{"title":"Vermilion \u0026 Red Sake Cups and Glasses","description":"\u003cp\u003eAkae, copper-red shinsha, shudei clay and ruby glass: festive reds that bring colour to celebrations and evening drinks.\u003c\/p\u003e","products":[{"product_id":"4","title":"Hand-blown glass by Ishii Koji (石井康治), red glass, jellyfish design #4","description":"\u003cp data-path-to-node=\"5\"\u003eThis beautiful sake vessel is a work by Ishii Koji (1946–1996), a leading Japanese glass artist. Ishii Koji is renowned for his fantastical jellyfish-inspired works, using a unique inclusion technique to trap colors and motifs within the glass, expressing a sense of transparency and suspension evocative of the deep sea.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThis sake vessel is also believed to be based on the jellyfish motif. Within the transparent interior of the glass, gold leaf and multicolored glass granules are trapped as if melting together, expressing a fantastical shimmer evocative of jellyfish tentacles drifting in water or the light sparkling within its body. The thin white glass lines depict the graceful movements of the jellyfish and the trajectory of life emerging from the darkness of the deep sea, further accentuating the depth and sense of suspension through the reflection of light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eEach piece is a one-of-a-kind handmade work, and the artist's high technical skill and artistry are evident in the shape of the glass, the substantial construction of the base, and the meticulous finish of the white wrap-around applied to the rim. Merging traditional Japanese craft beauty with a modern sensibility, this piece is a masterpiece of high artistic value. The accompanying original wooden box (tomobako) and the shiori leaflet signed by the artist guarantee that this is an authentic work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Ishii Glass Studio Co., Ltd.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ishii Koji (石井康治)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eNotable Activities:\u003c\/strong\u003e [1979] Work exhibited at Japan New Face II and purchased by Her Imperial Highness Princess Chichibu; [1985] Designed the silhouette bottle for Sanwa Shurui's Iichiko and won a special prize at the Japan Package Design Competition; [1985] Won a special prize at the Seibu Crafts Grand Prize Exhibition; [1994] Held the solo exhibition Symphony of Light and Wind: GLASS Ishii Koji at the Narukawa Museum of Art in Hakone.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\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-Lake Ashi).\u003c\/li\u003e\n\u003cli\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 period:\u003c\/strong\u003e 1980s-1990s\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 or 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 Dedicated box included\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 hand-blown glass\u003c\/span\u003e\u003cbr\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 11cm, diameter 7cm\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\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"石井グラススタジオ","offers":[{"title":"Default Title","offer_id":46615789174971,"sku":"","price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4808.jpg?v=1773500903"},{"product_id":"41","title":"Hand-blown glass by Sakata Jinnai（坂田甚内, Jin）, featuring red and gold accents, gold leaf, and gold accents. Deep Jinmon glass #41","description":"\u003cp\u003eThis is a \"Red and Gold Hand-Blown Glass Sake Cup\" by Sakata Jinnai（Jin）. Gold leaf is scattered across the clear glass, creating a fantastical reflection of the light between the red base and the gold leaf. The elegant design is both elegant and stable, combining aesthetic value with practicality. Sakata Jinnai was born in Tokyo in 1943, studied under \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\"\u003eKamoda Shoji\u003c\/a\u003e in 1964, and established his kiln in Kami-Oba, Mashiko Town, in 1966. Since then, he has been known as an artist who has incorporated glass and gold leaf into his works. This piece is thought to date from the 1990s and 2000s, when he was actively pursuing the fusion of ceramic and glass and increasingly experimenting with gold leaf and decorative elements. This exceptional sake cup (glass) is a rare piece among Sakata Jinnai's works, and is a masterpiece that will add a touch of elegance to any evening drink or dinner table, making it an ideal gift or collectible piece.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Sakata Jinnai (坂田甚内, 1943-present)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable activities include:\u003c\/strong\u003e [ \u003cspan\u003e2009]\u003c\/span\u003e \u003cspan\u003eInvited artist at the 1st Shanghai International Ceramic Living Art Expo; [2013] Donated a large magatama plate with deep-patterned gold leaf and leaf glass, \"The Radiance of Life,\" to the Izumo Taisha Grand Shrine Heisei Grand Shrine Relocation; [2013] Donated a large black porcelain plate with deep-patterned gold leaf and leaf, \"Homage to the Sun,\" to coincide with the Ise Grand Shrine Shikinen Sengu; [\u003c\/span\u003e\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\u003cspan\u003e2014] Donated a deep-patterned gold leaf and leaf glass objet d'art, \"Yamanei,\" to Atsuta Shrine; [2014]\u003c\/span\u003e\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\u003cspan\u003eDonated a pair of black porcelain engraved gold leaf and leaf boxes, \"Longevity,\" to Kameoka Hachiman Shrine (Mashiko Town).\u003c\/span\u003e\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\u003eProduction period:\u003c\/strong\u003e 1990s-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 or 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\u003eMaterial:\u003c\/strong\u003e Glass, gold leaf\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 9.5cm, diameter 5.5cm\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\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47058981585083,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0997.jpg?v=1767788776"},{"product_id":"160","title":"Hand-blown Art Glass by Iwata Hisatoshi (岩田久利), Kin-aka Kiriko (Gold Ruby Glass) Rocks Glass, 1 Piece, #160","description":"\u003cp data-path-to-node=\"4\"\u003e\u003cspan class=\"\"\u003eThis Kin-aka Kiriko created by the master of contemporary glass art,\u003c\/span\u003e\u003cspan class=\"\"\u003e Iwata Hisatoshi (1925–1994),\u003c\/span\u003e\u003cspan class=\"\"\u003e is more than just a vessel; it is a gem of an art piece that captures the memories of light and heat.\u003c\/span\u003e\u003cspan class=\"\"\u003e Together with his father,\u003c\/span\u003e\u003cspan class=\"\"\u003e \u003ca href=\"\/en\/search?q=%22%E5%B2%A9%E7%94%B0%E8%97%A4%E4%B8%83%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e,\u003c\/span\u003e\u003cspan class=\"\"\u003e Hisatoshi elevated Japanese glass art from utility tools to pure art.\u003c\/span\u003e\u003cspan class=\"\"\u003e The reason why his works continue to fascinate enthusiasts around the world lies in the overwhelming depth of their colors and the sculptural power that draws out the vitality of the material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cspan class=\"\"\u003eThe soul of this piece is the supreme coloring technique known as Kin-aka,\u003c\/span\u003e\u003cspan class=\"\"\u003e also called Gold Ruby Glass.\u003c\/span\u003e\u003cspan class=\"\"\u003e This miraculous color is born only by mixing real pure gold into the glass raw material and repeatedly reheating it in a scorching furnace at temperatures exceeding 1,\u003c\/span\u003e\u003cspan class=\"\"\u003e000 degrees Celsius.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003e\u003cspan class=\"\"\u003eThe blending ratio of pure gold is a secret of the artist and the studio,\u003c\/span\u003e\u003cspan class=\"\"\u003e so it cannot be generalized,\u003c\/span\u003e\u003cspan class=\"\"\u003e but it is typically said that the content of pure gold (gold chloride solution) is approximately 0.\u003c\/span\u003e\u003cspan class=\"\"\u003e01% to 0.\u003c\/span\u003e\u003cspan class=\"\"\u003e03% relative to the glass material.\u003c\/span\u003e\u003cspan class=\"\"\u003e For instance,\u003c\/span\u003e\u003cspan class=\"\"\u003e if a piece weighs about 300g,\u003c\/span\u003e\u003cspan class=\"\"\u003e the amount of pure gold contained is calculated to be a mere 0.\u003c\/span\u003e\u003cspan class=\"\"\u003e03g to 0.\u003c\/span\u003e\u003cspan class=\"\"\u003e1g.\u003c\/span\u003e\u003cspan class=\"\"\u003e However,\u003c\/span\u003e\u003cspan class=\"\"\u003e the reason why Kin-aka glass works are so expensive is not simply due to the use of pure gold as a raw material.\u003c\/span\u003e\u003cspan class=\"\"\u003e It lies in the background of having to overcome the strict barrier of an extremely unstable yield (success rate).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003e\u003cspan class=\"\"\u003eEven among works made of the same Kin-aka glass,\u003c\/span\u003e\u003cspan class=\"\"\u003e inexpensive items tend to have a thinner red layer,\u003c\/span\u003e\u003cspan class=\"\"\u003e which results in a weak contrast with the white parts when Kiriko cuts are applied.\u003c\/span\u003e\u003cspan class=\"\"\u003e However,\u003c\/span\u003e\u003cspan class=\"\"\u003e as seen in this piece,\u003c\/span\u003e\u003cspan class=\"\"\u003e those with a thick,\u003c\/span\u003e\u003cspan class=\"\"\u003e beautiful crimson layer and sharp cut edges possess a completely different sense of visual weight.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003e\u003cspan class=\"\"\u003eTo achieve this vibrant red,\u003c\/span\u003e\u003cspan class=\"\"\u003e even a slight difference in the process carries the constant risk of wasting expensive gold,\u003c\/span\u003e\u003cspan class=\"\"\u003e and the extreme tension during the production process forms the foundation of this work's value.\u003c\/span\u003e\u003cspan class=\"\"\u003e In particular,\u003c\/span\u003e\u003cspan class=\"\"\u003e the process of reheating the once-molded glass to the appropriate temperature to dramatically develop the color of the gold particles is extremely difficult,\u003c\/span\u003e\u003cspan class=\"\"\u003e even for a master with great experience.\u003c\/span\u003e\u003cspan class=\"\"\u003e Even a slight temperature change causes the color to become cloudy,\u003c\/span\u003e\u003cspan class=\"\"\u003e and failure would result in the piece becoming nothing more than extremely high-cost waste material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003e\u003cspan class=\"\"\u003eNevertheless,\u003c\/span\u003e\u003cspan class=\"\"\u003e he pursued a deep dignity and transparency akin to a ruby—a quality that can never be reached with copper-red made from cheaper copper—and dared to invest precious metal.\u003c\/span\u003e\u003cspan class=\"\"\u003e This uncompromising pride of the artist and the fact that it is a unique piece that survived the rigorous selection process determine its rarity.\u003c\/span\u003e\u003cspan class=\"\"\u003e The deep yet transparent red that seems to burn from within is the very embodiment of the color of passion that Hisatoshi pursued throughout his life.\u003c\/span\u003e\u003cspan class=\"\"\u003e The bold and precise Kiriko cuts on the surface brilliantly scrape away this Kin-aka layer,\u003c\/span\u003e\u003cspan class=\"\"\u003e creating a vivid contrast with the transparent glass beneath and causing light to reflect diffusely like a gemstone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cspan class=\"\"\u003eThe microscopic bubbles gently trapped within the glass and the soft texture unique to hand-blown glass are by no means defects.\u003c\/span\u003e\u003cspan class=\"\"\u003e They are traces of breath—something lost in modern industrial products—where the artist gathered glass from the crucible and breathed soul into it all at once.\u003c\/span\u003e\u003cspan class=\"\"\u003e Among antique collectors,\u003c\/span\u003e\u003cspan class=\"\"\u003e these are called keshiki (scenery) and are highly valued as aesthetic points that give the work a unique depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003e\u003cspan class=\"\"\u003eWith an exquisite size of approximately 7.\u003c\/span\u003e\u003cspan class=\"\"\u003e8 cm in diameter and 6.\u003c\/span\u003e\u003cspan class=\"\"\u003e5 cm in height,\u003c\/span\u003e\u003cspan class=\"\"\u003e it shows a perfect harmony as a rocks glass for pouring amber-colored whisky.\u003c\/span\u003e\u003cspan\u003e The liquid swaying through the Kin-aka Kiriko is the height of luxury,\u003c\/span\u003e\u003cspan\u003e transforming the time spent quietly sipping at the end of the day into a supreme ritual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003e\u003cspan\u003eThe handwritten signature Hisatoshi (久利) on the bottom and the carefully preserved original box eloquently tell the story that this is an authentic work that has cleared Hisatoshi's strict aesthetic standards.\u003c\/span\u003e\u003cspan\u003e Now,\u003c\/span\u003e\u003cspan\u003e over 30 years after his passing,\u003c\/span\u003e\u003cspan\u003e with no new works being created,\u003c\/span\u003e\u003cspan\u003e acquiring such a well-conditioned posthumous work from his prime carries a special meaning that goes beyond mere ownership—it is the inheritance of culture.\u003c\/span\u003e\u003cspan\u003e This is a masterpiece that shines brilliantly in the history of Japanese glass craft,\u003c\/span\u003e\u003cspan\u003e embodying the madness and passion of 100 years ago that Antique Liquor 1926 continues to uphold.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Iwata Hisatoshi Glass Studio \u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Iwata Hisatoshi (岩田久利) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eArtist's Notable Activities:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e [1976] Received the Minister of Education Award at Nitten; [1982] Received the Japan Art Academy Prize.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Late 1970s to early 1990s (estimated) \u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Very good (no chips or cracks) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Original box and wrapping cloth included \u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Hand-blown glass \u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Approx.\u003c\/span\u003e\u003cspan\u003e 7.\u003c\/span\u003e\u003cspan\u003e8 cm in diameter,\u003c\/span\u003e\u003cspan\u003e 6.\u003c\/span\u003e\u003cspan\u003e5 cm in height\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003ePlease Note①:\u003c\/strong\u003e Due to the presence of fine dust particles on the surface during photography, some images may appear to show air bubbles or scratches. Upon detailed inspection, there are no notable scratches, and internal air bubbles are extremely minimal. Please purchase with confidence.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cspan\u003e\u003cstrong\u003ePlease note②:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e Even if the products we offer are brand new and unused,\u003c\/span\u003e\u003cspan\u003e they are from a very old production period and are listed as second-hand items.\u003c\/span\u003e\u003cspan\u003e Please understand and confirm that the products may have damage due to aging before considering your purchase.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"岩田久利","offers":[{"title":"Default Title","offer_id":47466345693371,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4296.jpg?v=1771849402"},{"product_id":"169","title":"Bizen Akae Sake Cup by Isezaki Mitsuru (伊勢崎満), Bizen Ware, Okayama Prefecture Important Intangible Cultural Property #169","description":"\u003cp data-path-to-node=\"29\"\u003eMitsuru Isesaki (1934–2011), the eldest son of the master craftsman Yozan Isesaki and a designated Intangible Cultural Property Holder for Okayama Prefecture, was a towering figure in the world of traditional Bizen ware. He dedicated his life to restoring the medieval \"Old Bizen\" style, serving as the spiritual backbone of the craft.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThis piece features \u003cb data-path-to-node=\"30\" data-index-in-node=\"20\"\u003eMitsuru’s signature alongside the \"Yozan\" seal\u003c\/b\u003e on its presentation box. Throughout his career, Mitsuru continued to use this prestigious family seal as the head of \"Yozan-gama,\" honoring the legacy of his father. It serves as a testament to his pride in his lineage and a guarantee of the authentic quality of the Isesaki family kilns.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eNotably, this \"Bizen Aka-e\" (red enamel) work is estimated to have been created during \u003cb data-path-to-node=\"31\" data-index-in-node=\"87\"\u003eMitsuru’s mature later years, from the late 1990s into the 2000s\u003c\/b\u003e, when his artistic sensibility reached its zenith. Having mastered the stoic, unglazed aesthetic of traditional Bizen, it is significant that the master chose to embrace the modern challenge of \"color\" in his final decades. He overcame the technical difficulty of bonding enamel to iron-rich Bizen clay through firing techniques refined over half a century, achieving a magnificent contrast between the earth's weight and the vivid red.\u003c\/p\u003e\n\u003cp data-path-to-node=\"32\"\u003eWithin the traditional brownish-brown of Bizen, this work harbors a modern tension. It represents the \"final destination\" of Mitsuru Isesaki—a master who upheld a prestigious name while maintaining a forward-looking, timeless sensibility. This is a masterpiece of exceptional historical and artistic value.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIsezaki Mitsuru (伊勢崎満, 1934-2011)\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eNotable Achievements: \u003c\/strong\u003e1961 Sanyo Shimbun Prize at the Okayama Prefectural Exhibition, 1966 First selection for the Japan Traditional Crafts Exhibition, 1972 Grand Prize at the Chunichi International Ceramic Art Exhibition, 1973 Japan Ceramic Society Award, 1984 Okayama Prefecture Cultural Encouragement Award, 1994 Sanyo Culture Award, 1998 Designated a Holder of Okayama Prefecture Important Intangible Cultural Property for Bizen Ware Production Techniques.\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Victoria and Albert Museum (UK); British Museum (UK), among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Circa 1990s to early 2000s\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks) \u003cbr\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6 cm, diameter approx. 5.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePlease note: \u003c\/strong\u003eAlthough these items are in unused condition, they are vintage pieces and are listed as second-hand. Please understand that items 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":47477934129339,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4540.jpg?v=1772272950"},{"product_id":"192","title":"Yamamoto Hogaku (山本芳岳), Masterpiece, Kutani Ware Aka-e Saibyō \/ Gilded Red Painting, Ascending Dragon Motif Guinomi Sake Cup, Imperial Family Gift Artist #192","description":"\u003cp data-path-to-node=\"18\"\u003eThis \"Aka-e Saibyō\" (Ultra-fine Red Painting) guinomi is a pinnacle of artistic achievement by Yamamoto Hogaku (born 1960), a master of contemporary Kutani ware based in Kaga City, Ishikawa Prefecture. Yamamoto is the foremost living successor of the Aka-e Saibyō technique, distinguished by his 1985 commission to create and present an Aka-e Saibyō tea bowl to His Imperial Highness the Crown Prince (now Emperor Emeritus).\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe reason this piece is designated as a \"Masterpiece\" lies in its \"microscopic detailing\" that transcends normal human vision. The primary technique, Aka-e Saibyō, is a superhuman craft involving the depiction of ultra-fine lines—less than 0.1 mm in thickness—drawn at perfectly equal intervals using red iron oxide (Bengara) pigment. The \"Ascending Dragon\" motif featured here is, along with the phoenix and tiger, Yamamoto’s most celebrated and technically demanding subject. From the internal texture of every individual dragon scale to the minute patterns filling every millimeter of the background, the entire surface is a dense concentration of visual information, embodying the essence of Aka-e Saibyō where no empty space is permitted.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe red-painted ascending dragon on the exterior radiates a power that pierces the heavens, while the magnificent gilded dragon on the interior lends the entire vessel an overwhelming sense of nobility. Because Aka-e Saibyō can only be performed during the limited hours of peak daily concentration, and completing a single work of this density requires immense time, its availability in the market is extremely restricted. As a supreme vessel designed to brilliantly enhance the amber hues of aged sake or fine whisky, this piece represents the ultimate modern attainment of Kutani red painting.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamamoto Hogaku (山本芳岳, born 1960)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"36\"\u003eRepresentative Career:\u003c\/b\u003e Upholding the \"Aka-e Saibyō\" technique—which reached its peak in the Meiji period before seeing a drastic decline in successors—at the highest contemporary level. [1985] Specially commissioned to create and present the \"Aka-e Saibyō Chrysanthemum, Paulownia, and Phoenix Sencha Bowl\" to His Imperial Highness the Crown Prince (now Emperor Emeritus); [1992] Received the Honorable Mention at the 54th Issuikai Ceramics Exhibition; [1996] Officially certified as a Kutani Ware Traditional Craftsman by the Minister of International Trade and Industry. His exquisitely precise technique is lauded as the zenith of contemporary Kutani red painting.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"704\"\u003eMuseum Collections:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani-yaki Kiln Site Exhibition Hall, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"844\"\u003ePeriod of Creation:\u003c\/b\u003e 2000s–2010s (His mature period following his certification as a Traditional Craftsman). This \"Ascending Dragon\" motif represents the peak of Yamamoto’s artistry, where the meticulous Aka-e Saibyō lines—drawn at under 0.1 mm—achieve perfect harmony with the magnificent gold leaf detailing. \u003cb data-path-to-node=\"21\" data-index-in-node=\"1154\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1197\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako), wrapping cloth, introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1286\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani Ware \/ Aka-e Saibyō \/ Gilded Painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1351\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 6.4 cm, Height approx. 3.4 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1416\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47542629433531,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5230_result.jpg?v=1774166205"},{"product_id":"193","title":"Yamamoto Hogaku (山本芳岳), Masterpiece, Kutani Ware Aka-e Saibyo \/ Gilded Red Painting, Phoenix Motif Guinomi Sake Cup, Imperial Family Gift Artist #193","description":"\u003cp data-path-to-node=\"20\"\u003eThis \"Aka-e Saibyo\" (Ultra-fine Red Painting) guinomi is a pinnacle of Kutani ware artistry by Yamamoto Hogaku (born 1960), a master of contemporary Kutani ware based in Kaga City, Ishikawa Prefecture. Yamamoto is the foremost living successor of the Aka-e Saibyo technique, distinguished by his 1985 commission to create and present the \"Aka-e Saibyo Chrysanthemum, Paulownia, and Phoenix Sencha Bowl\" to His Imperial Highness the Crown Prince (now Emperor Emeritus).\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis work is a top-tier masterpiece featuring the \"Phoenix,\" Yamamoto’s signature and most prestigious motif, meticulously rendered through Aka-e Saibyo, a technique that far transcends the realm of standard red painting. Aka-e Saibyo is a superhuman craft involving the depiction of ultra-fine lines—less than 0.1 mm in thickness—drawn at perfectly equal intervals using red iron oxide (Bengara) pigment. From every individual feather of the phoenix to the microscopic geometric patterns filling the background, the entire surface of the vessel is a dense mass of visual information. This density, which permits no blank space, is the crystallization of a master craftsman's dedication over more than a month of concentrated effort.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eFurthermore, the interior of the vessel features a majestic phoenix in heavy gold, serving as a magnificent counterpart to the delicate red painting on the exterior. This perfect harmony of \"Red\" and \"Gold\" is a signature style from Yamamoto’s mature period, where his skill and artistry reached their peak. It exudes an elegance worthy of being called the ultimate achievement of red painting in contemporary Kutani. As a supreme vessel designed to brilliantly enhance the amber hues of aged sake or fine whisky, this is a masterpiece with a unique and powerful presence.\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 Yamamoto Hogaku (山本芳岳, born 1960)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"36\"\u003eRepresentative Career:\u003c\/b\u003e Upholding the \"Aka-e Saibyo\" technique—which reached its peak in the Meiji period before seeing a drastic decline in successors—at the highest contemporary level. [1985] Specially commissioned to create and present the \"Aka-e Saibyo Chrysanthemum, Paulownia, and Phoenix Sencha Bowl\" to His Imperial Highness the Crown Prince (now Emperor Emeritus); [1992] Received the Honorable Mention at the 54th Issuikai Ceramics Exhibition; [1996] Officially certified as a Kutani Ware Traditional Craftsman by the Minister of International Trade and Industry. His exquisitely precise technique is lauded as the zenith of contemporary Kutani red painting.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"704\"\u003eMuseum Collections:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani-yaki Kiln Site Exhibition Hall, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"844\"\u003ePeriod of Creation:\u003c\/b\u003e Late 1990s–early 2000s (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"899\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"942\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako), introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1015\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani Ware \/ Aka-e Saibyo \/ Gilded Painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1080\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 5.0 cm, Height approx. 5.8 cm \u003cb data-path-to-node=\"23\" data-index-in-node=\"1145\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47543484154043,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5249_result.jpg?v=1774142081"},{"product_id":"197","title":"Konishi Yohei (小西洋平), Tokoname Ware Neriage, Horseback Cup (Stem Cup) \"Shouchu no Tama\" Sake Vessel #197","description":"\u003cp data-path-to-node=\"20\"\u003eThis \"Bashohai\" (Horseback Cup) is a 1980s masterpiece by Konishi Yohei (born 1941), a master craftsman who elevated the traditional techniques of Tokoname ware to the level of contemporary art. This particular piece has a prestigious provenance, having been selected around May 1985 at Seikado in Ginza, Tokyo—then one of Japan's premier hubs for high-end art and crafts. This was shortly after Konishi established his international reputation by winning the Silver Medal at the Vallauris International Ceramics Biennial in France in 1982. As a designated Intangible Cultural Property holder of Tokoname City, his works are held in prestigious public collections worldwide, including the Victoria and Albert Museum in London and the Philadelphia Museum of Art. This piece offers a rare opportunity to experience his exceptional artistry within the palm of your hand.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eIn Konishi Yohei’s creative work, the most highly acclaimed elements are his \"Neriage\" technique—layering differently colored clays to create intricate internal patterns—and his \"Usu-zukuri\" (thin-walled) wheel-throwing, which pushes the very limits of the medium. The Neriage in this work consists of multiple layers of Tokoname’s characteristic vermilion (Shudei), white, and black clays. Unlike surface painting, this creates a profound visual depth that seems to emanate from within the vessel itself. This technique requires joining multiple clays with different properties and shrinkage rates, entailing an extremely high risk of cracking or warping during drying and firing. Achieving this level of difficulty requires not only the clay selection skills rooted in Tokoname tradition but also the masterful intuition of an artist who understands the nature of fire.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eA detailed observation of the design reveals that the unique form of the horseback cup, flaring gracefully from its high stem, accentuates the complex textures created by the Neriage. The dynamic patterns on the surface, reminiscent of geological strata or cosmic undulations, represent a unique expression where calculated intent meets the natural transformation of the kiln. It encapsulates the creative energy of the 1980s, the peak of Konishi's career. Despite its delicate dimensions (approx. 6.3 cm in height, 5.3 cm in diameter), the contrast between the characteristic lightness of Tokoname ware and its visual density eloquently speaks to the true value that continues to captivate collectors worldwide.\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 Konishi Yohei (小西洋平, born 1941)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"34\"\u003eRepresentative Career:\u003c\/b\u003e [1982] Awarded the Silver Medal at the Vallauris International Ceramics Biennial in France; [2013] Designated as a holder of the Tokoname City Intangible Cultural Property for \"Tokoname Ware (Hand-thrown pottery).\" Currently a Full Member of the Japan Art Crafts Association, he continues to lead contemporary Tokoname ware, utilizing his self-taught and evolved \"Neriage\" and \"Usu-zukuri\" techniques.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"459\"\u003eMuseum Collections:\u003c\/b\u003e Victoria and Albert Museum (London, UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum, Tokoname Ceramic Art Museum, INAX Live Museum, and others. Notably, the Victoria and Albert Museum in London houses his Neriage works, solidifying his international artistic status.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"770\"\u003ePeriod of Creation:\u003c\/b\u003e Early 1980s (Based on the inscription on the box)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"840\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks; features a vintage patina)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"910\"\u003eAccessories:\u003c\/b\u003e Original signed paper box (with inscription from Ginza Seikado, May 1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1020\"\u003eMaterial:\u003c\/b\u003e Pottery (Tokoname Ware \/ Neriage)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1064\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 5.3 cm, Height approx. 6.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1129\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47549040591035,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5389_result_1ce32dd9-d47c-4a59-9fdb-1f85d0ca2f6b.jpg?v=1783556279"},{"product_id":"202","title":"Yamamoto Hogaku (山本芳岳), Masterpiece, Kutani Ware Aka-e Saibyo \/ Gilded Red Painting, Phoenix Motif Guinomi Sake Cup, Imperial Family Gift Artist #202","description":"\u003cp data-path-to-node=\"20\"\u003eThis \"Aka-e Saibyo\" (Ultra-fine Red Painting) guinomi is a pinnacle of Kutani ware artistry by Yamamoto Hogaku (born 1960), a master of contemporary Kutani ware based in Kaga City, Ishikawa Prefecture. Yamamoto is the foremost living successor of the Aka-e Saibyo technique, distinguished by his 1985 commission to create and present the \"Aka-e Saibyo Chrysanthemum, Paulownia, and Phoenix Sencha Bowl\" to His Imperial Highness the Crown Prince (now Emperor Emeritus).\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis work is a top-tier masterpiece featuring the \"Phoenix,\" Yamamoto’s signature and most prestigious motif, meticulously rendered through Aka-e Saibyo, a technique that far transcends the realm of standard red painting. Aka-e Saibyo is a superhuman craft involving the depiction of ultra-fine lines—less than 0.1 mm in thickness—drawn at perfectly equal intervals using red iron oxide (Bengara) pigment. From every individual feather of the phoenix to the microscopic geometric patterns filling the background, the entire surface of the vessel is a dense mass of visual information. This density, which permits no blank space, is the crystallization of a master craftsman's dedication over more than a month of concentrated effort.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eFurthermore, the interior of the vessel features a majestic phoenix in heavy gold, serving as a magnificent counterpart to the delicate red painting on the exterior. This perfect harmony of \"Red\" and \"Gold\" is a signature style from Yamamoto’s mature period, where his skill and artistry reached their peak. It exudes an elegance worthy of being called the ultimate achievement of red painting in contemporary Kutani. As a supreme vessel designed to brilliantly enhance the amber hues of aged sake or fine whisky, this is a masterpiece with a unique and powerful presence.\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 Yamamoto Hogaku (山本芳岳, born 1960)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"36\"\u003eRepresentative Career:\u003c\/b\u003e Upholding the \"Aka-e Saibyo\" technique—which reached its peak in the Meiji period before seeing a drastic decline in successors—at the highest contemporary level. [1985] Specially commissioned to create and present the \"Aka-e Saibyo Chrysanthemum, Paulownia, and Phoenix Sencha Bowl\" to His Imperial Highness the Crown Prince (now Emperor Emeritus); [1992] Received the Honorable Mention at the 54th Issuikai Ceramics Exhibition; [1996] Officially certified as a Kutani Ware Traditional Craftsman by the Minister of International Trade and Industry. His exquisitely precise technique is lauded as the zenith of contemporary Kutani red painting.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"704\"\u003eMuseum Collections:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani-yaki Kiln Site Exhibition Hall, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"844\"\u003ePeriod of Creation:\u003c\/b\u003e Late 1990s–early 2000s (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"899\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"942\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako), introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1015\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani Ware \/ Aka-e Saibyo \/ Gilded Painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1080\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 5.0 cm, Height approx. 5.8 cm \u003cb data-path-to-node=\"23\" data-index-in-node=\"1145\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47580656140475,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5626_result.jpg?v=1774857662"},{"product_id":"203","title":"Tani Shukei (谷秋渓), Kin-sai Aka-e Saibyo, Cloud Dragon Motif Sake Cups, Pair, Early Showa Period, Essence of the Takeuchi Ginshu School, Freehand Ultra-fine Dragon Pattern, A Masterpiece of Japanese Kogei #203","description":"\u003cp data-path-to-node=\"8\"\u003eTani Shukei (1888–1959, Birth name: Masaki), born in Daishoji, Kaga City, Ishikawa Prefecture, was a master craftsman who inherited the orthodox lineage of Kutani Aka-e Saibyo (ultra-fine red painting). He apprenticed under the Meiji-era master \u003ca href=\"\/en\/search?q=%22%E7%AB%B9%E5%86%85%E5%90%9F%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakeuchi Ginshu\u003c\/a\u003e and his third son, \u003ca href=\"\/en\/search?q=%22%E5%BA%83%E6%B2%A2%E8%8A%A6%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHirosawa Roshu\u003c\/a\u003e. Shukei’s most remarkable talent lay in his superhuman brushwork—he could fill an entire vessel with microscopic patterns using a single ultra-fine brush without any underdrawing (shitagaki). It is said he could freely replicate identical, intricate designs of dragons and phoenixes. This pair of sake cups features his signature Cloud Dragon motif. The depiction of dragon scales and auspicious clouds, spiraling around the small vessels, clearly displays his fluid, unhesitating brushstrokes and elegant color palette enriched with gold enamel (Kin-sai).\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eWhen compared to the works of \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E6%9C%AC%E8%8A%B3%E5%B2%B3%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamamoto Hogaku\u003c\/a\u003e, the contemporary pinnacle of Aka-e Saibyo, the nature of precision in Shukei’s work reflects the vast difference in the technological environments of their respective eras. Modern works by Yamamoto are achieved through the use of high-powered magnifying glasses, microscopes, uniform synthetic fiber brushes, and highly refined pigments, resulting in microscopic precision and perfect symmetry that transcends human vision. In contrast, Shukei worked a century ago without any magnifying aids. He relied solely on his natural eyesight and concentration, using brushes hand-carved from animal hair and naturally derived pigments.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThis environmental difference imbues Shukei’s lines with a rhythmic vitality and \"breath\" that differs from modern uniformity. While the absolute thickness of the lines may yield to what modern tools can achieve, the momentum of drawing everything in one go without a guide and the intensity of expressing such density with limited tools symbolize the peak of physical skill attained by craftsmen of that era. If Yamamoto Hogaku represents the ultimate in modern precision beauty, Tani Shukei’s work is a concentrated historical legacy of the pure artisan spirit from an age where one faced the clay using only their five senses. When whisky is poured, the red-painted dragon shimmering through the golden liquid conveys a raw passion from a hundred years ago—a beauty distinct from the perfected precision of today.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Tani Shukei (谷秋渓, 1888–1959, Birth name: Tani Masaki)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"56\"\u003eRepresentative Career:\u003c\/b\u003e Born in 1888 in Daishoji, Ishikawa Prefecture. Apprenticed under Takeuchi Ginshu, the master who revived Meiji Kutani Aka-e Saibyo, and Hirosawa Roshu, mastering the authentic techniques of ultra-fine red painting. Operating a ceramic painting business in Yamashiro, he became renowned for his exceptional brushwork, capable of drawing intricate dragon and phoenix motifs directly onto the clay without any underdrawing. Throughout the turbulent transition from the Meiji to the Showa era, he remained a solitary master who preserved the superhuman craft of Aka-e Saibyo.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"651\"\u003eMuseum Collections:\u003c\/b\u003e Public museums in Kaga City, Kutani Ware Archives, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"734\"\u003ePeriod of Creation:\u003c\/b\u003e Circa 1926 (Showa 1) – 1945 (Showa 20) (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"805\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"848\"\u003eAccessories:\u003c\/b\u003e Dedicated wooden box\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"882\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kutani Ware \/ Aka-e Saibyo \/ Kin-sai)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"939\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 5.5 cm, Height approx. 3.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"1004\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47580656369851,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5595_result.jpg?v=1774857548"},{"product_id":"224","title":"Konishi Yohei (小西洋平), Tokoname City Intangible Cultural Heritage Holder, Hand-thrown Shudei Neriage Genshinsai Sake Set, Pair #224","description":"\u003cp data-path-to-node=\"6\"\u003eWe are pleased to introduce a Shudei Neriage Genshinsai work by Konishi Yohei (born 1941), a contemporary master who perfected the technique of hand-thrown pottery in the history of Tokoname ware and was designated as a holder of Tokoname City Intangible Cultural Property in 2013. Konishi is an artist who has established international artistic value, with his works housed in prestigious institutions such as the Victoria and Albert Museum in the UK and the Philadelphia Museum of Art in the US. This piece is an extremely rare pair, combining Konishi's signature neriage technique with thin-walled construction that challenges the limits of pottery wheel techniques. At our store, we propose it as a rock glass for enjoying long-aged koshu or whisky, to maximize its refined aesthetics and exquisite mouthfeel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe most highly regarded aspect of Konishi's creations is his neriage technique, which creates intricate patterns by layering different colored clays. In this work, shudei (vermilion clay), symbolic of Tokoname, serves as the base, with white and black clays precisely layered, forming a profound landscape that seems to emanate from within the vessel, distinctly different from mere surface painting. This technique carries an extremely high risk of cracks and distortions during firing due to the joining of multiple clays with different properties and shrinkage rates, but Konishi masterfully controls this through his selection of clays, backed by Tokoname's tradition, and his skilled intuition. This unique color expression, named \"Genshinsai,\" embodies a multi-layered beauty akin to geological strata, revealing ever-changing expressions depending on the viewing angle.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eParticularly noteworthy in terms of form is the thin-walled construction, achieved through the exceptional hand-thrown pottery technique that also led to his certification as an intangible cultural property. When you actually hold this piece, you will first be surprised by its lightness, almost unbelievable for a ceramic, and then by its smooth surface that adheres very delicately to your fingers. The appreciation of this work begins with an admiration for the artist's unique and splendid technique, as the method of stretching the clay to its thinnest limit solely by the sense of the fingertips creates a pleasant tension the moment it is held. Furthermore, the surface features sharp facet-cutting, reminiscent of cut hand-blown glass. This carving exposes the cross-section of the layered neriage clay, elevating it to a more geometric and modern design. This thin construction directly contributes to a pleasant mouthfeel, directly conveying the subtle nuances of sake to the lips and enhancing its rich aroma.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe matte texture of Tokoname ware's characteristic shudei gains luster with use, offering the pleasure of growing with its owner. This piece, which combines artistic merit recognized by the world's leading museums with the practicality of transforming everyday drinking into a dignified ritual, truly deserves to be called the pinnacle of Japanese Kōgei (crafts). This crystal of Tokoname's earth and fire, held in your hand, will take on new life the moment amber liquid is poured into it, bringing deep emotion to your tranquil evening drinks.\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 Konishi Yohei (小西洋平, 1941-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"30\"\u003eArtist's Notable Career:\u003c\/b\u003e [1982] Awarded the Silver Prize at the International Ceramics Biennale in Vallauris, France. [2013] Certified as a holder of Tokoname City Intangible Cultural Property \"Tokoname Ware (Hand-thrown pottery wheel).\" Currently, as a full member of the Japan Kōgei Association, he continues to work as a leading figure in contemporary Tokoname ware, leveraging his self-taught neriage and usuzukuri (thin-walled) techniques, which evolve traditional methods.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"509\"\u003eWorks Housed In:\u003c\/b\u003e Victoria and Albert Museum (London, UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum (Seto City, Aichi Prefecture), Tokoname City Ceramic Hall (Tokoname City, Aichi Prefecture), INAX Live Museum (Tokoname City, Aichi Prefecture), and others. Notably, the Victoria and Albert Museum in London houses works using his representative neriage technique, confirming his international artistic value.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"943\"\u003ePeriod of Creation:\u003c\/b\u003e 1980s - early 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"983\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, aged aesthetic)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"1042\"\u003eAccessories:\u003c\/b\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"1060\"\u003eMaterial:\u003c\/b\u003e Pottery (Tokoname ware, Neriage)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"1103\"\u003eDimensions:\u003c\/b\u003e Height approx. 9.3 cm, Mouth diameter approx. 6.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"1168\"\u003eNote:\u003c\/b\u003e Even if new and unused, all products offered by our store are from a very old production period and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and checking their condition.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47701270659259,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6146_result.jpg?v=1778493337"},{"product_id":"226","title":"Kutani Ware Sonoe Hisaodo (園江久雄堂) Minehisa Red Enameled Gold-Gilt Ninsei-Style Phoenix Motif Finely Painted Gold-Gilt Red Enameled Guinomi Shot Glass #226","description":"\u003cp data-path-to-node=\"24\"\u003eWe introduce a genuine vintage craft by Sonoe Hisaodo (art name: Minehisa), who boasted the highest level of overglaze enamel techniques in Okawa-cho, Komatsu City, Ishikawa Prefecture, during the golden age of Kutani ware in the Showa era. Although the studio is now defunct and will never produce new items again, we propose this phoenix-patterned sake cup, a traditional Japanese vessel, as the ultimate shot glass for elegantly enjoying amber-colored aged sake or mature Japanese whisky straight.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eSonoe Hisaodo's most highly acclaimed technique lies not in the realm of modern art for public exhibition awards, but in the craftsmanship of practical overglaze enameling, refined to the extreme to delight the user's five senses. At its core is the sophisticated aesthetic of \"Ninsei-utsushi,\" which emulates the brilliant colored enamel world of the master craftsman Nonomura Ninsei of Kyoto, combined with the \"aka-e kinsai\" technique of overlaying pure gold paste onto finely detailed overglaze red painting.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eA close professional examination of the attached product's design reveals that Sonoe Hisaodo's signature superlative technique is expressed with flawless precision. On the surface of the vessel, the phoenix, a symbol of eternal prosperity and good fortune in the East, is vividly depicted with hair-thin, uniform red lines. From the smooth curves of the phoenix's tail feathers, the overlapping of each individual feather, to the depiction of the auspicious clouds surrounding it, the extreme concentration of a skilled painter from that era, who held their breath with every brushstroke, is evident in a visual rhythm. Furthermore, the lavish gold embellishment applied over the red painting is not a gaudy, cheap glitter, but harmonizes with the elegant white porcelain body, creating a noble three-dimensionality and depth. It emits a calculated beauty that reveals various expressions depending on the angle of the light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThis work is not by an artist who has left a brilliant record of awards in official art directories such as the Nitten Exhibition or the Japan Traditional Crafts Exhibition. However, that is precisely the proudest aspect of craftsmanship in Japanese traditional crafts. The genuine lineage of uncrowned artisans who silently honed their skills in production areas and satisfied high-end Japanese restaurants and discerning patrons during the era when \"Japan Kutani\" swept the world, breathes fully within this small vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eSince the workshop itself no longer exists, individuals in such good condition, with the advanced gold-painting technique of the time preserved perfectly, are extremely rare. Pour top-grade whisky or aged sake, born from the accumulation of time, into this vessel while appreciating the exquisite ceramic texture that clings to your fingertips, something that glass can't offer. At that moment, the red and gold phoenix patterns applied both inside and outside the vessel vividly resonate through the refraction of the liquid, providing an intellectual tasting experience reserved only for its owner. Precisely because its name does not appear on the grand stage of history, it is a supreme piece that allows one to casually incorporate the pinnacle of pure technique into daily life and enjoy the true pleasure of art collecting—appreciating the ultimate beauty of utility in the palm of one's hand.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSonoe Hisaodo (園江久雄堂, art name: Minehisa)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eKiln: \u003c\/strong\u003eOkawa-cho, Komatsu City, Ishikawa Prefecture (now closed)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1980s-1990s (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (Original wooden box signed by the artisan)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Kutani ware, fine overglaze red painting, gold enamel)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 5.5 cm, Height approx. 3.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products we offer are new and unused, they are from a very old production period, and all are listed as pre-owned. Please understand that products may have damage due to age, and consider this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47738927448251,"sku":null,"price":26000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6613_result.jpg?v=1779250484"},{"product_id":"232","title":"Sakata Jinnai (坂田甚内, Jin) Handmade Blown Glass Red Gold Painted Gold Leaf Gold Painted Shinjinmon Glass Wine Glasses Set of 2 #232","description":"\u003cp data-path-to-node=\"6\"\u003eIntroducing an extremely rare set of two large wine glasses by Sakata Jinnai (born 1943), a master based in Mashiko who continues to pursue original expressions that transcend the boundaries of pottery. This work is a masterpiece where Sakata's theme of the fusion of pottery and glass, which he pursued energetically in the 1990s, is beautifully realized through its sculptural beauty and superb technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe most astonishing feature of this work lies in the structure of its vivid red stem, which immediately captures the eye. This is not merely a solid block of red glass, but rather employs an advanced technique similar to filigrana—a traditional Venetian glass art form—where numerous extremely thin red glass rods are bundled together and twisted into shape. The texture created by this aggregation of countless lines is Sakata's expression in glass of the powerful, rhythmic Shinjinmon (Deeply Subtle Pattern) that he established in his black pottery works. When illuminated, the red lines intersect in multiple layers, emitting a complex and profound brilliance impossible with a single color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eIn contrast, the transparent bowl features the ice glass technique, with beautiful cracks spreading across its entire surface. This technique involves momentarily dipping hot blown glass into cold water to create fine cracks on the surface, then reheating and shaping it to produce a unique, ice-like texture. This serendipitous texture causes the irregularly placed gold leaf, known as Haku-ha-hari (foil-leaf glass), to diffusely reflect light, creating a fantastical prism when liquid is poured into it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eFurthermore, the overwhelming scale of approximately 21 cm in height and 12 cm in rim diameter is exceptionally large for a hand-blown glass wine glass. To fire a work of this size with perfect control over cracks and distortions while maintaining a refined symmetry requires masterful control of fire and a profound understanding of gravity, truly demonstrating the artist's extraordinary skill. The handwritten signatures of Jin and Sakata Jinnai on only one of the two pieces serve as a testament to the artist's pride, indicating that these two pieces constitute a complete set.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eStarting from orthodox pottery under the tutelage of the legendary potter \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\"\u003eKamoda Shoji\u003c\/a\u003e, Sakata boldly incorporated diverse materials such as glass and gold leaf, establishing craft as contemporary art. His glass works from the 1990s, in particular, document an important transitional period that led to his later dedications to Ise Jingu (Ise Grand Shrine) and Izumo Taisha (Izumo Grand Shrine). Glass works created by potters possess a unique blend of earthy strength and decorative beauty not found in works by dedicated glass artists, and their presence in the market is extremely limited. These are supreme art pieces that not only brightly adorn everyday moments but also offer the joy of owning a fragment of Japan's modern craft history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Sakata Jinnai (坂田甚内, 1943–Present)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"37\"\u003eArtist's Representative Activities:\u003c\/b\u003e [2009] Invited artist at the 1st Shanghai International Ceramic Art Exhibition; [2013] Donated Shinjinmon Haku-ha-hari Magatama Large Plate \"Brilliance of Life\" for the Great Heisei Relocation of Izumo Taisha; [2013] Donated Black Pottery Shinjinmon Foil-Pressed Large Plate \"Homage to the Sun\" for the Shikinen Sengu of Ise Jingu; [2014] Donated Shinjinmon Foil-Glass Object \"Waannei\" to Atsuta Jingu; [2014] Donated a pair of Black Pottery Engraved Shinjinmon Foil-Pressed Ceramic Boxes \"Longevity\" to Kameoka Hachimangu (Mashiko Town).\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"612\"\u003eProduction Period:\u003c\/b\u003e 1990s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"649\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"692\"\u003eAccessories:\u003c\/b\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"710\"\u003eMaterials:\u003c\/b\u003e Glass, Gold Leaf\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"738\"\u003eDimensions:\u003c\/b\u003e Height approx. 21 cm, Rim Diameter approx. 12 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"799\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from very old production periods and are listed as used items. Products may have age-related damage, so please understand and confirm before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47754503749819,"sku":null,"price":135000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5943_result.jpg?v=1778344905"},{"product_id":"245","title":"Sakata Jinnai (坂田甚内, Jin), Disciple of Kamoda Shoji: Hakuha-hari Shinjinmon Red Gold-painted Hand-blown Glass Swinging Sake Cup #245","description":"\u003cp data-path-to-node=\"7\"\u003eThis is an extremely rare hand-blown glass sake cup by the master Sakata Jinnai (born 1943), who studied under \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\"\u003eKamoda Shoji\u003c\/a\u003e, the legendary ceramist who elevated Mashiko ware to the realm of art, and pioneered a unique fusion of pottery and glass. This piece exemplifies the pinnacle of Sakata's intense exploration of the fusion of pottery and glass and decorative expression from the 1990s to the 2000s, condensing his representative sculptural philosophy.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe most significant design feature of this work is the sophisticated fusion of the Shinjinmon (Deeply Subtle Pattern), which is the artist's identity, and the Hakuha-hari technique, which encapsulates gold leaf within the glass. Shinjinmon originally refers to deep and mystical patterns created in pottery by rope patterns or imprints. In this work, however, it is redefined as a multi-layered and profound visual effect through the intricate crazing intentionally applied to the transparent glass layer, the meticulously placed gold leaf in the cracks, and the emerald-like green luminescence that changes with the viewing angle. This green luminescence is a result of advanced coloring techniques that utilize specific metal oxides and light interference, giving it a jewel-like depth that transcends simple coloring.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eA notable sculptural aspect is the swing structure, achieved by making the bottom thick and round, allowing it to sway like a roly-poly toy without ever toppling over. This minimalist form, devoid of a stem or base, combines a substantial weight when held with a playful elegance as it sways gently on a table. This design, which imparts a fluctuation and stability reminiscent of pottery to the hard material of glass, requires perfect control of the center of gravity and precise thickness adjustment unique to hand-blowing, demonstrating the artist's exceptional molding technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eSakata Jinnai's works, as evidenced by their dedication to Japan's highest sacred sites such as Ise Grand Shrine, Izumo Grand Shrine, and Atsuta Jingu, are highly regarded as art pieces imbued with divinity and spirituality that transcend mere craft. The decorative exuberance born from the clash between his earthy sensibility as a ceramist and the transparent beauty of glass is a unique aesthetic not found in dedicated glass artists. This supreme piece, bearing the authentic handwritten signatures Jin and Jinnai, elevates evening drinks to a dignified ritual and offers the joy of owning a significant fragment of Japan's modern craft history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Sakata Jinnai (坂田甚内, 1943–Present)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"37\"\u003eArtist's Major Activities:\u003c\/b\u003e [2009] Invited artist at the 1st Shanghai International Ceramic Art Exhibition; [2013] Donated Shinjinmon Hakuha-hari Magatama Large Plate \"Brilliance of Life\" for the Great Heisei Relocation of Izumo Grand Shrine; [2013] Donated Black Pottery Shinjinmon Foil-Pressed Large Plate \"Homage to the Sun\" for the Shikinen Sengu of Ise Grand Shrine; [2014] Donated Shinjinmon Foil-Glass Object \"Waannei\" to Atsuta Jingu; [2014] Donated a pair of Black Pottery Engraved Shinjinmon Foil-Pressed Ceramic Boxes \"Longevity\" to Kameoka Hachimangu (Mashiko Town).\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"615\"\u003eProduction Period:\u003c\/b\u003e 1990s–2000s\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"646\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"689\"\u003eAccessories:\u003c\/b\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"707\"\u003eMaterial:\u003c\/b\u003e Glass, Gold leaf\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"734\"\u003eDimensions:\u003c\/b\u003e Height approx. 6.5 cm, Rim diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"797\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from very old production periods and are listed as used items. Products may have age-related damage, so please understand and confirm before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47783617757371,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6049_result.jpg?v=1778339405"},{"product_id":"247","title":"Tokoname City Designated Intangible Cultural Property Holder Konishi Yohei (小西洋平), Shudei Neriage Genshin-sai, Hand-thrown Thin-walled Guinomi \/ Shot Glass, With Imperfection (B-Stock) #247","description":"\u003cp data-path-to-node=\"23\"\u003eWe are proud to present an exceptionally rare Shudei Neriage Genshinsai guinomi by Konishi Yohei, a contemporary master who stands at the pinnacle of modern Tokoname ware and was certified as a holder of Tokoname City Designated Intangible Cultural Property in 2013. Konishi's artistry has achieved global recognition, with his works publicly held in prestigious institutions such as the Victoria and Albert Museum in the UK and the Philadelphia Museum of Art in the US, following his silver prize win at the Vallauris International Ceramics Biennale in France in 1982. This piece is a masterpiece from his most energetic and mature period, spanning the 1980s to the early 1990s, where his unique neriage technique—developed through self-study and refined atop traditional Tokoname ware methods—converges with the intricate sculptural beauty achieved by a hand-turned pottery wheel. Our store offers this supreme Japanese craftwork, possessing a verified history and global acclaim, as a vintage premium sake vessel for savoring aged amber spirits or premium Japanese whisky neat.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eAt the core of Konishi Yohei's artistic value, and what experts most highly praise, is his unique neriage technique based on shudei (red clay), the symbol of Tokoname ware, where different colored clays are layered repeatedly to create patterns, along with his ultimate thin-walled construction achieved by a hand-turned pottery wheel. Konishi's neriage is not merely a superficial mixing of colors; by perfectly controlling clays with different compositions and shrinkage rates down to the millimeter, he creates complex and fluid geometric patterns that penetrate the thickness of the vessel. This technique results in a once-in-a-lifetime art where no two patterns are ever the same due to the chemical reaction between fire and clay in the kiln. The fact that works using this technique are housed in the Victoria and Albert Museum in the UK eloquently testifies to its universal beauty. Furthermore, the thin-walled construction, where clay is stretched to its limit using only the artist's fingertips, gives the vessel astonishing lightness and a pleasant feel to the mouth, embodying the ultimate in functional beauty in craftsmanship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eA detailed professional analysis of the design of this piece confirms that the unparalleled skill and aesthetic sense, synonymous with this master, are clearly evident across the entire surface of this small guinomi. The vessel's surface powerfully and precisely displays laminated neriage lines that beautifully undulate in conjunction with the rotation of the hand-turned pottery wheel, evoking the fluid strata or annual rings of nature. This pattern completely penetrates to the inside, allowing the clay pattern to emerge more vividly through the liquid when sake is poured. Additionally, the surface coloring, called Genshinsai, exhibits deep and delicate shades within the calm reddish-brown characteristic of shudei, possessing the inherent charm of Tokoname ware to mature and gain luster with use. The form of the rim, finished to an extreme thinness, dramatically enhances the tasting experience the moment premium spirits touch the lips.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eThis piece comes with the artist's handwritten signature and seal on the accompanying wooden box, as well as the wrapping cloth, indicating a genuine and authentic condition. However, a noticeable scuff (scratch) is observed on the inner bottom, so we offer it at a special price as a \"B-stock\" item with a history befitting its vintage status. When liquid touches the inside of the vessel, the weight of time held by the amber liquor and the design of the vessel reminiscent of geological strata beautifully resonate. Please fully enjoy a thoughtful evening drink, appreciating the pinnacle of human artistry while directly feeling the rhythm of the clay that Konishi Yohei devoted his life to creating, right in the palm of your hand.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKonishi Yohei (小西洋平, 1941- )\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist's Major Career Highlights:\u003c\/strong\u003e [1982] Awarded Silver Prize at the Vallauris International Ceramics Biennale, France; [2013] Certified as a holder of Tokoname City Designated Intangible Cultural Property. Regular Member of the Japan Craft Arts Association.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eWorks Held In: \u003c\/strong\u003eVictoria and Albert Museum (UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum, INAX Live Museum, and others.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1980s - early 1990s (estimated, mature period)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e B-Stock (no chips, no cracks, noticeable scuff on inner bottom)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original wooden box, wrapping cloth\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Tokoname ware, neriage, shudei, genshinsai)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.5 cm, Diameter approx. 5.9 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All items offered by our store, even if unused, are from a very old production period and are listed as used goods. Items may have damage due to age; please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47823827534011,"sku":null,"price":8000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6433_result.jpg?v=1778895975"},{"product_id":"249","title":"Tokoname City Intangible Cultural Property Holder, Konishi Yohei (小西洋平), Shu-dei Neriage Genshin-sai Sake Set (Sake Bottle and Cups) #249","description":"\u003cp data-path-to-node=\"8\"\u003eWe are pleased to introduce a Shudei Neriage Genshinsai sake set by Konishi Yohei (born 1941), a modern master who stands at the pinnacle of contemporary Tokoname ware and was designated a holder of Tokoname City Intangible Cultural Property in 2013. Konishi's artistry has earned global recognition, including a silver prize at the Vallauris International Ceramics Biennale in France in 1982, and his works are held in prestigious institutions such as the Victoria and Albert Museum in England and the Philadelphia Museum of Art in the United States. This piece is a masterpiece from his mature period in the 1980s to early 1990s, where his self-taught and refined neriage technique, built upon traditional Tokoname ware methods, harmonizes with the intricate sculptural beauty achieved through a hand-turned potter's wheel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe core essence of this work lies in the neriage technique, which involves layering clays of different colors on a base of shudei (vermilion clay), the symbol of Tokoname ware, to create patterns. The flowing, geological-strata-like curves visible in the accompanying images are not drawn on the surface; rather, they emerge from the layers of clay itself, penetrating the thickness of the vessel. Konishi's neriage goes beyond mere color blending; by perfectly controlling the shrinkage rate of the clay, he creates complex geometric patterns where intricate lines, millimeters in scale, intersect. This technique produces unique, one-of-a-kind patterns, making each piece a singular artistic encounter. The fact that works using this same technique are held in the Victoria and Albert Museum eloquently speaks to the universal artistic value of this piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eIn terms of form, the transcendent skill of the hand-turned potter's wheel, a reason for his designation as an Intangible Cultural Property, is fully displayed. Especially noteworthy are the extremely constricted neck of the sake bottle (tokkuri) and the thinly crafted (usuzukuri) finish seen in the sake cups (sakazuki), a realm uniquely mastered by Konishi. The usuzukuri technique, where clay is stretched to its limit with only the sensation of the fingertips, imparts astonishing lightness and a pleasant feel to the mouth of the vessel, embodying the beauty of utility in craftwork. Furthermore, the coloration on the surface, called Genshinsai, imbues the characteristic subdued reddish-brown of shudei with deep shading. It possesses the inherent charm of Tokoname ware, which develops a richer luster with use and grows with its owner.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eWe propose this elegant sake set, originally crafted for Japanese sake, as a special vessel for enjoying aged whisky or brandy. When liquid touches the inside of the vessel, the subtle clay patterns created by the neriage technique deepen their contours through the liquid. The weight of time held by amber spirits resonates with the vessel's design, reminiscent of geological strata. The temperature of the liquid conveyed by the ultra-thin sake cup nestled in one's palm, and the rhythm of the clay that Konishi Yohei dedicated his life to creating, will elevate the simple act of drinking into a thoughtful tasting experience, appreciating the pinnacle of human artistry and the harmony of nature.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKonishi Yohei (小西洋平, born 1941)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist's Notable Activities:\u003c\/strong\u003e [1982] Received a silver prize at the Vallauris International Ceramics Biennale in France, [2013] Designated a holder of Tokoname City Intangible Cultural Property. Regular member of the Japan Kōgei Association.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eWorks Held In: \u003c\/strong\u003eVictoria and Albert Museum (UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum, INAX Live Museum, and others.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e 1980s – Early 1990s\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips or cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (original signed wooden box), Shiori (informational brochure), Wrapping cloths (2 pieces)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (Tokoname Ware, Neriage)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eSake Bottle (Tokkuri): Height approx. 13.5 cm, Mouth diameter approx. 6.3 cm \/ Sake Cup (Sakazuki): Height approx. 6.0 cm, Mouth diameter approx. 6.0 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the items we offer are new and unused, they are from a very old production period, and all are listed as used items. The products may have damage due to age, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47823831007419,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6346_result.jpg?v=1778894737"},{"product_id":"260","title":"Kutani Master with Imperial Presentation Record Yamamoto Hogaku (山本芳岳) Special Top-Tier Work Kutani Ware Red Ground Gold Brocade Cloud Dragon Motif Sake Cup (Bajohai) Tasting Glass #260","description":"\u003cp data-path-to-node=\"3\"\u003eThis is an akaji kinran unryu-mon bajohai (red-ground gold brocade cloud dragon stem cup) by Yamamoto Hogaku, a master of modern Kutani ware based in Kaga City, Ishikawa Prefecture. With its elegant proportions of approximately 10.0 cm in height and 6.0 cm in mouth diameter, we propose this stem cup as a special tasting glass for enjoying the profound aromas of aged sake and long-aged sake, which have matured into a beautiful amber color over time. The shape of the stem cup, with its slender stem, prevents body temperature from the hand from affecting the sake, allowing the complex aromatic changes of aged sake, from chilled to room temperature, to be captured in perfect condition. Furthermore, the white porcelain on the inside of the vessel clearly reflects the deep and beautiful gradation of aged sake, creating a supremely luxurious bar time that satisfies all five senses. This vessel, which elevates the highest level of Japanese traditional craftsmanship into practical art for modern lifestyles, promises a moment of supreme hospitality for overseas collectors and special guests.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eYamamoto Hogaku, the artist, was born in 1960 and is a genius potter who elevated the technique of Akae Saibyo, which flourished during the Meiji period but then saw a drastic decrease in successors and was becoming a phantom technique, to the highest level in modern times. As the greatest historical fact symbolizing his outstanding technical skill and artistry, in 1985 he was honored with the unparalleled privilege of humbly crafting and presenting an Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan (fine-line chrysanthemum, paulownia, and phoenix design sencha bowl) to His Imperial Highness the Crown Prince, who is now the Emperor Emeritus. Thereafter, he solidified his position as the pinnacle of akae in modern Kutani, receiving an honorable mention at the 54th Issuikai Pottery Exhibition in 1992 and being nationally certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry in 1996. His works are deeply housed in prestigious public institutions in Japan, such as the Ishikawa Prefectural Museum of Art, the Ishikawa Kutani-yaki Art Museum, and the Kutani Ware Kiln Ruins Exhibition Hall, and are extremely highly valued collector's items that are rarely available overseas.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWhat is most highly regarded in Yamamoto Hogaku's art is his Akae Saibyo technique, which uses ultra-fine lines of 0.1 mm or less, described as micro-drawing lines beyond human vision. This work is a special top-tier piece estimated to have been produced during his mature period from the 2000s to 2010s, when his technique was most stable after his certification as a traditional craftsman. It represents his characteristic style, in which his ultimate Akae Saibyo and dazzlingly brilliant gold decoration achieve a miraculous harmony.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA detailed examination of this work reveals that these superlative techniques are clearly and perfectly expressed across the entire surface of this small stem cup. The intricate background pattern covering the surface of the vessel is meticulously drawn with breathtakingly fine and uniform red ultra-fine lines, upon which the powerfully depicted cloud dragon motif emerges with overwhelming dynamism. The exquisitely rendered dragon scales and flowing clouds in gold decoration emit a luxurious shimmer like a kaleidoscope depending on the angle of the light, directly conveying the supreme dignity of modern Kutani ware to the beholder. At the bottom, Hogaku's signature, indicating its authenticity, is beautifully inscribed. The dedicated tomobako (wooden box) with the artist's own inscription and seal, a wrapping cloth, and a booklet showing his detailed pottery chronology are all included. This is a complete piece in very good condition with no chips or cracks, an exceptional item with unwavering asset value as the ultimate Japanese craft art, extremely difficult to encounter overseas.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamamoto Hogaku (山本芳岳, 1960-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"32\"\u003eArtist's significant career highlights:\u003c\/b\u003e Inherited the \"Akae Saibyo\" technique, which flourished during the Meiji period but saw a drastic decrease in successors, to the highest modern level. [1985] Humbly crafted and presented an \"Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan\" to His Imperial Highness the Crown Prince (now Emperor Emeritus), [1992] Received an Honorable Mention at the 54th Issuikai Pottery Exhibition, [1996] Certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry (now Minister of Economy, Trade and Industry). His extremely precise technique is regarded as the pinnacle of Akae in modern Kutani.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"691\"\u003eWorks housed:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani Ware Kiln Ruins Exhibition Hall, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"828\"\u003eProduction period:\u003c\/b\u003e 2000s to 2010s (estimated to be a work from his mature period after being certified as a traditional craftsman). *The \"Akaji Kinran Unryu-mon\" of this work is a representative style of Hogaku's mature period, where his exceptional technique and artistry reached their peak, showcasing a perfect harmony between intricate fine-line drawing with ultra-fine lines of 0.1 mm or less and brilliant gold decoration.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1257\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1300\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box), wrapping cloth, artist's profile insert\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1376\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani ware - Akaji Kinrande - Gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1443\"\u003eDimensions:\u003c\/b\u003e Height approx. 10.0 cm, Mouth diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1509\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if new and unused, are from a very old production period and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming their condition.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47849214312635,"sku":null,"price":160000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7039_result.jpg?v=1780155395"},{"product_id":"269","title":"Kokugakai Member and Nojima Prize Winner Matsuzaki Ken (松崎健), White-slip Red-painted Windowed Floral Sake Cup, Japanese Kogei, Ceramic Rock Cup #269","description":"\u003cp data-path-to-node=\"8\"\u003eThis piece is a white-slip red-painted yunomi (teacup) that fully exhibits the exceptional sensibility and technique of Matsuzaki Ken (1950-), a powerful ceramic artist who has established a solid position in Japan's modern applied arts and crafts world, rising to the highest rank of member at the prestigious public exhibition, the Kokugakai. The artist himself meticulously created this as a yunomi, and on the lid of the dedicated wooden box (tomobako), \"White-slip Red-painted Yunomi\" is inscribed in ink by the artist's own hand, along with Ken's signature and a vivid seal. We propose this piece, with its superb wheel-thrown size of approximately 8.0 cm in height that fits solidly in the hand, and its painterly and modern design that transcends the traditional beauty of utility, as the ultimate Japanese kogei (craft) sake vessel (ceramic rock cup) for slowly enjoying rare aged sake that has matured to a beautiful amber color over many years, or premium single malt whisky with large ice cubes. It is a masterpiece of Japanese contemporary avant-garde craft rarely seen in overseas markets, possessing a solid asset value that brings joy to ownership and elevates everyday moments into an exceptional artistic experience.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe artist, Matsuzaki Ken (1950-), was born in Machida City, Tokyo, in 1950, and graduated from Tamagawa University, Faculty of Letters, Department of Arts, specializing in ceramics, in 1972. He grew up in an artistic family with a father who was a Japanese painter, Matsuzaki Osami, and an elder brother who was a woodworker. Since his father was a close friend of Noriyuki Ushijima, a Western-style painter and member of the Japan Art Academy, since junior high school, Matsuzaki was fortunate to be exposed to pure art education daily from a young age. After graduating from university, he underwent five years of strict live-in training 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, a master of Mashiko ware, and became independent in 1977 by building his own kiln in Mashiko's Kitago Valley. His essential achievement lies in pursuing a unique modern sculptural beauty based on the reliable traditional techniques inherited from his mentor, which has been highly acclaimed in the Japanese art world. Less than three years after becoming independent, in 1980, he achieved the remarkable feat of winning the Kokugakai Nojima Prize. In 1982, he was recommended as an associate member of the Kokugakai, and in 1984, he again received the Kokugakai Associate Member Excellent Work Prize. In 1986, he was promoted to the highest rank of Kokugakai member at a young age. Furthermore, through three trips abroad to the United States and Canada, he luxuriously absorbed the essence of contemporary art overseas. In addition to holding solo exhibitions annually in Tokyo and Osaka, he actively organized mentor-disciple exhibitions and three-person family exhibitions in various locations, establishing a solid reputation as an individual artist both domestically and internationally.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eA professional analysis of the form and decorative beauty of this piece reveals the successful culmination of Matsuzaki Ken's unique painterly sophistication and calculated spatial composition, cultivated at the forefront of the Kokugakai. On the front of the vessel, on the rustic and soft texture of white slip (a technique of thinly applying white engobe to the surface of the vessel), one of the most highly regarded techniques, a dignified windowed decorative frame is created with sharp red-painted lines. Within this frame, flowing floral patterns are depicted with powerful strokes of red painting, and vivid green dots are arranged in a calculated balance at the top, creating an urban and modern rhythm amidst the warmth of traditional folk art. Furthermore, looking inside the vessel, iron glazes such as iron-rich black glaze and amber glaze show a dynamic swirling pattern along the rotation of the potter's wheel, creating a wonderful effect that produces visual depth and beautiful shimmering light when sake is poured and ice is floated. At the bottom of the vessel, next to the foot ring, a modern round pottery seal, designed with the artist's name, is clearly engraved, proving the authenticity of the piece. The precious official leaflet (with a brief biography) from that time, featuring handwritten recommendations from Western-style painter Noriyuki Ushijima and others, is included in perfect condition, making this a supreme piece of art and craft in the best possible state without any flaws.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"11\"\u003e*Comment from Mr. Shimaoka Tatsuzo, Mr. Matsuzaki's mentor\u003c\/h3\u003e\n\u003cp data-path-to-node=\"11\"\u003eMr. Matsuzaki majored in ceramics at the Department of Arts at Tamagawa University in Tokyo and then studied with me for five years after graduation. He grew up in a good environment with a Japanese painter for a father and a woodworker for an elder brother, possessing a gifted talent in addition to an unparalleled passion for his work. Mr. Matsuzaki is directing his work towards tableware that is closely linked to daily life. This is a solid idea, rare among young people today, and though it may seem understated at first glance, it is the most correct attitude when creating pottery as craft, and I believe that the true beauty of pottery emerges from within it. Having accumulated over ten years of training and developed ample skill, Mr. Matsuzaki has now become independent, owning his own kiln and workshop, and is free to express his ideas. I look forward to seeing what kind of blossoms will unfold.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"12\"\u003e*Comment from Mr. Noriyuki Ushijima, Member of the Japan Art Academy\u003c\/h3\u003e\n\u003cp data-path-to-node=\"12\"\u003eMatsuzaki Ken, who works with ceramics in Mashiko, is the son of my close friend Matsuzaki Osami, with whom I often went sketching in junior high school. I wonder if the humanistic guidance provided by his father has had a significant influence on Ken's ceramic work. Our work emerges from our daily living environment, and I believe this is important not only for painting but also for pottery. I hope that he will accomplish magnificent work in the future, leaving no regrets.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"13,0,0\"\u003e\u003cb data-path-to-node=\"13,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Matsuzaki Ken (松崎健, 1950-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,1,0\"\u003e\u003cb data-path-to-node=\"13,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career Highlights\u003c\/b\u003e: [1950] Born in Machida City, Tokyo, [1972] After graduating from Tamagawa University, Faculty of Letters, Department of Arts, specializing in ceramics, he studied under Shimaoka Tatsuzo in Mashiko, [1977] Built a kiln and became independent in Mashiko Kitago Valley, [1980] Awarded the Kokugakai Nojima Prize, [1982] Recommended as an associate member of Kokugakai, [1984] Awarded the Kokugakai Associate Member Excellent Work Prize, [1986] Promoted to a full member of Kokugakai. Three overseas trips (Canada, USA), held solo exhibitions annually in Tokyo and Osaka, organized mentor-disciple exhibitions and three-person family exhibitions in various locations.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,2,0\"\u003e\u003cb data-path-to-node=\"13,2,0\" data-index-in-node=\"0\"\u003eWorks in Public Collections\u003c\/b\u003e: Permanently housed in public collections including the Metropolitan Museum of Art (USA), Museum of Fine Arts, Boston (USA), Victoria and Albert Museum (UK), Asian Art Museum of San Francisco (USA), Minneapolis Institute of Arts (USA), Cleveland Museum of Art (USA), Mashiko Museum of Ceramic Art (Tochigi Prefecture), and Tochigi Prefectural Museum of Fine Arts (Tochigi Prefecture).\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,3,0\"\u003e\u003cb data-path-to-node=\"13,3,0\" data-index-in-node=\"0\"\u003eProduction Period\u003c\/b\u003e: Late 1980s - Around 1990s (estimated, presumed to be a fine piece from his mid-prime period when the dignified beauty of traditional white slip and red painting reached its peak, before his style boldly shifted towards dynamic kiln changes and Oribe ware in later years).\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,4,0\"\u003e\u003cb data-path-to-node=\"13,4,0\" data-index-in-node=\"0\"\u003eProduct Condition\u003c\/b\u003e: Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,5,0\"\u003e\u003cb data-path-to-node=\"13,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Dedicated tomobako (wooden box), official artist's biography (leaflet) included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,6,0\"\u003e\u003cb data-path-to-node=\"13,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (white slip, red painting, iron glaze, transparent glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,7,0\"\u003e\u003cb data-path-to-node=\"13,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Height approx. 8.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,8,0\"\u003e\u003cb data-path-to-node=\"13,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: All products offered by our shop, even if unused, are from a very old production period and are listed as used items. Products may have 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":47881783443643,"sku":null,"price":32000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7739_result.jpg?v=1781228030"},{"product_id":"293","title":"Masterpiece Kutani Ware Guinomi Sake Cup \"Red Plum Blossoms\" by Master Shiohara Bunji (塩原文二), Realm-Transcending Artist Mastering Both Oil Painting and Ceramics, Final Years' Legacy #293","description":"\u003cp data-path-to-node=\"20\"\u003eThis is a Kutani ware Guinomi (sake cup) created by Bunji Shiohara, an extraordinary realm-transcending artist who was elected a member of both the Western Painting and Ceramics divisions of Itsui-kai, pursuing peak aesthetic expression in both oil painting and Kutani ceramics. Mr. Bunji Shiohara (1907–1978) was born in Komatsu City, Ishikawa Prefecture, and studied overglaze decoration on porcelain and stoneware at the workshop of first-generation \u003ca href=\"\/en\/search?q=%22%E5%BE%B3%E7%94%B0%E5%85%AB%E5%8D%81%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTokuda Yasokichi\u003c\/a\u003e (Kaisei), a giant of Kutani ware. From 1950 onward, he accomplished the extraordinary feat of simultaneous selection in both Western painting and ceramics divisions at the Nitten and Itsui-kai exhibitions. Building upon the prestigious traditional Kutani overglaze techniques stemming from the first-generation Yasokichi, he fused them with the skilled brushwork and refined color sensibility of an oil painter, establishing a uniquely evaluated stance in modern Japanese craft history.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis work features a refined red plum blossom design painted on a gently textured vessel surface beautifully covered with fine crackles (kannyu). The crowning highlight of the piece lies in its depiction of red plum blossoms: while utilizing traditional Kutani Japanese mineral pigments, it renders them with three-dimensional depth and gradation reminiscent of oil paint layered on canvas. Shading and depth are imparted to the vivid vermilion-red petals, while white, yellow, and striking blue and purple are delicately applied to the stamens and calyxes, expressing the vibrant vitality of the petals through the painter's keen eye and solid draftsmanship. Beside the foot ring, the artist’s own seal \"Bunji\" is carved, creating a contrast between the robust clay texture and the delicate overglaze enamel that enhances the dignity of the piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eWe propose this historically valuable work as a supreme Japanese Kogei sake vessel for savoring aged sake or premium whisky matured through the years, gracefully adapting it to a refined modern lifestyle. The substantial form that rests comfortably in the hand and the colors of the red plum blossoms reflecting beautifully against the amber liquid elevate a daily evening drink into a special hour of engaging with peak art. Because Bunji Shiohara created at an exceptionally high level in both Western painting and ceramics, the absolute number of his ceramic works is extremely scarce. It is remarkably rare for a piece to appear on the market complete with its original wooden box (Tomobako)—bearing the calligraphic title \"Red Plum Blossoms,\" the artist's ink signature, and seal—along with the explanatory leaflet from that era. This is a one-of-a-kind craft piece embodying the lifelong passion of a master who endlessly pursued beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e\u003cstrong\u003e* Bunji Shiohara (1907–1978)\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e:\u0026nbsp;Born in 1907 and passing away in 1978, Bunji Shiohara was a rare artist who was elected to membership by top-tier art associations in both completely distinct fields of expression—Western oil painting and ceramics—fully blooming his talent in both simultaneously. He was an unrepeatable realm-transcending artist embodying the \"two-sword style\" in the art world, whose footprint was forged by two passionate \"paths.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e\u003cstrong\u003e* The Path of Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e:\u0026nbsp;Awareness of Oil Painting and Rise in Itsui-kai The beginning of Shiohara's art was the path of oil painting, which he resumed \"as if remembering what had been forgotten\" after once stepping away. Encouraged by those around him, he submitted an oil painting to the Itsui-kai Exhibition in the autumn of 1950 and gained his first selection, followed by consecutive selections in Nitten starting in 1951. Since then, he maintained uninterrupted annual selections in both exhibitions, deeply savoring his self-awareness toward painting under the enthusiastic guidance of seniors and mentors in Itsui-kai. Recognized for his solid expression and firm painterly spirit, he was elected an Itsui-kai member in 1957. Taking the change in Nitten sponsorship in 1958 as an occasion for reflection, he subsequently ceased submitting to Nitten, pouring his full energy solely into the stage of the Itsui-kai Exhibition to pursue his unique beauty of oil painting.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e\u003cstrong\u003e* The Path of Ceramics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e:\u0026nbsp;Encounter with Tokuda Yasokichi (Kaisei) and Full-Fledged Pursuit What awakened Shiohara's other outstanding talent was a fortunate interaction with the renowned ceramic artist Tokuda Yasokichi during the time he called himself \"Kaisei,\" casually enjoying painting overglaze enamels at his studio out of easy friendship. In August 1950, receiving a sudden proposal from Kaisei, \"Shall we try submitting your work to Nitten?\", he unexpectedly felt inclined and crafted \"Vase with Butterfly Design,\" making a brilliant first selection at Nitten. Taking this as a turning point, he crafted Nitten submission pieces at the studio for three years, making a sensational debut as a ceramic artist with three consecutive years of Nitten selections. In the autumn of 1953, after consulting with Kaisei and aspiring to undertake full-fledged research in ceramics, Shiohara immersed himself in thorough production research starting from forming (clay body making). Whenever a piece was completed, he eagerly submitted it to exhibitions such as the Ceramic Art Exhibition sponsored by Osaka Asahi, gaining recognition for his overwhelming skill and color sense. In the autumn of 1960, he accomplished the extraordinary feat of being elected an \"Itsui-kai Ceramics Division Member\" in addition to his Western Painting Division membership. Furthermore, in 1975, he joined the Ceramics Division of the Sozo Bijutsu Exhibition and was elected a member, establishing his position at the pinnacle of the ceramic world in both name and reality. The \"Path of Painting\" facing the canvas, and the \"Path of Ceramics\" challenging clay and fire. The works of Bunji Shiohara, a genius who spent his life mastering two specialized fields without compromise, are miraculous crystals harboring a unique aesthetic transcending genres and a firm passion.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003e\u003cstrong\u003e* Information from the Work's Leaflet:\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe Path of Painting Resumed painting as if remembering what had been forgotten, and encouraged by someone, submitted an oil painting to the Itsui-kai Exhibition in autumn 1950 and gained first selection. From 1951, submitted and was selected for Nitten, continuing annual submissions and selections for both exhibitions thereafter. Savoring self-awareness toward painting under the guidance of Itsui-kai seniors and mentors, elected an Itsui-kai member in 1957. In 1958, taking the change in Nitten sponsorship as an occasion for reflection, ceased Nitten submissions and submitted exclusively to Itsui-kai Exhibitions up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThe Path of Ceramics When Mr. Tokuda Yasokichi called himself Kaisei, enjoyed painting overglaze enamels at his studio out of easy friendship. In August 1950, Mr. Kaisei suddenly said, \"Shall we try submitting your work to Nitten?\" Unexpectedly inclined, crafted a vase with butterfly design and gained first selection upon submission. Created Nitten pieces at his studio for three years thereafter with three consecutive selections. In autumn 1953, after consulting with him, aspired to full-fledged research in ceramics, starting production research from the clay body itself. Submitted completed works to Ceramic Art Exhibitions sponsored by Osaka Asahi, and in autumn 1960 was elected member of Itsui-kai Ceramics Division in addition to Western Painting. In 1975 joined Sozo Bijutsu Exhibition Ceramics Division and was elected member up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\" style=\"text-align: right;\"\u003eBunji Shiohara\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Shiohara Bunji (塩原文二, 1907–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eArtist's Representative Activity:\u003c\/strong\u003e [1950] First selected for the Itsui-kai Exhibition (Oil Painting) and Nitten (Ceramics, \"Vase with Butterfly Design\"), [1951–1952] Simultaneously selected in both Western Painting and Ceramics divisions at Nitten, [1957] Elected member of Itsui-kai (Western Painting Division), [1960] Awarded the Itsui-kai Prize at the 22nd Itsui-kai Exhibition and elected member of the Itsui-kai Ceramics Division, [1975] Elected member of the Sozo Bijutsu Exhibition Ceramics Division\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eWorks in Collection: \u003c\/strong\u003eIshikawa Prefectural Museum of Art, Komatsu City Nishikigama Exhibition Hall, Komatsu City Museum, Wayo Women's University Cultural Materials Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1976–1978 (Leaflet history recorded up to 1976, Final Period of Life)\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\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=\"31\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box (Tomobako) with \"Guinomi Red Plum Blossoms\" inscribed on the lid and \"Bunji Shiohara\" in ink with a seal on the lower left; explanatory leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (Kutani ware, overglaze enamels, crackle glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.5 cm, Mouth diameter approx. 5.5 cm, Base diameter approx. 3.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All 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":47974194217147,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9438_result.jpg?v=1784547479"},{"product_id":"308","title":"Kutani Ware Kaga Daishoji Akae Saibyou Master Tani Shukei (谷秋渓) - Akae Saibyou Kinsai Dragon Sake Cup Pair - The True Essence of Takeuchi Ginshu's Lineage, Microscopic One-Stroke Painting, Cloud Dragon Motif, A Treasure of Japanese Ceramic History #308","description":"\u003cp data-path-to-node=\"21\"\u003eThis is an exceptionally rare and highly dignified pair of Kutani Akae Saibyou Kinsai (microscopic red painting with gold highlights) sake cups (Sake-nomi), complete with their original signed wooden box (Tomobako), meticulously crafted by Shukei Tani (1888-1959, Birth name: Masaki), an eminent artisan native to Daishoji, Kaga City, Ishikawa Prefecture. Shukei Tani studied directly under the two historic titans of ceramic art: \u003ca href=\"\/en\/search?q=%22%E7%AB%B9%E5%86%85%E5%90%9F%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakeuchi Ginshu\u003c\/a\u003e, a legendary Meiji-era master of Kutani red painting, and his third son, \u003ca href=\"\/en\/search?q=%22%E5%BA%83%E6%B2%A2%E8%8A%A6%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eRoshu Hirosawa\u003c\/a\u003e, who was widely acclaimed as the absolute historical pinnacle of Daishoji fine red painting. Tani’s works purely inherit the legitimate and orthodox lineage of this fine red style. Conveying the true essence of Daishoji artistry to the modern era, Shukei Tani’s creations are incredibly rare masterpieces with virtually no historical documentation available in Western art markets or general antique venues. Shukei consistently maintained an uncompromising creative ethos that thoroughly rejected the facile imitation of historical classics, instead refining manual artistry to the absolute limit. Consequently, his work is profoundly revered within the fine art community as a monumental presence that conclusively certifies the authenticity of the Daishoji Akae Saibyou lineage.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eThe paramount achievement and definitive hallmark of Shukei Tani’s ceramic art lies in his absolute mastery of the Kutani aka-e saibyou technique of \"Sogaki\" (comprehensive full-surface drawing), a method of total surface embellishment where the entirety of the porcelain is completely covered in microscopic red lines, deliberately leaving no negative space or blank areas. Utilizing an incredibly fine liner brush dipped in a specialized iron silicate pigment termed \"Bankou,\" his brushwork proceeds with mathematical precision, achieving an astonishing level of structural uniformity that exhibits no tremor or variation in line thickness even when examined under high magnification. On the outer walls of this matching pair of sake cups, this superlative technique is fully realized. Dynamic, undulating cloud dragons and swirling auspicious vapours seamlessly wrap around the gentle, three-dimensional curves of the porcelain vessel with mesmerizing density. Furthermore, opulent gold leaf (Kinsai) is strategically and beautifully layered over the dragon’s whiskers, dorsal fins, and the contours of the clouds, imparting an overwhelming splendor and a rich, tactile three-dimensional texture to the monochrome red base linework. The foot of each cup is similarly encircled by a dense geometric band rendered in pure gold leaf, reflecting an absolute refusal to compromise on decorative perfection down to the smallest millimeter.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eAn additional, extraordinary highlight of this work is that the absolute aesthetic discipline of Daishoji Akae is rigorously applied not only to the exterior but thoroughly into the innermost depths of the vessel. At the center bottom of the interior (Mikomi) lies a delicately bordered circular window, within which a regal phoenix (Ho-o) gracefully spreading its sprawling tail feathers in full flight is vividly and dynamically rendered in red enamel and brilliant gold leaf. Furthermore, a fine comb pattern (Kushime-mon)—consisting of perfectly parallel, hair-thin vertical red lines—encircles the inner rim of the mouth, ensuring that a flawless decorative universe unfolds from every conceivable viewing angle. Inside the foot ring, the four characters reading \"Kutani Shukei\" are cleanly hand-painted in red enamel by the master’s own hand, standing as definitive proof of authenticity. The lid of the accompanying dedicated wooden box (Tomobako) bears the elegant ink inscription \"Kutani Aka-e Sakazuki Ni\" (Two Kutani Aka-e Sake Cups), while the reverse side of the lid features the formal signature \"Shukei-zo\" accompanied by his authentic red vermilion seal, unequivocally establishing that this set was born from Shukei Tani's direct hand and has been reverently preserved as a pristine heirloom.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe specialized process required to merge traditional microscopic red linework with multiple layers of gold leaf represents one of the most technologically daunting undertakings in the history of Japanese traditional crafts. If the volume of enamel held by the brush, the exact structural pressure of the hand, and a perfectly steady, uniform drawing speed—akin to holding one's breath—are not continuously maintained, the interlocking, microscopic patterns will instantly collapse. Moreover, because the red iron enamel and the gold leaf require vastly different optimal temperatures inside the kiln to develop their ideal color radiance, the porcelain must undergo a treacherous multi-stage firing regimen within the overglaze kiln after the initial bisque and main glaze firings. This ultra-high-difficulty discipline carries an immense failure rate, where a single moment of temperature deviation can cause the red pigment to vaporize or the porcelain core to fracture. Because it is physically impossible to mass-produce or streamline this structural creation, each cup represents a unique, one-of-a-kind universe requiring weeks of absolute concentration. Surviving the turbulent eras of the late Meiji, Taisho, and Showa periods to remain intact as a flawless, undamaged pair complete with its original inscribed Tomobako box is a true miracle of historical preservation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eOur gallery proudly proposes this pair, steeped in profound art-historical authority and unmatched manual skill, as the ultimate Japanese Kōgei sake vessels (shot glasses) designed to bring peerless elegance to a sophisticated modern lifestyle. Perfectly proportioned to rest naturally within the palm, these vessels are ideally suited to concentrate the complex aromas and deep, rich flavors of vintage sakes, aged spirits, or fine whiskies that have acquired a beautiful amber hue over decades of maturation. Accompanied by the moving poem transcribed upon the vintage wrapping paper, which captures the transient beauty of dew and the impermanence of existence, the vivid red linework and majestic gold ornamentation glisten brilliantly when filled with a fine spirit. This transforms a quiet evening drink into a luxurious immersion into a three-dimensional masterpiece of classic Japanese art—an unparalleled modern heirloom.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTani Shukei (谷秋渓, Birth Name: Masaki Tani, 1888-1959)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003eActive primarily in Daishoji, Kaga City, Ishikawa Prefecture from the late Meiji to the mid-Showa period, mastering and perfecting the legitimate, orthodox techniques of Daishoji Aka-e Saibyou under the renowned red-painting masters Takeuchi Ginshu and Roshu Hirosawa\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Taisho to early Showa era (Pre-war period, approx. 1920s–early 1930s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (original signed and sealed wooden box), original historic wrapping paper (with transcription and translations included)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (fine red painting, gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 4.8 cm, Mouth diameter approx. 5.0 cm (Internal dimension)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if brand new and unused, originate from a historic production period and are strictly listed as antique\/used fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055748133051,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8774_result.jpg?v=1783738886"},{"product_id":"327","title":"Holder of Tokoname City Intangible Cultural Property - Konishi Yohei (小西洋平): Shudei Neriage Genshin-sai Water Dropper \/ Whisky Dropper, Water Dropper #327","description":"\u003cp data-path-to-node=\"2\"\u003eReigning at the pinnacle of modern Tokoname ware and certified as a Holder of Tokoname City Designated Intangible Cultural Property in 2013, the contemporary master Konishi Yohei (1941– ) created this water dropper in Shudei Neriage Genshin-sai. Konishi won the Silver Prize at the Vallauris International Ceramics Biennale in France in 1982, and his artistry has established a global reputation, with works collected in prestigious institutions such as the Victoria and Albert Museum in the UK and the Philadelphia Museum of Art in the USA. While this piece was originally created as a water dropper (Suiteki) used in Japanese calligraphy, our gallery proposes it as a special utensil for fine spirits (Whisky Dropper, Water Dropper) to add water drop by drop to aged whiskies and spirits, opening up their aromas.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eThe absolute core of this work lies in the Neriage (marbled clay) technique, in which clays of different colors—starting with Tokoname's iconic Shudei (red clay) and Kokudei (black clay)—are layered multiple times to reveal unique geometric patterns resembling annual rings or geological strata across the cut faces. The flowing spiral and polygonal continuous patterns seen in the image are not painted on the surface; they are formed by the layered clay itself penetrating through the entire thickness of the vessel. Konishi's Neriage relies on supreme craftsmanship that perfectly controls the different shrinkage rates of various clays to prevent cracking, combining clays with millimeter-level precision. Furthermore, in this piece, delicate faceting (facet carving) is applied to the surface of the densely layered Neriage body, forming a polyhedral structure where the geological strata patterns of the Neriage emerge three-dimensionally depending on the angle of light. Inside the foot at the base, along with a vivid spiral Neriage pattern, Konishi's mark \"Yo\" is clearly carved.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eIn terms of form, the ultimate technique of hand-thrown pottery on a potter's wheel—which served as the reason for his designation as an Intangible Cultural Property holder—is demonstrated without reserve. The spout and the top water inlet (Hibikiguchi) are thrown with extreme delicacy, showing the true essence of wheel-throwing technology that pulls the clay up to its absolute structural limit. The surface coloration, referred to as Genshin-sai, harbors deep shadows within the calm hues woven by Shudei and Kokudei. It possesses the inherent charm of Tokoname ware, gaining luster over time through contact with natural skin oils and moisture as it is used, growing alongside its owner. When adding water drop by drop to whisky, the amber liquid resonates with the vessel's polyhedral design reminiscent of geological strata, elevating daily enjoyment into a contemplative tasting experience.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThe production period of this work is identified as the late 1980s to early 1990s. As evidence, the handwriting style and seal impression on the accompanying original signed wooden box (Tomobako) perfectly match the characteristics of the period when Konishi's Neriage technique and polyhedral forming reached their deepest maturity after winning the Silver Prize at the Vallauris International Ceramics Biennale in 1982. Additionally, the final entry on the enclosed artist biography leaflet reads \"Showa 54 (1979),\" indicating that this version of the biography, used throughout the 1980s, was included. This is a valuable piece showcasing Konishi's unique sculptural beauty established from the mid-1980s to the early 1990s.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKonishi Yohei (小西洋平, 1941– )\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1982] Won the Silver Prize at the Vallauris International Ceramics Biennale in France, [2013] Certified as a Holder of Tokoname City Designated Intangible Cultural Property. Regular Member of the Japan Art Crafts Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Victoria and Albert Museum (UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum, INAX Live Museum, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Late 1980s to early 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal signed wooden box (Tomobako), artist biography leaflet (Shiori), wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterials: \u003c\/strong\u003ePottery (Tokoname Ware, Neriage \/ Marbled Clay)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.0 cm, Width approx. 5.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if items offered by our store are unused, they were produced a very long time ago and are all listed as pre-owned items. Please inspect and understand that the item may show age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731103931,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9775_result.jpg?v=1785048463"},{"product_id":"343","title":"Aichi Prefecture Designated Intangible Cultural Property Holder, Studied under Kitaoji Rosanjin: Oe Bunsho (大江文象), Seto Ware Red Frost-Dappled Glaze Evening Geese Tea Bowl, Rocks Glass #343","description":"\u003cp data-path-to-node=\"16\"\u003eCreated by Oe Bunsho (1898–1979), a master of Seto ware born in Chita District, Aichi Prefecture in 1898 (Meiji 31) and passed away in 1979 (Showa 54), this is a masterpiece Red Frost-Dappled Glaze Evening Geese Tea Bowl. Oe Bunsho studied Japanese painting under Undo Kotera during his youth, polishing a delicate eye for sketching and a sense of composition, before studying under \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%A4%A7%E8%B7%AF%E9%AD%AF%E5%B1%B1%E4%BA%BA%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitaoji Rosanjin\u003c\/a\u003e—a monumental figure in modern ceramics—to master the essence of ceramic techniques and formal beauty. In addition to being selected nine times in total for the Teiten, Bunten, and Nitten exhibitions, he earned numerous selections and awards across various exhibitions, and in 1975, his outstanding skills were recognized when he was designated as a Holder of Aichi Prefecture Designated Intangible Cultural Property (Craft Technique: \"Kushimemon\" Combed Pattern). His works are officially housed and specially purchased by public institutions such as the Aichi Prefectural Ceramic Museum and Seto City. Our shop presents this dignified creation, in which tradition and pictorial sophistication fuse to a high degree, to the global market not only as a tea utensil for whisking matcha, but also as a supreme vintage rocks glass (a Japanese free cup) for slowly savoring aged sake or matured Japanese sake with large ice cubes, enveloped in rich depth and amber radiance over time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThis work expresses at an exceptionally high level the chorie (carved pictorial design) motif originating from Japanese painting—Oe Bunsho’s greatest specialty—alongside the expression of benisobora-yu (red frost-dappled glaze), the culmination of his many years of glaze research. On the surface of the vessel, which possesses an excellent tactile grip measuring approximately 9.2 cm in height and 12.0 cm in diameter, his original red frost-dappled glaze is applied, featuring white crystals scattered like frost across a deep reddish-brown base evocative of an evening sky. On the vessel's exterior, a delicate carved drawing of \"YUkari\" (Evening Geese) is rendered, depicting geese flying in flocks across the dusk sky. YUkari is a traditional seasonal motif that has symbolized the deepening of autumn, travel sentiment, and refined nostalgia in Japanese waka poetry and Japanese painting since ancient times, brilliantly showcasing the exquisite line carving unique to Bunsho, who was so adept at animal and bird-and-flower designs that he was praised as \"Bunsho of Quails.\" A gentle glaze texture spreads inside the interior base (mikomi), while the artist's own seal is firmly incised into the unglazed clay beside the foot ring, demonstrating a splendid harmony between the bold yet refined form taking advantage of the clay's natural character inherited from Rosanjin and the delicate pictorial expression.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the period of production, taking clues from the inclusion of \"Selected nine times for Teiten, Bunten, Nitten, etc.\" in the accompanying biography leaflet and the absence of any mention of his Aichi Prefecture Designated Intangible Cultural Property designation (1975), it is identified as an authentic work produced between the 1960s and circa 1974, a mature period when he repeatedly won selections at Nitten and perfected his unique red frost-dappled glaze and carved pictorial expression styles. The vessel itself has no chips or cracks, maintaining excellent condition in both glaze coloration and carved drawing preservation. It arrives as a complete masterpiece accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Red Frost-Dappled Glaze, Evening Geese Tea Cup\" with a red seal stamped, along with a biography leaflet.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Oe Bunsho (大江文象, 1898–1979)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1933] First selected for the 14th Teiten Exhibition (subsequently selected 9 times in total for Teiten, Bunten, Nitten, etc.); [1972] Received the CBC Club Cultural Award; [1975] Designated as a Holder of Aichi Prefecture Designated Intangible Cultural Property (Kushimemon Combed Pattern) Works Housed In： Aichi Prefectural Ceramic Museum, Seto City (Specially Purchased for Permanent Preservation), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 1960s–1974 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako, biography leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Ceramic (Seto ware, red frost-dappled glaze, carved pictorial design, incised seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 9.2 cm, Mouth diameter approx. 12.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\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":48145422483643,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0367_result.jpg?v=1786022833"},{"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":"362","title":"Ishii Koji (石井康治): Gold Leaf Blown Red Glass Sake Cup, Guinomi, Japanese Shot Glass #362","description":"\u003cp data-path-to-node=\"29\"\u003eCrafted by Ishii Koji (1946–1996), a master of modern Japanese glass art who was born in Chiba Prefecture in 1946 and passed away suddenly at the age of 50 in 1996, this is a blown red glass sake vessel adorned with gold leaf decoration. After studying metalworking techniques in the Department of Crafts at Tokyo University of the Arts and working at Toyo Glass, Ishii Koji established himself as an independent glass artist in 1977. He earned high acclaim as a leading figure in expressing the subtle nuances of Japan's four seasons, natural landscapes, light, and wind within the medium of glass. In 1989, he founded Ishii Glass Studio Co., Ltd., and in 1991, he opened a studio in Aomori City to energetically release new works. His creations are housed in public art museums across Japan, including The National Museum of Modern Art, Tokyo, the Aomori Museum of Art, the Chiba Prefectural Museum of Art, the Toyama City Museum of Glass Art, and the Narikawa Art Museum in Hakone. Fitting comfortably in the palm with its substantial, heavy form, this sake cup (guinomi) possesses high practical utility and aesthetic value, not only as a traditional vessel for enjoying chilled sake, but also as a vintage shot glass (Japanese sake cup) for quietly savoring aged sake or matured whisky straight.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eObserving the details of this piece reveals a sophisticated fusion of the blown glass sculptural beauty for which Ishii Koji received the highest acclaim, vibrant gold-ruby red glass, and bold gold leaf (kanzai) application. Formed through free-blowing techniques, the thick body bears a vivid red hue combining depth and translucency; when light passes through, the rich gradations of crimson are illuminated beautifully. Applied dynamically from the upper sides down to the base, the gold leaf has cracked and spread into an even, exquisite crackle pattern due to the heat during forming and the stretching of the glass. One can enjoy two distinct aesthetic views: the three-dimensional brilliance of the gold leaf fused on the exterior, and the interior scene where the texture of the gold leaf shimmers through the red glass. The rim features a gentle flared edge and rolled finish unique to hand-blown glass, while the flat bottom, hand-ground and polished, clearly displays his hand-carved signature reading \"Koji,\" certifying it as an authentic work by Ishii Koji.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eRegarding the period of production, taking clues from his peak artistic era following his independence in 1977, marked by his award for designing the silhouette bottle for Sanwa Shurui's \"Iichiko\" in 1985 and the establishment of Ishii Glass Studio in 1989, when he actively presented blown glass works through salons and exhibitions such as the venerable luxury craft merchant Otsuya Onishi Toshichi in Kyoto, it is identified as an authentic creation made between 1985 and circa 1995 (Showa 60s to early Heisei period). While Ishii Koji's works are generally housed in paper gift boxes, this piece is an exceptionally rare special edition housed in a wooden Tomobako (wooden box) inscribed on the lid \"Te-fubuki Garasu Sake-ki\" (Hand-blown Glass Sake Vessel) and signed on the back \"Koji saku\" with a seal stamped. In complete condition, it includes the wooden Tomobako hand-signed by the artist, a red protective cloth, and a dedicated cloth stamped with the seal reading \"Kyoto Higashiyama Sanjo Otsuya Onishi Toshichi.\" The vessel itself has no cracks or chips, maintaining extremely good condition in both its red glass coloration and the adherence of the gold leaf.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eManufacturer: \u003c\/strong\u003eIshii Glass Studio Co., Ltd.\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIshii Koji (石井康治, 1946–1996)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1977] Left Toyo Glass to become an independent glass artist; [1979] Work exhibited at \"Japan New Face II\" purchased by Her Imperial Highness Princess Chichibu; [1985] Designed the silhouette bottle for Sanwa Shurui \"Iichiko\" and received a special award; [1989] Established Ishii Glass Studio Co., Ltd.; [1994] Held a solo exhibition at the Narikawa Art Museum in Hakone\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eMain Public Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; Aomori Museum of Art; Chiba Prefectural Museum of Art; Toyama City Museum of Glass Art; Narikawa Art Museum; Hida Takayama Museum of Art, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1985–1995 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (wooden box), red cloth, cloth stamped with Onishi Toshichi seal included\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass (gold-ruby red glass, gold leaf, gold decoration, carved signature)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.6 cm – 5.8 cm, Mouth diameter approx. 6.6 cm – 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\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":48241385570491,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1044_result.jpg?v=1787106624"},{"product_id":"383","title":"Tokoname City Intangible Cultural Property Holder Konishi Yohei (小西洋平): Red Clay Neriage Genshinsai Hand-thrown Wheel Tea \u0026 Sake Vessels, Pair #383","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Konishi Yohei (1941–), a supreme master of contemporary Tokoname ware who was designated a holder of Tokoname City Intangible Cultural Property for \"Tokoname Ware (Hand-thrown Wheel)\" in 2013 after self-studying and refining the techniques of \"neriage\" (colored clay kneading) and \"usu-zukuri\" (thin-walled forms) while inheriting Tokoname's traditional technology, this is a pair of free cups in \"Shudei Neriage Genshinsai\" (red clay kneaded clay with vibrant color effect). Konishi Yohei established global acclaim by winning the Silver Award at the Vallauris International Ceramics Biennale in France in 1982, and his works are held in the collections of major museums worldwide, including the Victoria and Albert Museum in London and the Philadelphia Museum of Art in the United States. Our shop presents these pieces—boasting exquisite hand-thrown forms and a superior tactile feel—to the global market not only as daily tea vessels, but also as a pair of luxury Japanese rocks glasses (pair sake vessels) for quietly enjoying amber-hued aged sake, matured whisky, or authentic shochu.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully examining the details of this work clearly reveals the essence of \"Genshinsai,\" Konishi Yohei's signature technique that marked a new chapter in the history of Tokoname ware. Genshinsai is an extremely high-level neriage technique in which clays of different colors—including Tokoname's signature red clay (shudei), green clay (rokudei), white clay (hakudei), and yellow clay (ōdei)—are layered, creating fluid, geometric patterns through the rotation of the hand-thrown wheel and delicate hand-carving. The vessel's exterior meticulously expresses a complex, regular gradient pattern of wave and oval shapes woven by multicolored clays, which, combined with the thin-walled form achieved through extraordinary wheel-throwing skill, delivers a dignified yet refined texture that fits comfortably in the hand. From the interior bottom (mikomi) down to the base, magnificent spiral-patterned neriage layers created along the rotation of the wheel are exposed continuously without variance, and a round ceramic seal stamp \"Yo\" (洋) certifying the artist's intent is clearly impressed near the outer base beside the foot ring. Furthermore, the bottom surface (tatami-tsuki) is also penetrated by a similar concentric neriage pattern, perfectly preserving the structural beauty of neriage, where patterns are constructed through the combination of clays themselves.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking his peak era after winning the Silver Award at the Vallauris International Ceramics Biennale in 1982—when the technique and expressive design of \"Genshinsai\" reached their highest maturity—as a basis, it is identified as an authentic work created between circa 1985 and 1995 (mid-1980s to early 1990s). Utilizing the same system of technique as his masterpiece housed in the Victoria and Albert Museum, this is an outstanding work from an era highly evaluated in the international art market. The vessel bodies themselves have no cracks or chips, maintaining extremely good condition in both the coloration of the multicolored clays and the smooth surface texture. It arrives in complete condition accompanied by its dedicated Tomobako (wooden box), with the lid inscribed in ink \"Genshinsai\" and \"Yohei\" and stamped with his seal.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Konishi Yohei (小西洋平, 1941–, Holder of Tokoname City Intangible Cultural Property for \"Tokoname Ware [Hand-thrown Wheel]\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1982] Won the Silver Award at the Vallauris International Ceramics Biennale in France; [2013] Designated as a holder of Tokoname City Intangible Cultural Property for \"Tokoname Ware (Hand-thrown Wheel).\" Currently active as an official member of the Japan Art Crafts Association and a supreme master of contemporary Tokoname ware, leveraging his self-taught and refined \"neriage\" and \"usu-zukuri\" techniques while preserving traditional craft methods.\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Victoria and Albert Museum (London, UK), Philadelphia Museum of Art (USA), Aichi Prefectural Ceramic Museum (Seto City, Aichi), Tokoname Ceramic Hall (Tokoname City, Aichi), INAX Live Museum (Tokoname City, Aichi), etc. In particular, the Victoria and Albert Museum in London holds works created using his signature neriage technique, establishing his international artistic value.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1980s–early 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks, with age-appropriate patina)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako included (inscribed with \"Genshinsai\" and \"Yohei\" in ink and stamped with seal on the lid)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Tokoname ware, neriage)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.0 cm, Mouth diameter approx. 5.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48287449088187,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1941_result.jpg?v=1787751215"},{"product_id":"455","title":"Mino Renowned Kilns Collaboration: Shino, Akae, and Oribe Three-Kiln Sake Cup Set by Gyokuzan Kiln (玉山窯), Kobei Kiln (幸兵衛窯), and Sentaro Kiln (仙太郎窯), Japanese-Style Shot Glasses, Aged Sake Vessels #455","description":"\u003cp data-path-to-node=\"1\"\u003eThis rare set of three sake cups brings together the craftsmanship and history of Gyokuzan Kiln, Kobei Kiln, and Sentaro Kiln, the three prominent kilns representing Mino ware in Ichinokura-cho, Tajimi City, Gifu Prefecture. Inheriting the aesthetic sensibilities of Mino Momoyama pottery, these three renowned kilns have crafted a three-piece set of sake vessels, demonstrating without reservation their signature traditional techniques: Shino, Akae (overglaze red enamels), and Oribe. The lid of the accompanying dedicated paulownia wooden box (tomobako) is inscribed in ink with \"Sake Cups of Three Kilns\" (Sangama-hai) alongside the kiln names and red seal stamps of Gyokuzan, Kobei, and Sentaro, testifying to its firm pedigree as a collaborative work of the three kilns. From the accompanying pamphlets, the career histories of each kiln's master artisans, and the character of the box inscription, this work is identified as having been produced between the late 1980s and the early 1990s (late Showa to early Heisei era), when the techniques and styles of the three kilns had reached full maturity. It is a piece in exceptionally fine condition, complete with its dedicated three-compartment paulownia box, wrapping cloths, and explanatory pamphlets.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eExamining the design of each cup in detail reveals that the diverse charms of Mino ware and the aesthetics of each kiln's master artisans are condensed into their respective microcosms. The first piece, a Shino sake cup by Gyokuzan Kiln (mouth diameter approx. 6.0 cm, height approx. 5.0 cm), was crafted under the supervision of \u003ca href=\"\/en\/search?q=%22%E7%8E%89%E7%BD%AE%E4%BF%9D%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYasuo Tamaoki\u003c\/a\u003e, a Holder of Important Intangible Cultural Property of Gifu Prefecture. Covered in a thick, rich feldspar glaze (Shino glaze), it displays deep, warm gradations of scarlet fire marks (hiiro) and scorched hues born from kiln transformation, along with subtle pinholes resembling citrus peel (yuzuhada) that give it a profound character. The reverse side of the foot is impressed with the stamp \"Gyoku\" (玉), proof of Gyokuzan Kiln. The second piece, an Akae Phoenix Pattern sake cup by Kobei Kiln (mouth diameter approx. 5.6 cm, height approx. 4.5 cm), was produced under the guidance of \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E8%97%A4%E5%8D%93%E7%94%B7%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKato Takuo\u003c\/a\u003e VI (a Living National Treasure), Kato Kobei VII, and \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E8%97%A4%E7%9B%B4%E5%BD%A6%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKato Naohiko\u003c\/a\u003e. On a refined white clay body, dynamic phoenixes and peony arabesques are vividly depicted in fine vermilion-red lines and green and blue overglaze enamels, while the character \"Sakigake\" (魁, meaning pioneer) is powerfully rendered in vermilion red at the center of the interior bowl. The interior of the foot ring bears Kobei Kiln's unique impressed mark. The third piece, an Oribe Grass-Pattern Shoe-Shaped (Kutsugata) sake cup by Sentaro Kiln (mouth diameter approx. 5.0–5.3 cm, height approx. 4.5–4.7 cm), was guided and crafted by \u003ca href=\"\/en\/search?q=%22%E5%AE%89%E8%97%A4%E6%97%A5%E5%87%BA%E6%AD%A6%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eAndo Hidetake\u003c\/a\u003e, a Holder of Intangible Cultural Property of Tajimi City, and Ando Takumi. A vivid green copper glaze forms a striking contrast with iron-underglaze grass motifs (bamboo leaves) painted on white ground, while its Momoyama-style shoe-shaped form, hand-compressed after wheel throwing, creates a dynamic distortion that fits comfortably in the hand. The reverse side of the foot bears the impressed mark of Sentaro Kiln.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eOur shop proposes these three elegant sake cups, each possessing a distinct texture and sculpted beauty, as a dignified \"Japanese-style shot glass set (Japanese liquor vessel set)\" tailored to modern drinking culture and refined lifestyles, allowing one to compare aged spirits, vintage whisky, matured sake, or liquors straight neat side by side. It offers the opportunity to enjoy the three major techniques of Mino ware simultaneously—the warm clay feel of Shino, the vivid elegance of Akae, and the innovative sculpted beauty of Oribe—enhancing the colors of poured amber-toned aged spirits or clear liquors. An extraordinary set that allows one to savor the true essence of traditional Japanese craft through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e《Kobei Kiln Pamphlet》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eKobei Kiln was founded in 1804 (Cultural Era Year 1) by Kato Kobei I in Ichinokura, Mino, and soon became an official purveyor kiln supplying blue-and-white (sometsuke) tableware to the Honmaru and Nishinomaru of Edo Castle. Thereafter, continuing to develop as one of Mino's premier workshops through the second to fourth generations, the kiln achieved a firm reputation under the previous Fifth Generation Kato Kobei (1893–1982), who created numerous masterpieces employing a wide variety of techniques including Chinese ceramics such as celadon, kinrande, sometsuke, akae, and tenmoku, as well as Kenzan and Joseon dynasty styles. The current master, Kato Takuo VI, based on years of research, creates works that integrate tradition and originality, such as lusterware, blue glazes, tricolor (sancai), and Persian overglaze enamels based on restored Persian ceramics and Shosoin tricolor techniques. For these achievements, he has been designated a Living National Treasure. His eldest son, Kato Kobei VII, is active with his own distinctive artistic style. Additionally, with over 40 skilled artisans, the kiln produces dignified Japanese tableware under the guidance of Kato Takuo and Kato Kobei VII.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cstrong\u003e《Gyokuzan Kiln Yasuo \/ Supervised by Yasuo Tamaoki Pamphlet》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eDeeply drawn to the unique beauty of Shino and Oribe, the aesthetic legacy and famed ceramics of the Momoyama period born from our ancestral homeland, we refine the secret traditions handed down through generations, striving day and night in our research to breathe new life into them.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eGyokuzan Kiln (玉山窯, Supervised by Yasuo Tamaoki), Kobei Kiln (幸兵衛窯, Guided by Kato Takuo VI, Kato Kobei VII, Kato Naohiko), Sentaro Kiln (仙太郎窯, Guided and Crafted by Ando Hidetake, Ando Takumi) - Mino Three Kilns Collaboration\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eMaster Artisans \u0026amp; Potters of Each Kiln: \u003c\/strong\u003eGyokuzan \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Supervised by Yasuo Tamaoki (Holder of Important Intangible Cultural Property of Gifu Prefecture); Kobei \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Guided by Kato Takuo VI (Living National Treasure), Kato Kobei VII, Kato Naohiko; Sentaro \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Guided and Crafted by Ando Hidetake (Holder of Intangible Cultural Property of Tajimi City), Ando Takumi\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1980s–early 1990s (Late Showa to early Heisei era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated three-compartment paulownia box (Tomobako with calligraphy \"Sangama-hai\" and seals of three kilns), wrapping cloths, explanatory pamphlets included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Porcelain (Shino glaze, Akae overglaze enamel, Oribe glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Shino Sake Cup (Gyokuzan Kiln): Mouth diameter approx. 6.0 cm, Height approx. 5.0 cm; Akae Phoenix Pattern Sake Cup (Kobei Kiln): Mouth diameter approx. 5.6 cm, Height approx. 4.5 cm; Oribe Grass-Pattern Shoe-Shaped Sake Cup (Sentaro Kiln): Mouth diameter approx. 5.0–5.3 cm, Height approx. 4.5–4.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\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":48396667650235,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3809_result.jpg?v=1790767478"},{"product_id":"456","title":"Craftsman Certified by the Minister of International Trade and Industry, Imperial Presenting Artist, Yamamoto Hogaku (山本芳岳), Pair of Kutani Fine Red Enamel Stem Cups with Peach Motif (Bajohai), Japanese-Style Shot Glasses, Aged Liquor Vessels #456","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a supreme pair of red enamel porcelain works, \"Kutani Fine Red Enamel Stem Cups with Peach Motif (Bajohai), Pair (2 pieces),\" created by Yamamoto Hogaku (b. 1960), a leading authority in Kutani fine red enamel decoration (akae saibyo), a Traditional Craftsman certified by the Minister of International Trade and Industry (now the Minister of Economy, Trade and Industry), and a highly renowned artist who presented works to the Imperial Household. Mr. Yamamoto, who cultivated his pictorial composition skills in the Design Course at Fukui High School and the Fine Arts Department (Japanese Painting) at Kinjo Junior College, learned wheel-throwing techniques at the Kutani Ware Crafts Training School. In 1982, he entered the studio of \u003ca href=\"\/en\/search?q=%22%E7%A6%8F%E5%B3%B6%E8%8A%B3%E6%98%A5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHoshun Fukushima\u003c\/a\u003e, a master of Kutani fine red enamel decoration, receiving strict training in miraculous brushwork that draws lines as fine as human hair, as well as in overglaze enamels. In 1985, immediately after going independent, on the occasion of the Imperial visit to Kaga City for the All Japan High School Athletic Meet, he was honored to produce and present \"Kutani Fine Red Enamel Appetizer Dish with Chrysanthemum and Phoenix Motif\" to Their Imperial Highnesses the Crown Prince and Crown Princess (the Current Emperor Emeritus and Empress Emerita). Later, he successively served as a member of the Ishikawa Branch of the Japan Art Crafts Association and a director of the Kaga Art Box Association, establishing a brilliant career that includes solo exhibitions at Mitsukoshi Nihombashi Main Store and ceramic wall creations for major public buildings. The outer lid of the accompanying dedicated paulownia wooden box (tomobako) features the handwritten inscription \"Kutani Fine Red Enamel Stem Cups with Peach Motif,\" while the inner lid bears the signature seal \"Kutani Hogaku\" and a seal stamp. Since the final entry in the included explanatory pamphlet (shiori) lists \"2007 (Heisei 19) Mitsukoshi Nihombashi Main Store (3rd Exhibition),\" this work can be estimated as a piece created around 2007 (around Heisei 19), a period when his craftsmanship reached full maturity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAnalyzing the design of this piece reveals a magnificent condensation of advanced compositional beauty backed by his background in Japanese painting and design, alongside Mr. Yamamoto's true hallmark: ultra-high-density fine red enamel decoration. On the exterior of the vessel, auspicious compartmentalized patterns such as shippo (seven treasures), kikko (tortoiseshell), and lattice motifs are meticulously drawn at micron-level density using a fine brush, at the center of which juicy peach fruits and leaves are depicted with gold outlines, red enamel gradations, and delicate stippling. Furthermore, cute peach fruits and plum blossoms are charmingly drawn on the inner bottom (mikomi), with geometric patterns and gold paint applied without gaps up to the inner rim of the vessel and the stem foot. The \"peach\" depicted here has been considered a sacred tree and divine fruit in Chinese and Japanese traditional motifs since ancient times, representing an exceptionally high-ranking auspicious motif symbolizing longevity and immortality. It also originates from the tale in the Kojiki (Records of Ancient Matters) where Izanagi no Mikoto repelled evil spirits with peach fruits, embodying a powerful talisman for warding off evil and bringing good health and blessings. The stem foot features beautiful decorations in green and gold enamels, and the bottom of the foot is proudly inscribed with \"Kutani Hogaku\" in red enamel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting a stem cup (bajohai) form with an elegant posture measuring approx. 5.5 cm in diameter and approx. 7.5 cm in height, our shop proposes this work, in alignment with modern refined lifestyles and fine spirits culture, as an ultimate pair of \"Japanese-style shot glasses (Japanese liquor vessels)\" for savoring vintage whisky, premium straight spirits, aged sake, or matured Japanese liquor neat. The tactile texture of delicate painting felt when holding the cup in hand and the auspicious motif of peaches and plum blossoms that appears at the bottom when pouring and finishing your drink elevate an evening drink to an incomparably graceful and dignified occasion. A masterpiece uniting the supreme line drawing technology of an Imperial Presenting Artist with traditional auspicious motifs, this piece allows one to relish the true essence of Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eYamamoto Hogaku (山本芳岳, b. 1960)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights: \u003c\/strong\u003eGraduated from Design Course at Fukui High School, Fine Arts Department at Kinjo Junior College, and Kutani Ware Crafts Training School. [1982] Studied under Hoshun Fukushima. [1985] Went independent; presented a fine red enamel work on the occasion of the Imperial visit of Their Imperial Highnesses the Crown Prince and Crown Princess (current Emperor Emeritus and Empress Emerita) to Kaga City. [1989] Member of Ishikawa Branch of Japan Art Crafts Association; [1996] Certified as a Traditional Craftsman by the Minister of International Trade and Industry; held solo exhibitions at Mitsukoshi Nihombashi Main Store (1st to 3rd). Director of Kaga Art Box Association, Director of Kaga Kutani Ware Ceramics Co-operative Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eAround 2007 (around Heisei 19)\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\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Kutani Fine Red Enamel Stem Cups with Peach Motif\" on the lid, signature seal \"Kutani Hogaku\" and seal stamp on the inside of the lid), career pamphlet (shiori), wrapping cloth included\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain (Fine red enamel decoration, gold paint, green glaze, yellow glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eDiameter approx. 5.5 cm, Height approx. 7.5 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 even if unused, 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":48396667748539,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4164_result.jpg?v=1791090205"},{"product_id":"468","title":"Kato Kenji (加藤賢司), Recipient of the Gifu Prefecture Arts and Culture Honor and the Turkish Government’s Osman Hamdi Art Award, Shinsho Kiln, Pair of Yunomi Cups with Iron Glaze and Red Enamel Decoration (Tetsuyu Akasai Kumi-Yunomi) #468","description":"\u003cp data-path-to-node=\"1\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThis is a pair of “Tetsuyu Akasai Kumi-Yunomi” (paired yunomi cups with iron glaze and red enamel decoration) by Kato Kenji, a ceramic artist who worked at the Shinsho Kiln in Tajimi, Gifu Prefecture. The lid of the tomobako (the artist’s original wooden storage box) bears the inscribed title “Tetsuyu Akasai Kumi-Yunomi,” the signature “Shinsho Kiln,” and a red seal. The set also comes with a shiori (leaflet) printed with the artist’s own career history, and a wrapping cloth. Although originally made as yunomi teacups, their comfortable size in the hand and substantial build make them well suited to slowly savoring vintage spirits neat, and we present them as Japanese-style drinking vessels for that purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eKato Kenji was born on July 21, 1933 (Showa 8), in Tajimi, Gifu Prefecture, a city renowned as a production center of Mino ware. He graduated in ceramics from Kyoto City University of Fine Arts (now Kyoto City University of Arts) 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 were later designated Holders of Important Intangible Cultural Properties (Living National Treasures). Training under the foremost masters of overglaze enamel (iro-e) and underglaze cobalt blue (sometsuke) formed the starting point of Kato’s ceramic work. According to the records of the Japan Kogei Association, a public interest incorporated association, he passed away in 2008.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eA defining feature of Kato’s career is how early he became active internationally. According to the career history in the shiori, he served as a lecturer at Ohio State University in the United States in 1968. He gave lectures at Indiana State University, the University of Michigan, and Antioch University, and in 1969 he held a solo exhibition at the Helen Winnemore Gallery in the United States. From 1971 to 1973 he was dispatched by the Japanese government as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts, and he took part in the 5th General Assembly of the World Crafts Council (Istanbul) as a representative of Japan. In 1976 he visited Australia and New Zealand as a ceramic art envoy dispatched by the Japan Foundation of the Ministry of Foreign Affairs. His career history also lists Norway, Denmark, and Canada under the year 1978. At the 8th General Assembly of the World Crafts Council, held in Kyoto in 1978, he served as a sub-coordinator.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eIn Japan, he received the Japan Kogei Association President’s Award at the 2nd Tokai Traditional Art Crafts Exhibition, the Aichi Prefectural Board of Education Award at the 10th edition of the same exhibition, and the Tomimoto Prize at the 32nd Shinsho Kogei Exhibition. He served as a director of the Mino Ceramic Art Association and was a member of the Shinsho Kogei Association, a regular member of the Japan Kogei Association, and a member of the International Ceramics Society. He also taught the next generation as a lecturer in the Department of Fine Arts and Crafts at Gifu University. His works are held in the following collections:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・University of Michigan Museum of Art (iron-glazed vase)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Museum für Kunst und Gewerbe Hamburg (square plate with red overglaze enamel)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Canterbury Museum (Shino tea bowl)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Art Gallery of South Australia (water jar with iron-painted decoration)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Embassy of Japan in Denmark (vase)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eHis exhibition records with the Japan Kogei Association reveal the evolution of his style. From the mid-1960s to the early 1970s, he repeatedly exhibited “nukie tenmoku” jars, which are tenmoku jars with resist-reserved decoration. After a set of square plates with overglaze enamel in 1974, he presented red overglaze enamel (aka-e) works such as square plates every year from 1976 to 1982. From 1984 onward he produced blue-glazed flattened flasks. From around 1986 until his final years, his entries centered on vases and incense burners in “Turkish blue.” Today, this body of Turkish blue work is what is most widely recognized as Kato’s signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eTurkish blue is not used in this piece. Instead, it clearly displays two elements that characterized Kato during this period. The first is iron glaze and iron-painted decoration, which also appear among his museum-collected works. The second is the red overglaze enamel he pursued intensively from the late 1970s to the early 1980s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eAfter the body was thrown on the wheel, it was pressed inward with the fingers at several points around the side, giving it a softly undulating contour. The rim flares slightly outward while gently wavering. An opaque white glaze covers the entire piece, and on close inspection fine crackle (kannyu) runs across its whole surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eOver this, iron glaze has been boldly applied in vertical strokes with a broad brush. Where the iron glaze is thin, it melts into the white glaze and creates a grayish-green blur. Where it pools thickly, it takes on a glossy blackish-brown sheen. Within these thick areas, speckled tones ranging from reddish-brown to amber appear here and there. These variations are especially pronounced where glaze has pooled in the finger-pressed indentations, creating a landscape (keshiki) in which forming and glazing become one.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe two cups differ in design. One has vivid red dots scattered among vertical lines of iron glaze, with iron-colored edging on the rim. The other uses no red, and combines vertical iron-glaze lines with ring-shaped and hooked brushstrokes. Together they form a “kumi” (matched set): paired, yet each with its own distinct expression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe foot ring (kodai) is trimmed low, and its resting edge (tatami-tsuki) shows dark purplish-brown, iron-bearing clay. The inside of the foot ring is glazed, and a square seal is impressed on the unglazed area at its center. Small iron spots can be seen inside the foot ring of the black cup.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe production period is estimated from the content of the accompanying shiori. Among the dated entries in the shiori, the most recent is the 1978 General Assembly of the World Crafts Council in Kyoto. According to Japan Kogei Association records, the 27th Tokai Traditional Art Crafts Exhibition corresponds to fiscal year Heisei 8 (1996), which places the 10th edition listed in the shiori in 1979. The shiori makes no mention of the Turkish blue works that became his signature from 1986 onward. It also omits his later honors: the Osman Hamdi Art Award, the top prize at the Tokai Traditional Art Crafts Exhibition, and the Gifu Prefecture Arts and Culture Honor. The postal code is printed in the three-digit format used before 1998. On this basis, these cups are considered to have been made between around 1979 and the mid-1980s. This period overlaps with that of his red overglaze enamel works, but because the shiori may have remained in use for some time, the dating is an estimate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe cups are free of chips and cracks and remain in very good condition. Kato is almost entirely unknown outside Japan. This work combines his grounding in overglaze enamel, in the lineage of Tomimoto Kenkichi, with free brushwork shaped by his international activities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKato Kenji (加藤賢司, Katō Kenji, 1933–2008)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1959] Selected for the 6th Japan Traditional Art Crafts Exhibition; [1968] Lecturer at Ohio State University; [1969] Solo exhibition at the Helen Winnemore Gallery, USA; [1971] Japan Kogei Association President’s Award, 2nd Tokai Traditional Art Crafts Exhibition; [1971–1973] Visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts, dispatched by the Japanese government; [1976] Ceramic art envoy dispatched by the Japan Foundation of the Ministry of Foreign Affairs (Australia and New Zealand); [1978] Norway, Denmark, and Canada (as listed in his career history); [1978] Sub-coordinator, 8th General Assembly of the World Crafts Council (Kyoto); [1979] Aichi Prefectural Board of Education Award, 10th Tokai Traditional Art Crafts Exhibition; [1986] “Turkish Blue Flattened Flask” selected for the 33rd Japan Traditional Art Crafts Exhibition; [2001] “Turkish Blue Vase” selected for the 48th Japan Traditional Art Crafts Exhibition\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eUniversity of Michigan Museum of Art, Museum für Kunst und Gewerbe Hamburg, Canterbury Museum, Art Gallery of South Australia, Embassy of Japan in Denmark\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1979 to the mid-1980s (estimated from the content of the accompanying shiori)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal tomobako (artist’s wooden box), wrapping cloth, shiori (leaflet)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (iron glaze, red enamel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Red: height approx. 9.0 cm, mouth diameter approx. 7.3 cm \/ Black: height approx. 9.0 cm, mouth diameter approx. 7.1 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cspan style=\"color: rgb(0, 0, 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\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615312249019,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4567_result.jpg?v=1791639080"},{"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":"478","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Gourd-Shaped Frosted Crimson Glass Tokkuri (Sake Flask) with Gold and Silver Foil #478","description":"\u003cp dir=\"ltr\"\u003eThis piece is a gourd-shaped glass tokkuri (sake flask) 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 base bears a single-character signature incised in cursive script that appears to read “Kaoru” (薫). The body, made of deep crimson glass with a frosted matte finish, is clad in gold-tone foil on its upper portion and silver-tone foil on its lower portion. At approximately 13 cm in height and 8 cm in body diameter, it sits comfortably in the hand and can be used as a decanter for serving aged spirits.\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 through the contrast of two kinds of foil, gold and silver, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel takes the form of a gourd, with a larger and a smaller swelling joined by a narrow waist. The upper swelling tapers toward the mouth, and the rim flares slightly outward. In this piece, a form long cherished in Japan as the shape of the tokkuri is rendered in glass. The entire surface has a matte finish with subdued luster, and the underlying glass changes in appearance with the light, ranging from a deep carmine to a bright crimson. From the upper swelling to the rim, finely fragmented gold-tone foil covers nearly the entire surface. Its lower edge breaks off irregularly, leaving a band of the crimson ground exposed at the waist. On the lower swelling, silver-tone foil fragments of various sizes encircle the surface, separated by a network of cracks, so that the crimson ground forms lines threading between the pieces of foil and creates a pattern across the whole. Among the silver-tone foil are also fragments with a golden tint, so the coloring shifts with the viewing angle. When lit from behind, the crimson glass glows brightly as light passes through it, while the foil emerges as dark silhouettes. A further highlight of this piece is the appearance of a seemingly inverted pattern, different from what is seen when light falls on it from the front. The base is finished with a shallow, flat recess, on which the signature is incised.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece bears no date. It is a work bearing the artist’s 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 gourd-shaped tokkuri, combining gold and silver foil on frosted crimson 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\u003eRepresentative 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\u003eMuseum collections:\u003c\/strong\u003e No museum holdings have been confirmed\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of production: \u003c\/strong\u003eLate Showa to Heisei era (between 1980 and 2008)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eShows slight signs of use\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlass (metal foil decoration)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 13.0 cm, maximum body diameter approx. 8.0 cm, mouth diameter approx. 3.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks: \u003c\/strong\u003eSingle-character signature, appearing to read “Kaoru” (薫), incised on the base\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNote: \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":67651885072571,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4917_result_e2504d4c-1622-47fe-8a19-4d525a273dda.jpg?v=1791899121"},{"product_id":"502","title":"Hand-Built Shinsha Yohen Yunomi, Kiln-Transformed Copper Glaze \/ Japanese-Style Spirits Vessel by Kuze Tensei (久世天聲, Presumed 2nd Generation), Tensei-zo, Awara Ware Kiln, Echizen #502","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a hand-built yunomi (teacup) made at the Awara ware kiln in Awara City, Fukui Prefecture, whose box bears the inscription “Tensei-zo” (made by Tensei). Neither the box inscription nor the potter’s seal indicates a generation, but we presume it to be the work of Kuze Tensei II (the reasons are given below). The outside of the lid of the tomobako (the original box inscribed by the maker) is inscribed “Tebineri Shinsha Yohen Yunomi” (hand-built teacup, shinsha kiln transformation). The inside of the lid is inscribed “Echizen Awara-yaki Tensei-zo” (Echizen, Awara ware, made by Tensei). The cup fits comfortably in the hand at approx. 9.3 cm high and approx. 8.3 cm in rim diameter, and its glaze shows a scenery keyed to deep red. Drawing on both qualities, we propose it as a Japanese-style vessel for Western spirits (drinking vessel), for enjoying old whisky neat or with a small piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAwara ware is pottery made at a kiln in the Onsen district of Awara City, Fukui Prefecture. According to the Awara City Tourism Association, it began when the first Kuze Tensei made pottery using clay from Jingaoka, near Tojinbo, and its hallmark is a pale aqua blue produced by a glaze rich in copper. Another account states that the first generation built a kiln and began Awara ware in 1914 (Taisho 3). That account explains that malachite, a mineral rich in copper, was used as a glaze material, producing pale blue and green tones. According to the records of the Fukui Prefectural Archives, an article titled “Awara Ware, the Only One in Echizen (Part 1)” appeared in the Osaka Asahi Shimbun (Hokuriku edition) dated April 4, 1916 (Taisho 5), carrying the name of Kuze Tensei. This means the kiln was already being covered by the press shortly after it opened. The kiln was later passed down to the third generation. According to the association, however, the third generation has since passed away, and the kiln’s shop now only sells works.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA reference compiling deceased artists gives the dates of the first Kuze Tensei as 1878–1933 and of the second as 1909–1987, and notes that the second further developed the Awara ware he inherited from the first. The name “Tensei” passed from the first to the second generation. Whether the third generation used this name could not be determined from the sources we were able to consult. There are three reasons we presume this piece to be the work of the second generation. First, the name “Kuze Tensei” can be verified in sources only for the first and second generations. Second, there is the condition of the tomobako. Although there are faint stains at the edges, the wood remains quite white, with little noticeable darkening from age. It seems too new to be a box made during the lifetime of the first generation, who died in 1933, so we consider it unlikely that this is his work. Third, the second generation’s dates suggest that his working life spanned most of the Showa era. All of these points are presumptions and do not establish the generation definitively. The possibility that this is the work of the third generation cannot be ruled out. Incidentally, the ceramic sculptor \u003ca href=\"\/en\/search?q=%22%E4%B9%85%E4%B8%96%E5%BB%BA%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKuze Kenji\u003c\/a\u003e (1945–2020) was also born into the family of the Awara ware kiln. He served as president of Kanazawa College of Art from 2007 to 2014.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAwara ware is noted for the colors produced by glazes rich in copper. In ceramics, shinsha glaze produces a red resembling the mineral cinnabar (shinsha). Its color, however, comes not from mercury but from copper, and the red is obtained through reduction firing. Reduction firing is a method of firing with reduced oxygen in the kiln. The same copper glaze is said to develop a pale green when fired in oxidation. The pale aqua that represents Awara ware is a blue-green tone produced by copper, whereas this piece, true to the box inscription “Shinsha Yohen,” is dominated by copper red. The surface is keyed to deep red, intermingled with purplish areas and pale pink areas with a milky-white cast. Green speckles appear from the lower body to the foot and here and there across the body. Yohen (kiln transformation) refers to changes in the color and texture of a glaze caused by the flame and the conditions inside the kiln during firing. In this piece, red, purple, milky white and green coexist in a single vessel. The work of a kiln known for its copper-rich glazes appears here as a kiln transformation centered on red.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs the box inscription states, the form is hand-built (tebineri, shaping the clay by pinching and forming it by hand). The nearly cylindrical body swells slightly in places and tapers gently toward the foot. Vertical depressions and undulations, as if pressed with fingers or a spatula, run around the entire body. Along the ridges formed at the edges of the depressions, the glaze thins, and a pale yellowish white emerges as fine vertical lines. Small depressions are dotted across the upper body, where the glaze is also thin and a lighter color shows through. The rim is thinly glazed and framed in a pale yellow-green tone. The glaze stops on the lower body, ending in a thick line. Along this edge, glaze that ran during firing has gathered into beads and hangs down toward the foot. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) can be seen where the glaze is thick near the foot. From the unglazed waist to the foot ring, pale flesh-colored clay containing fine sand grains and small black specks is visible, and the foot ring is low and stepped. Swirling trimming marks remain inside the foot ring, and the center rises slightly. On the exposed clay of the waist is impressed a square potter’s seal that reads “Awara” and “Tensei.” The interior (mikomi) is also glazed, with deep red mingling with reddish purple, dark brown and green. At the center of the bottom, the glaze has pooled into a glassy, lustrous surface.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003ePoured into this cup with a rim diameter of approx. 8.3 cm, the amber of old whisky layers over the deep red interior. The hand-built form and the kiln-transformed glaze scenery differ from piece to piece. Awara ware has been passed down at a single kiln in Awara City, Fukui Prefecture, and almost no information about it is available in English. The outside of the tomobako lid bears the inscription “Tebineri Shinsha Yohen Yunomi,” the signature “Awara-yaki” and two red seals. The inside of the lid bears the ink inscription “Echizen Awara-yaki Tensei-zo” and a round red seal. A yellow wrapping cloth stamped with a round red seal is also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kuze Tensei (久世 天聲、presumed 2nd generation, 1909–1987)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1914] The first Kuze Tensei built a kiln and began Awara ware (according to an account dating the kiln’s founding to Taisho 3); [1916] An article titled “Awara Ware, the Only One in Echizen (Part 1)” appeared in the Osaka Asahi Shimbun (Hokuriku edition); [1933] Death of the first generation. The second Kuze Tensei (1909–1987) is said to have developed the Awara ware inherited from the first; [By around 2020] The third generation, who had inherited the kiln, passed away, and the kiln’s shop now only sells works\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eNo records of holdings in public institutions have been confirmed\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eEstimated c. 1933–1987 (the span from the first generation’s death to the second generation’s death, assuming the work is by the second generation; given how little the tomobako has aged, we consider a postwar date within this range more likely. Without specifying the generation, the range extends from the kiln’s founding in 1914 to around 2020, when the third generation’s death was reported)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (the glaze pooling and crazing are aesthetic features of the glaze)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (outside of lid inscribed “Tebineri Shinsha Yohen Yunomi,” signed “Awara-yaki,” two red seals; inside of lid inscribed “Echizen Awara-yaki Tensei-zo,” red seal), wrapping cloth (with red seal)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eRim diameter approx. 8.3 cm, height approx. 9.3 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \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 have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404858043,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5859_result_5e2c14da-496f-4cf8-b27d-c2e3a5c8fa0f.jpg?v=1792903674"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/color-red.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}