessel. Built upon the conviction that a vessel is a sanctuary where the liquid and the user's heart meet, the modern expressionism inherited from his masters has been captured within this small space as a dynamic moment of life blossoming amidst silence. This blue, which marries classical Chinese beauty with 20th-century Kyoto sophistication, resonates deeply with the aesthetic sensibilities of those who appreciate high-end crystal like Baccarat or Lalique. It is a masterpiece that deserves the highest praise from global collectors for its timeless elegance.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Matsumoto Isami (松本為佐視, 1931–2012)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eNotable Career Highlights:\u003c\/strong\u003e [1967] Won the Special Selection Award at the 10th Nitten Exhibition; [1974] Won the Special Selection Award at the 6th Nitten Exhibition; [Later years] Served as a Nitten Judge, Nitten Councilor, and Director of the Kyoto Craft Artists Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Spencer Museum of Art (University of Kansas, USA), Minneapolis Institute of Art (USA), Mary and Jackson Burke Foundation (USA), Kyoto City KYOCERA Museum of Art, Itsuo Art Museum, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eEstimated Production Period:\u003c\/strong\u003e 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original signed wooden box (Tomobako), wrapping cloth\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain, Celadon Glaze\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 6 cm, Height approx. 6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eNotice:\u003c\/strong\u003e While this item is in unused condition, it is a vintage piece produced many years ago and is therefore listed as second-hand. Please be aware that vintage items may show minor signs of age. We invite you to examine the provided images carefully before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47473095966907,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4494.jpg?v=1772271576"},{"product_id":"163","title":"Iwata Hisatoshi (岩田久利): \"The Lapis Lazuli Drop\" , Mother Water Pitcher for Spirits#163","description":"\u003cp data-path-to-node=\"7\"\u003eSince graduating from the Tokyo School of Fine Arts (now Tokyo University of the Arts) in 1950, Iwata Hisatoshi (1925–1994) has been a preeminent master of contemporary glass art, earning Japan's most prestigious honors, including the Minister of Education Award at the Nitten Exhibition and the Japan Art Academy Award. His works are held in the permanent collections of world-renowned institutions such as the Metropolitan Museum of Art in New York, the Musée des Arts Décoratifs in Paris, and The Corning Museum of Glass, earning international acclaim for elevating glass craftsmanship to the realm of fine art. This monumental lapis lazuli spouted vessel was created by Iwata with profound respect to commemorate the 1992 designation of Tokiwazu Mojibei as a Holder of Important Intangible Cultural Property (Living National Treasure). It is a rare masterpiece that crystallizes both Iwata's mature aesthetic and a story of deep friendship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe technical uniqueness of this piece lies in the exceptionally challenging cased glass (Kise-glass) technique, which requires fusing layers of different colored glass in a molten state. Molecularly bonding glass with different thermal expansion coefficients demands precise physical calculations to prevent cracking during the cooling process, as well as the ability to make split-second decisions at temperatures exceeding 1,200°C. In particular, the design—where the deep lapis lazuli body is seamlessly fused with a clear rim—serves as a testament to Iwata's advanced hot-working skills, capturing the moment when glass exhibits its most beautiful fluidity and imbuing it with a lifelike vitality impossible to replicate in industrial products.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eVisually, light passing through the thick glass refracts in complex patterns, revealing a deep sapphire-like blue that shifts in expression depending on the viewing angle. We propose this dignified piece as a Mother Water Pitcher, specifically designed to unlock the complex aromas of the finest whiskies. Its exquisite size fits perfectly in the hand, possessing the elegance required for the tranquil ritual of adding a few drops of pure water to an amber spirit. The light reflecting off the lapis-hued water and the single drop poured to awaken the whisky’s profound depths will be elevated to a supreme experience, made possible by Iwata’s world-renowned artistry.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Iwata Glass Studio\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Iwata Hisatoshi (岩田久利, 1925–1994)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotable Achievements:\u003c\/strong\u003e [1976] Minister of Education Award at the Nitten Exhibition; [1982] Japan Art Academy Award\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto, Hokkaido Museum of Modern Art, The Japan Art Academy, The Metropolitan Museum of Art, New York, The Corning Museum of Glass, New York, Museum Kunstpalast, Düsseldorf, Musée des Arts Décoratifs, Paris, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDate of Production:\u003c\/strong\u003e Circa 1992\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original box and artist's chronicle (shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 10.9 cm, Height approx. 6.8 cm, Depth approx. 9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice:\u003c\/strong\u003e While this item is in unused condition, it is a vintage piece produced many years ago and is therefore listed as second-hand. Please be aware that vintage items may show minor signs of age. We invite you to examine the provided images carefully before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47473110253755,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4559.jpg?v=1772272109"},{"product_id":"171","title":"Hand-blown Glass Cup by Ishii Koji (石井康治): Lapis Lazuli Blue Jellyfish #171","description":"\u003cp data-path-to-node=\"20\"\u003eA masterpiece by the genius Ishii Koji (1946–1996), a visionary artist whose brilliance continues to resonate in the world of Japanese glass art long after his untimely passing. This exceptional hand-blown glass cup features his iconic \"Kurage\" (Jellyfish) motif, capturing a sense of ethereal beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis piece is crafted in the deep, transparent Lapis Lazuli blue that became Ishii Koji’s signature, evoking the profound depths of the sea. Using his unique \"Internal Inclusion Technique,\" fragments of gold leaf and vibrant colored glass particles are suspended within the glass itself. They appear like the mysterious glow of a jellyfish drifting gracefully through the darkness of the deep ocean, or the shimmering trails of its delicate tentacles. Depending on the angle of the light, the appearance of the piece changes constantly, transporting the viewer to a fantastical underwater realm.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eThe soft, warm silhouette unique to hand-blown glass, the heavy and stable base, and the meticulously finished rim all speak to the artist’s superior craftsmanship. As a one-of-a-kind, handmade creation, the glass itself radiates a high level of technical skill and artistic refinement.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eThis small \"microcosm in the palm of your hand\" is more than just a drinking vessel; it is a work of art. Imagine pouring a vintage whisky or aged spirit, matured over decades to a beautiful amber hue, into this masterpiece. As the liquid shimmers and intertwines with the dreamlike light of the glass, you will experience a supreme immersion of both sight and taste.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003ePassing away at the young age of 50, Ishii Koji left behind a limited body of work, making his pieces increasingly rare and highly sought after by collectors worldwide. This item includes its original dedicated box and an insert signed by the artist, serving as a guarantee of its authenticity. We confidently recommend this masterpiece to both serious collectors and those seeking an extraordinary glass for their finest spirits.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Ishii Glass Studio Co., Ltd.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ishii Koji (石井康治)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eNotable Activities:\u003c\/strong\u003e [1979] Work exhibited at \"Japan New Face II\" was purchased by Her Imperial Highness Princess Chichibu. [1985] Designed the silhouette bottle for Sanwa Shurui's \"iichiko\" (shochu brand) and received a special prize at the Japan Package Design Competition. [1985] Received a special prize at the \"Seibu Crafts Grand Prize Exhibition.\" [1994] Held the \"Symphony of Light and Wind: GLASS Ishii Koji\" exhibition at the Narukawa Art Museum in Hakone.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eMajor Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; Aomori Museum of Art; Chiba Prefectural Museum of Art; Toyama Glass Art Museum; Hida Takayama Museum of Art; Narukawa Art Museum (Hakone), and more.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1980s–1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original dedicated box and artist's leaflet included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Approx. 11 cm in height, 7 cm in diameter.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the items provided by our store are unused, they are from an older production period and are listed as antique\/second-hand items. Please understand that items may show minor signs of aging before making your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"石井グラススタジオ","offers":[{"title":"Default Title","offer_id":47479789322427,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4622.jpg?v=1772288324"},{"product_id":"172","title":"Matsumoto Isami (松本為佐視): A Pair of Emerald Celadon Sake Cups — Redefining Ru Ware and the Zenith of Emerald Green through Rayleigh Scattering #172","description":"\u003cp data-path-to-node=\"16\"\u003eMatsumoto Isami (1931–2012) was a master potter of the highest pedigree in contemporary Japanese ceramics. Having studied under the legendary \u003ca href=\"\/en\/search?q=%22%E6%A5%A0%E9%83%A8%E5%BD%8C%E5%BC%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKusube Yaichi\u003c\/a\u003e (recipient of the Order of Culture) and \u003ca href=\"\/en\/search?q=%22%E5%AE%AE%E4%B8%8B%E5%96%84%E5%AF%BF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eZenju Miyashita\u003c\/a\u003e, he dedicated his life to the \"spirit of ceramics as pure art that transcends practical use.\" This set of two sake cups is a quintessential work from his mature period, representing a harmonious fusion of dignified form and meticulously calculated layers of color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThe most extraordinary feature of this work is the captivatingly deep emerald green hue. This mystical color is the result of a physical phenomenon achieved only by precisely controlling the iron oxide content in the glaze within a minute range of 0.1% to 0.3%, while maintaining a perfectly constant reducing atmosphere in the kiln at high temperatures around 1,300°C. This technique redefines the \"heavenly blue\" (Tianqing) of China’s legendary Song Dynasty Ru Ware through a modern chemical approach, intentionally inducing \"Rayleigh scattering.\" Light reflects off microscopic bubbles and undissolved particles within the glaze layer, creating a deep, internally luminous transparency that industrial pigments can never replicate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eIn terms of form, the elegant presence of the cups overcomes the high shrinkage rates inherent to porcelain clay. The \"line engraving technique\" inherited from his masters requires a sublime level of sensitivity, with the needle moving with sub-millimeter precision within the fleeting window when the clay is semi-dry—an irreversible process that allows for no error. The ability to evenly fix a deep celadon glaze on such thin, refined porcelain while perfectly controlling the crackle (kanyu) is a testament to Matsumoto's mastery of firing schedules, honed through his long tenure as a judge for the Nitten (Japan Fine Arts Exhibition).\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eDue to his overwhelming technical prowess and artistic integrity, Matsumoto was twice awarded the \"Tokusen\" (Special Selection) at the Nitten, the most prestigious art exhibition in Japan, and later served in influential roles as a judge and council member. His reputation extends internationally, with works held in world-class institutions such as the Spencer Museum of Art (University of Kansas, USA), the Minneapolis Institute of Art (USA), and the Mary and Jackson Burke Foundation (New York). Notably, the Spencer Museum utilizes his work as \"living teaching material\" for the study of modern reinterpretations of Ru Ware and the evolution of porcelain in Kyoto, underscoring his profound academic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eCrafted with the belief that \"a vessel is a sanctuary where the poured liquid and the user’s heart meet,\" these cups embody a celebratory prayer that transcends their function as drinking vessels. Blending classical Chinese aesthetics with the sophisticated modern expressionism of 20th-century Kyoto, this specific shade of \"Blue\" will provide exceptional satisfaction even to discerning collectors of high-end crystal glass such as Baccarat or Lalique. The moment amber whisky or clear sake is poured, the emerald green born from Rayleigh scattering resonates with the liquid, bringing a quiet dynamism to your table. This is a supreme masterpiece that encapsulates a timeless aesthetic.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Matsumoto Isami (松本為佐視, 1931–2012)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eNotable Career Achievements:\u003c\/strong\u003e Awarded the 10th Nitten Tokusen (1967) and the 6th Nitten Tokusen (1974). Served as Nitten Judge, Nitten Council Member, and Director of the Kyoto Craft Artists Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Spencer Museum of Art (University of Kansas, USA), Minneapolis Institute of Art (USA), Mary and Jackson Burke Foundation (USA), Kyoto City KYOCERA Museum of Art, Itsuo Art Museum (Osaka, Japan), and more.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Circa 1990s (Estimated)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original signed wooden box (Tomobako) and wrapping cloth (Tomonuno) included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain, Celadon Glaze\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 5.6 cm, Height approx. 5.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePlease Note:\u003c\/strong\u003e Even if items are in unused condition, they are vintage archival pieces and are listed as second-hand. Please understand that products may show characteristics of aging, and we encourage you to review all details before purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47482920566971,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4464.jpg?v=1772271581"},{"product_id":"175","title":"Maki Yukichi (牧勇吉) Masterpiece: Blue and White Gold Dragonfly Flower Motif Mizuzashi - Palm-sized Water Dropper for Spirits #175","description":"\u003cdiv class=\"container\"\u003e\n\u003cdiv class=\"markdown markdown-main-panel stronger enable-updated-hr-color\" id=\"model-response-message-contentr_e4a2f8a9c1c4a68e\" aria-live=\"polite\" aria-busy=\"false\" dir=\"ltr\"\u003e\n\u003cp data-path-to-node=\"5\"\u003eWe are pleased to introduce the Sometsuke Gold Dragonfly Flower Motif Mizuzashi by Maki Yukichi (1916-1998), a master who was the top disciple of \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e, the emperor of modern ceramics, and who inherited his master's aesthetics most faithfully with his own unique sensibility. Originally created as a suiteki (water dropper) for calligraphy, Antique Liquor redefines this palm-sized piece as the ultimate water dropper for dramatically opening up the aroma and flavor of high-proof whisky. Maki Yukichi was a master of the postwar Japanese ceramic world, winning the Special Selection at the Nitten Exhibition in both 1951 and 1953, and later receiving the Fourth Class Order of the Sacred Treasure. The elegance radiating from his work stems not only from technical mastery but also from the spiritual depth inherited from his master Hazan, of treating ceramics like jewels.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThe highlight of this work is the contrast between the Sometsuke blue, which harbors a deep tranquility, and the Gold Gilt (Kinzai) that shines vividly upon it. First, please observe the floral motif drawn with cobalt and the design of the dragonfly dancing lightly above it. Since ancient times, the dragonfly has been called Katsumushi (victory insect), a lucky motif beloved by samurai and literati for its posture of never retreating. Even in this tiny space, Maki Yukichi used meticulous brushstrokes for each wing of the dragonfly and the center of the flowers, where the Saidei (colored clay) texture inherited from his master is alive. By controlling clay particles to the extreme and discerning subtle differences in firing temperatures, he perfectly achieved the contradictory color design of submerging the Sometsuke blue while making the gold gilt stand out.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eAnalyzing this work from a technical standpoint, the difficulty of production is incomparable to that of ordinary tea utensils. After the main firing of the Sometsuke, a multi-stage firing process is essential to bake the gold at a lower temperature. For such a small water dropper, the thinness of the walls causes rapid heat transfer, frequently leading to breakage or distortion in the kiln. Furthermore, the sharpness of the spout and the fine-tuning of the water drop volume require high-level forming techniques backed by years of experience. Although Maki Yukichi possessed the academic technical strength to serve as a Nitten judge, he poured the same or even greater meticulous passion into these palm-sized tools as he did into his larger works.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eOur gallery proposes this work as a companion for whisky because of its exceptional tactile quality. The silky, moist porcelain texture pursued by Itaya Hazan is strongly reflected in Maki Yukichi's work. The smooth touch that seems to cling to the fingertips gently stimulates the owner's five senses during the quiet time of savoring the afterglow of aged spirits. When dropping one or two drops of water from this beautiful vessel into the amber liquid, the gold gilt on the vessel reflects the light, casting a glow as if blessing the microcosm within the glass. This elevates the simple act of adding water into a supreme ritual where traditional Japanese beauty and Scottish distilling techniques intersect.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003ePlease confirm in the palm of your hand the life of the artist Maki Yukichi and the pure beauty inherited from Itaya Hazan. As a rare small piece by a master whose works are housed in overseas museums, and as a tool that scientifically and artistically enhances the flavor of whisky, it will surely become an irreplaceable once-in-a-lifetime treasure for collectors with a true aesthetic eye.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Maki Yukichi (1916-1998) Representative Career History: Studied under Itaya Hazan, the first ceramic artist to receive the Order of Culture. [1951] Won Special Selection at the 7th Nitten Exhibition, [1953] Won Special Selection at the 9th Nitten Exhibition, [1987] Awarded the Fourth Class Order of the Sacred Treasure. Later served as a Nitten councilor, Nitten member, and chairman of the Ibaraki Prefectural Art Exhibition.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e The Museum of Modern Art, Ibaraki; Chikusei Municipal Museum of Art (formerly Shimodate Municipal Museum of Art); Itaya Hazan Memorial Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduction Era:\u003c\/strong\u003e Circa 1980s (Showa to Heisei period)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original box (tomobako), wrapping cloth, and descriptive leaflet included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (Saidei and Gold Gilt)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.5 cm, Width approx. 9.4 cm x 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are new and unused, they were produced a long time ago and are listed as second-hand items. Please understand and confirm that the products may have damage due to aging before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47518425710779,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4732.jpg?v=1772964550"},{"product_id":"206","title":"Saga Prefectural Intangible Cultural Property Holder, 19th Generation Ogasawara Choshun (十九代 小笠原長春) – Nabeshima Celadon Carved Pattern Cylindrical Large Ceramic Whisky Tumbler #206","description":"\u003cp data-path-to-node=\"6\"\u003eThe 19th-generation Ogasawara Choshun (Birth name Kenzo Ogasawara, 1932-), a direct descendant of the official painters and potters who supported the Nabeshima Domain's clan kiln during the Edo period, is the foremost authority on Nabeshima celadon. Born in 1932 in Okawachi-cho, Imari City, Saga Prefecture, his exceptional skills were recognized in 1998 when he was certified as a holder of Nabeshima celadon, an Important Intangible Cultural Property of Saga Prefecture. His works are collected and exhibited at prestigious institutions such as the British Museum, establishing an unshakeable reputation in the international art market as the pinnacle of porcelain symbolizing Oriental beauty. The greatest feature of Nabeshima celadon, which the Ogasawara family has preserved, lies in its luxurious use of finely crushed rare natural celadon raw stone, mined only in Okawachiyama, Imari, as its glaze.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThis piece embodies many of the technical characteristics for which Ogasawara Choshun is most highly regarded, but behind it lies an extremely difficult production process. What first catches the eye is the deep, moist color reminiscent of jade, but celadon glazes using natural stone are surprisingly sensitive to heat control. Mastering the reduction firing process, which limits oxygen in the kiln, is a formidable task; even a slight error can cause the color to turn a dull brownish-red, losing its original luster. Furthermore, to achieve the unique depth of Nabeshima celadon, the glaze is applied extremely thickly. This highly difficult technique carries a constant risk of the glaze flowing off during firing or cracking during cooling. The way the delicate line-engraved patterns beneath quietly emerge through this thick layer of glaze is truly a \"miracle scenery\" that can only be achieved by a certified master through strict temperature control and refined sensibility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAlthough this piece was created as a teabowl, its form incorporates exceptional ingenuity within the framework of traditional tea utensils. While its dimensions of approximately 11 cm in height and 10 cm in diameter are standard for a deep teabowl, what is particularly noteworthy is its original silhouette, which widens in two tiers from the body to the rim. This tiered shape is not only aesthetically pleasing but also demonstrates surprising functionality. The calculated two-stage widening dramatically improves finger grip, allowing for a remarkably stable hold with one hand despite its generous size. This unique aesthetic form provides a profound sense of security in the hand when repurposed as a Ceramic Whisky Tumbler for enjoying aged spirits. Inheriting the spirit of the \"secret kilns\" that produced items exclusively for presentation to the Shogun's family, Ogasawara Choshun has established a status equivalent to a modern Living National Treasure. His works are rare cultural assets where limited natural resources and extreme skill converge, making them masterpieces worthy of adorning a luxurious evening drink.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e 19th-generation Ogasawara Choshun (十九代 小笠原長春), Kenzo Ogasawara (1932-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"67\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1951] Began pottery production, [1982] Received Saga Prefecture Art and Culture Contribution Award, [1993] Regional Culture Contributor Award (Minister of Education Award), [1998] Certified as a holder of Nabeshima Celadon, an Important Intangible Cultural Property of Saga Prefecture, [2003] Received the Order of the Rising Sun, Silver Rays\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"445\"\u003eWorks in Collections:\u003c\/b\u003e The British Museum (London), Embassy of Japan in the UK (London), Imperial Household Agency (record of presentation), Saga Prefectural Kyushu Ceramic Museum, Saga Prefectural Art Museum, Imari City Ceramic Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"686\"\u003ePeriod of Production:\u003c\/b\u003e After 1998 (Estimated to be during his mature period, after being certified as an Important Intangible Cultural Property)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"830\"\u003eCondition:\u003c\/b\u003e Excellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"873\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako), Pamphlet\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"927\"\u003eMaterial:\u003c\/b\u003e Porcelain (Nabeshima Celadon)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"967\"\u003eDimensions:\u003c\/b\u003e Height approx. 11.0 cm, Mouth diameter approx. 10.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"1034\"\u003eNote:\u003c\/b\u003e All products offered by our shop, even if unused, are very old productions and are listed as used items. Products may have age-related damage, so please understand and confirm this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919644859,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5697_result.jpg?v=1776175847"},{"product_id":"208","title":"Imperial Household Agency Purveyor, 14th Generation Tsuji Hitachi (十四代 辻常陸): Blue and White Fukizumi Phoenix Motif Sculptural Water Dropper \/ Whisky Dropper #208","description":"\u003cp data-path-to-node=\"6\"\u003eThis artistic water dropper is the work of 14th Generation Tsuji Hitachi (Birth name Tsuneshige Tsuji, 1909-2007), the head of the prestigious Tsuji Hitachi family. This lineage inherited the unique official title of Hitachi-no-suke in the history of Arita ware and was the first in the ceramic world to be appointed as a Purveyor to the Imperial Household Ministry (now the Imperial Household Agency) during the Meiji era. The 14th Generation head had an unusual background for a ceramic artist, having graduated from the Sculpture Department of the Tokyo School of Fine Arts (now Tokyo University of the Arts). His masterful modeling skills brought a three-dimensional sculptural beauty to his works that transcends the boundaries of mere vessels. He elevated the traditional techniques of Kinri Goyo (items for the Imperial Family), which had continued since the Edo period, into the modern era, and for his achievements, he was awarded the Order of the Sacred Treasure, Gold Rays with Rosette (Fourth Class). His works are permanently preserved in major museums worldwide, including the British Museum and the National Crafts Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eIn this work, the fukizumi (blown ink) technique, the most highly acclaimed technical feature of the 14th Generation Tsuji Hitachi, and the three-dimensional modeling unique to a sculptor are perfectly fused. Fukizumi is a secret technique unique to the Tsuji family, in which gosu (blue pigment) is sprayed in a fine mist to express the haze of the night sky and deep gradations. The delicate blue particles seen on the surface of this work represent the pinnacle of this technique. Furthermore, its form, which depicts an auspicious bird reminiscent of a phoenix, is composed of flowing curves without any waste, boasting a sculptural perfection that conveys a sense of vital dynamism despite the hard material of porcelain. This contrast between the pure white porcelain, from which impurities have been removed to the utmost limit, and the deep, clear gosu is the authentic aesthetic of Tsuji Hitachi, which has been cherished by the Imperial Family for over 300 years.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAlthough this water dropper was originally created as a calligraphy tool, its dignified presence and functionality make it an unparalleled high-end whisky dropper (water dispenser) for allowing the aroma of aged spirits or whisky to bloom in the modern day. The precise drop falling from the phoenix's beak possesses a dignity befitting the moment when a magical change is brought to the amber liquid during whisky tasting. Since the passing of the 14th Generation head, original works in the market—especially water droppers with such outstanding modeling—have become extremely rare. It can be described as the ultimate tool for savoring aged spirits as a consumable cultural heritage that embodies the national dignity of Japan.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e 14th Generation Tsuji Hitachi (十四代 辻常陸, Birth name: Tsuneshige Tsuji, 1909-2007)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"79\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1933] Graduated from the Sculpture Department, Tokyo School of Fine Arts, [1981] Received the Saga Prefecture Cultural Merit Award, [1983] Awarded the Order of the Sacred Treasure, Gold Rays with Rosette, [1988] Produced porcelain for Emperor Showa's 80th birthday (Kanshu)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"388\"\u003eWorks in Collections:\u003c\/b\u003e The British Museum (London), Embassy of Japan in the UK, Imperial Household Agency (numerous Imperial treasures), National Crafts Museum (Tokyo), Saga Prefectural Kyushu Ceramic Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"601\"\u003eProduction Period:\u003c\/b\u003e Early 1990s (Estimated to be from his mature period \/ late-career work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"692\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"735\"\u003eAccessories:\u003c\/b\u003e Original wooden box (with signature and seal of Imperial Household Agency Purveyor, 14th Generation Tsuji Hitachi), \u003cspan\u003ewrapping cloth\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"872\"\u003eMaterial:\u003c\/b\u003e Porcelain (Arita ware, pure white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"927\"\u003eDimensions:\u003c\/b\u003e Height approx. 4.0cm, Width approx. 3.5cm, Total length approx. 9.0cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"1009\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from a very old production period and are listed as used items. The product may have damage due to age, so please understand and confirm this before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919775931,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5807_result.jpg?v=1776176312"},{"product_id":"209","title":"Fukuoka Prefectural Intangible Cultural Property Holder, Takakura Kunimitsu (高倉国光), 1986 Work, Koishiwara Ware, Secret Rokushō (Verdigris) Glaze, Tobi-Tetsu-Bori (Flying Iron Carving) Pattern, Suiteki Water Dropper, Whisky Dropper #209","description":"\u003cp data-path-to-node=\"6\"\u003eThis is an extremely rare artistic water dropper by Kunimitsu Takakura (1930-2021), a legendary potter based in Toho Village, Asakura-gun, Fukuoka Prefecture (Koishiwara), who connected the Koishiwara ware tradition to the present day. Born into the Takakura family, which has preserved the Koishiwara ware tradition for generations, he inherited the techniques of the community that have existed since the Edo period, yet elevated those techniques to the realm of fine art. His outstanding achievements are supported by the highest recognition for a regional potter: the Contemporary Master Craftsman award in 1996, the Order of the Sacred Treasure, Silver Rays in 2005, and certification as a holder of Fukuoka Prefecture's Intangible Cultural Property in 2014. His works are housed in the Fukuoka Prefectural Museum of Art and the Kyushu National Museum, making him an indispensable master in the history of Koishiwara ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThis piece transcends ordinary Koishiwara ware for daily use, possessing the dignity of a fine artwork. As proof of this, the inscription on the ceramic base is not the kiln name Takakura, but Kunimitsu—a signature the artist reserved for unique works imbued with his artistic pride, bearing his own name. Furthermore, from the description on the wooden box, it is clear that this piece was specially created on May 26, 1986, through a deep connection with Nara Kobaien, Japan's oldest and most prestigious ink manufacturer, founded in 1577. This vessel, custom-made as a water dropper to accompany the finest ink for Kobaien—a sacred place for calligraphy tools—is more than just a craft item; it is a historical record of a significant cultural exchange.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe design features the tobikanna (chattering) technique, a hallmark of Takakura's artistry, applied with perfect rhythm. This continuous pattern, carved with a mainspring steel spatula, exhibits the unerring precision of a master alongside the warmth generated by handwork, giving the entire vessel a pleasant sense of dynamism. The deep, transparent verdigris glaze covering the whole piece, applied thickly, emits a jewel-like luster. Although originally conceived as a tool for dispensing water drop by drop for calligraphy, our store redefines this item as a water dropper for enjoying Western spirits or rare aged spirits that have matured for decades.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eHigh-purity alcohol and aged spirits that have been bottled for decades undergo a moment of Blooming when a very small amount of water is added, changing the surface tension and dramatically revealing complex layers of trapped aroma and flavor. To control this extremely delicate change, the shape of this water dropper, which can precisely control water drop by drop, is ideal. Its use is surprisingly intuitive and elegant. By lightly pressing the small air hole on the top of the body with a fingertip, and then slightly lifting or closing that finger, the flow of air into the interior can be controlled with millimeter precision. This allows for a precisely intended single drop to be gently guided into the amber liquid. With his passing in 2021, new works with such a special background will never be created again, making this an extremely rare legacy, equivalent to owning a fragment of history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Takakura Kunimitsu (高倉国光, 1930-2021)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"39\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1996] Awarded as a Contemporary Master Craftsman (Outstanding Skilled Worker) by the Minister of Labor, [2005] Received the Order of the Sacred Treasure, Silver Rays, [2014] Certified as a holder of Fukuoka Prefecture's Intangible Cultural Property\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"323\"\u003eWorks in Collections:\u003c\/b\u003e Fukuoka Prefectural Museum of Art, Kyushu National Museum (Exhibition record), Toho Village Koishiwara Traditional Industrial Hall, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"482\"\u003eProduction Date:\u003c\/b\u003e 1986 (Showa 61 \/ Specially produced for Nara Kobaien)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"553\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"596\"\u003eAccessories:\u003c\/b\u003e Original wooden box (with Kunimitsu Takakura's signature and seal, and Nara Kobaien inscription), Leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"715\"\u003eMaterial:\u003c\/b\u003e Pottery (Koishiwara ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"751\"\u003eDimensions:\u003c\/b\u003e Height approx. 4.5cm, Maximum diameter approx. 4.5cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"816\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from a very old production period and are listed as used items. The product may have age-related damage, so please understand and confirm this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919808699,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5813_result.jpg?v=1778063108"},{"product_id":"211","title":"Matsumoto Isami (松本為佐視): A Masterpiece of Modern Kyoto Porcelain – Redefining Ru Ware Sky-Blue Jade Celadon Shot Glass #211","description":"\u003cp data-path-to-node=\"6\"\u003eThis is an exquisitely refined Jade Celadon guinomi (sake cup) by Matsumoto Isami (1931–2012), a doyen of the Kyoto ceramic art world and a master who led contemporary Japanese porcelain art. Matsumoto studied under \u003ca href=\"\/en\/search?q=%22%E6%A5%A0%E9%83%A8%E5%BD%8C%E5%BC%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYaichi Kusube\u003c\/a\u003e, a recipient of the Order of Culture who elevated post-war Japanese ceramics to the status of pure fine art for appreciation. The spirit of ceramics as pure art beyond utility, inherited from his mentor, consistently flows through his works as a dignified aesthetic form and a superposition of delicate colors.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe unique celadon color achieved by Matsumoto in this work—a Jade Celadon with the depth of an emerald—is the result of a physical phenomenon obtained only by controlling the iron oxide content in the glaze within an extremely fine range of 0.1 to 0.3 percent, and maintaining a perfectly constant reducing atmosphere in the kiln at high temperatures around 1300 degrees Celsius. This technique redefines the sky-blue color achieved by the Ru ware of China's Song Dynasty through a modern chemical approach. By intentionally inducing Rayleigh scattering—which occurs when light reflects off microscopic bubbles and undissolved particles within the glaze layer—it creates a deep transparency impossible with industrial dyes. The incised line (senkoku) technique applied to the entire surface requires a high degree of sensibility to precisely move a needle with sub-millimeter accuracy within the short time the clay body is in a semi-dry state, completed through an irreversible process where not a single mistake is allowed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eIn terms of form, it features dimensions that combine stability and elegance, with a mouth diameter of approximately 7.2 cm and a height of approximately 4.2 cm. The ability to evenly fix a deep celadon glaze onto such a thin and refined porcelain while controlling the crazing demonstrates a complete mastery of the firing schedule, based on many years of experience as a Nitten judge. Due to his overwhelming technical skill and dignity, Matsumoto received two Tokusen (Special Selection) awards at the Nitten, Japan's most prestigious art exhibition. His reputation extended overseas, with his works being housed in global museums such as the Spencer Museum of Art at the University of Kansas, the Minneapolis Institute of Art, and the Burke Collection in the United States.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eAlthough originally created as a guinomi for enjoying Japanese sake, our gallery proposes this piece as a shot glass for savoring rare aged sake or Western spirits that have matured for decades. The wide mouth design optimizes the surface area where the liquid comes into contact with air, directly delivering the complex aromas produced by Blooming with water to the nasal cavity. Despite its palm-sized dimensions, it is a highly acclaimed academic masterpiece that combines the infinite depth of emerald green with the tension of precise incised lines.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Matsumoto Isami (松本為佐視, 1931–2012)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"36\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e Received the 10th Nitten Tokusen (Special Selection) Award, the 6th Nitten Tokusen Award, served as a Nitten Juror, Nitten Councilor, and Director of the Kyoto Craft Arts Writers Association, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"276\"\u003eWorks in Collections:\u003c\/b\u003e Spencer Museum of Art (University of Kansas, USA), Minneapolis Institute of Art (USA), Mary and Jackson Burke Foundation (USA), Kyoto City KYOCERA Museum of Art (Kyoto City Museum of Art), Itsuo Art Museum (Ikeda City, Osaka Prefecture), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"541\"\u003ePeriod of Creation:\u003c\/b\u003e 2000s (Presumed to be from his mature late period)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"612\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"655\"\u003eAccessories:\u003c\/b\u003e Original wooden box (signed and sealed by Matsumoto Isami), \u003cspan\u003e\u0026nbsp;wrapping cloth, and descriptive leaflet included.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"736\"\u003eMaterial:\u003c\/b\u003e Porcelain\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"756\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 7.2 cm, height approx. 4.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"821\"\u003eNote:\u003c\/b\u003e All products offered by our gallery, even if unused, are from older production periods and are listed as used items. The product may have age-related wear, so please understand and confirm this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919874235,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5902_result.jpg?v=1776176898"},{"product_id":"229","title":"Traditional Craftsman certified by the Minister of International Trade and Industry, Kyoto Prefectural Governor's Award-winning Artist, Taishima Tosho (太嶋陶昌) - Gosu Sometsuke Landscape Pattern Bajouhai (High-footed Cup), Kyo-yaki \/ Kiyomizu-yaki #229","description":"\u003cp data-path-to-node=\"14\"\u003eWe are pleased to introduce a Sometsuke (underglaze blue) landscape-patterned Bajouhai (high-footed cup) by Taishima Tosho (Birth name: Taishima Shigeo, born 1940), a certified Traditional Craftsman of Kyo-yaki and Kiyomizu-yaki known as one of Kyoto’s leading masters in the fields of design and overglaze painting. Mr. Taishima graduated from the Ceramics Department of Kyoto Municipal Fushimi Technical High School in 1959 and completed the Ceramic Design course at the Kyoto Prefectural Ceramic Vocational Training School in 1968. This specialized education as a designer forms the bedrock of his creative work. His receipt of the Kyoto Ceramic Design Protection Association Chairman's Award at the inaugural Kyo-yaki and Kiyomizu-yaki Exhibition in 1977 serves as public recognition that he is a rare artist who possesses the sensibilities of an original designer, not merely a technician.\u003c\/p\u003e\n\u003cp data-path-to-node=\"15\"\u003eThe greatest value in this piece lies in the fusion of Mr. Taishima’s highly developed spatial composition skills and his refined brushwork in manipulating gosu (cobalt blue pigment). The surface depicts a traditional East Asian landscape pattern using classical perspective, encapsulating a vast, expansive natural scenery within the confined space of a small Bajouhai cup. While Mr. Taishima is widely renowned as a master of overglaze gold painting, the lavishness of his work is supported by a solid foundation of technical skills, such as the unwavering lines and the nuanced blue gradations achieved through the dami (shading) technique seen here. The Sometsuke, gleaming under a translucent glaze, exhibits a flawless finish that reflects the pride of a professional designer.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003eIn terms of form, the piece adopts the dignified Bajouhai style, historically used by nobles to enjoy sake on horseback, characterized by the elegant and refined silhouette typical of Kyo-yaki. Distinct from the rustic textures of other regions, the sophisticated porcelain texture and thin-walled form directly convey the temperature and delicate nuances of the sake the moment it touches the lips. Given the perfection of its design and high functionality, we propose this piece as a tasting glass for savoring amber Japanese whisky or long-aged sake with complex layers of aromatic components.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eIn Kyoto’s traditional system of specialized labor, the work of Taishima Tosho—who has reached the pinnacle of both design and finishing—is the quintessence of Kyo-yaki’s precision beauty. In the international market, Sometsuke works by an artist with such a prestigious academic background, official accolades, and technical accuracy are extremely rare. The Tosho mark on the bottom of the vessel represents the pride of an artist celebrated as a symbol of Kyoto’s design protection. We invite you to enjoy a supreme drinking experience with this small work of art, whether during a sophisticated evening drink or a tranquil moment of appreciation.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Taishima Tosho (太嶋陶昌, Birth name: Taishima Shigeo, 1940–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"59\"\u003eNotable Career:\u003c\/b\u003e [1959] Graduated from Kyoto Municipal Fushimi Technical High School, Ceramics Dept. [1968] Completed the Ceramic Design course at Kyoto Prefectural Ceramic Vocational Training School. [1977] Received the Kyoto Ceramic Design Protection Association Chairman's Award at the 1st Kyo-yaki and Kiyomizu-yaki Exhibition. [1985] Received the Kyoto Prefectural Governor's Award. [1993] Certified as a Traditional Craftsman by the Minister of International Trade and Industry.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"538\"\u003eProduction Period:\u003c\/b\u003e Late 1980s – 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"576\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, minor signs of age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"639\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako), leaflet, wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"708\"\u003eMaterial:\u003c\/b\u003e Porcelain (Kyo-yaki Sometsuke)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"749\"\u003eDimensions:\u003c\/b\u003e Height: approx. 8.5 cm, Rim diameter: approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"814\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if unused, are from an older production period and are listed as used items. Please understand and acknowledge that items may have age-related wear before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47738928332987,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6233_result.jpg?v=1778638942"},{"product_id":"239","title":"Nakamura Teruko (中村照子), President of Hokkaido Ceramics Association, Full Member of Japan Kōgei Association - Sometsuke Flying Dragon-motif Bajouhai (High-footed Cup), Fuji Kiln #239","description":"\u003cp data-path-to-node=\"19\"\u003eNakamura Teruko, based at Fujigama in Ebetsu, Hokkaido, is a preeminent artist in the Hokkaido ceramics scene, serving as president of the Hokkaido Ceramics Association and a full member of the Japan Kōgei Association. This piece, distinct from her signature soil inlay technique, is a sometsuke (underglaze blue) Bajouhai (Horse-riding cup). It features a powerful flying dragon rendered in gosu (cobalt blue pigment) on a pristine white background reminiscent of porcelain. The elegant, thinly-potted form, meticulously crafted on a hand-turned potter's wheel, blends the delicate touch characteristic of a female artist with the solid technical skill expected of a full member of the Japan Kōgei Association, beautifully capturing the serene atmosphere of the northern land.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe flying dragon depicted as the motif is characterized by dynamic brushstrokes that convey the artist's breath in every line. The sometsuke gradation technique, transitioning from pale to deep blue, expresses the dragon's dynamism as it tears through clouds and ascends to the heavens. Its surface is finished smoothly with a transparent glaze. This flying dragon motif is an auspicious design symbolizing ascent and protection, and combined with the elegant shape of the Bajouhai cup, historically used for enjoying sake on horseback, it exudes a dignity that seems to elevate the aspirations of those who hold it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eA remarkable aspect of this work is the extremely clear boundary between the white background and the blue dragon, while the overall texture is moist and feels as if it adheres to the fingers. This is a testament to advanced glazing techniques and firing management, vividly expressing Ms. Nakamura's sensibility in elevating everyday vessels to the realm of art. We propose this dignified Bajouhai cup as a special vessel for savoring amber Japanese whisky or aged sake. The time spent holding the stem between your fingers and admiring the contrast between the cool white and the vibrant blue will undoubtedly be a moment of pure bliss.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eNakamura Teruko continues to receive high acclaim at major domestic and international public exhibitions, including the Japan Traditional Crafts Exhibition, and her works are considered valuable artifacts symbolizing Hokkaido's ceramic culture. A one-of-a-kind sake cup like this, distinguished by its brilliant brushwork, is extremely rare on the market, offering an unparalleled collecting opportunity for those seeking the essence of Japanese Kōgei. Please add this Flying Dragon Bajouhai cup, the culmination of Ebetsu's rich soil and Ms. Nakamura's refined aesthetic, to your special collection.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Nakamura Teruko (中村 照子, 1944–Present)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"46\"\u003eArtist's Major Activities:\u003c\/b\u003e President of the Hokkaido Ceramics Association. Full member of the Japan Kōgei Association. Creates works at Fujigama in Ebetsu, Hokkaido. Highly acclaimed domestically and internationally as a leading potter in Hokkaido, with numerous selections in the Japan Traditional Crafts Exhibition, recipient of the Doten Award (Hokkaido Fine Arts Association), and the NHK Broadcasting Station Award.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"467\"\u003eProduction Period:\u003c\/b\u003e Circa 2008–2014 (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"514\"\u003eCondition:\u003c\/b\u003e Excellent (no chips, no cracks, some signs of age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"576\"\u003eAccessories:\u003c\/b\u003e Custom washi paper box, artist's leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"630\"\u003eMaterial:\u003c\/b\u003e Ceramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"648\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 7.2 cm, Height approx. 9.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"713\"\u003eNote:\u003c\/b\u003e Even if new and unused, all items offered by our shop are very old production pieces and are listed as used. Please understand and acknowledge that items may have age-related damage before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47766438478011,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6189_result.jpg?v=1778493111"},{"product_id":"240","title":"Kida Hiroyuki (木田弘之) Kutani Ware Celadon Teabowl and Ceramic Whisky Tumbler (Selected for the Nitten Exhibition, Awarded Minister of Education Prize) #240","description":"\u003cp data-path-to-node=\"14\"\u003eThis is a celadon chawan (tea bowl) by Hiroyuki Kida (1944-), a modern Kutani ware master whose works have received numerous top honors, including the Nitten Special Selection and the Minister of Education Award, and whose pieces are permanently held by Japan's Ministry of Foreign Affairs. This piece has the beautiful proportions of a matcha bowl that fits comfortably in the hand, and our shop proudly proposes it as a premium Japanese craft Ceramic Whisky Tumbler for slowly enjoying aged sake that has matured into a rich amber color over time, or carefully selected whisky with large ice cubes. Its traditional shape, with a wide mouth and moderate depth, significantly enhances the rich aroma of the poured liquor by allowing it to interact with the air, and when held, it directly conveys the smooth texture and pleasant weight characteristic of Kutani porcelain. The attempt to merge the traditional chawan, which possesses an overwhelming presence as an art object and is deeply rooted in Japanese tea ceremony culture, with the modern enjoyment of luxury spirits will surely provide a luxurious experience for entertaining overseas collectors and special guests with the highest form of Japanese hospitality.\u003c\/p\u003e\n\u003cp data-path-to-node=\"14\"\u003eThe artist, Hiroyuki Kida, was born in Hachiman, Komatsu City, Ishikawa Prefecture in 1944. As the third-generation successor of Kida Seito, a renowned family of Kutani ware three-dimensional sculptors, he inherited the highly precise modeling techniques passed down through generations. Furthermore, not content with the scope of traditional crafts, he completed his studies at the Government Industrial Research Institute, Nagoya, a national research institution, acquiring scientific and modern ceramic technology. He has established a truly rare, completely handmade style in the world of Kutani ware, overseeing every step from mold making and shaping to meticulous overglaze painting himself. He has achieved brilliant results on major stages both domestically and internationally, including receiving the Nitten Special Selection, the Minister of Education Award, being selected for the Faenza International Ceramics Competition in Italy, and winning the Chunichi Grand Prize. His extraordinary modeling sense and technique have been officially recognized as national art pieces, purchased by the Ministry of Foreign Affairs, and permanently housed as part of the public collection of the Hokkaido Museum of Modern Art, among other accolades, widely proving their cultural asset value. He continues to be a leading figure who relentlessly pursues the art of pottery, and complete pieces bearing the artist's original signature on the box, which circulate in the market, possess extremely high rarity due to the lack of new supply.\u003c\/p\u003e\n\u003cp data-path-to-node=\"14\"\u003eOne of the most highly regarded aspects of Hiroyuki Kida's pottery is his advanced glaze color control technology, backed by years of research. Upon careful examination of this piece, as can be seen in the accompanying images, it stands out as an exceptionally well-executed work among his celadon pieces, a masterpiece full of artistic flavor. The beautiful glaze covering the entire vessel achieves a vivid and deeply clear coloration reminiscent of the highest quality jade, possessing an incredibly high, captivating transparency. Furthermore, as can be meticulously observed in the detailed photographs, a splendid network of crackle, like finely woven ice cracks, spreads beautifully and seamlessly from the inner and outer walls of the vessel all the way to the deep interior. The thickness of this transparent glaze and the countless layers of fine cracks within it allow light to pass through, creating a three-dimensional visual effect as if a mystical natural landscape unfolds deep within the vessel when gazed upon. When sake is poured and ice floats within, the amber liquid of aged sake, the jade color, and the sparkling crackle will harmonize beautifully within the vessel, evoking the highest level of sophistication.\u003c\/p\u003e\n\u003cp data-path-to-node=\"14\"\u003eThis piece is perfectly accompanied by physical evidence that confirms its authenticity and the artist's distinct style. On the base of the vessel, within the carefully finished foot, a clear square seal \"Hiroyuki\" is engraved, indicating it is an authentic work by the artist. Furthermore, the lid of the dedicated wooden box, which shows careful preservation, bears the artist's handwritten inscription \"Celadon Tea Bowl\" on the front and \"Kutani Hiroyuki\" with a square seal on the inside. In addition, a dedicated yellow wrapping cloth beautifully stamped with the artist's seal, and a detailed artist's profile booklet (shiori) are all included in excellent condition. This is a complete piece in very good condition, free from chips or cracks, and represents an asset of undeniable value as a supreme Japanese craft piece, extremely difficult to encounter overseas. Please note that the fine crackle patterns visible on the surface of the vessel are a traditional, natural characteristic unique to celadon, known as \"kannyu,\" and are not damage from later impact or wear. Please feel free to pour your drink and enjoy its beautiful appearance. We invite you to enjoy the supreme beauty cultivated by Japanese tradition in your own hands.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kida Hiroyuki (木田弘之, 1944-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"30\"\u003eArtist's Major Activities:\u003c\/b\u003e [1944] Born in Kaga Hachiman, Komatsu City, Ishikawa Prefecture, completed studies at the Government Industrial Research Institute, Nagoya. [1966] First accepted into the 22nd Ishikawa Prefectural Contemporary Art Exhibition and first exhibited and accepted into the 9th Nitten Exhibition (work title: Town with a Forest). Since then, he has achieved brilliant results in major public exhibitions. [1974] Selected for the 32nd Faenza International Ceramics Competition in Italy, a globally renowned authority. [1977] Received the Chunichi Grand Prize, the highest award at the 5th Chunichi International Ceramics Exhibition (work later publicly acquired by Komatsu City). [1979] Received the Minister of Education Award, the highest award category at the Prefectural Exhibition Selection organized by the Agency for Cultural Affairs. [1980] Recommended as a member of the Japan New Craft Artists Federation, and his work exhibited at the 2nd Japan New Craft Exhibition in the same year (Serving Dish, Sui) was publicly acquired by the Ministry of Foreign Affairs. [1995] Received the Special Selection, one of the highest honors of the Nitten Exhibition.\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1212\"\u003eWorks in Public Collections:\u003c\/b\u003e Ministry of Foreign Affairs (public acquisition), Komatsu City, Ishikawa Prefecture (public acquisition), Hokkaido Museum of Modern Art (1973 work, ceramic three-dimensional piece \"Untitled\" permanently housed), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1458\"\u003eProduction Period:\u003c\/b\u003e Circa 1977–1980 (Showa 52–Showa 55 \/ The pinnacle of his golden age, during which he won the Chunichi Grand Prize and the Minister of Education Award, and achieved public acquisition by the Ministry of Foreign Affairs)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1622\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks; please note the natural crackle)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1698\"\u003eAccessories:\u003c\/b\u003e Dedicated wooden box, wrapping cloth, artist's profile booklet (shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1792\"\u003eMaterial:\u003c\/b\u003e Porcelain (celadon)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1822\"\u003eDimensions:\u003c\/b\u003e Height approx. 8.0 cm, Diameter approx. 12.2 cm \u003cbr\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products offered by our shop are unused, they are very old production items and are all listed as used. Products may have age-related damage, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47766438576315,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7468_result.jpg?v=1780730527"},{"product_id":"283","title":"Kyoto Prefectural Traditional Craft Techniques Holder, Hayashi Makuu (林沐雨) - A Phantom Kiyomizu-yaki Masterpiece Fusing Vivid Cobalt Enamel and Fine Gold Leaf: Gold-Accented Enamel \"Oosuzume \/ Red-flanked Bluetail\" Yunomi Tea Bowl \/ Rock Glass #283","description":"\u003cdiv class=\"container\"\u003e\n\u003cdiv class=\"markdown markdown-main-panel enable-luminous-fast-follows enable-updated-hr-color stronger\" id=\"model-response-message-contentr_126626194aeeb34d\" aria-busy=\"false\" aria-live=\"polite\" dir=\"ltr\"\u003e\n\u003cp data-path-to-node=\"27\"\u003eThis is an exceptionally elegant Iroe-Kinsai (overglaze enamel painting with gold accents) Yunomi tea bowl, representing the absolute pinnacle of classic Kyoto elegance, meticulously crafted by the grand master of Kiyomizu ware, Makuu Hayashi (1901–1991, real name: Yoshikazu Hayashi). The artist is widely recognized among elite collectors as an extremely rare individual whose works are seldom found within the Japanese secondary market or domestic digital archives. This extreme rarity is due to his unwavering lifelong commitment to working completely independently without ever aligning himself with major Japanese art establishments such as the Nitten Exhibition, combined with his extensive mid-century production of bespoke pieces direct-exported to overseas trading houses, notably in Hawaii, both before and after World War II.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eOur gallery proudly presents this rare, historically significant masterpiece by a legendary artisan, not merely as an everyday utilitarian vessel, but as a supreme expression of Japanese Kōgei. It is specifically curated to serve as a premium sake cup for savoring rare vintage and aged sakes that have developed a profound complexity and rich character over decades of cellaring. The comfortable, organic proportion that nestles perfectly within the palm of your hand and its deliberate depth are beautifully designed to gently capture and concentrate the volatile, opulent aromas of mature spirits, creating a deeply luxurious sensory experience that delights both the eye and the palate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eMakuu Hayashi's most historically celebrated achievements lie in his exquisite mastery of overglaze enameling, which directly inherits the grand classical traditions of the legendary historical potters Ogata Kenzan and Nonomura Ninsei, along with his revolutionary color expressions utilizing traditional Japanese mineral pigments and Kochi glazes set against a low-temperature red-flame translucent glaze that he independently developed in 1928. This specific vessel beautifully demonstrates these exceptional techniques, adorned with the bird motif that the master favored above all else. The \"Oosuzume\" (modeled after the Red-flanked bluetail) depicted on the front facing of the cup utilizes a pristine, piercingly vivid cobalt Japanese mineral pigment, with incredibly precise brushwork that beautifully captures the dynamic vitality of life. Furthermore, sophisticated gold leaf detailing is layered over deep black enamels around the bird's face and across the primary feathers, retaining the imperial elegance of traditional Kiyomizu ware while simultaneously elevating the composition into a sharp, modern graphic design reminiscent of mid-century Western fine art.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eAnother exceptional highlight of this piece extends beyond the surface painting to showcase the sublime, organic fusion of clay and kiln fire throughout the entire vessel body. Observing the reverse and side profiles of the cup, one can discern delicate pink speckles, historically known as \"higaawari\" (accidental kiln fire transformations), gently blushing through the fine crackled cream-white glaze base. Although the piece is technically crafted from fine porcelain, this breathing organic phenomenon beautifully evokes the material warmth and aesthetic depth unique to traditional Kyoto pottery, entirely distinguishing the object from cold, sterile commercial wares. On the underside of the foot rim, Makuu's authentic signature, inheriting the artistic lineage of his historical studio \"Isshian,\" is boldly and sharply incised with a master's spatula. The exterior lid of the accompanying dedicated wooden box (Tomobako), which has safely protected the artwork for decades, bears the artist's personal, fluid calligraphy titled \"Oosuzume Yunomi\" along with his signature and official vermilion seal (rakkan)—an absolute certification of provenance that fully guarantees its reliability, authenticity, and profound historical collection value. We invite you to experience the absolute zenith of traditional Japanese craftsmanship, a rarity virtually nonexistent in international markets, alongside your finest spirits.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eHayashi Makuu (林沐雨, 1901–1991, Birth name: Yoshikazu Hayashi)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist's Notable Activities:\u003c\/strong\u003e [1916] Studied the core fundamentals of ceramic arts under his biological father, the master potter \u003ca href=\"\/en\/search?q=%22%E6%9E%97%E7%A5%A5%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShozan Hayashi\u003c\/a\u003e; [1921] Entered \"Gojodo,\" the highly exclusive purveyor to the Imperial Household Ministry, where he thoroughly acquired advanced imperial porcelain manufacturing techniques; [1932] 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 V, the undisputed titan of modern Kyoto ceramic arts (until 1936); [1948] Formally certified as a \"Holder of Traditional Craft Techniques\" by the Kyoto Prefectural Government for his outstanding contributions to cultural preservation\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Ibaraki Ceramic Art Museum, and other prominent public fine art institutions\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1950s–1970s (Mid-Showa era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eProduct Condition: \u003c\/strong\u003eVery Good (pristine archival condition with no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (Original wooden box signed and sealed by the artist)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (Porcelain body featuring colored clay slip and fine gold leaf decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.9 cm, Mouth diameter approx. 8.1 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease be advised that all historical works curated by our gallery, even if unused, originate from a historic production era and are strictly categorized as antique\/pre-owned fine art. Vintage objects may display subtle age-related nuances; we kindly invite you to consider your purchase with a full understanding of the unique character of antique Japanese ceramics.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c!----\u003e\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974192251067,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9062_result.jpg?v=1784251734"},{"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":"313","title":"MITI Minister's Award Winner, Arita Ware Seihakuji Pale Celadon Hexagonal Stemmed Cup with Tomobako and Leaflet by Tanaka Hajime (田中一・田中一晃) of Ichii Kiln, Sculptural Faceted Sake Vessel Symbolizing Modern Craft Design #313","description":"\u003cp data-path-to-node=\"29\"\u003eThis is an Arita ware Seihakuji (pale blue celadon) hexagonal stemmed cup crafted by Tanaka Hajime (1933–2002, who later changed his art name to Ikkō Tanaka) of Ichii Kiln in Ureshino, Saga Prefecture. He served as a full member of the Japan Art Crafts Association and an associate of Nitten, winning the grand Minister of International Trade and Industry Award at the Kyushu Yamaguchi Ceramics Exhibition. After refining his porcelain techniques at a factory in Arita, Tanaka established Ichii Kiln in Ureshino in 1965. While inheriting traditional Hizen porcelain techniques, he highly integrated modern craft design sensibilities, earning repeated selections in the Good Design Exhibition and Japan New Craft Exhibition in 1968. Takeshi Nagatake, a leading art critic and authority in Kyushu ceramics, praised his outstanding sense of form and dedicated passion for pottery. Notably, this piece is an authentic creation from the period under the name \"Tanaka Hajime,\" when his creative passion reached its peak prior to changing his name to \"Ikkō Tanaka\" in 1981.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThis piece is a hexagonal stemmed cup that brilliantly sublimates the technique of \"Seihakuji Faceting and Carved Patterns\" (Seihakuji Mentori Chō-monyō), explicitly documented as the artist's hallmark in the accompanying leaflet. From the tightened stem section up to the widely opening hexagonal cup body, wave-like faceting and geometric carved patterns are applied under precise calculation. By applying a transparent pale blue celadon glaze containing delicate blue hues, the glaze pools beautifully along the sharp edges and carved recesses executed by carving tools, creating a striking contrast between crisp structural lines and soft light gradations. On the underside of the high foot ring, a handwritten mark in cobalt blue pigment (gosu) is present, embodying a tension of handcrafted mastery and dignified elegance distinct from mass-produced wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWe propose this stemmed cup, combining high artistic acclaim with modern design aesthetics, as a refined Japanese Kogei sake vessel for savoring aged spirits, premium whisky, or chilled sake, gracefully adapting it to a sophisticated contemporary lifestyle. The slender, elegant high-stem structure fits comfortably in the hand, and the amber or clear tones of spirits poured into the cup reflect beautifully against the serene blue of the Seihakuji glaze, elevating special evening drinks into a more luxurious moment. Created during the \"Tanaka Hajime\" era (1968–1976) before he later assumed the name \"Ikkō Tanaka\" and solidified his reputation at the Living National Treasure level, this piece remains in exceptionally rare condition, complete with its original wooden box (Tomobako)—bearing handwritten calligraphy and red seals for Arita Ware and Seihakuji Hexagonal Stemmed Cup on the lid—as well as the explanatory studio leaflet dated 1976.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTanaka Hajime (田中一・田中一晃, later changed name to Ikkō Tanaka, 1933–2002)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003e[1965] Established Ichii Kiln in Ureshino, Saga Prefecture, [1968] Selected for the Good Design Exhibition and Japan New Craft Exhibition, [Before 1976] Awarded the Minister of International Trade and Industry Award (Grand Prize) at the Kyushu Yamaguchi Ceramics Exhibition, Awarded the Modern Crafts Exhibition Commemorative Award, 11 selections at Nitten (eventually 17 total selections; Nitten Associate), Received the Member Award at the Japan New Craft Exhibition, Full Member of the Japan Art Crafts Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eWorks in Collection \/ Evaluation：\u003c\/strong\u003eEvaluated by art critic Takeshi Nagatake; Full Member of the Japan Art Crafts Association; Member of Nitten; Director of the Saga Prefecture Ceramic Artists Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1968–1976 (Showa 43–Showa 51, Period under the name \"Tanaka Hajime\")\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 \"Arita Ware\" red seal, \"Seihakuji Hexagonal Stemmed Cup\" and \"Ichii Kiln\" calligraphic inscription with seal on the lid; explanatory leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003ePorcelain (Seihakuji \/ Pale blue celadon glaze, carved patterns, faceted mentori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 7.5 cm, Mouth diameter (width) approx. 6.0 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":48093148315835,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9345_result.jpg?v=1784546349"},{"product_id":"345","title":"Aichi Inuyama Ware: Gosu Akae Auspicious Character Bowl, Kenzan-Style Autumn Grass Cylindrical Mukozuke, Gosu Landscape Round Small Jar, Sencha Teacup, Sake Vessel, 3-Piece Set #345","description":"\u003cp data-path-to-node=\"17\"\u003eFounded in the mid-Edo period in Inuyama City, Aichi Prefecture, and developed uniquely under the patronage of Naruse, the lord of Inuyama Castle in the Owari Domain, this 3-piece small set condenses rich sculptural beauty and painting techniques centered around works imbued with the traditional skills of Inuyama ware. Inuyama ware is renowned for its gorgeous overglaze painting modeled after Chinese Swatow-style red enamel (Gosu Akae) from the Ming dynasty and elegant painted motifs influenced by Ogata Kenzan; from the Meiji to Taisho eras, it was actively produced as refined vessels to grace sencha tea ceremonies and banquet settings. Combining three pieces, each possessing distinct techniques and charm—a sake cup showcasing traditional Gosu Akae methods to full effect, a cylindrical teacup with a rustic Kenzan-style flavor, and a round small jar adorned with sophisticated Gosu blue painting—our shop presents this set to the global market not only as a tea vessel set for savoring sencha, but also as a luxury Japanese sake vessel and small jar set for enjoying sake or whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully observing the details of each piece clearly reveals the artisan's sophisticated design sensibility and handcrafted skill. The overglaze red sake cup is covered throughout in the technique of Gosu Akae, the true essence of Inuyama ware, using deep, dense red enamel and vivid green glaze to meticulously depict auspicious characters such as \"Longevity\" (寿), floral motifs, and fine lattice patterns without gaps inside round medallions. Red and green dot patterns line the rim of the interior (mikomi), creating a beautiful contrast against the warm feldspar glaze body with crazing, while a circular frame containing the stamped mark \"Inu\" (犬) indicating genuine Inuyama ware is clearly impressed on the bottom of the foot ring. The cylindrical teacup features expansive autumn grass motifs painted in iron glaze and green enamel over a flavorful feldspar glaze body, showing an individualistic and commanding presence with a rectangular ornamental window carved into its side. The round small jar showcases landscape and autumn grass scenes painted with delicate Gosu strokes on a spherical white glaze surface, imparting a refined dignity to any space.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, based on a comprehensive analysis of the circular framed \"Inu\" stamp form on the bottom of the foot, the coloration and texture of the overglaze enamels, and the sculptural styling of Inuyama sencha and sake vessels during their peak from the mid-Meiji to Taisho eras, it is estimated to be a work created between circa 1890s and 1910s (mid-Meiji to early Taisho era). All vessels have no noticeable damage such as cracks or chips, maintaining excellent condition in both the coloration of the Gosu Akae and the texture of the clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eInuyama Ware Potters \/ Artisans (Founded in 1710–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e [1710] Kiln established by order of Naruse Masachika, lord of Inuyama Castle (origins); [1830] Established Gosu Akae and Kenzan-style designs as the official kiln of the Owari Domain; [1890s–1910s] Produced numerous sencha vessels and high-end banquet sakeware during the Meiji and Taisho eras\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Inuyama City Cultural Historical Museum, Aichi Prefectural Ceramic Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1890s–1910s (Mid-Meiji to early Taisho era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery and semi-porcelain (Inuyama ware, Gosu Akae overglaze red, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Teacup (Height approx. 8.5 cm, Mouth diameter approx. 7.7 cm), Sake cup (Height approx. 5.5 cm, Mouth diameter approx. 7.4 cm), Small jar (Height approx. 7.0 cm, Mouth diameter approx. 2.8 cm)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\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":48199388266683,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2231_result.jpg?v=1788484197"},{"product_id":"359","title":"Antique Earthenware Underglaze Blue Pine, Bamboo and Plum High-Footed Cup, Horseback Cup, Japanese Rocks Glass #359","description":"\u003cp data-path-to-node=\"9\"\u003eExuding a commanding presence with a height of approximately 14.8 cm, width of 11.5 cm, and mouth diameter of 9.2 cm, this is an antique, unsigned ceramic underglaze blue (sometsuke) high-footed cup decorated with pine, bamboo, and plum motifs (horseback cup \/ takatsuki \/ high-footed tea bowl). Following the large-scale form of traditional horseback cups and high-stemmed vessels, its vivid deep blue sometsuke decoration set against a white ground conveys a powerful aesthetic sensibility. Our shop presents this high-footed cup—endowed with the imposing character unique to antique ceramics aged over long years—to the global market not only as a traditional liquor vessel and appreciation ceramic, but also as a supreme vintage rocks glass (a Japanese free cup) for luxuriously savoring amber aged sake or matured whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eObserving the details of this piece reveals the traditional sometsuke (blue and white) technique applied across the entire vessel surface, along with the auspicious motifs of pine, bamboo, and plum (Three Friends of Winter) rendered with magnificent vitality. On the plump, bowl-shaped body, pine extending its needles radially, bamboo stretching upright with sharp leaves, and plum expressed with rounded petals and powerful branches unfold dynamically through brushwork leveraging shades of gosu (cobalt blue pigment). Flowing karakusa (arabesque \/ scroll) patterns are arranged on the upper section of the high foot, while regular vertical-striped lotus petal motifs are band-placed on the flaring lower section, tightening the overall visual poise of the vessel. The bluish ash-white glaze covering the entire ceramic body is densely traversed by fine crackles (kannyu), while the inner base of the foot ring exposes unglazed raw clay, leaving traces of hand-carving and coarse clay texture intact.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eRegarding the period of production, taking clues from the traditional horseback cup construction joining the bowl and high foot, the brushwork style of hand-painted gosu decoration, the age-related transformation of the bluish crackle glaze, and the unglazed raw clay texture and hand-carved feel visible on the foot base, it is identified as an antique piece crafted between 1850 and circa 1910 (late Edo to Meiji period). The vessel itself has no fatal damage such as cracks or chips, maintaining extremely good condition as an antique piece in both the flavor of its crackles and the vibrancy of its gosu coloration.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eUnknown (Antique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eFeatures of the Work: \u003c\/strong\u003eEarthenware underglaze blue, pine, bamboo, and plum motif (Three Friends of Winter), arabesque motif, lotus petal motif, high-footed cup (horseback cup), crackle glaze\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1850–1910 (Estimated late Edo to Meiji period)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (includes age-related crackles, no chips, no cracks) \u003cbr\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None (item only) \u003cbr\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (underglaze blue, crackle glaze)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 14.8 cm, Width approx. 11.5 cm, Mouth diameter approx. 9.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are antique pre-owned items due to their historical production period. Please consider purchasing after understanding the character of age-related crackles and wear.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48222306107579,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1001_result.jpg?v=1786498698"},{"product_id":"381","title":"Aoyama Kiln, Mr. Aoyama Norihiro (青山徳弘): White Glaze Crackle Underglaze Cobalt Wheat Ear Motif Cylindrical Free Cup, Japanese Rocks Glass, Sake Vessel #381","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Mr. Aoyama Norihiro (1954–, Aoyama Kiln), a master of Mino underglaze cobalt painting based at Aoyama Kiln in Mizunami City, Gifu Prefecture, this cylindrical free cup features a white crackle glaze adorned with a fluid wheat ear motif in cobalt blue. Mr. Aoyama Norihiro studied under his father, Mr. \u003ca href=\"\/en\/search?q=%22%E9%9D%92%E5%B1%B1%E7%A6%AE%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eAoyama Reizo\u003c\/a\u003e, a holder of Tajimi City Designated Intangible Cultural Property, and after refining his ceramic techniques at Kusanoto Kiln for approximately 28 years, he established his independent studio, Aoyama Kiln, in 2001. Continuously pursuing \"the importance of line\" taught by his father to its absolute limit, he has earned exceedingly high acclaim for his unyielding, fluid, and powerful linework. Our shop offers this 2012 piece, blending traditional Mino underglaze blue painting techniques with modern sculptural beauty, to the global market as a luxurious Japanese rocks glass (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 reveals a brilliant expression of Mr. Aoyama Norihiro's signature masterful linework and highly specialized execution of the traditional \"wheat ear motif\" (mugiho-mon). Symbolizing fertility and vitality in both Western and Eastern cultures, the wheat ear is a motif long cherished in Japanese ceramics. In this piece, through \"dami\" (shading technique) skillfully rendering cobalt pigment (gosu) gradations and sharp \"honegaki\" (outline brushwork), the thick stalks and delicate awns (wheat bristles) are depicted with a magnificent dynamic rhythm. The warm ivory-toned white glaze is covered in a fine, mesh-like crackle glaze (rekkon), creating a vivid visual contrast with the cobalt coloration. The graphic circular composition of swaying wheat ears forming continuous loops requires supreme mastery that tolerates not the slightest variation in brush pressure or speed, expanding three-dimensionally without interruption from the vessel's exterior to the spiral composition on the mikomi (inner bottom). Inside the foot ring, a hand-painted \"A\" mark in cobalt pigment—symbolizing Aoyama Kiln and the artist's initial—is directly rendered, enhancing its dignity as refined contemporary craft while honoring Mino tradition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking its style following the establishment of Aoyama Kiln in 2001, the hand-painted \"A\" cobalt signature inside the foot ring, and records of his exhibition works and production period around 2012 as decisive clues, it is identified as an authentic work created circa 2012 (circa Heisei 24). The vessel itself has no cracks or chips, maintaining extremely good condition in its crackle glaze development, cobalt coloration, and the sharpness of the painted lines forming the wheat ears. While it does not include accessories such as a dedicated Tomobako, it is a magnificent piece combining the strong presence of a master's one-of-a-kind handcrafted work with functional beauty.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eAoyama Norihiro (青山徳弘, 1954–, Aoyama Kiln)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003eStudied under his father, Mr. Aoyama Reizo (Holder of Tajimi City Designated Intangible Cultural Property); [1972] Graduated from Ceramic Art Department of Gifu Prefectural Tajimi High School; [1976] Joined Kusanoto Kiln (crafted ceramics for approx. 28 years); [2001] Established independent \"Aoyama Kiln\" in Mizunami City, Gifu Prefecture, holding solo exhibitions and presenting works at Isetan Shinjuku, Maruei Department Store, Meitetsu Department Store, and \"Utsuwa Hanada\"; [2019] Also active at Dozan Kiln\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e None (Activity centered on solo and group exhibitions)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 2012\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\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, white glaze, crackle, underglaze cobalt, wheat ear motif, hand-painted \"A\" cobalt signature)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.6 cm, Width approx. 10.5 cm, Mouth diameter approx. 8.8 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. Products may have minor age-related changes in texture, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439379643,"sku":null,"price":27000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1565_result.jpg?v=1787562465"},{"product_id":"387","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Tsuchinoto-Ne\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2007 #387","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Tsuchinoto-Ne\" (Boshi no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from Tsuchinoto-Ne (Rat), the zodiac sign for 2008, the top of the lid features an organic, charmingly rounded three-dimensional sculpture evocative of a rat standing on a quiet water surface, with a delicate tail line extending smoothly backward acting as a refined accent. The entire body of the vessel also assumes a soft roundness in harmony with the charming form of the rat, while the exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. On the underside, the artist's handwritten signature \"戊子\" (Tsuchinoto-Ne) is inscribed in blue, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2007 based on its nature as a zodiac artwork themed after \"Tsuchinoto-Ne\" (Year of the Rat 2008, corresponding in the 60-year sexagenary cycle) alongside the artist's production cycle of crafting zodiac pieces in the preceding year. Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eMade in 2007\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.0 cm, Width approx. 6.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as 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":48288143769787,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2838_result.jpg?v=1789268237"},{"product_id":"388","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Tsuchinoto-Ushi\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2008 #388","description":"\u003cp data-path-to-node=\"17\"\u003e\u003cspan\u003eThis porcelain vessel with lid,\u003c\/span\u003e\u003cspan\u003e titled \"Form of Tsuchinoto-Ushi\" (Kichu no Katachi),\u003c\/span\u003e\u003cspan\u003e is crafted by Nagae Shigekazu,\u003c\/span\u003e\u003cspan\u003e a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide,\u003c\/span\u003e\u003cspan\u003e including The Metropolitan Museum of Art and the Victoria and Albert Museum.\u003c\/span\u003e\u003cspan\u003e Born in 1953 in Seto City,\u003c\/span\u003e\u003cspan\u003e Aichi Prefecture,\u003c\/span\u003e\u003cspan\u003e he sublimated industrial slip-casting techniques into artistic porcelain sculptures,\u003c\/span\u003e\u003cspan\u003e sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix,\u003c\/span\u003e\u003cspan\u003e the International Ceramics Competition Mino Grand Prix,\u003c\/span\u003e\u003cspan\u003e and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland.\u003c\/span\u003e\u003cspan\u003e Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior,\u003c\/span\u003e\u003cspan\u003e this work was originally created as an incensory (kogo),\u003c\/span\u003e\u003cspan\u003e a refined tea ceremony vessel.\u003c\/span\u003e\u003cspan\u003e However,\u003c\/span\u003e\u003cspan\u003e removing the lid transforms it into a sake vessel with a beautiful profile,\u003c\/span\u003e\u003cspan\u003e presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u003cspan\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve.\u003c\/span\u003e\u003cspan\u003e Created with inspiration drawn from the concept of Tsuchinoto-Ushi (Ox),\u003c\/span\u003e\u003cspan\u003e the zodiac sign for 2009,\u003c\/span\u003e\u003cspan\u003e the top of the lid features a powerful,\u003c\/span\u003e\u003cspan\u003e organic,\u003c\/span\u003e\u003cspan\u003e and fluid horn-like sculptural motif evocative of a bull's two horns.\u003c\/span\u003e\u003cspan\u003e The triangular body and exterior white porcelain surface,\u003c\/span\u003e\u003cspan\u003e finished with meticulous hand-sanding,\u003c\/span\u003e\u003cspan\u003e exhibit a graceful matte texture that softly absorbs light.\u003c\/span\u003e\u003cspan\u003e Meanwhile,\u003c\/span\u003e\u003cspan\u003e the interior of the vessel and the concave areas of the lid are filled with rich,\u003c\/span\u003e\u003cspan\u003e nuanced pale-blue celadon glaze reminiscent of a clear blue sky,\u003c\/span\u003e\u003cspan\u003e casting a captivating deep blue gradation at the bottom.\u003c\/span\u003e\u003cspan\u003e In the center of the underside,\u003c\/span\u003e\u003cspan\u003e the artist's handwritten signature \"己丑\" (Tsuchinoto-Ushi) is inscribed in blue,\u003c\/span\u003e\u003cspan\u003e achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003e\u003cspan\u003eRegarding the period of production,\u003c\/span\u003e\u003cspan class=\"\"\u003e it can be objectively specified as created in 2008 based on its nature as a zodiac artwork themed after \"Tsuchinoto-Ushi\" (Year of the Ox 2009) alongside the production cycle aimed at New Year exhibition debuts.\u003c\/span\u003e\u003cspan class=\"\"\u003e Eschewing mass production,\u003c\/span\u003e\u003cspan\u003e Mr.\u003c\/span\u003e\u003cspan\u003e Nagae's small-scale works—individually brought forth through advanced mold-forming,\u003c\/span\u003e\u003cspan\u003e multi-stage hand polishing,\u003c\/span\u003e\u003cspan\u003e and deformation control during firing—possess extraordinary scarcity value in the international art market.\u003c\/span\u003e\u003cspan\u003e The vessel body itself shows no damage such as chips or cracks,\u003c\/span\u003e\u003cspan\u003e maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze.\u003c\/span\u003e\u003cspan\u003e It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal,\u003c\/span\u003e\u003cspan\u003e a wrapping cloth (fukusa),\u003c\/span\u003e\u003cspan\u003e and an instructional leaflet (shiori).\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eNagae Shigekazu (長江重和, b.\u003c\/span\u003e\u003cspan\u003e 1953)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e[1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino,\u003c\/span\u003e\u003cspan\u003e Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eThe Metropolitan Museum of Art,\u003c\/span\u003e\u003cspan\u003e Victoria and Albert Museum,\u003c\/span\u003e\u003cspan\u003e Los Angeles County Museum of Art (LACMA),\u003c\/span\u003e\u003cspan\u003e National Museum of Sèvres,\u003c\/span\u003e\u003cspan\u003e Ariana Museum,\u003c\/span\u003e\u003cspan\u003e National Gallery of Australia,\u003c\/span\u003e\u003cspan\u003e Shigaraki Ceramic Cultural Park,\u003c\/span\u003e\u003cspan class=\"animating\"\u003e Aichi Prefectural Ceramic Museum,\u003c\/span\u003e\u003cspan\u003e Museum of Modern Ceramic Art Gifu,\u003c\/span\u003e\u003cspan\u003e among many others\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eMade in 2008\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eVery good (no chips,\u003c\/span\u003e\u003cspan\u003e no cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eDedicated original box (Tomobako),\u003c\/span\u003e\u003cspan\u003e wrapping cloth,\u003c\/span\u003e\u003cspan\u003e and instructional leaflet (Shiori) included\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003ePorcelain (pale-blue celadon glaze,\u003c\/span\u003e\u003cspan\u003e matte white porcelain)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eHeight approx.\u003c\/span\u003e\u003cspan\u003e 8.\u003c\/span\u003e\u003cspan\u003e3 cm,\u003c\/span\u003e\u003cspan\u003e Width approx.\u003c\/span\u003e\u003cspan\u003e 8.\u003c\/span\u003e\u003cspan\u003e0 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period,\u003c\/span\u003e\u003cspan\u003e even if unused.\u003c\/span\u003e\u003cspan\u003e Products may have age-related damage,\u003c\/span\u003e\u003cspan\u003e so please consider purchasing after understanding and verifying these condition details.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48296538177723,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2793_result.jpg?v=1789268562"},{"product_id":"389","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Kanoe-Tora\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2009 #389","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Kanoe-Tora\" (Kanoe-Tora no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from Kanoe-Tora (Tiger), the zodiac sign for 2010, the top of the lid features an organic, beautifully arced three-dimensional sculptural form evocative of a tiger's tail and the powerful curvature of its body. The lid's surface displays soft undulations reminiscent of a tiger's back and stripes, while the exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. In the center of the underside, the artist's handwritten signature \"庚寅\" (Kanoe-Tora) is inscribed in blue, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2009 based on its nature as a zodiac artwork themed after \"Kanoe-Tora\" (Year of the Tiger 2010) alongside the artist's production cycle of crafting zodiac pieces in the preceding year. Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eThe Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Made in 2009\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 original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Width approx. 8.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as 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":48296549744827,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2879_result.jpg?v=1789268448"},{"product_id":"425","title":"Recipient of the Wakayama Prefecture Cultural Promotion Governor’s Award, Named by Marquis Yorisada Tokugawa, Kishu Ware Aoi Kiln, Samukawa Seiho II (二代 寒川栖豊), Chrysanthemum Arabesque Pattern Underglaze Cobalt and Overglaze Enamel Stem Cup (Bajohai) #425","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a \"Chrysanthemum Arabesque Pattern Stem Cup\" by Samukawa Seiho II, who crafts ceramics at the Kishu Ware Aoi Kiln in Shirahama Town, Wakayama Prefecture. The tomobako (original wooden box) bears the handwritten title \"Chrysanthemum Arabesque Pattern Stem Cup\" and the signature \"Kishu Ware Aoi Kiln Seihou II Zō\" along with a red seal stamp. A shiori (leaflet) detailing the origins of the Aoi Kiln and the artist's career is also included. Featuring a deep cup portion resting on a tall stem, it is a generous cup measuring approximately 11 cm in diameter. Our shop proposes it as a Japanese-style Western liquor vessel for pouring vintage spirits to enjoy their aroma and color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe Kishu Ware Aoi Kiln was founded by Samukawa Seiho I. According to official records of the Aoi Kiln, the first generation was born in Osaka in 1899 (Meiji 32) and soon moved to Kyoto. In 1919 (Taisho 8), he studied under \u003ca href=\"\/en\/search?q=%22%E6%BE%A4%E7%94%B0%E5%AE%97%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSozan Sawada\u003c\/a\u003e, who served as a judge for the Teiten (Imperial Art Exhibition), and in 1927 (Showa 2), at his master's recommendation, he became the head of the Aichi Prefectural Ceramic Research Institute. In 1932 (Showa 7), he established a kiln in Odawara, Koyasan, Ito District, Wakayama Prefecture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eIn 1937 (Showa 12), Marquis Yorisada Tokugawa, the 16th head of the Kishu Tokugawa family, entrusted him with the revival of Kishu ware and bestowed upon him the kiln name \"Kishu Ware Aoi Kiln.\" According to the shiori, this was done out of a desire to revive historic Kishu kilns such as \"Kairakuen,\" \"Zuishi,\" and \"Otokoyama.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThe first generation subsequently focused on Nachi black stone, a specialty of Kishu, and in 1956 (Showa 31) completed a high-fired Nachi black glaze. This Nachi black glaze is described in the shiori as the black of \"kase-kusuri\" (matte\/textured glaze). In 1962, he presented a matcha tea bowl to Their Majesties the Emperor and Empress, and in 1967 he moved to Katada, Shirahama Town, to build a climbing kiln (noborigama). In 1970, he was honored by the Agency for Cultural Affairs as a Person of Cultural Merit for Cultural Properties. In 1972, he held a solo exhibition at Nihombashi Mitsukoshi Main Store, received the Wakayama Prefecture Cultural Encouragement Award in the same year, and was designated as Shirahama Town's Intangible Cultural Property No. 1. In 1975, at the age of 77, he received the Order of the Sacred Treasure, Silver Rays, and passed away in the same year.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eSamukawa Seiho II was born in 1946 (Showa 21) in Koyaguchi Town, Wakayama Prefecture. In 1965, at the age of 19, he studied under his father, the first generation, and in 1976 succeeded to the name Seihou II. In 1995, he relocated the climbing kiln from Katada, Shirahama Town, to Saino in the same town, and fired the first kiln at the new location the following year in 1996. He received the Wakayama Prefecture Cultural Promotion Governor’s Award in 2011 and the Shirahama Town Cultural Merit Mayor's Award in 2012. He serves as a judge for art exhibitions in Wakayama Prefecture, Wakayama City, and Tanabe City.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eAccording to the shiori, the second generation has carried on the tradition of the Aoi Kiln in accordance with the motto, \"There is no path that enlivens me other than this path.\" It is noted that in addition to yakishime (un-glazed stoneware) made with Kishu's unique ceramic clay, he has created works such as \"Beni-shio\" (red tide), \"Celadon,\" \"Persimmon Tenmoku,\" and \"Yōhen\" (kiln-change glaze), earning the attention of masters of various tea schools. The Nachi black glaze inherited from the first generation remains widely recognized today as the synonym for the Aoi Kiln. Among the second generation's Nachi black tea bowls, examples accompanied by inscriptions by Master Hōunsai, the 15th Grand Master of the Urasenke School, have also been confirmed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThis piece is not Nachi black glaze, but a work of underglaze cobalt with overglaze enamel, layering red and green overglaze enamels over underglaze cobalt blue. It can be said to represent another aspect of the Aoi Kiln: devoting effort to the reproduction and revival of defunct Kishu kilns.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe exterior of the cup portion features patterns arranged separately above and below. Below the rim, a spiral arabesque band drawn in gosu (underglaze cobalt blue) circles around, and the main pattern band below it unfolds with chrysanthemum arabesques as described in the box inscription. Radial petals are drawn in red overglaze enamel, with central swirling chrysanthemum blossoms placed at key points. Vines of underglaze cobalt extend lively between them, scattered with small red and green leaves and buds. The lower part of the cup portion features small underglaze cobalt motifs drawn inside panels framed with red lines.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe interior rim is also encircled by a pattern band featuring underglaze cobalt spiral motifs punctuated with red and green dots. In the center of the interior bowl, the single character \"Chō\" (Longevity) is written in underglaze cobalt.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eOn the stem portion, pointed petal-like motifs in red overglaze enamel are drawn layered in two tiers, with fine gosu lines applied inside them. The top and bottom are bound by green bands, and the splayed pedestal area is again encircled by underglaze cobalt arabesques and red lines. The gosu used throughout displays a finely granular coloration, leaving the movement of the brush stroke intact. The red and green overglaze enamels rise vividly and glossy, conveying the warmth unique to hand-painted work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe interior of the stem is hollow and glazed, stamped with an oval seal. The resting edge (tatami-tsuki) of the stem is unglazed, and the raw clay shows a slight orange firing color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eThe production period is estimated based on the tomobako and shiori. Since \"Seihou II\" is inscribed on the tomobako, the work dates from 1976 or later, when he succeeded to the second generation name. Furthermore, the kiln location noted in the shiori is \"Katada, Shirahama Town,\" and the telephone number is \"42-1093,\" which differs from the current location and number in Saino. The climbing kiln was relocated from Katada to Saino in 1995, and the first kiln firing at the new location took place in 1996. Based on these points, this piece is considered to have been made between around 1976 and 1996. However, since the shiori may have continued to be used for a period after the relocation, this remains an estimate.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"13\"\u003eKishu Ware Aoi Kiln\u003c\/h3\u003e\n\u003cp data-path-to-node=\"13\"\u003eThe first generation Seihou worked with clay for over fifty years. In 1937 (Showa 12), receiving the wish to revive historic Kishu kilns such as \"Kairakuen,\" \"Zuishi,\" and \"Otokoyama\" from Marquis Yorisada Tokugawa, the former lord of the Kishu Domain, he was granted the kiln name \"Kishu Ware Aoi Kiln.\" Following diligent research, he focused on \"Nachi Black Stone,\" a specialty of Kishu, completed the high-fired black of \"kase-kusuri,\" and gained the recognition of masters of various tea schools up to the present day. As Seihou II, true to the motto \"There is no path that enlivens me other than this path,\" he inherits the tradition of the Aoi Kiln. In addition to creating \"Yakishime\" works using Kishu's unique ceramic clay that differ from other domestic products, he continues his devoted practice while creating \"Beni-shio,\" \"Celadon,\" \"Persimmon Tenmoku,\" and Yōhen, gaining the attention of masters of various tea schools.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003e\u003cstrong\u003eKishu Ware Aoi Kiln Head Kiln Nanshian (Second Generation) Samukawa Seiho (Shiro)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSamukawa Seiho II (二代 寒川栖豊, Samukawa Seihou, 1946–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1965] Studied under Samukawa Seiho I (father); [1976] Succeeded to the name Seihou II; [1995] Relocated climbing kiln from Katada, Shirahama Town to Saino in the same town; [1996] First kiln firing at the new location; [2011] Wakayama Prefecture Cultural Promotion Governor’s Award; [2012] Shirahama Town Cultural Merit Mayor's Award; [Present] Judge for art exhibitions in Wakayama Prefecture, Wakayama City, and Tanabe City\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e No public institutional collection records have been confirmed\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003ec. 1976 to c. 1996 (estimated from the \"Seihou II\" signature on the tomobako and the kiln location in the shiori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original tomobako (wooden box), shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Porcelain (Underglaze cobalt, overglaze enamel)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 10.3 cm, Mouth diameter approx. 11.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\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":48332210995387,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4797_result.jpg?v=1791639865"},{"product_id":"430","title":"Studied under Living National Treasure Miwa Kyusetsu X (Miwa Kyuwa): Gyokuryuzan Kiln, Yoshida Shuen (吉田萩苑) - Oni-Hagi Blue Glaze White Hagi Tea Bowl, Matchawan, Sake Vessel, Japanese Rocks Glass #430","description":"\u003cp data-path-to-node=\"18\"\u003eThis White Hagi blue glaze tea bowl is crafted by master Hagi ware artisan Yoshida Shuen (1940–1986), who entered apprenticeship under Living National Treasure \u003ca href=\"\/en\/search?q=%22%E4%B8%89%E8%BC%AA%E4%BC%91%E9%9B%AA%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMiwa Kyusetsu\u003c\/a\u003e X (\u003ca href=\"\/en\/search?q=%22%E4%B8%89%E8%BC%AA%E4%BC%91%E5%92%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMiwa Kyuwa\u003c\/a\u003e, 1895–1981) at the age of 15, trained for many years as a live-in disciple, and after providing technical guidance at Tenhozankai Kiln, went independent in 1968 to open Gyokuryuzan Kiln. Inheriting the prestigious traditional techniques passed down from his master, Miwa Kyusetsu, while fusing a rugged Oni-Hagi clay body with a sweeping blue glaze, he earned high acclaim for his unique artistic style. Until his sudden passing at the young age of 46, he pursued the pinnacle of tea ceramics and was deeply revered among tea utensil markets and connoisseurs. Featuring a powerful form that fits comfortably in the hand and a magnificent visual scene where a vivid blue glaze floats within a plump, milky-white glazed surface, this work naturally possesses the dignity of a tea bowl. Beyond this, we present it to the global market as a luxury Japanese rocks glass (sake vessel) for floating large ice rocks, quietly pouring amber aged sake, matured whisky, or authentic shochu, and savoring the dynamic clay texture and color contrasts of traditional ceramic art.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eExamining the fine details of this piece, the designs of \"Oni-Hagi\" and \"White Hagi\" in which Yoshida Shuen excelled, alongside the \"Blue Glaze\" he continuously explored, culminate in an exceptionally high degree of completion. Upon a powerful clay body containing coarse sand, a milky-white Hagi glaze composed of feldspar and straw ash is applied, over which a vibrant blue glaze is boldly and fluidly rendered from a portion of the exterior surface through to the interior bottom (mikomi). Fine crazing (kannyu) formed during firing, Kairagi-like crawling generated as sand grains in the raw clay penetrate the glaze, as well as glaze drips and color gradations create a three-dimensional landscape. Beside the footring, a rugged raw red-clay exposition (tuchimise) remains, stamped clearly with the artist's seal mark \"Shuen\" in a circle. By pouring liquid into this porous body, one can fully enjoy the essence of \"Hagi no Nanabake\" (The Seven Transformations of Hagi), where pigments penetrate the crazing over time, deepening its aesthetic character with age.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eRegarding the period of production, it is estimated to have been created between 1975 and 1985 (Showa 50s), a period following his 1968 independence when the techniques passed down from Kyusetsu—incorporating creative blue glaze expressions into Oni-Hagi—reached full maturity. His career as an independent artist from 1968 until his sudden passing at age 46 around 1986 was remarkably brief—spanning only about 18 years. Consequently, the absolute number of existing authentic works is extremely limited, giving it extraordinarily high rarity value. The vessel body itself shows no damage such as cracks or chips, maintaining outstanding condition in terms of the firing of the White Hagi glaze, the contrast of the blue glaze, and the texture of the clay body. It comes as a superb piece complete with an authentic dedicated original box (Tomobako) bearing handwritten ink inscription and red seal on the lid face, a wrapping cloth, and an instructional leaflet (Shiori) outlining the origins of Hagi ware and the artist's biography.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yoshida Shuen (吉田萩苑, 1940–1986)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Entered apprenticeship under Miwa Kyusetsu X (Living National Treasure Miwa Kyuwa); [1968] Opened Gyokuryuzan Kiln in Tamae, Hagi City, Yamaguchi Prefecture\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited due to his early passing; however, works bearing authentication inscriptions (kakitsuke) by Grand Master Zabosai XVI of Urasenke and Master Kenchusai XII of the Horiuchi family exist, earning exceptionally high acclaim within tea ceremony circles and the antique art market\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1975–1985 (Showa 50s, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Hagi ware, Oni-Hagi, White Hagi glaze, blue glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.5 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\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":48332217286843,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2652_result.jpg?v=1789091475"},{"product_id":"432","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Otsumi\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2014 #432","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Otsumi\" (Otomi no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from the horns and face of the Ram (Hitsuji), the zodiac sign for 2015, the top of the lid features a powerful, organic, and fluid horn-like sculptural motif. The exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. The artist's handwritten signature in blue is inscribed on the underside of the base, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2014 in preparation for the 2015 zodiac year (Otsumi \/ Year of the Ram), based on clear statements in the artist's handwritten accompanying leaflet such as \"I created 'Form of Otsumi' as the artwork for next year's zodiac\" and \"The start of next year will be a special exhibition at the Aichi Prefectural Ceramic Museum.\" Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eMade in 2014\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\u003e Dedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.6 cm, Width approx. 7.4 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as 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":48332227477691,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2750_result.jpg?v=1789268087"},{"product_id":"436","title":"Japan Traditional Art Crafts Exhibition Selected Artist, Japan Art Crafts Association Associate Member, Nakamura Hidekazu (中村秀和), Celadon Tenmoku Bowl with Multi-Layered Ice-Crackle Craquelure, Japanese-Style Rocks Glass #436","description":"\u003cp data-path-to-node=\"1\"\u003eThis \"Celadon Tenmoku Bowl\" (Seiji Tenmoku Wan) is created by Nakamura Hidekazu (b. 1968), a ceramic artist active on the front lines of contemporary Japanese craft, based in Tsuruoka City, Yamagata Prefecture, as an associate member of the Japan Art Crafts Association and a member of the Japan Ceramic Art Association. After completing his studies at the Ibaraki Ceramic Technology Center in 1994, Nakamura Hidekazu studied under the ceramic artist \u003ca href=\"\/en\/search?q=%22%E8%8D%92%E7%94%B0%E8%80%95%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKoji Arata\u003c\/a\u003e and established his independent kiln in 1998. He has been selected for Japan's premier public exhibitions, including the Japan Traditional Art Crafts Exhibition, the Eastern Japan Traditional Art Crafts Exhibition, the Tobiten Exhibition, and the Contemporary Tea Ceramics Exhibition. In 2021, a solo exhibition titled \"Fascinated by Celadon\" was held at the Honma Museum of Art in Sakata City, earning high acclaim for his sophisticated celadon technique. The dedicated wooden box (Tomobako) accompanying the work features the artist's own calligraphy reading \"Seiji Tenmoku Wan\" with a red seal, and together with the \"Hidekazu\" (秀和) stamp on the foot ring and the perfection of the multi-layered ice-crackle craquelure, it is identified as a precious authentic work created during his mature period around 2015 to 2022, when he mastered the fusion of red-clay celadon and Tenmoku forms.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eBased on the classic Tenmoku shape (Tenmoku-nari) from the Song Dynasty of China, which has been prized in the Japanese tea ceremony since ancient times, this work represents a magnificent sublimation of Nakamura Hidekazu's signature technique: \"Celadon using red clay (terracotta clay).\" While general celadon is made sharply using white porcelain clay, this work deliberately employs terracotta clay (red clay) for the body, instilling the soft warmth unique to earthenware into the dignified beauty of celadon. Beneath the celadon glaze that covers the entire inner and outer surfaces, thick, multi-layered craquelure (ice-crackle patterns) is densely carved. When catching light, it creates geometric light refractions deep within the translucent jade green hue. Combining materials with different thermal expansion rates, such as terracotta clay and celadon glaze, to elicit delicate, three-dimensional craquelure as intended without peeling or cracking requires extremely sophisticated glaze formulation and precise kiln firing and cooling control. The foot ring retains the unglazed terracotta clay body (rotai), showcasing a marvelous harmony between the refined Tenmoku silhouette and the rustic clay texture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eMeasuring approximately 11.3 cm in diameter and 6.8 cm in height, an exquisite scale that fits comfortably in the palm of one's hand, our shop proposes this Tenmoku bowl tailored to modern lifestyles as a supreme Japanese Kogei sake vessel (rocks glass \/ large sake cup) for enjoying rich aged spirits, matured sake, or whisky. When filled with amber-colored aged sake or transparent ice, the deep celadon green and the multi-layered craquelure reflecting light create a mystical expression within the glass, elegantly enhancing the drinking experience. Fusing the dignity of a traditional Tenmoku tea bowl with the refined aesthetics of modern craft, this is a supreme craft piece that satisfies the five senses in special spaces.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Nakamura Hidekazu (中村秀和, 1968-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1994] Completed studies at Ibaraki Ceramic Technology Center, studied under ceramic artist Koji Arata, [1998] Established independent kiln in Tsuruoka City, Yamagata Prefecture, [2021] Held solo exhibition \"Fascinated by Celadon\" at Honma Museum of Art; Selected for Japan Traditional Art Crafts Exhibition, Eastern Japan Traditional Art Crafts Exhibition, Tobiten Exhibition, Contemporary Tea Ceramics Exhibition; Associate Member of Japan Art Crafts Association, Member of Japan Ceramic Art Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections \/ Solo Exhibitions:\u003c\/strong\u003e Honma Museum of Art (special exhibitions \/ solo exhibitions), Matsuya Ginza, Tobu Ikebukuro, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 2015–2022 (Mature period of Celadon Tenmoku forms)\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 original wooden box (Tomobako) included (with artist's calligraphy and red seal), Sanada-himo cord included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (terracotta clay body, celadon glaze, multi-layered ice-crackle craquelure)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eDiameter approx. 11.3 cm, Height approx. 6.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\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":48359789134011,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3329_result.jpg?v=1790256966"},{"product_id":"465","title":"First Ceramic Biennale Grand Prix Winner, Kato Juitsu (加藤寿逸), Celadon Sake Cup, Three-Legged Vessel, Japanese-Style Shot Glass, Designated Seto City Permanent Preservation Work, Nitten Associate Member, Aged Sake Vessel #465","description":"\u003cp data-path-to-node=\"1\"\u003eThis celadon (seiji) three-legged sake cup (guinomi) is created by Kato Juitsu (b. 1946), a ceramic artist who has achieved exceptionally high public acclaim in the Seto ceramic world, including winning the Grand Prix at the 1st Ceramic Biennale—with his winning work \"Ennetsu\" (Fierce Heat) designated for purchase and permanent preservation by Seto City—winning the Minister of Education Award at the Chunichi International Ceramic Arts Exhibition, donating his work \"Yuibi\" (Exquisite Beauty) to the Nagoya City Guest House, and being active as an Associate Member of Nitten. Having completed specialized ceramic education and firing theory at Aichi Prefectural Seto Ceramic High School and Tokai Gakuen, Mr. Kato established Dosen Kiln in Kawakita-cho as his base, developing his own unique style that sophisticatedly fused the traditional techniques of Old Seto with modern three-dimensional sculpture. On the lid of the accompanying dedicated paulownia wooden box (tomobako), the handwritten calligraphy reads \"Celadon Sake Cup\" (Seiji Guinomi), accompanied by the signature seal \"Juitsu\" and square seal stamps reading \"Dosen Kiln\" and \"Juitsu.\" Applying the dynamic, sculptural formal expression seen in his Grand Prix-winning work to the compact form of a sake vessel, it is identified as an authentic piece produced between the late 1980s and early 1990s (late Showa to early Heisei era), a period when his techniques of facet-carving and carving out three legs reached full maturity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAnalyzing the design details of this piece confirms that the contrast between stillness and motion, a hallmark of Mr. Kato's sculptural aesthetic, is masterfully expressed. From the upper portion of the body into the interior bowl, a clear, pale blue-green celadon glaze is applied, with a delicate web-like network of craze marks (kannyu) carved across the entire surface. Where the glaze pools at the lower body, its increased thickness produces a deep turquoise green coloration reminiscent of fine jade, bestowing beautiful transparency and light refraction upon the bottom of the interior bowl as well. On the other hand, from the base to the legs, no celadon glaze is applied, exposing the iron-bearing, unglazed high-fired red clay (vermilion clay tone). The sides of the body are sharply faceted into a polygonal form, and the lower section is forcefully carved out into three legs, creating a vivid contrast between the serene, glassy celadon above and the rustic, dynamic red clay sculpture below. It is a masterpiece condensing advanced forming techniques that realize asymmetric distortion and plane-shaving as beauty, alongside precise control over the melting and color development of the celadon glaze.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith substantial yet comfortable dimensions measuring approx. 6.0 cm in height, approx. 6.1 cm in width, and approx. 5.8 cm in depth that rest comfortably in the hand, our shop proposes this work as a dignified \"Japanese-style shot glass (Japanese liquor vessel)\" for enjoying aged spirits, vintage whisky, matured sake, or premium liquors neat straight, tailored to modern refined lifestyles and drinking culture. The stable form supported by three legs and the visual effect of amber-toned aged liquor filled in the bowl shining beautifully through the celadon glaze's craze marks create a special atmosphere for evening drinks. A masterpiece in which the highest technology and sculptural power of Seto contemporary ceramics coalesce, this piece allows one to relish the true essence of traditional Japanese craft 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\u003eKato Juitsu (加藤寿逸, b. 1946)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e Graduated from Aichi Prefectural Seto Ceramic High School and Tokai Gakuen. Won the Grand Prix at the 1st Ceramic Biennale (work \"Ennetsu\" purchased and designated for permanent preservation by Seto City), won the Minister of Education Award at the Chunichi International Ceramic Arts Exhibition, donated work to Nagoya City Guest House (\"Yuibi\"), Nitten Associate Member, member of Japan New Craft Artists Association, member of Seto Ceramic Artists Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Late 1980s–early 1990s (late Showa to early Heisei era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Celadon Sake Cup\", signature seal, and seal stamps), yellow wrapping cloth (with seal stamp)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic \/ Pottery (Red clay body, celadon glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.0 cm, Width approx. 6.1 cm, Depth approx. 5.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598484177083,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4118_result.jpg?v=1791082336"},{"product_id":"467","title":"Imperial Household Artist, Makuzu Kiln, Miyagawa Kozan I (初代 宮川香山), Posthumous Work, Unkaku Celadon Sake Cup with Small Floral Design, Makuzu Kiln Mark, Box Inscribed by Miyagawa Kozan II, Japanese-Style Shot Glass #467","description":"\u003cp dir=\"ltr\"\u003eThis is an Unkaku celadon sake cup believed to be a posthumous work by Miyagawa Kozan I, the potter who founded Makuzu ware in Yokohama during the Meiji and Taisho eras. The mark of the Makuzu kiln is impressed inside the foot ring. The accompanying box bears an inscription by Miyagawa Kozan II, successor to the first generation, reading “Kozan isaku” (a posthumous work of Kozan). Measuring approximately 3.0 cm in height and 6.1 cm in rim diameter, this petite cup is offered as a Japanese-style shot glass for savoring vintage spirits one sip at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMiyagawa Kozan I was born in 1842 into a family of potters in Makuzugahara, Kyoto, and succeeded as head of the family in 1860. He moved to Yokohama in 1870 and founded the Makuzu kiln in Ota Village, Yokohama, the following year. Through takaukibori, a high-relief technique in which realistic sculptural decoration is built up on the surface of the vessel, he won wide acclaim at expositions in Japan and abroad, beginning with the 1876 Philadelphia Centennial Exposition. His work came to be known overseas as “Makuzu Ware.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFrom around the mid-Meiji 10s (the early 1880s), he devoted himself to the study of glazes and underglaze decoration. Adopting techniques modeled on classical Chinese ceramics, he gradually shifted the main focus of his production from pottery to porcelain. He was awarded gold medals at the 1889 Exposition Universelle in Paris and the 1893 World’s Columbian Exposition in Chicago, and in 1896 he was appointed an Imperial Household Artist (Teishitsu Gigei-in), only the second ceramic artist to receive this honor. He continued to produce celadon until his final years, and a celadon vase he made in 1912 is in the collection of the Tokyo National Museum, donated by Kozan I himself.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnkaku, meaning “clouds and cranes,” is the name used in Japanese tea culture for inlaid celadon from the late Goryeo to the early Joseon period. It is characterized by motifs such as clouds and cranes rendered in white and black on a celadon ground. Among the Korean tea bowls (Korai chawan) handed down in Japan, it has long been treasured as one of the few types dating back to the Goryeo period.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exterior of the cup is divided into upper and lower registers by stepped carving. The upper register is decorated at regular intervals with small flowers, each with a yellow center encircled by fine white petals, paired with leaves ranging from deep indigo to black. Around the lower register runs a white swirling line pattern evoking clouds, among which appear white motifs resembling birds with outstretched wings. Read together with the title “Unkaku seiji” (Unkaku celadon) on the box, these motifs may be understood as clouds and cranes. The arrangement of white and black motifs beneath the celadon glaze faithfully conveys the character of the unkaku style. At the center of the interior well, a white circular line encloses a white motif resembling a written character. Fine crackle characteristic of celadon glaze appears both inside and out. The base of the foot ring is unglazed, revealing the reddish-brown clay body, while the recess within the foot ring is covered in a lustrous brown glaze. At its center is an oval kiln mark with the two characters “Makuzu” impressed in relief.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe attribution of this piece to Miyagawa Kozan I rests on the following two points.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first is the accompanying shikibako, a box bearing an inscription by a later hand attesting to the work. The outside of the lid is titled “Shuhai” (sake cup), and the inside of the lid bears the title “Unkaku seiji” and “Hai” (cup), the words “Kozan isaku” (a posthumous work of Kozan), and the signature “Nidai Makuzu Kozan” (Makuzu Kozan II) with a red seal. Miyagawa Kozan II (given name Hannosuke, 1859–1940) was born the son of Miyagawa Chohei and was adopted by his uncle, Kozan I. He worked in the family enterprise under Kozan I for many years and, before succeeding to the name, also produced work under the name “Miyagawa Hanzan.” After Kozan I died in 1916, he succeeded to the name Kozan in 1917. That this successor, who worked at Kozan I’s kiln and witnessed his work firsthand, explicitly identified the piece as a posthumous work of his predecessor rather than as his own is the most direct evidence of its authorship. It is known that at the Makuzu kiln, works made by Kozan I were released after his death as posthumous works by the second and third generations, and the inscription on this box is entirely consistent with that practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe second is the kiln mark on the piece itself. The “Makuzu” mark inside the foot ring confirms, from the object itself, that this is a product of the Makuzu kiln. Moreover, celadon belongs to the body of work Kozan I pursued from the later phase of his career, after he turned to glaze research, until his final years, so the piece is consistent with his production in terms of style as well.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the same time, certain points stop short of a definitive attribution. First, the mark on the piece identifies the kiln, not the individual artist. Public museum records confirm that the oval “Makuzu” mark was also used on works from the time of \u003c\/span\u003e\u003cspan\u003eMiyagawa Kozan II, \u003c\/span\u003e\u003cspan\u003eand no published \u003c\/span\u003e\u003cspan\u003esource sets out \u003c\/span\u003e\u003cspan\u003ecriteria for \u003c\/span\u003e\u003cspan\u003edistinguishing the \u003c\/span\u003e\u003cspan\u003efirst-generation mark \u003c\/span\u003e\u003cspan\u003efrom that of the \u003c\/span\u003e\u003cspan\u003esecond. Second, \u003c\/span\u003e\u003cspan\u003eceladon and \u003c\/span\u003e\u003cspan\u003einterpretations of \u003c\/span\u003e\u003cspan\u003eclassical ceramics \u003c\/span\u003e\u003cspan\u003ewere also specialties \u003c\/span\u003e\u003cspan\u003eof Miyagawa Kozan II. \u003c\/span\u003e\u003cspan\u003eFrom the Taisho era \u003c\/span\u003e\u003cspan\u003eonward, he developed \u003c\/span\u003e\u003cspan\u003ea style grounded in \u003c\/span\u003e\u003cspan\u003ethe traditions of \u003c\/span\u003e\u003cspan\u003eEast Asian ceramics, \u003c\/span\u003e\u003cspan\u003eincluding Chinese \u003c\/span\u003e\u003cspan\u003ewares and the work of \u003c\/span\u003e\u003cspan\u003eNinsei and Kenzan, \u003c\/span\u003e\u003cspan\u003eand he also left \u003c\/span\u003e\u003cspan\u003eworks in the manner \u003c\/span\u003e\u003cspan\u003eof Goryeo celadon. \u003c\/span\u003e\u003cspan\u003eStyle alone therefore \u003c\/span\u003e\u003cspan\u003ecannot distinguish \u003c\/span\u003e\u003cspan\u003ethe first generation \u003c\/span\u003e\u003cspan\u003efrom the second. \u003c\/span\u003e\u003cspan\u003eFurthermore, the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln operated \u003c\/span\u003e\u003cspan\u003eas a workshop in \u003c\/span\u003e\u003cspan\u003ewhich skilled \u003c\/span\u003e\u003cspan\u003eartisans carried out \u003c\/span\u003e\u003cspan\u003eeach stage of \u003c\/span\u003e\u003cspan\u003eproduction, including \u003c\/span\u003e\u003cspan\u003ethrowing, sculpting, \u003c\/span\u003e\u003cspan\u003eand painting, so the \u003c\/span\u003e\u003cspan\u003eextent of Kozan I’s \u003c\/span\u003e\u003cspan\u003epersonal involvement \u003c\/span\u003e\u003cspan\u003ein this piece cannot \u003c\/span\u003e\u003cspan\u003ebe determined from \u003c\/span\u003e\u003cspan\u003ethe object. \u003c\/span\u003e\u003cspan\u003eDefinitive \u003c\/span\u003e\u003cspan\u003econfirmation would \u003c\/span\u003e\u003cspan\u003erequire further \u003c\/span\u003e\u003cspan\u003estudy, such as \u003c\/span\u003e\u003cspan\u003edetailed comparison \u003c\/span\u003e\u003cspan\u003ewith marks on works \u003c\/span\u003e\u003cspan\u003esecurely attributed \u003c\/span\u003e\u003cspan\u003eto Kozan I. Having \u003c\/span\u003e\u003cspan\u003eweighed these points, \u003c\/span\u003e\u003cspan\u003ewe attribute this \u003c\/span\u003e\u003cspan\u003epiece to Miyagawa \u003c\/span\u003e\u003cspan\u003eKozan I on the \u003c\/span\u003e\u003cspan\u003estrength of two \u003c\/span\u003e\u003cspan\u003esupporting elements: \u003c\/span\u003e\u003cspan\u003ethe “posthumous work” \u003c\/span\u003e\u003cspan\u003einscription on the \u003c\/span\u003e\u003cspan\u003ebox by the successor \u003c\/span\u003e\u003cspan\u003ehimself, and the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln mark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe differences between the first and second generations are evident in both style and official recognition. After achieving international renown for takaukibori, Kozan I substantially transformed his style, turning to underglaze decoration, crystalline glazes, and glazes modeled on Qing dynasty porcelain. Following numerous awards at international expositions and his appointment as an Imperial Household Artist, two of his works, “Large Vase with Plum Tree Design in Rust-Brown on Yellow Glaze” and “Footed Bowl with Applied Crabs in Brown Glaze,” have been designated Important Cultural Properties of Japan (both in the collection of the Tokyo National Museum). Kozan II carried forward the style of the first generation while creating refined works rooted in tea ceremony wares and the traditions of East Asian ceramics. He exhibited at the 12th Imperial Art Exhibition (Teiten) in 1931 and took part in founding the Totokai ceramic society with \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e and others in 1927.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBased on the attribution to Kozan I, this piece is considered to date from between the mid-Meiji 10s, when Miyagawa Kozan I shifted his focus to glaze research, and May 1916, when he died. Several celadon works by Kozan I in public collections are dated between 1912 and 1916. As the shikibako bears the signature of Miyagawa Kozan II, the inscription was written after his succession to the name in 1917.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyagawa Kozan I (初代 宮川香山、1842–1916) *Attribution based on the box inscribed by Miyagawa Kozan II\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eBiographical Highlights:\u003c\/strong\u003e [1842] Born into a family of potters in Makuzugahara, Kyoto; [1860] Succeeds as head of the family; [1870] Moves to Yokohama; [1871] Founds the Makuzu kiln in Ota Village, Yokohama; [1876] Exhibits at the Philadelphia Centennial Exposition; [1889] Gold medal, Exposition Universelle, Paris; [1893] Gold medal, World’s Columbian Exposition, Chicago; [1896] Appointed Imperial Household Artist; [1904] Grand Prize, Louisiana Purchase Exposition, St. Louis; [1910] Grand Prix of Honour, Japan-British Exhibition, London; [1916] Dies\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTokyo National Museum (including two Important Cultural Properties), National Crafts Museum, Yokohama Museum of Art, Ishikawa Prefectural Museum of Art, The Nelson-Atkins Museum of Art (USA)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod: \u003c\/strong\u003eMeiji–Taisho period, c. early 1880s to May 1916, during the lifetime of Miyagawa Kozan I (attributed)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccompanied by: \u003c\/strong\u003eShikibako (box inscribed by Miyagawa Kozan II)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eCeramic with celadon glaze, decorated in white and black; oval Makuzu kiln mark impressed in relief inside the foot ring\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eH. approx. 3.0 cm, rim diameter approx. 6.1 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show signs of age; please understand this and examine the listing carefully before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615310282939,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5179_result_dd29f401-8882-41a8-a6c5-9debf3cc6cc6.jpg?v=1792210094"},{"product_id":"469","title":"Recipient of the Gifu Prefecture Arts and Culture Honor and the Turkish Government’s Osman Hamdi Art Award, Regular Member of the Japan Kogei Association, Shinsho Kiln, Kato Kenji (加藤賢司), Turkish Blue Bowl, Small Appetizer Dish #469","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a Turkish blue bowl crafted by Kato Kenji (1933–2008), a ceramic artist who worked at the Shinsho Kiln in Tajimi City, Gifu Prefecture. A square seal stamp with the single character \"Ken\" is impressed inside the foot ring, and a shiori (leaflet) printed with the artist's ceramic career history is included. Measuring approximately 13 cm in diameter, it is a convenient and versatile size. Our shop proposes it as an appetizer dish for enjoying aged spirits and liquor.\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 famous 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). 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 Ceramic Art within the College of The Arts at Ohio State University in the United States, giving touring lectures at the University of Michigan, Indiana State University, Antioch College, and other institutions. 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. 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, Denmark, Canada, Norway, and other countries several times. In 1981, he appeared on the NHK Educational TV column \"Japanese Ceramics Going International.\"\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 the Turkish government, and in 1992, at the invitation of the Turkish government, he participated in the International Antalya Arts Festival. 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.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eHe also received numerous awards domestically. He won the Tomimoto Prize at the Shinsho Kogei Association in 1976, the 5th Kobei Prize in 1987, and the Education and Culture Award at the 38th Gifu Shimbun Grand Prize in 1988. At the Tokai Traditional Art Crafts Exhibition, he received the Japan Kogei Association President's Award at the 2nd exhibition, the Aichi Prefectural Board of Education Award at the 10th exhibition, and also won the top prize. In 1994, he exhibited at the Japan Traditional Art Crafts Selected Scandinavian Touring Exhibition, and in 1995, he received the Gifu Prefecture Arts and Culture Honor.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn terms of official roles, he served as a lecturer in the Department of Fine Arts and Crafts at Gifu University from 1974 to 1994. He also successively served as vice president of the Mino Ceramic Art Association, an expert committee member for the International Ceramics Competition MINO, and an executive committee member and judge for various art exhibitions. He was a regular member of the Japan Kogei Association, a member of the International Academy of Ceramics (IAC), and served as secretary-general of the executive committee for the International Academy of Ceramics Japan Conference '96 in Nagoya. His works are held in the collections of museums, art galleries, and diplomatic missions in Japan and abroad.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eTracing the exhibition records of the Japan Kogei Association reveals the evolution of his style. After periods of producing nukie tenmoku (tenmoku with resist decoration) and red overglaze enamel (akae) works, Kato exhibited \"Turkish Blue Flattened Flask\" at the 33rd Japan Traditional Art Crafts Exhibition in 1986. Thereafter, until the 48th exhibition in 2001, he continuously submitted Turkish blue works. He also presented Turkish blue vases, incense burners, and individual serving plates at the Tokai Traditional Art Crafts Exhibition, submitting \"Turkish Blue Bowl\" to the 28th exhibition in 1997. 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=\"8\"\u003eThe inside and outside of the vessel are covered in a vivid Turkish blue glaze. The interior bowl (mikomi) is filled with a deep blue, within which minute air bubbles are scattered like white speckles, creating a tone with depth. On the exterior, large crackle (kannyu) runs across the surface, giving variation to the glaze's expression.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe rim is an irregular shape gently distorted by hand, forming a softly undulating contour. The edge of the rim is thinly glazed, allowing the dark underlying clay tone to peek through, alongside bleeding of cobalt blue to purplish-blue. Below the interior rim, short dark lines are arranged radially. In the center of the interior bowl, a single small motif consisting of a circle, dot, and curved line—evoking an eye—is drawn in the same dark color. Amid the sea of Turkish blue, it serves as an anchor that tightens the composition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe exterior is a solid Turkish blue without patterns, gently constricting below the rim before bulging outward into a form with a sense of volume. The foot ring is trimmed low and wide, and both the foot ring and its interior are unglazed. Concentric wheel-trimming marks remain on the reddish-brown clay surface, with the seal stamp \"Ken\" impressed in the center. The contrast between the cool, clear Turkish blue and the warm red clay is another highlight of this piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\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 Gifu Prefecture Arts and Culture Honor in 1995. The role of secretary-general of the executive committee for the IAC Japan Conference Nagoya in 1996 is also listed. On the other hand, the postal code is printed in the three-digit format used prior to the change to seven digits in February 1998. Based on these points, this bowl is considered to have been made between around 1996 and early 1998. This aligns with the period when he was submitting Turkish blue works to the Japan Kogei Association exhibitions, 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=\"12\"\u003eThe piece has no chips or cracks and remains in very good condition. Although an artist who is hardly introduced abroad, this work allows one to savor at the daily dining table or during an evening drink the Turkish blue that Kato—who taught in Turkey and was honored by the Turkish government—pursued until his later years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"13,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKato Kenji (加藤賢司, Katō Kenji, 1933–2008)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,1,0\"\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 Ceramic Art, College of The Arts 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; [1974–1994] Lecturer in the Department of Fine Arts and Crafts at Gifu University; [1976] Tomimoto Prize at Shinsho Kogei Association; [1976–1981] Ceramic art envoy dispatched by the Ministry of Foreign Affairs \/ Japan Foundation (Australia, New Zealand, Denmark, Canada, Norway, etc.); [1981] Appeared on NHK Educational TV column \"Japanese Ceramics Going International\"; [1986] Osman Hamdi Art Award (Turkish government); [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; [1992] Participated in International Antalya Arts Festival (invited by the Turkish government); [1994] Japan Traditional Art Crafts Selected Scandinavian Touring Exhibition; [1995] Gifu Prefecture Arts and Culture Honor; [1996] Secretary-General of the Executive Committee for IAC Japan Conference '96 in Nagoya; [2001] Selected for 48th Japan Traditional Art Crafts Exhibition with \"Turkish Blue Vase\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,2,0\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Gifu Prefectural Museum of Art, Gifu Prefectural Museum, Gifu Prefectural Ceramics Museum, Embassy of Japan in Denmark, Swiss National Museum, Museum für Kunst und Gewerbe Hamburg, Seattle Art Museum, University of Michigan Museum of Art, Everson Museum of Art, Cincinnati Art Museum, Art Gallery of South Australia, Canterbury Museum, Turkish National Museum of Painting and Sculpture, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1996 to early 1998 (estimated from the content of the accompanying shiori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,4,0\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eShiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Turkish blue glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,7,0\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Mouth diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,8,0\"\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":67615312543931,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4666_result.jpg?v=1791639422"},{"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":"475","title":"Third Generation of the Mashiko Kiln, Grandson of Kimura Ichiro: Sakazuki Sake Cup by Kimura Mitsuyoshi (木村充良), Red-Brown Glaze with White and Blue Mottled Pattern, Japanese-Style Shot Glass, Artist with Permanent Display at Matsuzakaya Ginza #475","description":"\u003cp\u003eThis sakazuki sake cup is the work of Kimura Mitsuyoshi, a potter who continues to work in Mashiko, Tochigi Prefecture, as the third generation of a kiln handed down from his grandfather, \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, and his father, Kimura Mitsuru. Our shop presents it as a Japanese-style shot glass for savoring vintage spirits a little at a time.\u003c\/p\u003e\n\u003cp\u003eKimura Mitsuyoshi was born in Mashiko in 1970 and began making pottery under his father, Kimura Mitsuru, in 1994. After his father's death in 1998, he established himself as an independent potter and has presented his work at department stores and galleries including Isetan Matsudo, the Ueno Department Store in Utsunomiya, and Matsuzakaya Ginza. Exhibitions of ceramics and dyeing with his elder sister, the textile dyer Kimura Masako, are also held annually in various locations. In his published biography, the artist notes that he fires a climbing kiln (noborigama) twice a year using only pine firewood as fuel.\u003c\/p\u003e\n\u003cp\u003eHis grandfather, Kimura Ichiro (1915–1978), studied at the Ceramics Testing Institute of the Ministry of Commerce and Industry in Kyoto and went on to build a climbing kiln in Mashiko in 1946. At the 1953 Japan Ceramics Exhibition, he received the Director-General's Prize of the Small and Medium Enterprise Agency for his Large Dish with Net Pattern in Persimmon Glaze (Kakiyū Amime-mon Ōzara), and in his later years he worked mainly in copper-red glaze (shinsha) and iron-painted decoration (tetsu-e). Today the Mashiko Museum of Ceramic Art holds and presents his works, introducing him alongside \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\"\u003eShōji Hamada\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTatsuzō Shimaoka\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShōji Kamoda\u003c\/a\u003e, and others as one of the artists who defined an era in Mashiko. His father, Kimura Mitsuru (1939–1998), trained under his father-in-law, Ichirō, and succeeded to the kiln as its second generation. The maker of this piece belongs to this lineage.\u003c\/p\u003e\n\u003cp\u003eThe cup has a mouth that flares outward, a body that narrows gently at the middle, and a band-like step encircling the lower body. When held, the fingers rest naturally at the waist. The exterior is covered in a glossy red-brown glaze, over which irregular white mottled patches are scattered across the entire body. Within each patch, blue bleeds through in varying depths of tone, and the edges are crisply defined, as if outlined with a fine brown line. Shallow vertical undulations on the body and a glaze luster that turns a misty white in places give the cup a different expression from every angle.\u003c\/p\u003e\n\u003cp\u003eThe interior is covered in a grayish-white glaze that makes it easy to see the color of the poured spirit, and amber vintage spirits look especially beautiful against it. Throwing marks (rokuro-me) remain in a spiral in the mikomi, the interior well of the cup. The tatami-tsuki, the resting surface of the foot ring, is left unglazed and reveals the texture of the sandy clay as it is, and a square seal mark is impressed on part of it.\u003c\/p\u003e\n\u003cp\u003eThe lid of the tomobako, the artist's own signed wooden box, bears the ink inscription \"Mashiko-gama, Sakazuki, Mitsuyoshi\" with a red seal, and the cup comes with a sanada-himo cord, a protective cloth, and a shiori leaflet recording the artist's career. The year of production is not inscribed. As the final entry in the enclosed biography dates from 2007, we estimate that the cup was made in 2007 or later, around the latter half of the 2000s.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kimura Mitsuyoshi (木村充良, 1970–)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMajor Activities:\u003c\/strong\u003e [1994] Began making pottery under his father, Kimura Mitsuru; [1998] Became independent after his father's death; \"Mashiko Kiln Four-Artist Exhibition,\" Isetan Matsudo; [2001] \"Three Generations of the Mashiko \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Ceramics and Dyeing,\" Isetan Matsudo (held annually thereafter); [2003] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Gallery Spotlight, Setagaya; [2005] Permanent display at Matsuzakaya Ginza; solo exhibition at New Mikura, Utsunomiya (held annually thereafter); [2006] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Tsukamoto Sakkakan Gallery, Mashiko; [2007] \"Three Generations of the Mashiko Kiln Exhibition,\" Tōgei Messe Mashiko\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e No record of the artist's works in public collections has been confirmed\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2007 or later, around the latter half of the 2000s (estimated from the final year recorded in the enclosed biography)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal tomobako (with sanada-himo cord), protective cloth, and shiori leaflet included\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlazed pottery\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned goods. Items may show damage due to age; 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":67635082264763,"sku":null,"price":26000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4969_result_7758a952-e7fe-42e1-9ae7-267587972442.jpg?v=1791899209"},{"product_id":"477","title":"Houston (USA) | Member of the Kokugakai | Mashiko Potter and Pupil of Shimaoka Tatsuzo | Matsuzaki Ken (松崎健) | Plate with Swirl Pattern in Green and Blue Glazes | Dish for Snacks #477","description":"\u003cp dir=\"ltr\"\u003eThis is a plate by the Mashiko potter Matsuzaki Ken (born 1950), decorated with a swirling pattern in green and blue glazes. It comes without a tomobako or other accessories, and an incised mark cut with a spatula appears on the underside of the base. Our shop proposes this plate as a dish for snacks to accompany aged spirits and whisky.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMatsuzaki was born in Tokyo in 1950, the third son of the Nihonga painter \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E5%B4%8E%E8%84%A9%E5%B7%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsuzaki Shuki\u003c\/a\u003e. He majored in ceramics in the Department of Art at Tamagawa University and, after graduating in 1972, studied in Mashiko under \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e, holder of the Important Intangible Cultural Property for \"Mingei Pottery (Jomon Zogan Inlay).\" In 1977, he built his own kiln in the town of Mashiko and became independent, and he continues to work there to this day. Within the Kokugakai art association, he received the Nojima Prize in 1980 and the Associate Member's Excellence Prize in 1984, and became a full member in 1986.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe Mashiko Museum of Ceramic Art describes Matsuzaki as an artist who produces many tea ceramics, including Oribe, Shino, and Ki-Seto, and who values the expressions that arise through yohen (kiln transformation). The museum also notes that his works, born of his advanced wood-firing techniques, are highly regarded both in Japan and abroad, and describes him as one of the best-known Japanese potters in the United Kingdom and the United States. The museum held a solo exhibition of his work from October 2025 to January 2026. His works are held in collections including the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston, in the United States, and Leicester Museums \u0026amp; Galleries in the United Kingdom.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn this piece, fine lines rise in multiple spiraling rings from the center of the well outward. Where the lines stand up, the glaze thins and the clay shows through as slender golden-toned streaks, while green and deep blue glazes pool between the lines, the two colors parting as if flowing along the spiral. Fine crazing runs across the entire glazed surface. A band of green glaze encircles the rim, where throwing marks from the wheel remain as steps. The underside has a broad, flat, unglazed base, and along the edge of the glazing, glassy pools of glaze and a thin scarlet line can be seen. As the types of glaze and the type of kiln used for firing cannot be determined with certainty from external appearance, we refrain from stating them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs to condition, there is one small chip-like depression on the underside, at the boundary between the edge of the glaze and the unglazed base. No cracks or fractures extend from this spot, and it does not affect the function of the plate. It sits in a position that cannot be seen from the front, and even when the plate is turned over, it is small enough to go unnoticed unless looked for carefully. The fine lines visible in the well are glaze crazing, not cracks in the body.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe period of production cannot be determined, as the piece has no tomobako, biographical leaflet, or other accessories, and bears no date. It was made in or after 1977, the year the artist built his kiln in Mashiko.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Matsuzaki Ken (松崎健, born 1950)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1950] Born in Tokyo, the third son of the Nihonga painter Matsuzaki Shuki; [1972] Graduated in ceramics from the Department of Art, Tamagawa University, and began studying under Shimaoka Tatsuzo; [1977] Built his kiln in the town of Mashiko; [1978] Solo exhibition at the Keio Department Store Shinjuku (held annually thereafter); [1980] Nojima Prize, Kokugakai; [1984] Associate Member's Excellence Prize, Kokugakai; [1986] Became a full member of the Kokugakai; [2025] Solo exhibition at the Mashiko Museum of Ceramic Art (through 2026)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eLos Angeles County Museum of Art (USA), Museum of Fine Arts, Houston (USA), Leicester Museums \u0026amp; Galleries (UK), and others\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e 1977 or later (based on the year the artist built his kiln; exact date unknown)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (one small chip-like depression at the edge of the glaze on the underside; no cracks or fractures, no effect on function)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eDiameter approx. 19.3 cm, Height approx. 3.0 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand this and review the details carefully before deciding to purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651884384443,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4762_result.jpg?v=1791639774"},{"product_id":"484","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Frosted Blue-Green Glass Stem Cup (Bajohai) with Gold-Tone Foil and White Glass Dots #484","description":"\u003cp dir=\"ltr\"\u003eThis piece is a stemmed glass cup by Okawa Kaoru (1940–2008), who worked at Hokuyo Glass, a glassworks in Aomori Prefecture, while also presenting his own works as an independent artist. The underside of the stem bears the incised signature “K. OKAWA.” The body, made of blue-green glass with a frosted matte finish, is decorated with gold-tone foil combined with dots of white glass. Measuring approximately 5.5 cm in height and 7.3 cm in rim diameter, it sits comfortably in the hand and is well suited for use as a Japanese-style shot glass for savoring aged spirits a little at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to his reported biography, Mr. Okawa was born in Niigata Prefecture in 1940, studied craft design at Musashino Art University, and joined Hokuyo Glass in Aomori City in 1964. Hokuyo Glass began in 1949 as a maker of glass fishing floats. Building on the free-blowing (chūbuki) technique developed through float making, the company created Tsugaru Vidro in 1977, a line of handmade glass expressing the four seasons and natural landscapes of Aomori. Tsugaru Vidro was also the first product to be designated a traditional craft of Aomori Prefecture. From 1980 onward, Mr. Okawa presented his work in solo exhibitions and glass exhibitions in various parts of Japan. According to the official records of Aomori Prefecture, he received the 11th Aomori Prefecture Art and Culture Award in the crafts category for fiscal year Showa 60 (1985). He is further reported to have won the Grand Prize in Section 1 of the Tohoku Glass Art Exhibition, sponsored by Asahi Glass, in 1990, and the Asahi Glass Prize at the 1st Japan Glass Art Exhibition in 1991. In 2006 he served as an adviser to the company, and he passed away in 2008.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMr. Okawa’s style is distinguished by the way he incorporated glassmaking techniques from abroad on a foundation of glassblowing. In particular, his tea ceremony utensils, in which he adapted millefiori, the mosaic glass technique handed down on the Venetian island of Murano, in his own distinctive way, are introduced as representative of his work. He also produced many works on the theme of the natural scenery of the Tsugaru region. This piece does not employ millefiori mosaic decoration. It is an example in which the surface is composed of gold-tone foil and white glass dots, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel takes the form of a bajohai, or stem cup, with a rounded, fairly deep cup supported on a short, thick, solid stem. The rim is finished thick and rounded, curving slightly inward. The stem is of frosted clear glass, widening gently toward its base and giving the cup a solid, steady presence. The exterior of the cup has a matte finish with subdued luster, and within the blue-green ground, streaks of pale green flow diagonally, so that the depth of color shifts with the viewing angle. The gold-tone foil spreads like a haze of fine particles near the rim, while from the lower body to the top of the stem it becomes larger fragments broken into a fine network of cracks, gathering densely around the stem. Over this, white glass dots of various sizes rise from the surface. The dots are irregular in shape, some round, some oval, some joined in twos and threes, and they are scattered most thickly over the lower half of the body. On some of the dots, flakes of gold-tone foil remain on the surface, and these details where white and gold overlap are a further highlight. Unlike the exterior, the interior has a glossy surface, through which the shimmer of the foil and the white dots can be seen. When light falls on the cup, the foil glitters with a greenish gold, and a scene resembling a swirl spiraling toward the center of the bottom appears. The underside of the stem is finished flat, and the signature is incised there.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece bears no date. It is a work bearing the artist’s personal signature, made between 1980, when he began presenting his work in solo and glass exhibitions, and his death in 2008. Documentation on Mr. Okawa is limited even within Japan, and his work has received almost no attention overseas. This stem cup, combining gold-tone foil and white glass dots on frosted blue-green glass, is a piece of documentary value for understanding his work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Okawa Kaoru (大川 薫, 1940–2008)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1964] Joined Hokuyo Glass, [1980 onward] Exhibited in solo exhibitions and glass exhibitions in various parts of Japan, [1985] 11th Aomori Prefecture Art and Culture Award (Crafts, fiscal year Showa 60), [1990] Grand Prize, Section 1, Tohoku Glass Art Exhibition (sponsored by Asahi Glass), [1991] Asahi Glass Prize, 1st Japan Glass Art Exhibition (sponsored by Asahi Glass), [2006] Adviser to Hokuyo Glass\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Between 1980 and 2008 (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eNone\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eGlass (metal foil decoration)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.5 cm, rim diameter approx. 7.3 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks: \u003c\/strong\u003eIncised signature “K. OKAWA” on the underside of the stem\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note:\u003c\/strong\u003e All items offered by our shop, even if new and unused, were produced long ago and are therefore listed as pre-owned. Items may show age-related wear or damage; please review and understand this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651889234107,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5310_result_d226054e-165b-4264-9de7-8859a745117a.jpg?v=1792252053"},{"product_id":"485","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Frosted Milk-White Glass Stem Cup (Bajohai) with Gold-Tone Foil and Blue Glass Dots, Sold As-Is #485","description":"\u003cp dir=\"ltr\"\u003eThis piece is a stemmed glass cup by Okawa Kaoru (1940–2008), who worked at Hokuyo Glass, a glassworks in Aomori Prefecture, while also presenting his own works as an independent artist. The side of the stem bears the incised signature “K. OKAWA.” The frosted, milky-white body is decorated with gold-tone foil combined with dots of blue glass. Measuring approximately 6.3 cm in height and 7.5 cm in rim diameter, it sits comfortably in the hand and is well suited for use as a Japanese-style shot glass for savoring aged spirits a little at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to his reported biography, Mr. Okawa was born in Niigata Prefecture in 1940, studied craft design at Musashino Art University, and joined Hokuyo Glass in Aomori City in 1964. Hokuyo Glass began in 1949 as a maker of glass fishing floats. Building on the free-blowing (chūbuki) technique developed through float making, the company created Tsugaru Vidro in 1977, a line of handmade glass expressing the four seasons and natural landscapes of Aomori. Tsugaru Vidro was also the first product to be designated a traditional craft of Aomori Prefecture. From 1980 onward, Mr. Okawa presented his work in solo exhibitions and glass exhibitions in various parts of Japan. According to the official records of Aomori Prefecture, he received the 11th Aomori Prefecture Art and Culture Award in the crafts category for fiscal year Showa 60 (1985). He is further reported to have won the Grand Prize in Section 1 of the Tohoku Glass Art Exhibition, sponsored by Asahi Glass, in 1990, and the Asahi Glass Prize at the 1st Japan Glass Art Exhibition in 1991. In 2006 he served as an adviser to the company, and he passed away in 2008.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMr. Okawa’s style is distinguished by the way he incorporated glassmaking techniques from abroad on a foundation of glassblowing. In particular, his tea ceremony utensils, in which he adapted millefiori, the mosaic glass technique handed down on the Venetian island of Murano, in his own distinctive way, are introduced as representative of his work. He also produced many works on the theme of the natural scenery of the Tsugaru region. This piece does not employ millefiori mosaic decoration. It is an example in which the surface is composed of gold-tone foil and blue glass dots, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel takes the form of a bajohai, or stem cup, with a rounded cup supported on a stem that widens toward its base. The stem is hollow inside, so that the decoration of the cup can be seen through it when looking up from below. The entire surface has a matte finish with subdued luster, and the milky-white glass softly diffuses the light. The cup is clad in gold-tone foil, which spreads like a haze of fine particles near the rim and becomes larger fragments broken into a fine network of cracks on the lower body, varying in density from place to place. Over this, blue glass dots are arranged in vertical rows radiating from just below the rim down to the top of the stem. The dots are larger toward the upper part of the cup and become smaller and more closely set as they approach the stem, so that when the cup is viewed from below, the blue lines form a pattern spreading outward in all directions from the stem. The dots rise slightly from the surface, and between the rows the body undulates gently. Looking into the interior, the rows of blue dots and the glimmer of the foil show through the frosted wall, and a single blue dot is set at the very center of the bottom. When the cup is filled, the blue and gold pattern emerges through the surface of the liquid, offering an expression different from that seen from the outside.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece bears no date. It is a work bearing the artist’s personal signature, made between 1980, when he began presenting his work in solo and glass exhibitions, and his death in 2008. Documentation on Mr. Okawa is limited even within Japan, and his work has received almost no attention overseas. This stem cup, combining gold-tone foil and blue glass dots on frosted milky-white glass, is a piece of documentary value for understanding his work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eOkawa Kaoru (大川 薫, 1940–2008)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1964] Joined Hokuyo Glass, [1980 onward] Exhibited in solo exhibitions and glass exhibitions in various parts of Japan, [1985] 11th Aomori Prefecture Art and Culture Award (Crafts, fiscal year Showa 60), [1990] Grand Prize, Section 1, Tohoku Glass Art Exhibition (sponsored by Asahi Glass), [1991] Asahi Glass Prize, 1st Japan Glass Art Exhibition (sponsored by Asahi Glass), [2006] Adviser to Hokuyo Glass\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eBetween 1980 and 2008 (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eSold as-is (one light surface scratch on the interior. It does not extend into any crack or break, and there are no chips on the rim. The scratch can be made out in the photographs at certain angles but is difficult to see with the naked eye. It does not affect the cup’s use as a sake cup)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eNone\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eGlass (metal foil decoration)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.3 cm, rim diameter approx. 7.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks: \u003c\/strong\u003eIncised signature “K. OKAWA” on the side of the stem\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced long ago and are therefore listed as pre-owned. Items may show age-related wear or damage; please review and understand this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651890282683,"sku":null,"price":18000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5257_result_0d6f819f-afd1-4f31-91ea-3d7ca1cf7d32.jpg?v=1792252020"},{"product_id":"486","title":"Certified Preserver of Craft Techniques, Miyanaga Tozan II (二代 宮永東山・宮永友雄, Miyanaga Tomoo): Ruri-Glazed Gilt Lobed Confectionery Bowl with Jindai Moji Inscription, Kashiki \/ Kashibachi \/ Fruit Bowl #486","description":"\u003cp\u003eThis is a \"Ruri-Glazed Gilt Confectionery Bowl with Shinji (Divine Characters)\" by Miyanaga Tozan II (given name Miyanaga Tomoo, 1907–1995), the second-generation head of the Miyanaga Tozan Kiln, one of the distinguished names of Kyoto ceramics (Kyo-yaki). The entire vessel is covered in a deep lapis-blue ruri glaze, and the interior is inscribed in gold with a single line of Jindai moji, the so-called \"characters of the Age of the Gods.\" This lobed bowl comes with its Tomobako (the original wooden box bearing the artist's ink inscription and red seal) and its Tomonuno (the original cloth wrapper bearing a red seal). Carrying on the celadon, blue-and-white (sometsuke), and polychrome enamel wares produced since the first generation, Miyanaga Tozan II excelled in fine tableware and came to be known as \"Tozan of Tableware.\" This piece exemplifies the refined tableware style of the second generation.\u003c\/p\u003e\n\u003cp\u003eThe history of the Miyanaga Tozan Kiln begins with Miyanaga Tozan I (given name Miyanaga Gotaro, 1868–1941). Born into a samurai family of the Daishoji Domain in Ishikawa Prefecture, Tozan I served as assistant to Okakura Tenshin, principal of the Tokyo School of Fine Arts, and took part in surveys of art institutions in Western countries. He later worked at the Provisional Office for the Paris Exposition Universelle of the Ministry of Agriculture and Commerce and was dispatched to Paris, where he became acquainted with Kinkozan Sobei VII. After returning to Japan, he moved to Kyoto, became artistic adviser to the Kinkozan workshop, and devoted himself to the reform of Meiji-era Kyoto ceramics. In 1903 (Meiji 36), he joined Yutoen, Japan's first society for the study of ceramic design, founded through the initiative of the ceramic chemist Nakazawa Iwata and the Western-style painter Asai Chu. In 1909 (Meiji 42), he built the Tozan Kiln at Fukakusa, at the foot of Mount Inari in Fushimi. The art name \"Tozan\" was chosen by his friend Koda Rohan, with whom he had shared lodgings for about two years while studying at the Tokyo French Language School; Rohan took it from the phrase in Mencius, \"Confucius ascended the Eastern Mountain.\" During the Showa era, his works \"Two-Color Glazed Vase\" and \"Pale Celadon Pentagonal Vase with Floral Design\" were selected for the Imperial Art Academy Exhibition (Teiten), and from the 14th exhibition onward he was granted mukansa status, exempting him from jury screening. Celadon was his greatest specialty, and he was known as \"Tozan of Celadon.\"\u003c\/p\u003e\n\u003cp\u003eMiyanaga Tozan II was born in Kyoto in August 1907 (Meiji 40), the son of Tozan I. After attending Kyoto First Middle School, he graduated from the Design Department of the Kyoto Higher School of Arts and Crafts in 1930 (Showa 5). In 1935 (Showa 10), he completed the training course at the National Ceramics Testing Institute, where he carried out research on feldspar, among other subjects. During this period he also studied under \u003ca href=\"\/en\/search?q=%22%E6%B2%BC%E7%94%B0%E4%B8%80%E9%9B%85%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eNumata Ichiga\u003c\/a\u003e, and \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 was among his fellow pupils. In 1939 (Showa 14), his work was selected for the 3rd Ministry of Education Art Exhibition (Bunten), and in December 1941 (Showa 16), following the sudden death of Tozan I, he succeeded to the name as Tozan II. In 1943 (Showa 18), he was certified as a Preserver of Craft Techniques under the national system established during wartime. After the war, he served as a member of the Kinki regional committee for the national certification of traditional craftsmen. From 1955 (Showa 30), he studied the tea ceremony under Yurinsai, grand master of the Mushakojisenke (Kankyuan) school, and in 1960 (Showa 35), he took part in founding the Kyoto Traditional Ceramic Artists Association, later serving as its vice president. From 1964 (Showa 39) to 1990 (Heisei 2), he lectured at the Sen Chado Bunka Gakuin (Sen Tea Culture Institute), and from 1975 (Showa 50) onward he traveled widely around the world, gaining extensive knowledge of the ceramics and antiquities of the Middle East and the Mediterranean coast in particular. He passed away in March 1995 (Heisei 7).\u003c\/p\u003e\n\u003cp\u003eThe Miyanaga Tozan name has been passed on to \u003ca href=\"\/en\/search?q=%22%E5%AE%AE%E6%B0%B8%E7%90%86%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e (born 1935), the eldest son of Tozan II. In 1970 (Showa 45), Rikichi joined Sodeisha, the avant-garde ceramic artists' group, and is known for works that pursue sculptural form. The Miyanaga family has been engaged in ceramics for more than 120 years. In addition, a great many works by Tozan II and by the Tozan Kiln, made up to his death, were preserved at the family home through the efforts of his wife, Keiko. As a valuable body of material on postwar Kyoto ceramics, these works have been studied by the Kyoto Modern Ceramics Research Group, composed of ceramic historians, curators, and potters based in the Kansai region, and made public as the \"Miyanaga Tozan Kiln Ceramics Database.\"\u003c\/p\u003e\n\u003cp\u003eThe technique most highly esteemed at the Miyanaga Tozan Kiln is celadon, as the epithet \"Tozan of Celadon\" given to the first generation attests. The second generation, in addition to celadon, was called \"Tozan of Tableware\" for his fine tableware, including blue-and-white and polychrome enamel wares. This piece is not celadon but a work of fine tableware in the polychrome family, executed in ruri glaze and gold, and it clearly displays the quality of craftsmanship in tableware that was the true hallmark of the second generation. The interior and exterior are evenly covered in a deep ruri glaze with little variation, giving a strong luster. The rim is lobed, formed by notches cut into its edge, and is encircled by a gilt band. A single ridge runs around the inside of the rim; because the glaze thins over this ridge, a bright blue line emerges against the deep lapis of the vessel, outlining the lobed contour from within. In the interior, a line of characters drawn in slender, flowing strokes is applied in overglaze gold. The design is restrained and refined, with gold lines glowing against the dark blue ground; by confining the decoration to a single line in the interior, the composition heightens the depth of the ruri glaze. The foot ring is carved relatively tall; the area within it is glazed in ruri, with an oval \"Tozan\" kiln mark written in gold at the center. The white clay body is visible on the inner side of the foot ring, contrasting with the ruri glaze.\u003c\/p\u003e\n\u003cp\u003eAs the word \"Shinji\" (divine characters) in the inscriptions on the Tomobako and the paper label indicates, the characters in the interior are Jindai moji (characters of the Age of the Gods). Jindai moji is the collective term for scripts that have been claimed to have existed in Japan before the introduction of Chinese characters. Several types are known, including Hifumi, Anaichi, and Ahiru, and most of them are phonetic scripts in which each character represents a single sound. Theories that ancient Japan possessed its own script can be found as early as the Kamakura period, but debate became especially lively in the Edo period. In the late Edo period, the Kokugaku (National Learning) scholar Hirata Atsutane argued for their authenticity in Shinji Hifumi Den, while Ban Nobutomo put forward a dissenting view in Kana no Motosue, giving rise to controversy. Modern Japanese linguistics regards all Jindai moji as later creations. The term \"Shinji\" used in the box inscription is a traditional name for Jindai moji, also seen in the title of Atsutane's work. That Miyanaga Tozan II, who was also versed in the tea ceremony, adopted such characters as a design for fine tableware gives this piece its distinctive rarity.\u003c\/p\u003e\n\u003cp\u003eThe characters on this piece are written in a cursive style of linked curves, with ten characters arranged in a single line. No character form appears twice among the ten. The content of the inscription is not recorded on the Tomobako or in any accompanying material, and no reading based on comparison with a character table has been established. With that caveat, we would add our own conjecture: the inscription may record \"hi fu mi yo i mu na ya ko to,\" the ten opening sounds of the Hifumi Norito (Hifumi prayer). There are two grounds for this. First, all ten characters differ in form, which matches these ten sounds, none of which is repeated. Second, as the name of one type of Jindai moji, \"Hifumi,\" suggests, Jindai moji have been handed down in association with the sound sequence \"hi fu mi.\"\u003c\/p\u003e\n\u003cp\u003e\"Hi fu mi yo i mu na ya ko to\" is formed by placing in order the initial sounds of the native Japanese numerals from one to ten: \"hito, futa, mi, yo, itsu, mu, nana, ya, kokono, to.\" The Hifumi Norito, which begins with these ten sounds, is a prayer composed of forty-seven sounds, each used once without repetition, and it has been chanted within Shinto-related traditions. If this conjecture is correct, the interior of this piece bears, in gold, a celebratory phrase counting the numbers from one to ten. Please note, however, that this is our conjecture based on features such as the number and forms of the characters, and it should be regarded as a reference only.\u003c\/p\u003e\n\u003cp\u003eThe accompanying Tomobako is made of cedar; the lid bears the title in ink and the signature \"Tozan zo\" (made by Tozan), with an oval red seal reading \"Tozan.\" The Tomonuno that wraps the bowl is likewise stamped with the same oval red \"Tozan\" seal. On the side of the box remains a paper label (price tag) inscribed in ink with \"Tozan\" and \"Shinji Kashibachi\" (Confectionery Bowl with Divine Characters), together with a price in the two-hundred-yen range, written beginning with \"two hundred\" in the old-style formal numeral. As this is a work by Miyanaga Tozan II, it dates from after December 1941 (Showa 16), when he succeeded to the name. Furthermore, based on the price level on this label, we estimate that it was sold in the postwar period, between the Showa 20s and the first half of the Showa 30s (approximately 1945 to the late 1950s).\u003c\/p\u003e\n\u003cp\u003eWith a height of approx. 7.0 cm and a diameter of approx. 21.5 cm, this is a fairly shallow bowl of generous proportions. Beyond its use as a kashiki for serving wagashi and higashi (dry confections), it can also hold nuts, chocolates, or seasonal fruit while enjoying aged spirits or whisky. The contrast of deep ruri blue and gold grows richer still under lighting. This is a piece of Kyoto ceramics rarely introduced overseas, conveying the history of the Miyanaga Tozan Kiln and the fine tableware of its second generation.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyanaga Tozan II (宮永 東山、1907–1995) \/ Given name: Miyanaga Tomoo（宮永 友雄）\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1930] Graduated from the Design Department, Kyoto Higher School of Arts and Crafts; [1935] Completed the training course at the National Ceramics Testing Institute (studied under Numata Ichiga); [1939] Selected for the 3rd Bunten; [1941] Succeeded to the name Miyanaga Tozan II; [1943] Certified as a Preserver of Craft Techniques; [1955] Began studying the tea ceremony under Yurinsai, grand master of Mushakojisenke; [1960] Took part in founding the Kyoto Traditional Ceramic Artists Association (later Vice President); [1964] Lecturer at the Sen Chado Bunka Gakuin (until 1990); [1968] Three-person exhibition of Miyanaga Tozan, his wife Keiko, and Rikichi at Mitsukoshi Nihonbashi, Tokyo; [1983] Exhibition of Miyanaga Tozan and Rikichi at Mitsukoshi Nihonbashi, Tokyo; [1987] Exhibited in \"Currents of the Modern Era: Nihonga and Crafts of Kyoto,\" Kyoto Municipal Museum of Art\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eNo record of holdings in public institutions has been confirmed (works by Tozan II and the Tozan Kiln have been studied by the Kyoto Modern Ceramics Research Group and published as the \"Miyanaga Tozan Kiln Ceramics Database\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eShowa period (after Tozan II's succession to the name in December 1941; estimated from the price on the label to be postwar, between the Showa 20s and the first half of the Showa 30s)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (no notable chips or cracks; age-related wear to the gilding on the rim)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (ink inscription \"Tozan zo,\" oval red seal \"Tozan,\" price label on the side), Tomonuno (oval red seal \"Tozan\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eCeramic (ruri glaze, gilding)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.0 cm, diameter approx. 21.5 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show damage from age; please understand and review this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651891593403,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5463_result_c4102838-5dce-4f00-9102-b152b47a7a03.jpg?v=1792252425"},{"product_id":"506","title":"Mashiko Ware – Studied under Hamada Shoji – Sakuma Totaro (佐久間藤太郎): Tokkuri Sake Flask and Pair of Meoto Yunomi Teacups with Floral Design in Gosu Cobalt Blue – Japanese Decanter and Japanese Rocks Glasses #506","description":"\u003cp dir=\"ltr\"\u003eThis is a set of one tokkuri sake flask and a pair of meoto yunomi (matching teacups for a couple) by Sakuma Totaro (1900–1976), a ceramic artist of Mashiko ware. Sakuma Totaro was born in 1900 (Meiji 33) into a family that ran a Mashiko ware kiln in Haga District, Tochigi Prefecture, and in 1918 (Taisho 7) he graduated from the Mashiko Town Ceramics Training Institute. From 1924 (Taisho 13), when \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 moved to Mashiko, Sakuma studied under Hamada. As one of the leading artists of Mashiko ware, second only to Hamada, he contributed to the flourishing of Mashiko ware as mingei (folk craft) pottery. The Mashiko Museum of Ceramic Art describes Sakuma, who was born into a kiln-owning family, as the first person in Mashiko who, after meeting Hamada, set out to become a ceramic artist.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1927 (Showa 2), Sakuma’s work was selected for the craft section of the Kokugakai exhibition, and in 1949 (Showa 24) he became a member of the Kokugakai. He held solo exhibitions frequently throughout Japan, beginning with Takashimaya in Tokyo, and in 1956 (Showa 31) he held an exhibition commemorating thirty years of his ceramic work at Tochigi Kaikan. A three-person exhibition with Hamada Shoji and \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (Daimaru, Kyoto) and a two-person exhibition with Hamada Shoji in 1966 (Showa 41) (Toki, Gifu Prefecture) were also held. In 1953 (Showa 28) he became a director of the Tochigi Prefecture Mingei Association, and he received the Tochigi Prefecture Cultural Merit Award in 1959 (Showa 34) and the Order of the Sacred Treasure, Fifth Class in 1973 (Showa 48).\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1934 (Showa 9), writing in Kogei (Crafts), the journal of the mingei movement, Hamada Shoji noted that among the young makers of Mashiko, Sakuma was the one of longest standing. He went on to observe that Sakuma’s “way of working that brings Mashiko clay to life,” guided by his own eye and hand, possessed an honesty true to the character of the land. When Bernard Leach visited Japan in 1954, ceramics were made at the Sakuma Totaro Kiln.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHis works are held in the collections of the Mashiko Museum of Ceramic Art (Vase with Plum Design in Tessha Glaze) and the Otaru City Museum of Art. The works in the Otaru City Museum of Art include pieces in a wide range of techniques: inlay (zogan), three-color glaze (sansai), dotted patterns in tessha iron glaze, persimmon (kaki) and black glazes applied in divided sections with resist decoration (nukie), and white glaze with poured amber (ame) and blue glazes. The Mashiko Museum of Ceramic Art explains that Sakuma possessed assured skill on the potter’s wheel and excelled at painted decoration. On the vase in the museum’s collection, the trunk is painted in iron oxide (tetsu-e), and the blossoms are painted in persimmon glaze and gosu cobalt blue.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn this work, slender leaves are painted in gosu cobalt blue over a grayish-white glaze. Each leaf is drawn in a single stroke, thick at the base and tapering to a sharp point. Between the leaves, a stem-like motif whose tip curves and curls inward is painted in thick brown glaze. On the yunomi, the brown motif crosses two parallel lines incised around the upper body, and the glaze breaks off and separates at the grooves. The tone of the brown differs from piece to piece: on the larger yunomi it ranges from reddish brown to pale purplish brown, on the smaller yunomi it is a deep brown close to black, and on the tokkuri it has fired to a subdued, low-gloss brown. On the tokkuri, the brown motif is applied so thickly that its outline stands in relief.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBoth yunomi share the same form: the rim flares slightly outward, and the body narrows at the waist before joining a stepped foot ring. Spiral trimming marks remain inside the foot ring, and the unglazed footrim reveals a coarse, reddish clay body. The glaze surface shows fine crackle (kannyu) throughout, scattered with black specks from the iron in the clay. The tokkuri has a refined form, with a distinct step at the shoulder and a short neck opening into a rim that flares and rolls outward. Throwing marks remain on the inside of the neck. At the middle of the body, the glaze surface divides into a glossy upper section and a lower section with a finely pitted, pear-skin texture. The outer edge of the base is unglazed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOur shop proposes the tokkuri as a Japanese decanter for pouring vintage spirits, and the meoto yunomi as Japanese rocks glasses for enjoying vintage spirits and aged liquors on the rocks. The two yunomi differ slightly in size, and together with the tokkuri bearing the same design, they can be used as a matching set.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe pair of yunomi comes with a tomobako (the artist’s own wooden box) bearing an ink inscription and a red seal. The tokkuri comes with no accessories. There is a small spot on the rim of the tokkuri where the color of the clay body is visible.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuma Totaro (佐久間 藤太郎、1900–1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1924] Studied under Hamada Shoji, who had moved to Mashiko; [1927] Selected for the craft section of the Kokugakai exhibition; [1949] Became a member of the Kokugakai; [1953] Director of the Tochigi Prefecture Mingei Association; [1956] Exhibition commemorating thirty years of ceramic work (Tochigi Kaikan); [1959] Received the Tochigi Prefecture Cultural Merit Award; [1966] Two-person exhibition of Hamada Shoji and Sakuma Totaro (Toki); [1973] Received the Order of the Sacred Treasure, Fifth Class\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Mashiko Museum of Ceramic Art, Otaru City Museum of Art\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e c. 1950 – c. 1975 (estimated; estimated to fall between c. 1950 and c. 1975, the period from when the artist held repeated solo exhibitions throughout Japan after the war until his death in 1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks; in good condition with minimal soiling)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako for the pair of yunomi only (with ink inscription and red seal); no accessories for the tokkuri\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery (painted in gosu cobalt blue)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Tokkuri: body diameter approx. 8 cm, height approx. 16 cm \/ Yunomi (large): height approx. 9.0 cm, width approx. 8.6 cm, rim diameter approx. 7.2 cm \/ Yunomi (small): height approx. 8.5 cm, width approx. 8.0 cm, rim diameter approx. 6.7 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show damage from age, so please understand and review this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67781390106811,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6141_result_13fbbce5-c641-4dde-9882-b9efeff16a4c.jpg?v=1793023442"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/color-blue.oembed?page=3","provider":"Antique Liquor","version":"1.0","type":"link"}