{"title":"White Sake Cups and Vessels (White Porcelain, Shino, Kohiki)","description":"\u003cp\u003eWhite porcelain, Shino, kohiki, white Hagi and milk glass: pure white vessels that show the true colour of what you pour.\u003c\/p\u003e","products":[{"product_id":"5","title":"Hand-blown glass (white glass) by Ishii Koji (石井康治) #5 ","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).\u003cspan class=\"wixui-rich-text__text\" style=\"font-size: 0.875rem;\"\u003e\u0026nbsp;Art (Hida Takayama),\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan class=\"wixui-rich-text__text\" style=\"font-size: 0.875rem;\"\u003eNarukawa Art Museum (Hakone-Lake Ashi)\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\u003eProduction period:\u003c\/strong\u003e 1980s-1990s\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\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\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\u003eAccessories:\u003c\/strong\u003e Dedicated box included\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\u003eMaterial:\u003c\/strong\u003e hand-blown glass\u003c\/span\u003e\u003cbr\u003e\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\u003eDimensions:\u003c\/strong\u003e height 11cm, diameter 7cm\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-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\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":46615791042747,"sku":"","price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4845.jpg?v=1773501017"},{"product_id":"42","title":"Living National Treasure Inoue Manji (井上萬二)'s White Porcelain Carved Teacup #42","description":"\u003cp\u003eInoue Manji (1929-2025) was born in Arita, Saga Prefecture in 1929, and is a representative ceramic artist of Arita ware. While Arita ware is typically characterized by colorful painting, he has always focused on white porcelain, pursuing its pure beauty.\u003c\/p\u003e\n\u003cp\u003e After studying under the master potter's wheel master, \u003ca href=\"\/en\/search?q=%22%E5%A5%A5%E5%B7%9D%E5%BF%A0%E5%8F%B3%E8%A1%9B%E9%96%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eOkugawa Chuemon\u003c\/a\u003e, he honed his skills at the Saga Prefectural Ceramics Testing Laboratory before going independent in 1971. His outstanding potter's wheel skills and the soft, refined beauty of his forms are highly acclaimed both in Japan and overseas. He has also worked tirelessly overseas, teaching at universities in the United States and engaging in cultural exchange activities, spreading the essence of Japanese traditional crafts to the world.\u003c\/p\u003e\n\u003cp\u003e This white porcelain piece exudes tranquil beauty, and we suspect it likely dates from Inoue Manji's later years, when his technique had reached its peak. Flowing lines of bamboo branches and leaves are delicately carved into the surface, gently lifting off the pure white porcelain. This openwork-like technique creates a tasteful shadow that changes appearance with the light. The included lid ensures that the aroma is not lost, making this a truly exceptional piece that maximizes the aroma of whisky. Enjoy this exceptional piece of Japanese sophistication and the finest craftsmanship with a special glass of whisky.\u003c\/p\u003e\n\u003cul\u003e\n\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\u003eArtist:\u003c\/strong\u003e Inoue Manji (井上萬二, 1929-2025)\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\n\n \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 achievements include:\u003c\/strong\u003e [1979] Minister of Labor Award, [1987] Minister of Education Award at the Japan Traditional Crafts Exhibition, [1995] Certified as a Living National Treasure and Important Intangible Cultural Property \"White Porcelain\", [1997] Received the Medal with Purple Ribbon, [2003] Received the Order of the Rising Sun, Gold Rays with Neck Ribbon\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\n\n\u003c\/li\u003e\n\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\u003eProduction year:\u003c\/strong\u003e 2000s (estimated)\u003c\/span\u003e\n\u003c\/li\u003e\n\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\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\n\u003c\/li\u003e\n\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\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box\u003c\/span\u003e\n\u003c\/li\u003e\n\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\u003eMaterial:\u003c\/strong\u003e Ceramic (white porcelain)\u003c\/span\u003e\n\u003c\/li\u003e\n\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\u003eDimensions:\u003c\/strong\u003e height 11cm, diameter 7.5cm\u003c\/span\u003e\n\u003c\/li\u003e\n\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\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\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47059029786811,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1019.jpg?v=1759322343"},{"product_id":"94","title":"Hand-blown glass jellyfish by Ishii Koji (石井康治) #94","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).\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\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 wooden box, outer box, wrapping cloth\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\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 6.8cm, diameter approx. 7.8cm\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\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":47203785113787,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2833.jpg?v=1764137147"},{"product_id":"97","title":"Hand-blown white glass jellyfish by Ishii Koji (石井康治) #97","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).\u003cbr\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\u003eProduction period:\u003c\/strong\u003e 1980s-1990s\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\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\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\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, outer box, wrapping cloth\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\u003eMaterial:\u003c\/strong\u003e hand-blown glass\u003c\/span\u003e\u003cbr\u003e\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\u003eDimensions:\u003c\/strong\u003e height approx. 6.8cm, diameter approx. 7.8cm\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-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\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":47234416869563,"sku":null,"price":27000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2916_1bceee07-48de-4ae7-b3ef-b6633a338f06.jpg?v=1765539867"},{"product_id":"205","title":"Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\", Regular Member of the Japan Kogei Association, Sentaro Kiln, Ando Hidetake (安藤日出武), Cylindrical Shino Sake Vessel with Iron-Painted Decoration, Japanese-Style Rocks Glass #205","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a cylindrical Shino yunomi cup with iron-painted decoration by Ando Hidetake, a ceramic artist who is a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto.\" Although originally crafted as a Shino yunomi, our shop proposes it as a Japanese-style rocks glass (cylindrical sake vessel) for enjoying vintage spirits on the rocks.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAndo Hidetake was born in 1938 (Showa 13) in Tajimi City, Gifu Prefecture. He is the third-generation head of Sentaro Kiln, founded in Ichinokura by Sentaro I in the early Meiji period, and is also introduced under the name \"Sensan Kiln\" in his biographical records. According to the artist profile of Sentaro Kiln, up until his father's generation, it was a kiln firing small porcelain sake cups and small dishes. Around the age of 22, Kato Tokuro visited his father and told him, \"If you are going to make ceramics, you must make ceramics born in Mino.\" This served as a turning point, leading Ando to immerse himself in the study of Momoyama-period Shino, Kiseto, and Oribe wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eAndo had no specific master. Walking through the mountains of Mino to excavate kiln sites, he taught himself how to use clay, design, and firing techniques directly from ceramic shards. Furthermore, believing that gas kilns had limitations in recreating Momoyama ceramics, he built a semi-aboveground anagama (cave kiln) utilizing the natural contours of the terrain in the wilderness of Kukuri-Kakishita, Kani City, near the Taihei ancient kiln site. According to records of the Museum of Modern Ceramic Art, Gifu, the firing lasts for six days and nights, burning 1,500 bundles of firewood. Committed to creating both clay and glazes from natural materials by himself, his unique style \"Ko-Mino,\" forged through the clay of Tono and this anagama, is highly praised by the museum as reaching a \"realm of ancient purity.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eRegarding his major career accomplishments, he was selected for the first time for the 1st Asahi Ceramic Art Exhibition in 1963, the 11th Japan Traditional Art Crafts Exhibition in 1964, and the 1st Japan Ceramic Art Exhibition in 1971, continuing to be selected for each repeatedly thereafter. In 1970, he won the Governor's Award at the 8th Asahi Ceramic Art Exhibition and exhibited a large Shino platter at the Living and Industry Pavilion of the Japan World Exposition (Expo '70). He received an Encouragement Award at the 11th Asahi Ceramic Art Exhibition in 1973, became a regular member of the Japan Kogei Association in 1974, and received the 8th Kobei Prize in 1990.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eIn 1993, \"Ko-Mino Large Jar\" was designated as a Mino Ceramic Art Permanent Preservation Work. In 1998, he won the Grand Prix for \"Ko-Mino Tea Bowl\" at the Mino Ceramic Art Shoroku Award Tea Bowl Exhibition, and in the same year was designated a Holder of Tajimi City Intangible Cultural Property. In 2003, he was designated a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto,\" and received the Gifu Prefecture Cultural Merit Award in 2013 and the Order of the Rising Sun, Silver Rays in 2016.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn Gifu Prefecture's official commentary, Ando's Kiseto is described as a unique style possessing a depth and dignity distinct from conventional Kiseto. From 2025 to 2026, the exhibition \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" was held at the Museum of Modern Ceramic Art, Gifu. As an artist who has continued to craft Momoyama-period Kiseto and Shino using clay and firing methods identical to those of the era, his representative works and recent creations were presented in this exhibition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eShino is a representative ceramic of Mino during the Momoyama period, fired with a thick application of white glaze composed primarily of feldspar. Works drawn with patterns in iron wash under the white glaze are called \"E-Shino\" (picture Shino \/ iron-painted Shino).\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eOn the surface of this piece, minute air bubble marks characteristic of Shino, known as yuzuhada (citrus-skin texture), can be seen. The texture of the thickly applied feldspar glaze conveys dignity alongside warmth. In particular, the orange hi-iro (fire-color) that appears at the rim of the piece and around the iron painting gives warm variation to the white glaze surface as an unforced, natural landscape.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe iron-painted decoration under the white glaze is rendered with rustic and powerful brushwork, evoking the charm of Ko-Shino (ancient Shino) from the Momoyama period. Its moderate thickness and cylindrical shape that rests comfortably in the hand make it an easily usable form for a rocks glass. The deep amber color of vintage spirits reflects beautifully against the white Shino glaze, allowing one to enjoy the time spent savoring Western vintage spirits in a traditional Japanese vessel alongside the sound of ice touching the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThere is no documentation specifying the exact year of production. It can only be confirmed that it was made from the 1960s onward, when the artist began his research into Momoyama ceramics. The body of the piece is free of chips and cracks and remains in very good condition. Dedicated tomobako (original wooden box) and shiori (leaflet) are included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eAndo Hidetake (安藤日出武, Andō Hidetake, 1938–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1963] First selected for the 1st Asahi Ceramic Art Exhibition; [1964] First selected for the 11th Japan Traditional Art Crafts Exhibition; [1970] Governor's Award at 8th Asahi Ceramic Art Exhibition; exhibited large Shino platter at Living and Industry Pavilion, Expo '70; [1971] First selected for the 1st Japan Ceramic Art Exhibition; [1973] Encouragement Award at 11th Asahi Ceramic Art Exhibition; [1974] Regular member of the Japan Kogei Association; [1975] First selected for the 1st Chunichi International Ceramic Art Exhibition; [1990] 8th Kobei Prize; [1992] Tajimi City Cultural Arts Merit Award; [1993] \"Ko-Mino Large Jar\" designated as Mino Ceramic Art Permanent Preservation Work; [1998] Grand Prix for \"Ko-Mino Tea Bowl\" at Mino Ceramic Art Shoroku Award Tea Bowl Exhibition; designated Holder of Tajimi City Intangible Cultural Property; [2002] Gifu Shimbun Grand Prize Culture Award; [2003] Designated Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\"; [2011] Gifu Prefecture Educational and Cultural Merit Award; [2013] Gifu Prefecture Cultural Merit Award; [2016] Order of the Rising Sun, Silver Rays; Tokai Television Culture Award; [2017] Published \"Mikannomamani\" (Chubu Keizai Shimbun); [2025] \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" at Museum of Modern Ceramic Art, Gifu (through 2026)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,2,0\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eMuseum of Modern Ceramic Art, Gifu (\"Kiseto Tea Bowl,\" \"Kiseto Large Jar\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e From the 1960s onward (no date specified)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,4,0\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (original wooden box), shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Mino ware, Shino, iron-painted)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,7,0\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919612091,"sku":null,"price":23500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5664_result.jpg?v=1776175575"},{"product_id":"215","title":"Ishii Koji (石井康治) Handmade Blown Glass Gilded Horseback Sake Cup White Glass Jellyfish #215","description":"\u003cp data-path-to-node=\"17\"\u003eThis piece is by Ishii Koji (1946–1996), a leading Japanese glass artist known as the \"Magician of Glass.\" We introduce a sake cup featuring an ethereal jellyfish motif, a signature of Mr. Ishii. A fantastical world unfolds within the transparent glass, as if the very life of a jellyfish drifting in the depths of the deep sea has been encapsulated. Ishii's unique \"inclusion technique\" fully encloses colors and motifs within the glass, achieving a three-dimensional expression with depth.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eWhen you hold the glass, you can see gold leaf randomly scattered within, and colorful glass particles of red, blue, green, and yellow seemingly melting into it. This represents the tentacles of a jellyfish drifting in water and the mysterious, sparkling luminescence within its body, evoking a sense of vibrant life through the reflection of light. Fine white glass lines depict the elegant movement of jellyfish and the trails they leave as they float in the darkness of the deep sea, adding dynamic elements and a sense of buoyancy to the piece. As light passes through, the colors become even more vivid, revealing various expressions depending on the viewing angle.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eAll works are hand-blown glass, and the artist's high level of skill and artistry can be felt from the shape of the glass, the heavy construction of the base, and the meticulous finish of the white rim at the mouth. The artist's signature \"Koji\" is engraved on the foot of the base. This is a masterpiece of high artistic value, combining traditional Japanese craftsmanship with modern sensibilities. The accompanying original signed wooden box (tomobako) and a profile booklet (shiori) signed by the artist guarantee its authenticity. It is perfect for personal use or as a special gift.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eProduced by:\u003c\/b\u003e Ishii Glass Studio Co., Ltd.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"42\"\u003eArtist:\u003c\/b\u003e Ishii Koji (石井康治)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"61\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1979] Work exhibited at \"Japan New Face II\" purchased by Her Imperial Highness Princess Chichibu, [1985] Designed the \"Iichiko\" silhouette bottle for Sanwa Shurui and received a Special Award at the Japan Package Design Competition, [1985] Received a Special Award at the \"Seibu Craft Grand Prix Exhibition,\" [1994] Held the \"Symphony of Light and Wind GLASS Ishii Koji\" exhibition at the Hakone Narukawa Art Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"512\"\u003eMain Collections:\u003c\/b\u003e National Museum of Modern Art, Tokyo, Aomori Museum of Art, Chiba Prefectural Museum of Art, Toyama Glass Art Museum, Hida Takayama Museum of Art (Hida Takayama), Narukawa Art Museum (Hakone-Ashinoko)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"731\"\u003eProduction Period:\u003c\/b\u003e 1980s–1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"762\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"805\"\u003eAccessories:\u003c\/b\u003e Comes with a dedicated box\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"845\"\u003eMaterial:\u003c\/b\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"872\"\u003eDimensions:\u003c\/b\u003e Height approx. 11cm, Mouth diameter approx. 7cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"932\"\u003eNote:\u003c\/b\u003e All products we offer, even if unused, are from a very old production period and are listed as used. Please understand that products may have damage due to age, and consider this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"石井グラススタジオ","offers":[{"title":"Default Title","offer_id":47695921676475,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7628_result.jpg?v=1780833017"},{"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":"272","title":"Ando Hidetake (安藤日出武), Holder of Gifu Prefecture Important Intangible Cultural Property “Kiseto”, Regular Member of the Japan Kogei Association, Sentaro Kiln, Shino Cylindrical Yunomi Pair with Plum Blossom Design, Japanese-Style Rocks Glasses #272","description":"\u003cp dir=\"ltr\"\u003eThis is a pair of cylindrical Shino yunomi cups by Ando Hidetake, a ceramic artist designated as a Holder of Gifu Prefecture Important Intangible Cultural Property “Kiseto” (Yellow Seto). The set consists of one large and one small cup and was originally made as meoto-yunomi, a matched pair of teacups for a couple. We present them as Japanese-style rocks glasses for two, to savor vintage spirits neat or over a large piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAndo Hidetake was born in 1938 (Showa 13) in Tajimi, Gifu Prefecture. He is the third generation of the Sentaro Kiln, founded in Ichinokura by the first-generation Sentaro in the early Meiji era, and in artist biographies he is also introduced under the name “Sensan Kiln.” According to the Sentaro Kiln’s artist profile, the earlier generations ran a workshop producing small porcelain sake cups and small dishes. His turning point came at around the age of 22, when Kato Tokuro, who had come to visit his father, told him, “If you are going to make pottery, you must make the pottery that was born in Mino.” From then on he devoted himself to the study of the Momoyama-period wares of Shino, Kiseto, and Oribe.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAndo had no particular teacher. He walked the mountains of Mino, dug at old kiln sites, and taught himself from potsherds how the clay was used and how the designs and firings were achieved. Convinced that gas kilns could never fully achieve Momoyama pottery, he built a semi-underground anagama kiln on open land in Kukuri Kakishita, Kani City, near the Taihei old kiln site, preserving the natural slope of the terrain. According to the Museum of Modern Ceramic Art, Gifu, each firing lasts six days and nights and consumes 1,500 bundles of firewood. He insists on making both clay and glazes himself from natural materials, and the museum highly regards his distinctive style, “Ko-Mino,” forged with the clay of the Tono region and this anagama, as having reached “the realm of antique refinement.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHis principal achievements include first selections for the 1st Asahi Ceramic Art Exhibition in 1963, the 11th Japan Traditional Art Crafts Exhibition in 1964, and the 1st Japan Ceramic Art Exhibition in 1971, each followed by further selections. In 1970 he received the Governor’s Prize at the 8th Asahi Ceramic Art Exhibition and exhibited a large Shino platter at the Life Industry Pavilion of the Japan World Exposition. In 1973 he received the Encouragement Prize at the 11th Asahi Ceramic Art Exhibition, in 1974 he became a regular member of the Japan Kogei Association, and in 1990 he received the 8th Kobei Prize.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1993 his “Ko-Mino Large Jar” was designated a Mino Ceramic Art Permanent Preservation Work. In 1998 his “Ko-Mino Tea Bowl” received the Grand Prize at the Mino Ceramic Art Shoroku Prize Tea Bowl Exhibition, and in the same year he was certified as a Holder of Tajimi City Intangible Cultural Property. In 2003 he was designated a Holder of Gifu Prefecture Important Intangible Cultural Property “Kiseto,” and he went on to receive the Gifu Prefecture Cultural Merit Honor in 2013 and the Order of the Rising Sun, Gold and Silver Rays, in 2016.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn its commentary, Gifu Prefecture describes Ando’s Kiseto as a distinctive style of his own, with a depth and gravity unlike conventional Kiseto. From 2025 to 2026, the Museum of Modern Ceramic Art, Gifu, held the exhibition “The Lineage of Mino Ceramics: Ando Hidetake.” The exhibition introduced his representative and recent works, presenting him as an artist who has continued to make Momoyama-style Kiseto and Shino using the same clays and firing methods as in that era.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eShino is a ware representative of Mino in the Momoyama period, fired with a thick coating of white glaze composed mainly of feldspar. It is characterized by a milky-white warmth and the expressive “landscapes” that emerge in firing.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThese pieces are a large and a small cylindrical cup of differing sizes. A generous coat of milky-white feldspar glaze gives them a substantial texture. The surface is densely covered, from the exterior to the interior, with the fine pinhole marks known as yuzu-hada (citron-skin texture), characteristic of Shino. On the body, a plum blossom design stands out as a white reserved motif. Around the rim, the lower body, and near the base, vivid orange hiiro (fire color) appears in gradations, and its contrast with the white feldspar glaze creates a natural landscape. The cylindrical form, which fits comfortably in the hand, is also well suited to enjoying the deep flavor of vintage spirits and the sound of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eNo documentation has been confirmed that would identify the year of production. It is certain only that the pieces date from the 1960s or later, after the artist began his study of Momoyama pottery. The cups themselves are free of cracks and chips, and the glaze color, yuzu-hada, and hiiro are all in excellent condition. They come with the dedicated tomobako (the original wooden box signed by the artist), inscribed in ink on the lid “Shino Yunomi” and bearing the red seal of Hidetake.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eAndo Hidetake (安藤日出武, Andō Hidetake, 1938-)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1963] First selection, 1st Asahi Ceramic Art Exhibition; [1964] First selection, 11th Japan Traditional Art Crafts Exhibition; [1970] Governor’s Prize, 8th Asahi Ceramic Art Exhibition; large Shino platter exhibited at the Life Industry Pavilion, Japan World Exposition; [1971] First selection, 1st Japan Ceramic Art Exhibition; [1973] Encouragement Prize, 11th Asahi Ceramic Art Exhibition; [1974] Regular member of the Japan Kogei Association; [1975] First selection, 1st Chunichi International Ceramic Art Exhibition; [1990] 8th Kobei Prize; [1992] Tajimi City Culture and Arts Merit Award; [1993] “Ko-Mino Large Jar” designated a Mino Ceramic Art Permanent Preservation Work; [1998] Grand Prize for “Ko-Mino Tea Bowl,” Mino Ceramic Art Shoroku Prize Tea Bowl Exhibition; certified as a Holder of Tajimi City Intangible Cultural Property; [2002] Gifu Shimbun Grand Prize, Culture Award; [2003] Designated a Holder of Gifu Prefecture Important Intangible Cultural Property “Kiseto”; [2011] Gifu Prefecture Education and Culture Merit Award; [2013] Gifu Prefecture Cultural Merit Honor; [2016] Order of the Rising Sun, Gold and Silver Rays; Tokai TV Culture Prize; [2017] Publication of “Mikan no Mama ni” (Chubu Keizai Shimbun); [2025] “The Lineage of Mino Ceramics: Ando Hidetake,” Museum of Modern Ceramic Art, Gifu (through 2026)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Museum of Modern Ceramic Art, Gifu (“Kiseto Tea Bowl,” “Kiseto Large Jar”)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1960s or later (no date inscribed on the tomobako)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (Mino ware, Shino, plum blossom design)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Large: height approx. 10.0 cm, mouth diameter approx. 7.0 cm \/ Small: height approx. 9.5 cm, mouth diameter approx. 6.5 cm\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 a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758758587,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1409_result.jpg?v=1787477614"},{"product_id":"279","title":"Recipient of the Kyoto Prefecture Order of Cultural Merit, Sodeisha Co-Founder Yamada Hikaru (山田光), Kohiki Iron-Painted Dotted Line Pattern Coffee Cup and Saucer, A White Sake Vessel Where the Amber Color of Whisky Beautifully Reflects #279","description":"\u003cp data-path-to-node=\"17\"\u003eThis is a Kohiki iron-painted coffee cup and saucer crafted by Yamada Hikaru (1923–2001), a titan of modern ceramic art who co-founded the avant-garde ceramic art group \"Sodeisha\" in 1948 alongside \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and consistently led the group until its dissolution in 1998. The artist, Yamada Hikaru, grew up immersed in pottery making from an early age under his father, the ceramic artist Yamada Tetsu, and acquired professional expertise in the Ceramics Department of the Kyoto Higher School of Crafts (currently Kyoto Institute of Technology). He is one of the most vital artists who liberated ceramics from the conventional \"beauty of utility\" and established the genre of objet ceramics as pure artistic creation in Japan. Throughout his life, he was awarded the Japan Ceramic Society Award (and later its Gold Prize), recognized as a Kyoto City Person of Cultural Merit, and received the Kyoto Art and Culture Award. His works are extensively housed in major museums both within Japan and internationally.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eOur shop proposes this precious coffee cup and saucer, left behind by this leading figure of avant-garde ceramics, not merely as a coffee cup, but as a special Japanese Kogei sake vessel tailored for slowly savoring the highest quality Japanese whisky or aged sake that has deepened with time. The mug-shaped design, featuring a slightly smaller size, possesses an ample presence to thoroughly enjoy the rich aroma of aged sake right in your hand. Furthermore, the soft white tone of the Kohiki glaze that envelops the entire vessel vividly highlights the beautiful amber gradation of whisky, maximizing its visual allure. The entire surface of the vessel exhibits a fine, beautiful crazing that is evenly distributed without being overly assertive, forming a profound expression nurtured by time. In addition, the authentic pottery mark of the character \"Hikaru\" is clearly discernible at the base of the cup's handle and on the reverse side of the saucer.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe greatest highlight of this work lies in the exceptional integration of Yamada Hikaru's signature avant-garde objet-making philosophy into a practical vessel. While Yamada Hikaru focused primarily on the production of one-of-a-kind objets, he also possessed a profound passion for craft design, establishing \"Mon Kobo\" in the 1960s to pursue modern design in everyday vessels. In contrast to the cup body, which features an organic, soft distortion born of hand-molding, the handle is joined with a linear, architectural geometric structure, demonstrating an intellectual form that controls the properties of clay with peak technical mastery. The dark brown iron-painted dotted line pattern running vertically on the front elevates the design into a sophisticated graphic statement reminiscent of Mid-Century Modernism and abstract painting. Furthermore, the circular exposed clay area at the base of the cup can be analyzed as a uniquely conceptual expression by the artist, visually translating the philosophy of holes and windows that permeate spaces—as seen in his representative \"Screen Series\"—into a practical vessel where physical holes cannot be made. The lid of the original wooden box bears the artist's handwritten title \"Kohiki,\" his signature \"Hikaru Zo,\" and a genuine seal verifying its authenticity, completely confirming its reliability as a historical collection. All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamada Hikaru (山田光, 1923–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"34\"\u003eArtist's Representative Activities:\u003c\/b\u003e [1948] Co-founded the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Suzuki Osamu, [1962] Established \"Mon Kobo\" to pursue modern design in living spaces, [1970s] Received the Japan Ceramic Society Award (and later the Gold Prize), [1990s] Received the Kyoto Art and Culture Award and recognized as a Kyoto City Person of Cultural Merit\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"421\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Shigaraki Ceramic Cultural Park; Kyoto City KYOCERA Museum of Art, and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e Early 1960s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"665\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"708\"\u003eAccessories:\u003c\/b\u003e Original wooden box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"750\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kohiki, Iron Paint)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"789\"\u003eDimensions:\u003c\/b\u003e Cup: Height approx. 7.5 cm, mouth diameter approx. 6.5 cm \/ Saucer: Height approx. 1.0 cm, diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"917\"\u003eNote:\u003c\/b\u003e All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191923387,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7995_result.jpg?v=1781794764"},{"product_id":"300","title":"Purchased by Former Prime Ministers of Japan: Master Morishima Isshin (森島一伸), Hagi Ware Katamigawari Tea Bowl with Loquat-Toned Base and Shirahagi Glaze, Whisky Rock Glass-Style Sake Vessel #300","description":"\u003cp data-path-to-node=\"16\"\u003eThis Hagi ware tea bowl is crafted by Isshin Morishima (born 1937, kiln name: Kanbo-an), a master of Hagi ceramics with a distinguished record of supplying matcha tea bowls to key political figures—including former Prime Minister Fukuda Takeo, former Chief Cabinet Secretary Masaharu Gotoda, and former Minister for Foreign Affairs Shintaro Abe—as well as creating the memorial work for the first anniversary of the late former Prime Minister Eisaku Sato. Establishing his kiln in Tamae, Hagi City, Yamaguchi Prefecture in 1967 and relocating it to Tsubakihigashi Uenodai in 1981, Morishima established an elegant, dignified tea ceramic technique through continuous selections at the Yamaguchi Prefectural Art Exhibition, as well as the Japan Traditional Crafts Western Exhibition and the Issuikai Exhibition. Following the classic forms of traditional Goryeo tea bowls while pursuing the rustic, warm beauty of natural kiln transformations created by clay and glaze, he earned high acclaim in the Showa-era Hagi pottery world.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThis work represents a splendid culmination of Morishima's signature expressions achieved through traditional coarse clay and thick white Hagi (Shirahagi) glaze. The entire body is generously covered with a soft-textured, opaque Shirahagi glaze, across which fine crackles and pinholes spread beautifully. A section of the body employs the Katamigawari (half-and-half) technique, where glaze is applied diagonally off-center, creating a striking contrast between the pristine white glaze and the warm loquat-colored fire marks and rough clay texture beneath. From the lower body to the foot ring, a bamboo-node foot is hand-sculpted, while a powerful Kairagi (plum-skin effect)—formed by un-melted, contracted glaze—manifests around the foot, alongside the artist's clear stamp \"Isshin\" beside the foot ring.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eWe propose this vessel, combining dignified sculptural elegance and substantial texture, as a supreme Japanese Kogei sake vessel (whisky rock glass) for savoring aged sake, premium whisky, or shochu over ice in modern lifestyles. The moist, tactile feel of the clay when held, along with the crackle patterns that deepen in character when liquid is poured, elevates daily drinks into a special artistic experience. Based on the accompanying biography leaflet and his relocation to Tsubakihigashi Uenodai in 1981, this piece is identified as an authentic work created between 1981 and 1985 in exceptional condition, coming complete with its original Tomobako bearing the artist's handwritten calligraphy and red seal, a matching cloth (tomogire), and the original biography leaflet.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eMorishima Isshin (森島一伸, Kanbo-an, born 1937)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e[1967] Established kiln in Tamae, Hagi City; [1974] First selected for the Yamaguchi Prefectural Art Exhibition (selected continuously thereafter); [1975, 1978] Selected for the Japan Traditional Crafts Western Exhibition; [1976] Created memorial work for the first anniversary of late former Prime Minister Eisaku Sato; [1977] Delivered (purchased) matcha tea bowls to Prime Minister Fukuda Takeo and the Director-General of the Prime Minister's Office; [1977] Selected for the Issuikai Exhibition; [1981] Relocated kiln to Tsubakihigashi Uenodai, Hagi City; [1983] Delivered (purchased) matcha tea bowls to Chief Cabinet Secretary Masaharu Gotoda and Minister for Foreign Affairs Shintaro Abe\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1981–1985\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\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=\"23\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated Tomobako (with \"Hagi Chawan\" on the lid and \"Isshin\" inscribed in ink with red seal on the lower left), matching cloth (tomogire), original biography leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Hagi ware, Shirahagi glaze, loquat-toned fire mark, Katamigawari half-and-half glaze, Kairagi plum-skin effect, crackle glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 9.3 cm, Width (body diameter) approx. 12.9 cm, Inner mouth diameter approx. 10.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194512059,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9602_result.jpg?v=1784706506"},{"product_id":"313","title":"MITI Minister's Award Winner, Arita Ware Seihakuji Pale Celadon Hexagonal Stemmed Cup with Tomobako and Leaflet by Tanaka Hajime (田中一・田中一晃) of Ichii Kiln, Sculptural Faceted Sake Vessel Symbolizing Modern Craft Design #313","description":"\u003cp data-path-to-node=\"29\"\u003eThis is an Arita ware Seihakuji (pale blue celadon) hexagonal stemmed cup crafted by Tanaka Hajime (1933–2002, who later changed his art name to Ikkō Tanaka) of Ichii Kiln in Ureshino, Saga Prefecture. He served as a full member of the Japan Art Crafts Association and an associate of Nitten, winning the grand Minister of International Trade and Industry Award at the Kyushu Yamaguchi Ceramics Exhibition. After refining his porcelain techniques at a factory in Arita, Tanaka established Ichii Kiln in Ureshino in 1965. While inheriting traditional Hizen porcelain techniques, he highly integrated modern craft design sensibilities, earning repeated selections in the Good Design Exhibition and Japan New Craft Exhibition in 1968. Takeshi Nagatake, a leading art critic and authority in Kyushu ceramics, praised his outstanding sense of form and dedicated passion for pottery. Notably, this piece is an authentic creation from the period under the name \"Tanaka Hajime,\" when his creative passion reached its peak prior to changing his name to \"Ikkō Tanaka\" in 1981.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThis piece is a hexagonal stemmed cup that brilliantly sublimates the technique of \"Seihakuji Faceting and Carved Patterns\" (Seihakuji Mentori Chō-monyō), explicitly documented as the artist's hallmark in the accompanying leaflet. From the tightened stem section up to the widely opening hexagonal cup body, wave-like faceting and geometric carved patterns are applied under precise calculation. By applying a transparent pale blue celadon glaze containing delicate blue hues, the glaze pools beautifully along the sharp edges and carved recesses executed by carving tools, creating a striking contrast between crisp structural lines and soft light gradations. On the underside of the high foot ring, a handwritten mark in cobalt blue pigment (gosu) is present, embodying a tension of handcrafted mastery and dignified elegance distinct from mass-produced wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWe propose this stemmed cup, combining high artistic acclaim with modern design aesthetics, as a refined Japanese Kogei sake vessel for savoring aged spirits, premium whisky, or chilled sake, gracefully adapting it to a sophisticated contemporary lifestyle. The slender, elegant high-stem structure fits comfortably in the hand, and the amber or clear tones of spirits poured into the cup reflect beautifully against the serene blue of the Seihakuji glaze, elevating special evening drinks into a more luxurious moment. Created during the \"Tanaka Hajime\" era (1968–1976) before he later assumed the name \"Ikkō Tanaka\" and solidified his reputation at the Living National Treasure level, this piece remains in exceptionally rare condition, complete with its original wooden box (Tomobako)—bearing handwritten calligraphy and red seals for Arita Ware and Seihakuji Hexagonal Stemmed Cup on the lid—as well as the explanatory studio leaflet dated 1976.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTanaka Hajime (田中一・田中一晃, later changed name to Ikkō Tanaka, 1933–2002)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003e[1965] Established Ichii Kiln in Ureshino, Saga Prefecture, [1968] Selected for the Good Design Exhibition and Japan New Craft Exhibition, [Before 1976] Awarded the Minister of International Trade and Industry Award (Grand Prize) at the Kyushu Yamaguchi Ceramics Exhibition, Awarded the Modern Crafts Exhibition Commemorative Award, 11 selections at Nitten (eventually 17 total selections; Nitten Associate), Received the Member Award at the Japan New Craft Exhibition, Full Member of the Japan Art Crafts Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eWorks in Collection \/ Evaluation：\u003c\/strong\u003eEvaluated by art critic Takeshi Nagatake; Full Member of the Japan Art Crafts Association; Member of Nitten; Director of the Saga Prefecture Ceramic Artists Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1968–1976 (Showa 43–Showa 51, Period under the name \"Tanaka Hajime\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Arita Ware\" red seal, \"Seihakuji Hexagonal Stemmed Cup\" and \"Ichii Kiln\" calligraphic inscription with seal on the lid; explanatory leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003ePorcelain (Seihakuji \/ Pale blue celadon glaze, carved patterns, faceted mentori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 7.5 cm, Mouth diameter (width) approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48093148315835,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9345_result.jpg?v=1784546349"},{"product_id":"316","title":"Japan Flower Vase and Tea Utensil Art Exhibition, Prize in the Minister of Education Division | Mino, Takaneyama-shita Kiln | Nakajima Ichiyo (中島一耀) | Shino Meoto Yunomi (Pair of Teacups) | Japanese-Style Rocks Glasses #316","description":"\u003cp dir=\"ltr\"\u003eThis is a pair of Shino meoto yunomi, a larger and a smaller teacup traditionally made as a set for a couple, by the Mino potter Nakajima Ichiyo. The tomobako (the wooden box signed by the artist) bears the ink inscription \"Shino Meoto Yunomi\" together with the artist's signature, \"Ichiyo,\" and his red seal, and the seal \"Ichiyo\" is also stamped on each of the two wrapping cloths. A shiori (the artist's biographical leaflet) accompanies the set. Our shop proposes these teacups as Japanese-style rocks glasses for savoring aged spirits and whisky.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eNakajima is said to have been born in 1949 (Showa 24). According to the accompanying leaflet, he opened his kiln in Kujiri, Izumi-cho, Toki City, Gifu Prefecture, in March 1975 (Showa 50). In June 1985 (Showa 60), he built a studio in Toki City's Pottery Village, and in August 1989 (Heisei 1), he built an anagama kiln. This kiln was named \"Takaneyama-shita Kiln\" by the Reverend Tachibana Sogi, chief priest of Tokuzen-ji, a branch temple of Daitoku-ji. After opening his kiln, he was selected three times for the Issuikai Ceramics Exhibition and received a prize in the Minister of Education Division of the Japan Flower Vase and Tea Utensil Art Exhibition (known as the Nichigei-ten). He held solo exhibitions at department stores including the Nagoya Mitsukoshi Sakae main store, the Hanshin Department Store main store, Mitsukoshi Ikebukuro, the Keio Department Store Shinjuku main store, and Kintetsu Department Store Abeno, as well as at the Nomura Art Museum in Kyoto.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn the same leaflet, Nakajima notes that Shino, along with Ki-Seto and Oribe, was born in the kilns of Mino during the Momoyama period. He cites the generously applied glaze, the hi-iro (fire color) characteristic of Shino, and the distinctive character of Nezumi-Shino, in which oniita (iron oxide) is applied beneath the glaze. He then states that the aim of his work is to pursue the fresh sensibility and expression of his own time while standing on the tradition of Mino ceramics. Of his works, he writes that he attends to every single stroke of the spatula, carefully selects his glazes, and devotes everything to the firing.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThese teacups clearly show those characteristics of Shino. The thick white Shino glaze is tinged overall with pale pink to rose, and countless small pores known as yuzu-hada (citron skin) are scattered across the surface, with red color showing at the bottom of each pore. Fine crazing runs throughout the glaze. Gray-blue patterns resembling brushstrokes emerge on the body, with dark brown spots appearing along their edges. The form is basically cylindrical, with facets and distortions on the body that look as if pressed with a spatula, and the thick rim undulates gently. The two cups differ not only in size but also in the placement of their patterns and in the character of their distortions.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe low foot rings are carved out, and the unglazed clay has fired to orange and reddish brown, with three pale yellow round marks visible. An incised mark cut with a spatula appears beside the foot ring. On both cups, small areas of bare clay are visible near the base of the body. The interiors are also covered with Shino glaze, and fine crazing and small iron specks can be seen on the pale pink glazed surface. As the technique used for the patterns and the type of kiln in which the cups were fired cannot be determined with certainty from external appearance, we refrain from stating them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe period of production has been estimated from the accompanying leaflet. The final entry in the leaflet's chronology is the building of the anagama kiln in August 1989 (Heisei 1), so the leaflet can be judged to have been produced after that date. As these cups have been passed down together with the leaflet, we estimate that they were made between August 1989 and the 1990s.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNakajima Ichiyo (中島一耀, said to have been born in 1949)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1975] Opened his kiln in Kujiri, Izumi-cho, Toki City, Gifu Prefecture; [After 1975] Selected three times for the Issuikai Ceramics Exhibition; received a prize in the Minister of Education Division of the Japan Flower Vase and Tea Utensil Art Exhibition (Nichigei-ten); solo exhibitions at the Nagoya Mitsukoshi Sakae main store, the Hanshin Department Store main store, Mitsukoshi Ikebukuro, the Keio Department Store Shinjuku main store, Kintetsu Department Store Abeno, the Nomura Art Museum in Kyoto, and elsewhere; [1985] Built a studio in Toki City's Pottery Village; [1989] Built an anagama kiln, named \"Takaneyama-shita Kiln\" by the Reverend Tachibana Sogi, chief priest of Tokuzen-ji, a branch temple of Daitoku-ji\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1989 to the 1990s (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (wooden box signed by the artist), wrapping cloths (2), and shiori (biographical leaflet) included\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (Shino)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eLarge: Height approx. 9.0 cm, Rim diameter approx. 8.5 cm \/ Small: Height approx. 8.5 cm, Rim diameter approx. 8.0 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand this and review the details carefully before deciding to purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48093148938427,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4436_result.jpg?v=1791381002"},{"product_id":"324","title":"Artist Who Presented Shino Tea Bowl for the Imperial Crown Prince's Wedding: Master Yano Keisen (矢野景川), Shino Chawan \"Awayuki\", Master Artisan of Collaborative Exhibition with Mushanokoji Saneatsu and Munakata Shiko #324","description":"\u003cp data-path-to-node=\"17\"\u003eThis piece is \"Awayuki\" (Light Snow), a masterpiece Shino tea bowl created by Keisen Yano (also known as Keisen \/ 景仙, 1872–1965), a master artisan of Mino Shino ware. Keisen Yano was bestowed the artistic name \"Keisen\" (景川) in 1942 upon crafting a tea bowl commemorating the 88th birthday (Beiju) of Mitsuru Toyama. In 1952, he was also granted the character \"Sen\" (仙) by Rosen Takashina, President of the Japan Buddhist Federation and Abbot of Eiheiji Temple, thereby also using the name \"Keisen\" (景仙). Following his first solo exhibition in Tokyo in 1955 and a solo exhibition in Nagoya in 1956, he held a three-artist collaborative exhibition in 1957 with literary giant Mushanokoji Saneatsu and woodblock printmaker Munakata Shiko. In 1959, he presented a Shino tea bowl on the occasion of the wedding of the Crown Prince (now Emperor Emeritus), establishing himself as a master of Mino ceramic art who earned immense trust and acclaim from distinguished figures in political, business, religious, and cultural circles.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThis work, \"Awayuki\" (『淡雪』：Meaning \"light snow\"), represents the perfect culmination of Shino ware feldspar glazing techniques and aesthetic design using oniita (iron slip). From the foot ring to the lower body, the warm white clay (mogusa clay) body unique to Mino is carved out and exposed, onto which oniita (iron slip) was applied before being coated with thick feldspar glaze and fired at high temperatures. The entire surface expresses a deep, jet-black background overlaid with a delicate, dignified white yuzuhada (citrus-skin) texture born from minute bubble marks and feldspar crawling, evoking the imagery of light snow fluttering through a pitch-black night sky. Beside the foot ring on the bottom of the vessel, the artist personally carved the inscriptions \"Keisen\" and \"Awayuki\" alongside his stamped seal. The striking contrast between the jet-black background and white feldspar extends deep into the interior, conveying a moist, clinging clay texture when held in hand.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003ePossessing the dignified sculptural beauty of a traditional matcha bowl, we propose this vessel in modern lifestyles as a supreme Japanese rock glass for slowly savoring amber aged sake or Japanese whisky over large ice cubes. The profound landscape formed by the jet-black and white light snow pattern creates a breathtaking backdrop for liquid and ice, elevating every pour into an extraordinary artistic experience. Regarding its period of production, as the single artist name \"Keisen\" (景川) is exclusively used on the carved inscription at the base, the lid inscription on the Tomobako, and the signature on the wrapping cloth, this authentic work is identified to have been created between 1942 and 1952—the period between receiving the name \"Keisen\" from Mitsuru Toyama in 1942 and being granted the name \"Keisen\" (景仙) by Rosen Takashina in 1952. It arrives in complete, flawless condition, accompanied by its dedicated Tomobako with the lid inscribed in ink \"Awayuki Shino Chawan Keisen\" and a wrapping cloth featuring the artist's handwritten signature \"Keisen.\"\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Yano Keisen (矢野景川, 1872–1965)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1872] Born in Aichi Prefecture; [1942] Crafted a tea bowl for Mitsuru Toyama's 88th birthday and was bestowed the artistic name \"Keisen\" (景川); [1952] Crafted a tea bowl for Eiheiji Abbot Rosen Takashina's 77th birthday and also took the name \"Keisen\" (景仙); [1955] Held first solo exhibition in Tokyo; [1956] Held solo exhibition in Nagoya; [1957] Held a three-artist collaborative exhibition with Mushanokoji Saneatsu and Munakata Shiko; [1959] Presented a Shino tea bowl on the occasion of the Crown Prince's wedding\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Presented work to the Imperial Household of Japan\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 1942–1952\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories： \u003c\/strong\u003eDedicated Tomobako, wrapping cloth with artist's handwritten signature\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial： \u003c\/strong\u003eCeramic (Mino ware, Shino, Kuro-Shino, feldspar glaze, oniita iron slip, crackle glaze, yuzuhada citrus-skin texture, carved inscription, named \"Awayuki\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 8.8 cm, Mouth diameter approx. 10.5 cm × 12.0 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":48115730972859,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9948_result.jpg?v=1785289085"},{"product_id":"330","title":"Shigaraki Ware White Feldspar Crackle Flowing Glaze Beer Mug, Beer Cup, Cylindrical Free Cup, Sake Vessel #330","description":"\u003cp data-path-to-node=\"15\"\u003eHighlighting the traditional techniques and rustic clay character of Shigaraki in Koka City, Shiga Prefecture—counted as one of Japan's Six Ancient Kilns—this is an anonymous set of three cylindrical free cups of Shigaraki ware. Formed into an exquisitely palm-fitting, elongated size with a mouth diameter of approximately 6.4 cm–6.5 cm and a height of approximately 9.7–9.9 cm, the subtle hand-crafted distortions and warpage impart unique shadows and warmth to the vessel bodies. Our shop presents this set to the global market not only for daily tea use, but also as superb Japanese beer cups (beer mugs\/tumblers) whose near-un-glazed-like glaze surface and minute texture generate fine, creamy foam, as well as versatile Japanese craft free cups (sake vessels) for quietly savoring the rich aroma and flavor of amber aged sake, matured whisky, or authentic shochu over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003eObserving the details of this work clearly reveals a powerful expression woven by the coarse clay texture rich in silica sand and feldspar granules characteristic of Shigaraki ware, alongside a generous application of milky-white feldspar glaze (white glaze). The feldspar glaze enveloping the entire vessel forms a dynamic scenery of \"flowing glaze\" dripping during high-temperature firing, with fine crackles (kannyu) densely running across the entire glaze surface. Furthermore, brown iron spots and black dots exuded onto the surface due to iron in the clay during high-temperature vitrification, along with the minute texture of stone bursts (ishi-haze) where melted feldspar granules are exposed, spread richly from the exterior down to the inner bottom, constructing a natural landscape beyond intentional design. Near the base down to the foot ring (tatami-tsuki), irregular carving (frill-like wave carving) is applied, while the unglazed clay on the back of the foot ring reveals the rustic clay texture and melted feldspar marks unique to Shigaraki. Each of the three cups exhibits subtly different dripping patterns of feldspar glaze and appearance of iron spots, elevating its aesthetic value as a unique handcrafted item. The pottery walls with moderate thickness offer excellent heat and cold retention, allowing one to enjoy both the quality foam retention when pouring beer and the comfortable thermal sensation felt in the hand.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eRegarding the production period, although unknown, there is a possibility that these pieces were created from the mid-1980s to the early 2000s. This was an era in Japanese contemporary ceramic art when the shaping of beer cups, free cups, and tumblers for enjoying beer, shochu, and aged sake became immensely popular, establishing a style that elevated traditional wood-firing techniques and flowing feldspar glazes into modern lifestyle ceramics. The dynamic carving techniques near the foot ring, along with the crackle and flowing glaze expressions, also strongly reflect the characteristics of contemporary Shigaraki crafts from this period. Although there are no markings indicating the artist or accessories such as a dedicated wooden box (Tomobako), the vessels themselves have no cracks or chips, maintaining extremely good condition in both glaze coloration and texture.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eUnknown (Contemporary Shigaraki ceramic artist\/kiln)\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1985–2005 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone (3 cups only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Shigaraki ware, hand-carved, feldspar glaze, crackle glaze, flowing glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Mouth diameter approx. 64–65 mm, Height approx. 97–99 mm (slight individual variations among the 3 cups)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period. Products may have minor age-related changes in texture, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731300539,"sku":null,"price":10000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1455_result.jpg?v=1787478598"},{"product_id":"333","title":"Direct Disciple of Gyokuryuzan Yoshida Shuen: Nagahisa Shosai (永久勝斎), Hagi Ware Warikodai Shiro-Hagi Kakisai Tea Bowl \"Shuku Koki Ga\", Three-Chamber Noborigama Kiln Toshoan, Western Liquor Vessel, Rocks Glass #333","description":"\u003cp data-path-to-node=\"16\"\u003eThis elegant Hagi ware tea bowl is crafted by Nagahisa Shosai (born 1937, kiln name: Toshoan), a traditional craftsman born in Minami-Furohagi, Hagi City, Yamaguchi Prefecture in 1937, who underwent years of rigorous training as a direct apprentice under master \u003ca href=\"\/en\/search?q=%22%E5%90%89%E7%94%B0%E8%90%A9%E8%8B%91%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYoshida Shuen\u003c\/a\u003e of the prestigious Gyokuryuzan Hagi pottery house. After building his independent kiln in Tamae, Hagi City in 1972, he constructed an authentic three-chamber noborigama (climbing kiln) named \"Toshoan\" in Oya-Kosako, Hagi City in 1986, pursuing passionate ceramic creation unique to wood-fired kilns. His body of work, combining the dignified tea aesthetic directly passed down from master Yoshida Shuen with the flame drama of his own climbing kiln, is highly praised by traditional tea utensil connoisseurs. We offer this supreme craft piece, condensing Japanese traditional beauty and handcrafted warmth, to the global market not only as tea ceremony pottery for enjoying matcha, but also as a vintage premium sake vessel (Japanese rocks glass) designed for slowly savoring aged amber sake or premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eExamining the details of this work confirms that Nagahisa’s proud traditional techniques and the charm of noborigama kiln firing are clearly manifested across the vessel. The form boasts a plump, rounded, inviting shape that fits comfortably in hand, directly conveying the warmth and soft texture inherent in Daido clay—the unique raw material of Hagi ware—when held. Regarding glazing, a milky-white Shiro-Hagi glaze made primarily from rice-straw ash is generously applied, with a dense and refined network of kannyu (crackle marks) spreading across the entire surface. Beneath the glaze, subtle gradations of kakisai (persimmon-tinted) reddish-orange fire marks (hiiro) and deep soot-like scorched tones born from oxidation-reduction reactions during firing show through, creating a magnificent contrast with the soft milky-white Shiro-Hagi glaze. From the dynamic scenery of white glaze dripping and pooling near the rim down to the powerful sculptural beauty of the warikodai (split foot ring) and the stamped \"Satsu\" (勝) seal beside the foot, master craftsmanship is condensed throughout. Within the interior base (mikomi), the Shiro-Hagi crackle and reddish fire marks spread out, allowing you to enjoy a profound Japanese landscape when floating spirits or ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eOn the lid of the accompanying dedicated wooden box, the characters \"Shuku Koki\" (Celebrating 70th Birthday) are written in dignified gold powder (kindei). \"Koki\" (also written Koki \/ 古稀) refers to the 70th birthday celebration in traditional East Asian counting age (kazoe-doshi), derived from the Tang Dynasty poet Du Fu's line: \"From ancient times, reaching seventy years of age has been rare.\" Born in 1937, Nagahisa Shosai reached his milestone 70th year in 2006, clearly substantiating that this work is a celebratory commemorative piece specially crafted for this memorable occasion. Based on these clear historical facts and box inscriptions, the period of production for this work is identified as circa 2005 to 2007 (around 2006). The vessel itself has no chips or cracks and remains in beautiful condition, arriving as a highly precious masterpiece accompanied by its dedicated Tomobako featuring the artist's own handwritten inscription.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eNagahisa Shosai (永久勝斎, born 1937, kiln name: Toshoan)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e[1937] Born in Minami-Furohagi, Hagi City, Yamaguchi Prefecture; [1965] Entered the apprenticeship under Gyokuryuzan Yoshida Shuen as a direct student; [1972] Built his kiln in Tamae, Hagi City and established independence; [1986] Constructed the three-chamber noborigama climbing kiln \"Toshoan\" in Oya-Kosako, Hagi City\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003eCirca 2005–2007 (around 2006, 70th birthday commemorative work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated Tomobako (with gold powder \"Shuku Koki\" inscription on lid)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Hagi ware, Shiro-Hagi white glaze, Biwa glaze, kannyu crackle glaze, Daido clay, warikodai split foot ring, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 9.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\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":48115731628219,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0306_result.jpg?v=1785639824"},{"product_id":"353","title":"Toki City Designated Intangible Cultural Property Holder, Imperial Household Presentation Kiln, Yozan Kiln, Mizuno Takuzo (水野澤三): Nezumi-Shino Guinomi, Japanese Shot Glass #353","description":"\u003cp data-path-to-node=\"16\"\u003eCreated by Mizuno Takuzo (1927–2015) of Yozan Kiln—who was born in Toki City, Gifu Prefecture in 1927 and established a firm status as a prominent figure in the Mino ceramic world—this is a Nezumi-Shino guinomi (sake cup). Mizuno Takuzo studied under the 12th-generation ceramic founder Kato Kageaki starting in 1945 to learn the foundations of Mino ware, before graduating from the Japanese Painting Department at Kyoto College of Art and studying under Living National Treasure \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, where he mastered delicate sketching skills and a refined aesthetic of form. He enjoyed the honor of presenting works to Their Majesties the Emperor Showa and Empress in 1981 and 1982, and to His Imperial Highness Prince Takahito Mikasa in 1986. He received the Gifu Prefecture Traditional Culture Successor Commendation in 2007, the Toki City Ninomiya Cultural Award in 2008, and was designated as a Holder of Toki City Designated Intangible Cultural Property (Setoguro technique) in 2010. Our shop presents this dignified vessel—in which the sketching prowess of Japanese painting and the spirit of Mino Momoyama antique ceramics fuse at an elevated level—to the global market not only as a traditional sake cup, but also as a vintage shot glass for quietly savoring the rich depth of amber aged sake or matured whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eExamining the details of this work reveals the essence of Nezumi-Shino (gray Shino) that Mizuno Takuzo perfected through many years of semi-aboveground anagama firing. On the surface of the comfortable cylindrical form measuring approximately 5.0 cm in height and 5.5 cm in mouth diameter, iron slip (oni-ita) was applied to the clay body before being thickly coated with feldspar glaze, which melted beautifully under high wood-kiln temperatures to create Shino's signature yuzuhada (citrus-peel texture) alongside delicate kairagi-like crackles and glaze crawls. Through the gaps in the thick, opaque feldspar glaze, dramatic landscapes of dense hiiro (scarlet fire marks) and deep gray hues born from the chemical reaction between the underlying iron and fire peep through, demonstrating a warm, exquisite quality from the interior base (mikomi) to the rim where the lips touch. From the side of the foot ring down to the bottom, the coarse clay texture of the unglazed, powerfully carved clay body is exposed, where the artist's own incised seal \"Taku\" is firmly carved.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the period of production, taking clues from his building of a semi-aboveground anagama kiln at Yozan Kiln in 1967, followed by presentation of works to Their Majesties the Emperor Showa and Prince Mikasa in the 1980s, it is identified as an authentic work created between the 1980s and circa 1990s, when his unique kiln-transformation expressions and sculptural beauty in Shino and Setoguro reached maturity. The vessel itself has no cracks or chips, maintaining extremely good condition in feldspar glaze coloration, scarlet fire landscapes, and raw clay texture. It arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Nezumi-Shino Guinomi\" with the signature \"Takuzo\" and red seal stamped, along with a Tomonuno (wrapping cloth).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Mizuno Takuzo (水野澤三, 1927–2015)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1945] Studied under 12th-generation ceramic founder Kato Kageaki; [1952] Graduated from the Japanese Painting Department at Kyoto College of Art and studied under Living National Treasure Tomimoto Kenkichi; [1981 \u0026amp; 1982] Presented works to Their Majesties Emperor Showa and Empress; [1986] Presented work to HIH Prince Takahito Mikasa; [2007] Received Gifu Prefecture Traditional Culture Successor Commendation; [2008] Received Toki City Ninomiya Cultural Award; [2010] Designated as a Holder of Toki City Designated Intangible Cultural Property (Setoguro) Works Housed In： Imperial Household presentation history, Shogan Junior College, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 1980s–1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako, Tomonuno included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Ceramic (Mino ware, Nezumi-Shino glaze, incised seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 5.0 cm, Mouth diameter approx. 5.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\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":48222305648827,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0712_result.jpg?v=1786434724"},{"product_id":"360","title":"Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\", Regular Member of the Japan Kogei Association, Sentaro Kiln, Ando Hidetake (安藤日出武), Faceted Cylindrical Shino Sake Vessel, Japanese-Style Rocks Glass #360","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a faceted Shino yunomi cup by Ando Hidetake (1938–), a ceramic artist who is a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto.\" Although crafted as a substantial, traditional Shino yunomi, our shop proposes it as a Japanese-style rocks glass (cylindrical sake vessel) for quietly savoring aged spirits or matured whisky neat, or on the rocks.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAndo Hidetake was born in 1938 (Showa 13) in Tajimi City, Gifu Prefecture. He is the third-generation head of Sentaro Kiln, founded in Ichinokura by Sentaro I in the early Meiji period, and is also introduced under the name \"Sensan Kiln\" in his biographical records. According to the artist profile of Sentaro Kiln, up until his father's generation, it was a kiln firing small porcelain sake cups and small dishes. Around the age of 22, Kato Tokuro visited his father and told him, \"If you are going to make ceramics, you must make ceramics born in Mino.\" This served as a turning point, leading Ando to immerse himself in the study of Momoyama-period Shino, Kiseto, and Oribe wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eAndo had no specific master. Walking through the mountains of Mino to excavate kiln sites, he taught himself how to use clay, design, and firing techniques directly from ceramic shards. Furthermore, believing that gas kilns had limitations in recreating Momoyama ceramics, he built a semi-aboveground anagama (cave kiln) utilizing the natural contours of the terrain in the wilderness of Kukuri-Kakishita, Kani City, near the Taihei ancient kiln site. According to records of the Museum of Modern Ceramic Art, Gifu, the firing lasts for six days and nights, burning 1,500 bundles of firewood. Committed to creating both clay and glazes from natural materials by himself, his unique style \"Ko-Mino,\" forged through the clay of Tono and this anagama, is highly praised by the museum as reaching a \"realm of ancient purity.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eRegarding his major career accomplishments, he was selected for the first time for the 1st Asahi Ceramic Art Exhibition in 1963, the 11th Japan Traditional Art Crafts Exhibition in 1964, and the 1st Japan Ceramic Art Exhibition in 1971, continuing to be selected for each repeatedly thereafter. In 1970, he won the Governor's Award at the 8th Asahi Ceramic Art Exhibition and exhibited a large Shino platter at the Living and Industry Pavilion of the Japan World Exposition (Expo '70). He received an Encouragement Award at the 11th Asahi Ceramic Art Exhibition in 1973, became a regular member of the Japan Kogei Association in 1974, and received the 8th Kobei Prize in 1990.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eIn 1993, \"Ko-Mino Large Jar\" was designated as a Mino Ceramic Art Permanent Preservation Work. In 1998, he won the Grand Prix for \"Ko-Mino Tea Bowl\" at the Mino Ceramic Art Shoroku Award Tea Bowl Exhibition, and in the same year was designated a Holder of Tajimi City Intangible Cultural Property. In 2003, he was designated a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto,\" and received the Gifu Prefecture Cultural Merit Award in 2013 and the Order of the Rising Sun, Silver Rays in 2016.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn Gifu Prefecture's official commentary, Ando's Kiseto is described as a unique style possessing a depth and dignity distinct from conventional Kiseto. From 2025 to 2026, the exhibition \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" was held at the Museum of Modern Ceramic Art, Gifu. As an artist who has continued to craft Momoyama-period Kiseto and Shino using clay and firing methods identical to those of the era, his representative works and recent creations were presented in this exhibition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eShino is a representative ceramic of Mino during the Momoyama period, fired with a thick application of white glaze composed primarily of feldspar. It is characterized by the warmth of its milky white tone and the richly expressive landscapes created by the firing process.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe body of this piece features bold hand-cut faceting across its entire surface. This adds three-dimensional, handcrafted shadows to the cylindrical form. Minute air bubble marks characteristic of Shino, known as yuzuhada (citrus-skin texture), appear densely from the exterior to the interior. From deep within the thick glaze layer, vivid orange hi-iro (fire-color) emerges. This fire-color appears like dot-like patterns at the bottom of small pores, along the rim, and on the ridges of the facets. Around the foot ring and inside it, a gradation of raw clay and fire-color remains, encapsulating an unforced, natural landscape. The comfortable faceted shape that rests easily in the hand is ideally suited as a vessel for enjoying the deep flavors of aged spirits and the resonance of ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThere is no date inscribed on the tomobako, and no documentation specifies the exact year of production. It can only be confirmed that it was made from the 1960s onward, when the artist began his research into Momoyama ceramics. The body of the piece is free of chips and cracks, and the glaze coloration, citrus-skin texture, and emergence of fire-color are all in extremely fine condition. It comes with a dedicated tomobako (original wooden box) with \"Shino Yunomi\" written in ink and stamped with Hidetake's red seal on the lid, as well as a shiori (leaflet).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eAndo Hidetake (安藤日出武, Andō Hidetake, 1938–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1963] First selected for the 1st Asahi Ceramic Art Exhibition; [1964] First selected for the 11th Japan Traditional Art Crafts Exhibition; [1970] Governor's Award at 8th Asahi Ceramic Art Exhibition; exhibited large Shino platter at Living and Industry Pavilion, Expo '70; [1971] First selected for the 1st Japan Ceramic Art Exhibition; [1973] Encouragement Award at 11th Asahi Ceramic Art Exhibition; [1974] Regular member of the Japan Kogei Association; [1975] First selected for the 1st Chunichi International Ceramic Art Exhibition; [1990] 8th Kobei Prize; [1992] Tajimi City Cultural Arts Merit Award; [1993] \"Ko-Mino Large Jar\" designated as Mino Ceramic Art Permanent Preservation Work; [1998] Grand Prix for \"Ko-Mino Tea Bowl\" at Mino Ceramic Art Shoroku Award Tea Bowl Exhibition; designated Holder of Tajimi City Intangible Cultural Property; [2002] Gifu Shimbun Grand Prize Culture Award; [2003] Designated Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\"; [2011] Gifu Prefecture Educational and Cultural Merit Award; [2013] Gifu Prefecture Cultural Merit Award; [2016] Order of the Rising Sun, Silver Rays; Tokai Television Culture Award; [2017] Published \"Mikannomamani\" (Chubu Keizai Shimbun); [2025] \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" at Museum of Modern Ceramic Art, Gifu (through 2026)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eMuseum of Modern Ceramic Art, Gifu (\"Kiseto Tea Bowl,\" \"Kiseto Large Jar\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eFrom the 1960s onward (no date on the tomobako)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (original wooden box), shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery \/ Stoneware (Mino ware, Shino, faceted)\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 9.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48222306173115,"sku":null,"price":23500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1354_result.jpg?v=1787476671"},{"product_id":"378","title":"Studied Under Living National Treasure Shimizu Uichi (Father), Recipient of Matsushita Award, Horai Kiln, Shimizu Yasutaka (清水保孝): White Glaze Crawling Yohen Wave Motif Tea Bowl, Japanese Rocks Glass #378","description":"\u003cp data-path-to-node=\"9\"\u003eStudying under his father, Mr. \u003ca href=\"\/en\/search?q=%22%E6%B8%85%E6%B0%B4%E5%8D%AF%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimizu Uichi\u003c\/a\u003e—a holder of Important Intangible Cultural Property for \"Iron Glazed Ceramics\" (Living National Treasure)—and legitimately inheriting his paramount ceramic art philosophy, advanced glaze formulation, and firing techniques, this white glaze wave motif tea bowl was created by ceramic artist Mr. Shimizu Yasutaka (1947–2022, Horai Kiln), a Special Member of the Japan Art Crafts Association. After graduating from the Department of History, Faculty of Letters at Ryukoku University in 1970, Mr. Shimizu Yasutaka entered full-scale pottery making under his father in 1971. Beginning with his first selection at the 19th Japan Traditional Art Crafts Exhibition in 1972, he won the Kinki Branch Chairman's Award and the Nikkei Encouragement Award for three consecutive years at the Kinki Branch Japan Art Crafts Association Exhibition, as well as the Matsushita Award (the highest accolade), leading to his nomination as a Regular Member and Special Member of the Japan Art Crafts Association. Basing his pottery practice at Horai Kiln in Adogawa-cho, Takashima City, Shiga Prefecture, his works are preserved permanently in collections such as the Shiga Museum of Art, Kyoto Prefectural Kyoto Institute Library and Archives, and Ibaraki Ceramic Art Museum. Our shop offers this piece—originally created as a traditional tea bowl—to the global market as a luxurious Japanese-style rocks glass (wide-mouth free cup) for quietly savoring the rich aroma and flavor of amber aged sake, matured whisky, or authentic shochu over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eCarefully examining the details of this work reveals a remarkably specific scenery of \"white glaze crawling yohen wave motif,\" brilliantly bringing together the advanced glaze control techniques inherited from Living National Treasure Shimizu Uichi and Mr. Shimizu Yasutaka's unique design aesthetic. Over a warm, semi-matte white glaze covering the entire vessel, band patterns in mountain-range and wave-crest formations are applied in three to four overlapping tiers around the perimeter using a specialized glaze containing iron oxide and composite minerals. Due to high-temperature shifts during firing, these wavy lines transcend flat brushwork; the glaze undergoes three-dimensional shrinkage, crawling (chijire), and crystallization, giving rise to a highly complex yohen texture with depth and shadowing that transitions from dark brown to dark green and grayish white. Furthermore, this crawling yohen wave motif extends around the interior upper rim (mikomi) as well as the exterior, creating a visual harmony where the liquid surface meets the wave patterns when poured. Standing approximately 8.0 cm in height with a mouth diameter of approximately 10.5 cm in a refined, rounded bowl shape, a clear \"Yasu\" (保) seal mark representing Mr. Shimizu Yasutaka's design is stamped on the side of the rustic unglazed foot.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eRegarding the period of production, taking the final record on the accompanying ceramic lineage leaflet listing his selection at the 30th Japan Traditional Art Crafts Exhibition in September 1983 (Showa 58), alongside the print date on the lower left reading February 1984 (Showa 59) as solid evidence, it is estimated to be an authentic work crafted at Horai Kiln circa 1983 to 1984 (Showa 58 to Showa 59). With Mr. Shimizu Yasutaka's passing in 2022, the production of new works has completely ceased, establishing its value as a master's legacy legitimately inheriting the techniques of a Living National Treasure. The vessel itself has no cracks or chips, maintaining extremely good condition in its white glaze texture, yohen wave coloration, and crawled glaze surface condition. The piece arrives in complete condition, accompanied by its dedicated paper presentation box (keshobako) inscribed on the lid with the artist's signature, alongside the ceramic lineage leaflet from 1984.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eShimizu Yasutaka (清水保孝, 1947–2022, Regular Member \u0026amp; Special Member of Japan Art Crafts Association, Horai Kiln)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1970] Graduated from Department of History, Faculty of Letters, Ryukoku University; [1971] Studied under his father, Mr. Shimizu Uichi (Living National Treasure \/ Holder of Important Intangible Cultural Property); [1972] Selected for the first time at the 19th Japan Traditional Art Crafts Exhibition; [1973] Won Kinki Branch Chairman's Award at the 2nd Kinki Branch Japan Art Crafts Association Exhibition; [1975] Nominated as Regular Member of Japan Art Crafts Association; [1977–1979] Won Nikkei Encouragement Award for three consecutive years at Kinki Branch Exhibition; [1981] Won the Matsushita Award (highest honor) at the 10th Kinki Branch Exhibition; [1982] Nominated as Special Member of Kinki Branch, Japan Art Crafts Association\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Shiga Museum of Art, Kyoto Prefectural Kyoto Institute Library and Archives (formerly Kyoto Prefectural Comprehensive Library and Archives), Ibaraki Ceramic Art Museum\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1983–1984 (Showa 58–Showa 59, estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated presentation box with artist's handwritten signature, ceramic lineage leaflet included\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (white glaze, crawling yohen, wave motif, with seal mark)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Mouth diameter approx. 10.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may exhibit age-related wear, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439150267,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1855_result.jpg?v=1787750951"},{"product_id":"381","title":"Aoyama Kiln, Mr. Aoyama Norihiro (青山徳弘): White Glaze Crackle Underglaze Cobalt Wheat Ear Motif Cylindrical Free Cup, Japanese Rocks Glass, Sake Vessel #381","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Mr. Aoyama Norihiro (1954–, Aoyama Kiln), a master of Mino underglaze cobalt painting based at Aoyama Kiln in Mizunami City, Gifu Prefecture, this cylindrical free cup features a white crackle glaze adorned with a fluid wheat ear motif in cobalt blue. Mr. Aoyama Norihiro studied under his father, Mr. \u003ca href=\"\/en\/search?q=%22%E9%9D%92%E5%B1%B1%E7%A6%AE%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eAoyama Reizo\u003c\/a\u003e, a holder of Tajimi City Designated Intangible Cultural Property, and after refining his ceramic techniques at Kusanoto Kiln for approximately 28 years, he established his independent studio, Aoyama Kiln, in 2001. Continuously pursuing \"the importance of line\" taught by his father to its absolute limit, he has earned exceedingly high acclaim for his unyielding, fluid, and powerful linework. Our shop offers this 2012 piece, blending traditional Mino underglaze blue painting techniques with modern sculptural beauty, to the global market as a luxurious Japanese rocks glass (free cup) for quietly savoring the rich aroma and flavor of amber aged sake, matured whisky, or authentic shochu over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully examining the details of this work reveals a brilliant expression of Mr. Aoyama Norihiro's signature masterful linework and highly specialized execution of the traditional \"wheat ear motif\" (mugiho-mon). Symbolizing fertility and vitality in both Western and Eastern cultures, the wheat ear is a motif long cherished in Japanese ceramics. In this piece, through \"dami\" (shading technique) skillfully rendering cobalt pigment (gosu) gradations and sharp \"honegaki\" (outline brushwork), the thick stalks and delicate awns (wheat bristles) are depicted with a magnificent dynamic rhythm. The warm ivory-toned white glaze is covered in a fine, mesh-like crackle glaze (rekkon), creating a vivid visual contrast with the cobalt coloration. The graphic circular composition of swaying wheat ears forming continuous loops requires supreme mastery that tolerates not the slightest variation in brush pressure or speed, expanding three-dimensionally without interruption from the vessel's exterior to the spiral composition on the mikomi (inner bottom). Inside the foot ring, a hand-painted \"A\" mark in cobalt pigment—symbolizing Aoyama Kiln and the artist's initial—is directly rendered, enhancing its dignity as refined contemporary craft while honoring Mino tradition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking its style following the establishment of Aoyama Kiln in 2001, the hand-painted \"A\" cobalt signature inside the foot ring, and records of his exhibition works and production period around 2012 as decisive clues, it is identified as an authentic work created circa 2012 (circa Heisei 24). The vessel itself has no cracks or chips, maintaining extremely good condition in its crackle glaze development, cobalt coloration, and the sharpness of the painted lines forming the wheat ears. While it does not include accessories such as a dedicated Tomobako, it is a magnificent piece combining the strong presence of a master's one-of-a-kind handcrafted work with functional beauty.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eAoyama Norihiro (青山徳弘, 1954–, Aoyama Kiln)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003eStudied under his father, Mr. Aoyama Reizo (Holder of Tajimi City Designated Intangible Cultural Property); [1972] Graduated from Ceramic Art Department of Gifu Prefectural Tajimi High School; [1976] Joined Kusanoto Kiln (crafted ceramics for approx. 28 years); [2001] Established independent \"Aoyama Kiln\" in Mizunami City, Gifu Prefecture, holding solo exhibitions and presenting works at Isetan Shinjuku, Maruei Department Store, Meitetsu Department Store, and \"Utsuwa Hanada\"; [2019] Also active at Dozan Kiln\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e None (Activity centered on solo and group exhibitions)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 2012\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, white glaze, crackle, underglaze cobalt, wheat ear motif, hand-painted \"A\" cobalt signature)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.6 cm, Width approx. 10.5 cm, Mouth diameter approx. 8.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period. Products may have minor age-related changes in texture, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439379643,"sku":null,"price":27000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1565_result.jpg?v=1787562465"},{"product_id":"384","title":"Living National Treasure, Holder of Important Intangible Cultural Property for \"White Porcelain\", Arita Inoue Manji Kiln, Inoue Manji (井上萬二), White Porcelain Water Dropper, Whisky Dropper #384","description":"\u003cp data-path-to-node=\"1\"\u003eInoue Manji (1929–2025) was a ceramic artist from Arita Town, Saga Prefecture, who was designated a Holder of Important Intangible Cultural Property for \"White Porcelain\" (Living National Treasure) in 1995. In Arita ware, where ornate decoration with underglaze cobalt (sometsuke) and overglaze enamels (iro-e) is mainstream, he dedicated his life to pursuing the sculptural beauty of white porcelain formed on the potter's wheel, guided by his conviction that \"the true merit of ceramics lies in their form.\" After training at the Kakiemon Kiln, he studied under \u003ca href=\"\/en\/search?q=%22%E5%A5%A5%E5%B7%9D%E5%BF%A0%E5%8F%B3%E8%A1%9B%E9%96%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eChuemon Okugawa\u003c\/a\u003e, renowned as a master of the potter's wheel, around 1952, learning the techniques of white porcelain and wheel throwing. From 1958, as a technical official at the Saga Prefectural Arita Ceramic Research Center, he conducted in-depth research on porcelain forming and glazes, and in 1971, he established the Inoue Manji Kiln.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eIn 1979, he was commended by the Minister of Labour as an Outstanding Skilled Artisan (Contemporary Master Craftsman). At the 34th Japan Traditional Art Crafts Exhibition in 1987, he won the Minister of Education Award for \"Seihakuji Carved Pattern Bowl,\" and in the same year, the award-winning work was purchased by the Agency for Cultural Affairs. In 1990, he was designated a Saga Prefecture Important Intangible Cultural Property, and in 1995, he was designated a Holder of the National Important Intangible Cultural Property for \"White Porcelain.\" He received the Medal with Purple Ribbon in 1997, the Order of the Rising Sun, Gold Rays with Neck Ribbon in 2003, and became an Honorary Citizen of Arita Town in 2005. His works are held in the collections of Tokyo National Museum, The National Museum of Modern Art, Tokyo (National Crafts Museum), Aichi Prefectural Museum of Art, The Kyushu Ceramic Museum, Saga Prefecture, and Higashihiroshima City Museum of Art, among others. In addition, in 1969, by order of the Governor of Saga Prefecture, he went to Pennsylvania State University in the United States as a visiting professor, and later taught pottery at New Mexico State University, dedicating great effort to fostering future generations both in Japan and overseas. He passed away on July 14, 2025, at the age of 96.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eThe greatest defining characteristic of his white porcelain lies in expressing beauty solely through the form pulled up on the potter's wheel, without applying any surface painting. He stated, \"Precisely because white porcelain lacks color, its form must be crafted beautifully,\" adopting \"Meito Muzatsu\" (a fine ceramic has no extraneous thoughts) as his guiding motto. In white porcelain, which cannot rely on decorative ornamentation, the slightest distortion or unevenness in thickness immediately reveals itself as a defect. For this reason, he was renowned for his uncompromising, rigorous approach to making, refusing to tolerate even a millimeter of distortion. His representative works include round white porcelain jars, white porcelain swirling-pattern jars, and crane-neck vases. In addition, he created carved-pattern works where motifs were carved into the white porcelain surface and touched with green glaze, as well as bluish-white porcelain (seihakuji) works where glaze pooled in carved recesses to take on a soft blue hue.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThis work is a plain white porcelain water dropper that uses no carving or colored glaze whatsoever. The plump, rounded body swells in an unbroken, continuous curve from shoulder to base. The slender, short mouth rises seamlessly from the top of the body without any steps. A cylindrical spout is attached to one side of the shoulder, creating a contrast within this small vessel between the volume of the body and the delicacy of the mouth and spout. The glaze is applied lustrously and evenly, and reflected light flows smoothly along the curved planes of the body. This clearly attests to its dignified forming with minimal surface distortion. The foot ring is trimmed low and neatly, and a mark written in gosu (underglaze cobalt blue) is inscribed inside the foot ring. The rounded, taut body shares the same sculpted form as his representative round jars. The very essence of his white porcelain—establishing a piece through pure form alone while discarding decoration—is vividly expressed within this small vessel. The top of the tomobako lid is inscribed \"White Porcelain Water Dropper,\" and the underside of the lid bears the signature \"Inoue Manji Saku\" along with a red seal stamp.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThe accompanying shiori lists his ceramic career up to Heisei 3 (1991), and his title remains at \"Designated Saga Prefecture Important Intangible Cultural Property.\" There is no mention of his 1995 Living National Treasure designation. From this, this work is considered to have been produced between 1991 and around 1995. It is a work from the period when his consummate wheel-throwing technique had reached full maturity, just prior to his designation as a Holder of the National Important Intangible Cultural Property.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eA water dropper (suiteki) was originally a calligraphic tool used to drip water onto an inkstone. Our shop proposes it as a water dropper for adding minute drops of water to vintage whisky and spirits. It is widely known that adding a few drops of water to whisky transforms its aroma and flavor profile, and the structure of a water dropper, which allows water to be adjusted drop by drop, is exceptionally well suited for this purpose. To use it, water is poured through the opening at the top of the body, and the vessel is tilted while covering that opening with a fingertip. By gently lifting and pressing the finger to regulate airflow, the amount of water falling from the spout can be precisely controlled.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eWith his passing in 2025, no new works will ever be created. This is an exceptional piece that allows you to keep close at hand the sculpted beauty of white porcelain pursued across a lifetime by a Living National Treasure, savoring it in daily life as a vessel for perfecting each drop of vintage spirits.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"8,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eInoue Manji (井上 萬二, 1929–2025)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1929] Born in Arita Town, Saga Prefecture; [1945] Began apprenticeship at Kakiemon Kiln; [c. 1952] Studied under Chuemon Okugawa to learn white porcelain and wheel techniques; [1958] Became a technical official at Saga Prefectural Arita Ceramic Research Center; [1968] Selected for the first time for the 15th Japan Traditional Art Crafts Exhibition; [1969] Taught ceramic art at Pennsylvania State University (visited the US 4 times by 1976); [1971] Established Inoue Manji Kiln; [1977] Received the Minister of International Trade and Industry Award at the National Traditional Craft Exhibition; [1979] Commended by the Minister of Labour as an Outstanding Skilled Artisan (Contemporary Master Craftsman); [1983] Began ceramic art instruction at New Mexico State University (visited the US 20 times thereafter); [1987] Received the Minister of Education Award at the 34th Japan Traditional Art Crafts Exhibition (Seihakuji Carved Pattern Bowl); [1995] Designated a Holder of Important Intangible Cultural Property for \"White Porcelain\" (Living National Treasure); [1997] Awarded the Medal with Purple Ribbon; [2002] Received the Nishi-Nippon Cultural Award; [2003] Awarded the Order of the Rising Sun, Gold Rays with Neck Ribbon; [2005] Became an Honorary Citizen of Arita Town; [2025] Passed away on July 14 (aged 96)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,2,0\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eTokyo National Museum, The National Museum of Modern Art, Tokyo (National Crafts Museum), Aichi Prefectural Museum of Art, The Kyushu Ceramic Museum, Saga Prefecture, Higashihiroshima City Museum of Art, and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1991 to c. 1995 (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,4,0\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e No noticeable chips or cracks. There are several minute spots on the glaze surface and foot ring (refer to images)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,5,0\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated tomobako (original wooden box: lid top inscribed \"White Porcelain Water Dropper,\" lid underside inscribed with \"Inoue Manji Saku\" signature and red seal stamp), shiori (leaflet)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain (Arita ware, white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,7,0\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Width (including spout) approx. 8.0 cm, Body diameter approx. 6.8 cm, Mouth diameter approx. 1.0 cm, Foot ring diameter approx. 3.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48287449612475,"sku":null,"price":68000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5106_result_f52e9bd2-b7de-4983-bb26-89b3cf45f098.jpg?v=1791977180"},{"product_id":"387","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Tsuchinoto-Ne\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2007 #387","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Tsuchinoto-Ne\" (Boshi no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from Tsuchinoto-Ne (Rat), the zodiac sign for 2008, the top of the lid features an organic, charmingly rounded three-dimensional sculpture evocative of a rat standing on a quiet water surface, with a delicate tail line extending smoothly backward acting as a refined accent. The entire body of the vessel also assumes a soft roundness in harmony with the charming form of the rat, while the exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. On the underside, the artist's handwritten signature \"戊子\" (Tsuchinoto-Ne) is inscribed in blue, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2007 based on its nature as a zodiac artwork themed after \"Tsuchinoto-Ne\" (Year of the Rat 2008, corresponding in the 60-year sexagenary cycle) alongside the artist's production cycle of crafting zodiac pieces in the preceding year. Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eMade in 2007\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.0 cm, Width approx. 6.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48288143769787,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2838_result.jpg?v=1789268237"},{"product_id":"388","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Tsuchinoto-Ushi\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2008 #388","description":"\u003cp data-path-to-node=\"17\"\u003e\u003cspan\u003eThis porcelain vessel with lid,\u003c\/span\u003e\u003cspan\u003e titled \"Form of Tsuchinoto-Ushi\" (Kichu no Katachi),\u003c\/span\u003e\u003cspan\u003e is crafted by Nagae Shigekazu,\u003c\/span\u003e\u003cspan\u003e a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide,\u003c\/span\u003e\u003cspan\u003e including The Metropolitan Museum of Art and the Victoria and Albert Museum.\u003c\/span\u003e\u003cspan\u003e Born in 1953 in Seto City,\u003c\/span\u003e\u003cspan\u003e Aichi Prefecture,\u003c\/span\u003e\u003cspan\u003e he sublimated industrial slip-casting techniques into artistic porcelain sculptures,\u003c\/span\u003e\u003cspan\u003e sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix,\u003c\/span\u003e\u003cspan\u003e the International Ceramics Competition Mino Grand Prix,\u003c\/span\u003e\u003cspan\u003e and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland.\u003c\/span\u003e\u003cspan\u003e Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior,\u003c\/span\u003e\u003cspan\u003e this work was originally created as an incensory (kogo),\u003c\/span\u003e\u003cspan\u003e a refined tea ceremony vessel.\u003c\/span\u003e\u003cspan\u003e However,\u003c\/span\u003e\u003cspan\u003e removing the lid transforms it into a sake vessel with a beautiful profile,\u003c\/span\u003e\u003cspan\u003e presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u003cspan\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve.\u003c\/span\u003e\u003cspan\u003e Created with inspiration drawn from the concept of Tsuchinoto-Ushi (Ox),\u003c\/span\u003e\u003cspan\u003e the zodiac sign for 2009,\u003c\/span\u003e\u003cspan\u003e the top of the lid features a powerful,\u003c\/span\u003e\u003cspan\u003e organic,\u003c\/span\u003e\u003cspan\u003e and fluid horn-like sculptural motif evocative of a bull's two horns.\u003c\/span\u003e\u003cspan\u003e The triangular body and exterior white porcelain surface,\u003c\/span\u003e\u003cspan\u003e finished with meticulous hand-sanding,\u003c\/span\u003e\u003cspan\u003e exhibit a graceful matte texture that softly absorbs light.\u003c\/span\u003e\u003cspan\u003e Meanwhile,\u003c\/span\u003e\u003cspan\u003e the interior of the vessel and the concave areas of the lid are filled with rich,\u003c\/span\u003e\u003cspan\u003e nuanced pale-blue celadon glaze reminiscent of a clear blue sky,\u003c\/span\u003e\u003cspan\u003e casting a captivating deep blue gradation at the bottom.\u003c\/span\u003e\u003cspan\u003e In the center of the underside,\u003c\/span\u003e\u003cspan\u003e the artist's handwritten signature \"己丑\" (Tsuchinoto-Ushi) is inscribed in blue,\u003c\/span\u003e\u003cspan\u003e achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003e\u003cspan\u003eRegarding the period of production,\u003c\/span\u003e\u003cspan class=\"\"\u003e it can be objectively specified as created in 2008 based on its nature as a zodiac artwork themed after \"Tsuchinoto-Ushi\" (Year of the Ox 2009) alongside the production cycle aimed at New Year exhibition debuts.\u003c\/span\u003e\u003cspan class=\"\"\u003e Eschewing mass production,\u003c\/span\u003e\u003cspan\u003e Mr.\u003c\/span\u003e\u003cspan\u003e Nagae's small-scale works—individually brought forth through advanced mold-forming,\u003c\/span\u003e\u003cspan\u003e multi-stage hand polishing,\u003c\/span\u003e\u003cspan\u003e and deformation control during firing—possess extraordinary scarcity value in the international art market.\u003c\/span\u003e\u003cspan\u003e The vessel body itself shows no damage such as chips or cracks,\u003c\/span\u003e\u003cspan\u003e maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze.\u003c\/span\u003e\u003cspan\u003e It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal,\u003c\/span\u003e\u003cspan\u003e a wrapping cloth (fukusa),\u003c\/span\u003e\u003cspan\u003e and an instructional leaflet (shiori).\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eNagae Shigekazu (長江重和, b.\u003c\/span\u003e\u003cspan\u003e 1953)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e[1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino,\u003c\/span\u003e\u003cspan\u003e Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eThe Metropolitan Museum of Art,\u003c\/span\u003e\u003cspan\u003e Victoria and Albert Museum,\u003c\/span\u003e\u003cspan\u003e Los Angeles County Museum of Art (LACMA),\u003c\/span\u003e\u003cspan\u003e National Museum of Sèvres,\u003c\/span\u003e\u003cspan\u003e Ariana Museum,\u003c\/span\u003e\u003cspan\u003e National Gallery of Australia,\u003c\/span\u003e\u003cspan\u003e Shigaraki Ceramic Cultural Park,\u003c\/span\u003e\u003cspan class=\"animating\"\u003e Aichi Prefectural Ceramic Museum,\u003c\/span\u003e\u003cspan\u003e Museum of Modern Ceramic Art Gifu,\u003c\/span\u003e\u003cspan\u003e among many others\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eMade in 2008\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eVery good (no chips,\u003c\/span\u003e\u003cspan\u003e no cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eDedicated original box (Tomobako),\u003c\/span\u003e\u003cspan\u003e wrapping cloth,\u003c\/span\u003e\u003cspan\u003e and instructional leaflet (Shiori) included\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003ePorcelain (pale-blue celadon glaze,\u003c\/span\u003e\u003cspan\u003e matte white porcelain)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eHeight approx.\u003c\/span\u003e\u003cspan\u003e 8.\u003c\/span\u003e\u003cspan\u003e3 cm,\u003c\/span\u003e\u003cspan\u003e Width approx.\u003c\/span\u003e\u003cspan\u003e 8.\u003c\/span\u003e\u003cspan\u003e0 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period,\u003c\/span\u003e\u003cspan\u003e even if unused.\u003c\/span\u003e\u003cspan\u003e Products may have age-related damage,\u003c\/span\u003e\u003cspan\u003e so please consider purchasing after understanding and verifying these condition details.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48296538177723,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2793_result.jpg?v=1789268562"},{"product_id":"389","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Kanoe-Tora\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2009 #389","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Kanoe-Tora\" (Kanoe-Tora no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from Kanoe-Tora (Tiger), the zodiac sign for 2010, the top of the lid features an organic, beautifully arced three-dimensional sculptural form evocative of a tiger's tail and the powerful curvature of its body. The lid's surface displays soft undulations reminiscent of a tiger's back and stripes, while the exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. In the center of the underside, the artist's handwritten signature \"庚寅\" (Kanoe-Tora) is inscribed in blue, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2009 based on its nature as a zodiac artwork themed after \"Kanoe-Tora\" (Year of the Tiger 2010) alongside the artist's production cycle of crafting zodiac pieces in the preceding year. Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eThe Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Made in 2009\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Width approx. 8.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48296549744827,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2879_result.jpg?v=1789268448"},{"product_id":"406","title":"Omotesenke 13th Sokuchusai Inscription, Mino Ware National Treasure \"Uhanagaki\" Replica, E-Shino Chawan, Titled \"Yuki no Hi\" (Snowy Day), E-Shino Lattice Pattern Chawan, With Collector's Tag, Matcha Bowl, Sake Vessel, Japanese Rocks Glass #406","description":"\u003cp data-path-to-node=\"19\"\u003eThis Mino ware E-Shino Chawan is endowed with a precious inscription and titled \"Yuki no Hi\" (Snowy Day) by Grand Master Sokuchusai (Sen Sosa, 1901–1979), the 13th Headmaster of Omotesenke, who preserved the traditions of Omotesenke through the turbulent Showa period and laid the foundations of modern tea ceremony. Taking the National Treasure \"Shino Chawan Titled Uhanagaki\"—one of only two domestic tea bowls designated as National Treasures in Japan—as its Honka (the original reference model), this masterpiece replicates its dignified form and possesses the highest-ranking official authentication (Kiwame) in the Japanese tea ceremony world. It is presented to our global clientele not only as a Matcha bowl for enjoying traditional tea, but also as a luxury Japanese rocks glass (sake vessel)—taking advantage of its heavy, dignified semi-cylindrical form and warm white glaze reminiscent of fallen snow—for floating large ice cubes and quietly pouring amber aged sake, matured whisky, or authentic shochu.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eBorn as the second son of the 12th Headmaster Seisai, Master Sokuchusai succeeded as the 13th Headmaster in 1937 under the foundation of a high classical education in history at Keio University and Kyoto Imperial University. During the chaotic period during and after the war, he established the nationwide organization \"Senke Domonkai\" to gather scattered disciples and established the non-profit corporation Fushin'an to protect the symbolic tea room of the Sen family, earning acclaim as the founder of modern tea ceremony organizations. An inscription (Kakitsuke or Hakogaki) brushed in ink on the reverse side of the paulownia box lid by the Headmaster—the supreme authority in the tea world—is not a mere assertion of ownership, but an official authentication (Kiwame) certifying that the Headmaster personally handled, examined, and appreciated the vessel, deeming it to possess exquisite craftsmanship and nobility suitable for use as the primary bowl (Shu-chawan) in a formal tea gathering. In this work as well, Master Sokuchusai inscribed \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\", breathing life and narrative into the vessel and endowing it with the orthodox prestige of Omotesenke.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eAs a strict convention in the world of tea utensils, when a work is crafted by the Headmaster's own hands through shaping or carving (a self-made work), the inscription on the Tomobako inevitably includes the words \"Jisaku\" (self-made) or \"Tezo\" (hand-crafted). On the other hand, works such as this piece, which lack self-made designations on the box inscription and are recorded simply as \"Shino Chawan, Titled Yuki no Hi\", indicate an appreciated work—a replica masterpiece fired by a top-tier Mino master potter using the pinnacle of technique, which Master Sokuchusai deeply cherished and granted authentication (Kiwame). Furthermore, a Dogufuda (inventory tag) inscribed with \"Shino Sokuchu \/ No. 28 \/ No. 43\" is affixed to the side of the box, proving a verified provenance carefully managed in the inventory ledgers of prominent tea masters, major collectors, or prestigious art dealers. In particular, this piece, adorned with the character \"Sa\" (the hereditary signature character of Omotesenke headmasters) and a flowing Kaō (stylized mark), boasts perfect provenance as a primary tea bowl for tea gatherings, establishing extremely high credibility and rarity in the antique art market.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eShino ware, which flourished in Mino (Gifu Prefecture) during the Momoyama period, is the traditional Japanese ceramic art that first applied a translucent white glaze (feldspar glaze), and this work embodies the traditional style of \"E-Shino,\" in which motifs are painted with iron oxide (Oni-ita). As a replica of the National Treasure \"Uhanagaki,\" this work faithfully inherits the aesthetic characteristics of its original model: a powerful semi-cylindrical shape with sharp spatula carving, a lattice pattern (Igeta grid pattern) seeping from under the thick feldspar glaze, and subtle fire marks (Hiiro) generated by the kiln flames. Examining the details of the piece, the feldspar glaze covering the entire vessel exhibits a moist milk-white hue, showing a rich texture reminiscent of a fresh layer of soft snow through fine \"Yuzu-hada\" (citrus peel texture) and crackles (Crazing) formed as the glaze melted and contracted during firing. From beside the foot to the base, the raw clay body containing coarse sand remains exposed with rough carving marks, while the interior bottom (mikomi) features a deep glaze pool and soft crackles, creating a pure and powerful scenery.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eGiven the history of the National Treasure \"Uhanagaki\" being named after snow piling on a hedge, likened to the feeling of \"stepping through the snow\" expressed in a classical waka poem, the title \"Yuki no Hi\" (Snowy Day) bestowed by Master Sokuchusai is an elegant naming that brilliantly echoes the scene and poetic taste of the National Treasure through Honkadori (poetic allusion). The greatest pleasure in enjoying this Shino tea bowl as a sake vessel lies in the substantial tactile feel provided by its thick semi-cylindrical form and the beautiful contrast between the white glaze and reddish fire marks when liquid is poured inside. Unlike typical black Tenmoku that absorbs light, the warm white glaze surface of Shino gently reflects light and poured liquids. When floating large rocks of ice and quietly pouring amber aged sake, matured whisky, or authentic shochu, the moist white glaze, net-like crackles in the interior, and delicate reddish fire marks on the vessel surface emerge fantastically through the amber liquid, generating a beautiful, radiant coloration as if warm sunlight were shining upon a snowy plain. Regarding the period of production, based on the calligraphic style of \"Sa\" in Master Sokuchusai's handwriting, his fluidly looping Kaō style, and alignment with his peak period from the mid-to-late Showa era when he granted inscriptions to famous kilns across Japan to expand Omotesenke tea ceremony, it is identified as a work created and inscribed around the 1950s to 1970s (Showa 30s to Showa 50s). The vessel itself suffers no damage such as chips or cracks, maintaining outstanding condition in both Shino glaze coloration and iron painting texture. It is a highly dignified masterpiece accompanied by its dedicated paulownia box bearing the authentic ink inscription \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\" on the underside of the lid by Master Sokuchusai, a wrapping cloth, and an inventory tag detailing its provenance.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMino Master Kiln Potter (Vessel) \/ Omotesenke 13th Sokuchusai Soshu (Calligraphy, 1901–1979)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1937] Succeeded as 13th Headmaster of Omotesenke; [1942] Founded Senke Domonkai (now Public Interest Incorporated Association Omotesenke Domonkai); [1949] Established Fushin'an Foundation\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Fushin'an, Omotesenke Kaikan, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eVessel production date unknown; Calligraphy estimated circa 1950s–1970s\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia box (with Sokuchusai lid-back inscription and Kaō), wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, E-Shino, feldspar glaze, iron oxide painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\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":48313810190523,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2349_result.jpg?v=1788488087"},{"product_id":"408","title":"Regular Member of Japan Handicrafts Council: Oketani Teiichi II (二代 桶谷定一) - Kinindate White Tenmoku Tea Bowl, Matchawan, Sake Vessel, Ice Bowl, Kyoto-Kiyomizu Ware #408","description":"\u003cp data-path-to-node=\"17\"\u003eThis White Tenmoku tea bowl is crafted by master artisan Oketani Teiichi II, who inherits the tradition of Kyoto-Kiyomizu ware and boasts ten awards at the Japan Traditional Art Crafts Kinki Exhibition alongside selections for the Japan Traditional Art Crafts Exhibition. Born in 1935 in the pottery district of Higashiyama, Kyoto, he graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School in 1955 and apprenticed under his father, Oketani Teiichi I, who was active in the Teiten and Nitten exhibitions, mastering advanced Tenmoku glaze pottery techniques. Becoming a leading authority in the research of Tenmoku glazes originating from China's Song Dynasty, this work crafted by his hand is presented to the world not only as a noble tea utensil matchawan, but also as a luxury sake vessel for pouring amber aged sake or matured whisky, or as a Japanese ice bowl filled with crushed ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eGenerally, when thinking of Tenmoku works, black Tenmoku comes to mind—where oil spot or hare's fur crystallization floats upon a jet-black field created by black iron glaze. However, White Tenmoku, as seen in this piece, possesses an exceptionally special and noble history, having been used exclusively since the Muromachi period for Kinindate (tea presentation reserved for shogun families and high-ranking figures). While black Tenmoku reflects the night sky and the subtle beauties of natural kiln transformations, White Tenmoku symbolizes noble purity and flawless dignity. Examining the fine details of this work, the subtle indentation at the rim unique to Tenmoku, known as \"suppon-guchi\" (turtle mouth), and the soft vertical shading applied to the exterior surface harmonize beautifully with the milky-white glaze reminiscent of silky white porcelain. Quiet gradations of shadow emerge depending on the angle of light, creating a structure that brilliantly highlights the deep amber hue of poured aged sake or the transparency of ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be specified as circa the 1980s to 1990s (late Showa to early Heisei era), a timeframe following his entry into pottery production in 1955, during which he achieved consecutive awards at the Japan Traditional Art Crafts Kinki Exhibition and selections for the Japan Traditional Art Crafts Exhibition, bringing his reproduction and research of Tenmoku glazes to its utmost peak of maturity. Inside the footring, an incised signature indicating the hand of Oketani Teiichi II is carved, which, combined with the highly perfected White Tenmoku glaze tone, endows the vessel with precious craft value. The vessel body itself shows no damage such as cracks or chips, maintaining excellent condition in both the milky-white glazed surface and the texture of the footring's raw clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eOketani Teiichi II (二代 桶谷定一, b. 1935)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School and apprenticed under Oketani Teiichi I; [1970–1990] Received 10 awards at the Japan Traditional Art Crafts Kinki Exhibition, selected 3 times for the Japan Traditional Art Crafts Exhibition, and certified as a regular member of the Japan Handicrafts Council\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited; however, his works are widely cherished as tea utensils for practice and formal gatherings across various tea ceremony schools, earning high trust in the antique art and tea utensil markets\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1990 (late Showa to early Heisei 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 (item only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kyoto ware, White Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.8 cm, Width approx. 12.8 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313810911419,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2560_result.jpg?v=1789091248"},{"product_id":"420","title":"Kyoto Prefecture Cultural Merit Award Recipient, Sodeisha Founder Yamada Hikaru (山田光), White-Glazed Bowl, Ice Bowl #420","description":"\u003cp data-path-to-node=\"1\"\u003eThis white-glazed bowl is created by Yamada Hikaru, a master who founded the avant-garde ceramic group \"Sodeisha\" in 1948 alongside \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, overturning the conventional concept of ceramics bound by \"utility\" and establishing a monumental peak in Japanese avant-garde ceramics (objet pottery). While establishing international acclaim for his objet creations as pure sculptural forms, Yamada also founded \"Mon Kobo\" in 1962 with Yagi Kazuo and others, launching practical craft works that fused refined modernist design with artisan craftsmanship. The lid of the included original wooden box (Tomobako) bears the artist's handwritten inscription \"White Glaze Bowl\" (Hakuyu Hachi), and on the bottom of the piece, the stamp \"HiKaru\" (光) indicating an authentic work by Yamada Hikaru can be confirmed. Produced between the 1960s and 1970s—a period when Sodeisha's activities deepened most significantly after the founding of Mon Kobo in 1962—this piece is identified as an outstanding work in which sculptural beauty and practicality harmonize at a high level.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eWhat is most highly acclaimed in Yamada Hikaru's ceramic art is his intellectual structural thinking utilizing geometric plane compositions, openings, and cutouts, as well as the smooth, serene texture of his white glaze. Examining the design of this piece, while the overall silhouette of the vessel assumes a gentle roundness, sharp and precise cutouts are executed along the rim together with regular wavelike curves. These cutouts clearly articulate a Sodeisha aesthetic that deconstructs and reconstructs the boundaries of traditional bowls. The white glaze covering the surface exhibits a moist, matte, milky-white glaze quality, creating extremely delicate shadows on the body depending on how the light falls upon it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA particular highlight of this vessel is the relief-like spiral decoration applied to the center of the interior bottom (Mikomi). The subtle concavities and convexities that smoothly swirl from the center impart visual rhythm and dynamism to the quiet white glaze texture. The form, which gracefully tapers toward the foot, and its commanding sense of scale—measuring approximately 9.5 cm in height and approximately 17.0 cm in width—go beyond mere appreciation value as an artwork, perfectly fulfilling the function of an exceptionally high-quality ice bowl in modern dining and contemporary spaces.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eFilled with large ice blocks and arranged with bottles of aged amber vintage sake, vintage whisky, or chilled Japanese sake, the glitter and chill of the ice reflect beautifully on the spiral decoration of the interior bottom, drawing a magnificent contrast with the serene white-glazed body. As a precious authentic work by one of the most important artists in the history of Japanese ceramics, whose works are housed in the National Museum of Modern Art, Tokyo, the National Museum of Modern Art, Kyoto, and the Centre Pompidou in Paris, we propose this piece not only as a tea utensil or ice bowl, but also as a supreme liquor vessel and craft work where one can experience sculptural beauty as modern art with all five senses.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eYamada Hikaru (山田光, 1923-2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1948] Founded the avant-garde ceramic art group \"Sodeisha\" alongside Yagi Kazuo, Suzuki Osamu, and others; [1962] Established \"Mon Kobo\" to pursue modern design in living spaces; [1970s] Received the Japan Ceramic Society Award (later also received the Gold Prize); [1990s] Received the Kyoto Art and Culture Award, and was honored as a Person of Cultural Merit by Kyoto City.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Museum of Modern Ceramic Art, Shigaraki (Shigaraki Ceramic Cultural Park); Kyoto City KYOCERA Museum of Art, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1960s-1970s (Estimated)\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 original wooden box (Tomobako) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (White glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 9.5 cm, Width approx. 17.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332184682683,"sku":null,"price":60000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3059_result.jpg?v=1789969799"},{"product_id":"430","title":"Studied under Living National Treasure Miwa Kyusetsu X (Miwa Kyuwa): Gyokuryuzan Kiln, Yoshida Shuen (吉田萩苑) - Oni-Hagi Blue Glaze White Hagi Tea Bowl, Matchawan, Sake Vessel, Japanese Rocks Glass #430","description":"\u003cp data-path-to-node=\"18\"\u003eThis White Hagi blue glaze tea bowl is crafted by master Hagi ware artisan Yoshida Shuen (1940–1986), who entered apprenticeship under Living National Treasure \u003ca href=\"\/en\/search?q=%22%E4%B8%89%E8%BC%AA%E4%BC%91%E9%9B%AA%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMiwa Kyusetsu\u003c\/a\u003e X (\u003ca href=\"\/en\/search?q=%22%E4%B8%89%E8%BC%AA%E4%BC%91%E5%92%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMiwa Kyuwa\u003c\/a\u003e, 1895–1981) at the age of 15, trained for many years as a live-in disciple, and after providing technical guidance at Tenhozankai Kiln, went independent in 1968 to open Gyokuryuzan Kiln. Inheriting the prestigious traditional techniques passed down from his master, Miwa Kyusetsu, while fusing a rugged Oni-Hagi clay body with a sweeping blue glaze, he earned high acclaim for his unique artistic style. Until his sudden passing at the young age of 46, he pursued the pinnacle of tea ceramics and was deeply revered among tea utensil markets and connoisseurs. Featuring a powerful form that fits comfortably in the hand and a magnificent visual scene where a vivid blue glaze floats within a plump, milky-white glazed surface, this work naturally possesses the dignity of a tea bowl. Beyond this, we present it to the global market as a luxury Japanese rocks glass (sake vessel) for floating large ice rocks, quietly pouring amber aged sake, matured whisky, or authentic shochu, and savoring the dynamic clay texture and color contrasts of traditional ceramic art.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eExamining the fine details of this piece, the designs of \"Oni-Hagi\" and \"White Hagi\" in which Yoshida Shuen excelled, alongside the \"Blue Glaze\" he continuously explored, culminate in an exceptionally high degree of completion. Upon a powerful clay body containing coarse sand, a milky-white Hagi glaze composed of feldspar and straw ash is applied, over which a vibrant blue glaze is boldly and fluidly rendered from a portion of the exterior surface through to the interior bottom (mikomi). Fine crazing (kannyu) formed during firing, Kairagi-like crawling generated as sand grains in the raw clay penetrate the glaze, as well as glaze drips and color gradations create a three-dimensional landscape. Beside the footring, a rugged raw red-clay exposition (tuchimise) remains, stamped clearly with the artist's seal mark \"Shuen\" in a circle. By pouring liquid into this porous body, one can fully enjoy the essence of \"Hagi no Nanabake\" (The Seven Transformations of Hagi), where pigments penetrate the crazing over time, deepening its aesthetic character with age.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eRegarding the period of production, it is estimated to have been created between 1975 and 1985 (Showa 50s), a period following his 1968 independence when the techniques passed down from Kyusetsu—incorporating creative blue glaze expressions into Oni-Hagi—reached full maturity. His career as an independent artist from 1968 until his sudden passing at age 46 around 1986 was remarkably brief—spanning only about 18 years. Consequently, the absolute number of existing authentic works is extremely limited, giving it extraordinarily high rarity value. The vessel body itself shows no damage such as cracks or chips, maintaining outstanding condition in terms of the firing of the White Hagi glaze, the contrast of the blue glaze, and the texture of the clay body. It comes as a superb piece complete with an authentic dedicated original box (Tomobako) bearing handwritten ink inscription and red seal on the lid face, a wrapping cloth, and an instructional leaflet (Shiori) outlining the origins of Hagi ware and the artist's biography.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yoshida Shuen (吉田萩苑, 1940–1986)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Entered apprenticeship under Miwa Kyusetsu X (Living National Treasure Miwa Kyuwa); [1968] Opened Gyokuryuzan Kiln in Tamae, Hagi City, Yamaguchi Prefecture\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited due to his early passing; however, works bearing authentication inscriptions (kakitsuke) by Grand Master Zabosai XVI of Urasenke and Master Kenchusai XII of the Horiuchi family exist, earning exceptionally high acclaim within tea ceremony circles and the antique art market\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1975–1985 (Showa 50s, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Hagi ware, Oni-Hagi, White Hagi glaze, blue glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.5 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332217286843,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2652_result.jpg?v=1789091475"},{"product_id":"432","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Art Exhibition Grand Prix Winner: Nagae Shigekazu (長江重和) - \"Form of Otsumi\" Celadon Glazed Porcelain Covered Sake Vessel, Japanese Shot Glass, Made in 2014 #432","description":"\u003cp data-path-to-node=\"17\"\u003eThis porcelain vessel with lid, titled \"Form of Otsumi\" (Otomi no Katachi), is crafted by Nagae Shigekazu, a top runner in modern Japanese ceramic art whose works are housed in major museums worldwide, including The Metropolitan Museum of Art and the Victoria and Albert Museum. Born in 1953 in Seto City, Aichi Prefecture, he sublimated industrial slip-casting techniques into artistic porcelain sculptures, sweeping major domestic and international ceramic awards such as the Japan Ceramic Art Exhibition Grand Prix, the International Ceramics Competition Mino Grand Prix, and the Grand Prix at the Nyon International Porcelain Triennial in Switzerland. Featuring a striking contrast between silky white porcelain polished to a matte finish and translucent pale-blue celadon glaze lining the interior, this work was originally created as an incensory (kogo), a refined tea ceremony vessel. However, removing the lid transforms it into a sake vessel with a beautiful profile, presenting a special lifestyle proposition to global connoisseurs as a covered Japanese shot glass that quietly seals in aromas to luxuriously savor matured whisky or rare aged sake.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the fine details of this piece reveals Nagae Shigekazu's signature mastery—the precise control of heat and gravity—alongside an exceptionally refined sculpting beauty displayed without reserve. Created with inspiration drawn from the horns and face of the Ram (Hitsuji), the zodiac sign for 2015, the top of the lid features a powerful, organic, and fluid horn-like sculptural motif. The exterior white porcelain surface, finished with meticulous hand-sanding, exhibits a graceful matte texture that softly absorbs light. Meanwhile, the interior of the vessel and the concave areas of the lid are filled with rich, nuanced pale-blue celadon glaze reminiscent of a clear blue sky, casting a captivating deep blue gradation at the bottom. The artist's handwritten signature in blue is inscribed on the underside of the base, achieving a high-level harmony between sculptural perfection and functional utility.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be objectively specified as created in 2014 in preparation for the 2015 zodiac year (Otsumi \/ Year of the Ram), based on clear statements in the artist's handwritten accompanying leaflet such as \"I created 'Form of Otsumi' as the artwork for next year's zodiac\" and \"The start of next year will be a special exhibition at the Aichi Prefectural Ceramic Museum.\" Eschewing mass production, Mr. Nagae's small-scale works—individually brought forth through advanced mold-forming, multi-stage hand polishing, and deformation control during firing—possess extraordinary scarcity value in the international art market. The vessel body itself shows no damage such as chips or cracks, maintaining excellent condition in both the texture of the white porcelain and the coloration of the celadon glaze. It comes complete with a dedicated original box (Tomobako) bearing the artist's handwritten calligraphy and red seal, a wrapping cloth (fukusa), and an instructional leaflet (shiori) detailing the creative background.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eNagae Shigekazu (長江重和, b. 1953)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1979\/1986] Grand Prix at Chunichi International Ceramic Art Exhibition; [1992] Grand Prix at Asahi Ceramic Art Exhibition; [1997] Grand Prix and Prince Katsura Prize at the 14th Japan Ceramic Art Exhibition; [1998] Grand Prix at the 5th International Ceramics Competition Mino, Grand Prix (Prix Poisson d'Or) at the 5th Nyon International Porcelain Triennial in Switzerland; [2004] Received Aichi Prefectural Arts and Culture Encouragement Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, Los Angeles County Museum of Art (LACMA), National Museum of Sèvres, Ariana Museum, National Gallery of Australia, Shigaraki Ceramic Cultural Park, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art Gifu, among many others\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eMade in 2014\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original box (Tomobako), wrapping cloth, and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (pale-blue celadon glaze, matte white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.6 cm, Width approx. 7.4 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332227477691,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2750_result.jpg?v=1789268087"},{"product_id":"452","title":"Regular Member of Japan Handicrafts Council: Oketani Teiichi II (二代 桶谷定一) - Kinindate White Tenmoku Tea Bowl, Matchawan, Sake Vessel, Ice Bowl, Kyoto-Kiyomizu Ware #452","description":"\u003cp data-path-to-node=\"17\"\u003eThis White Tenmoku tea bowl is crafted by master artisan Oketani Teiichi II, who inherits the tradition of Kyoto-Kiyomizu ware and boasts ten awards at the Japan Traditional Art Crafts Kinki Exhibition alongside selections for the Japan Traditional Art Crafts Exhibition. Born in 1935 in the pottery district of Higashiyama, Kyoto, he graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School in 1955 and apprenticed under his father, Oketani Teiichi I, who was active in the Teiten and Nitten exhibitions, mastering advanced Tenmoku glaze pottery techniques. Becoming a leading authority in the research of Tenmoku glazes originating from China's Song Dynasty, this work crafted by his hand is presented to the world not only as a noble tea utensil matchawan, but also as a luxury sake vessel for pouring amber aged sake or matured whisky, or as a Japanese ice bowl filled with crushed ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eGenerally, when thinking of Tenmoku works, black Tenmoku comes to mind—where oil spot or hare's fur crystallization floats upon a jet-black field created by black iron glaze. However, White Tenmoku, as seen in this piece, possesses an exceptionally special and noble history, having been used exclusively since the Muromachi period for Kinindate (tea presentation reserved for shogun families and high-ranking figures). While black Tenmoku reflects the night sky and the subtle beauties of natural kiln transformations, White Tenmoku symbolizes noble purity and flawless dignity. Examining the fine details of this work, the subtle indentation at the rim unique to Tenmoku, known as \"suppon-guchi\" (turtle mouth), and the soft vertical shading applied to the exterior surface harmonize beautifully with the milky-white glaze reminiscent of silky white porcelain. Quiet gradations of shadow emerge depending on the angle of light, creating a structure that brilliantly highlights the deep amber hue of poured aged sake or the transparency of ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be specified as circa the 1980s to 1990s (late Showa to early Heisei era), a timeframe following his entry into pottery production in 1955, during which he achieved consecutive awards at the Japan Traditional Art Crafts Kinki Exhibition and selections for the Japan Traditional Art Crafts Exhibition, bringing his reproduction and research of Tenmoku glazes to its utmost peak of maturity. Inside the footring, an incised signature indicating the hand of Oketani Teiichi II is carved, which, combined with the highly perfected White Tenmoku glaze tone, endows the vessel with precious craft value. The vessel body itself shows no damage such as cracks or chips, maintaining excellent condition in both the milky-white glazed surface and the texture of the footring's raw clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eOketani Teiichi II (二代 桶谷定一, b. 1935)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School and apprenticed under Oketani Teiichi I; [1970–1990] Received 10 awards at the Japan Traditional Art Crafts Kinki Exhibition, selected 3 times for the Japan Traditional Art Crafts Exhibition, and certified as a regular member of the Japan Handicrafts Council\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited; however, his works are widely cherished as tea utensils for practice and formal gatherings across various tea ceremony schools, earning high trust in the antique art and tea utensil markets\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1990 (late Showa to early Heisei 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 (item only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kyoto ware, White Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48396097093819,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3769_result.jpg?v=1790767297"},{"product_id":"454","title":"Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\", Regular Member of the Japan Kogei Association, Sentaro Kiln, Ando Hidetake (安藤日出武), Set of Five Shino Yunomi Cups, Japanese-Style Western Liquor Vessels #454","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a set of five Shino yunomi cups by Ando Hidetake, a ceramic artist who is a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto.\" The lid of the tomobako (original wooden box) features an inscription indicating a complete set of five Shino yunomi cups, along with the signature \"Hidetake\" and a red seal stamp. Inside the box, partitions are installed to house each of the five cups individually. Measuring approximately 7.5 cm in both diameter and height, they possess a size that rests comfortably in the palm, and their substantial build remains stable even when filled with ice. Our shop proposes them as Japanese-style rocks glasses for enjoying vintage spirits on the rocks.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAndo Hidetake was born in 1938 (Showa 13) in Tajimi City, Gifu Prefecture. He is the third-generation head of the Sentaro Kiln in Ichinokura, which has operated a ceramic business for generations, and is also introduced under the name \"Sensan Kiln\" in his biographical records. According to the artist profile of Sentaro Kiln, up until his father's generation, it was a kiln firing small porcelain sake cups and small dishes. Around the age of 22, Kato Tokuro visited his father and told him, \"If you are going to make ceramics, you must make ceramics born in Mino.\" This served as a turning point, leading Ando to immerse himself in the study of Momoyama-period Shino, Kiseto, and Oribe wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eAndo had no specific master. Carrying a backpack, he walked through the mountains of Mino, excavated kiln sites to collect ceramic shards, and taught himself how to use clay, design, and firing techniques. Furthermore, believing that gas kilns had limitations in recreating Momoyama ceramics, he built a semi-aboveground anagama (cave kiln) utilizing the natural contours of the terrain in the wilderness of Kukuri-Kakishita, Kani City, near the Taihei ancient kiln site. According to records of the Museum of Modern Ceramic Art, Gifu, the firing lasts for six days and nights, burning 1,500 bundles of firewood. Committed to creating both clay and glazes from natural materials by himself, his unique style \"Ko-Mino,\" forged through the clay of Tono and this anagama, is highly praised by the museum as reaching a \"realm of ancient purity.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eRegarding his major career accomplishments, he was selected for the first time for the 1st Asahi Ceramic Art Exhibition in 1963, the 11th Japan Traditional Art Crafts Exhibition in 1964, and the 1st Japan Ceramic Art Exhibition in 1971, continuing to be selected for each repeatedly thereafter. In 1970, he won the Governor's Award at the 8th Asahi Ceramic Art Exhibition and exhibited a large Shino platter at the Living and Industry Pavilion of the Japan World Exposition (Expo '70). He received an Encouragement Award at the 11th Asahi Ceramic Art Exhibition in 1973, became a regular member of the Japan Kogei Association in 1974, and received the 8th Kobei Prize in 1990.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eIn 1993, \"Ko-Mino Large Jar\" was designated as a Mino Ceramic Art Permanent Preservation Work. In 1998, he won the Grand Prix for \"Ko-Mino Tea Bowl\" at the Mino Ceramic Art Shoroku Award Tea Bowl Exhibition, and in the same year was designated a Holder of Tajimi City Intangible Cultural Property. In 2003, he was designated a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto,\" and received the Gifu Prefecture Cultural Merit Award in 2013 and the Order of the Rising Sun, Silver Rays in 2016.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn Gifu Prefecture's official commentary, Ando's Kiseto is described as a unique style possessing a depth and dignity distinct from conventional Kiseto. From 2025 to 2026, the exhibition \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" was held at the Museum of Modern Ceramic Art, Gifu. As an artist who has continued to craft Momoyama-period Kiseto and Shino using clay and firing methods identical to those of the era, his representative works and recent creations were presented in this exhibition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThis piece is a Shino work, a style Ando has engaged with over many years alongside Kiseto. Shino is a representative ceramic of Mino during the Momoyama period, fired with a thick application of white glaze composed primarily of feldspar. This feature is clearly manifested in this work as well.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAll five cups are generously covered in a milky-white Shino glaze. Countless minute pinholes characteristic of Shino are scattered across the glaze surface, many appearing as reddish spots on the inside. Along the thinly glazed rim, parts of the body, and around the bottom, orange to reddish-brown hi-iro (fire-color) emerges, imparting warm variation to the white skin. At the bottom, the fire-color spreads outward in a swirling pattern from the center, creating a distinct landscape for each individual cup.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe vessel shape is a cylindrical form with a mouth that gently curves inward. Soft undulations and distortions resembling finger presses remain on the body, giving each of the five cups a distinct expression. The interior bowl (mikomi) is also smoothly covered in white glaze scattered with small red spots, offering a serene landscape.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThere is no date inscribed on the tomobako, and no shiori is included, leaving no documentation to specify the exact year of production. It can only be confirmed that it was made from the 1960s onward, when the artist began his research into Momoyama ceramics.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11,0,0\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ando Hidetake (安藤日出武, Andō Hidetake, 1938–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1963] First selected for the 1st Asahi Ceramic Art Exhibition; [1964] First selected for the 11th Japan Traditional Art Crafts Exhibition; [1970] Governor's Award at 8th Asahi Ceramic Art Exhibition; exhibited large Shino platter at Living and Industry Pavilion, Expo '70; [1971] First selected for the 1st Japan Ceramic Art Exhibition; [1973] Encouragement Award at 11th Asahi Ceramic Art Exhibition; [1974] Regular member of the Japan Kogei Association; [1975] First selected for the 1st Chunichi International Ceramic Art Exhibition; [1990] 8th Kobei Prize; [1992] Tajimi City Cultural Arts Merit Award; [1993] \"Ko-Mino Large Jar\" designated as Mino Ceramic Art Permanent Preservation Work; [1998] Grand Prix for \"Ko-Mino Tea Bowl\" at Mino Ceramic Art Shoroku Award Tea Bowl Exhibition; designated Holder of Tajimi City Intangible Cultural Property; [2002] Gifu Shimbun Grand Prize Culture Award; [2003] Designated Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\"; [2011] Gifu Prefecture Educational and Cultural Merit Award; [2013] Gifu Prefecture Cultural Merit Award; [2016] Order of the Rising Sun, Silver Rays; Tokai Television Culture Award; [2017] Published \"Mikannomamani\" (Chubu Keizai Shimbunstar); [2025] \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" at Museum of Modern Ceramic Art, Gifu (through 2026)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,2,0\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Museum of Modern Ceramic Art, Gifu (\"Kiseto Tea Bowl,\" \"Kiseto Large Jar\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e From the 1960s onward (cannot be specified as there is no date on the tomobako and no shiori is included)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,4,0\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (original wooden box) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Shino glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,7,0\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eDiameter approx. 7.5 cm, Height approx. 7.5 cm (each)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,8,0\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48396667453627,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4510_result.jpg?v=1791638981"},{"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":"484","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Frosted Blue-Green Glass Stem Cup (Bajohai) with Gold-Tone Foil and White Glass Dots #484","description":"\u003cp dir=\"ltr\"\u003eThis piece is a stemmed glass cup by Okawa Kaoru (1940–2008), who worked at Hokuyo Glass, a glassworks in Aomori Prefecture, while also presenting his own works as an independent artist. The underside of the stem bears the incised signature “K. OKAWA.” The body, made of blue-green glass with a frosted matte finish, is decorated with gold-tone foil combined with dots of white glass. Measuring approximately 5.5 cm in height and 7.3 cm in rim diameter, it sits comfortably in the hand and is well suited for use as a Japanese-style shot glass for savoring aged spirits a little at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to his reported biography, Mr. Okawa was born in Niigata Prefecture in 1940, studied craft design at Musashino Art University, and joined Hokuyo Glass in Aomori City in 1964. Hokuyo Glass began in 1949 as a maker of glass fishing floats. Building on the free-blowing (chūbuki) technique developed through float making, the company created Tsugaru Vidro in 1977, a line of handmade glass expressing the four seasons and natural landscapes of Aomori. Tsugaru Vidro was also the first product to be designated a traditional craft of Aomori Prefecture. From 1980 onward, Mr. Okawa presented his work in solo exhibitions and glass exhibitions in various parts of Japan. According to the official records of Aomori Prefecture, he received the 11th Aomori Prefecture Art and Culture Award in the crafts category for fiscal year Showa 60 (1985). He is further reported to have won the Grand Prize in Section 1 of the Tohoku Glass Art Exhibition, sponsored by Asahi Glass, in 1990, and the Asahi Glass Prize at the 1st Japan Glass Art Exhibition in 1991. In 2006 he served as an adviser to the company, and he passed away in 2008.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMr. Okawa’s style is distinguished by the way he incorporated glassmaking techniques from abroad on a foundation of glassblowing. In particular, his tea ceremony utensils, in which he adapted millefiori, the mosaic glass technique handed down on the Venetian island of Murano, in his own distinctive way, are introduced as representative of his work. He also produced many works on the theme of the natural scenery of the Tsugaru region. This piece does not employ millefiori mosaic decoration. It is an example in which the surface is composed of gold-tone foil and white glass dots, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel takes the form of a bajohai, or stem cup, with a rounded, fairly deep cup supported on a short, thick, solid stem. The rim is finished thick and rounded, curving slightly inward. The stem is of frosted clear glass, widening gently toward its base and giving the cup a solid, steady presence. The exterior of the cup has a matte finish with subdued luster, and within the blue-green ground, streaks of pale green flow diagonally, so that the depth of color shifts with the viewing angle. The gold-tone foil spreads like a haze of fine particles near the rim, while from the lower body to the top of the stem it becomes larger fragments broken into a fine network of cracks, gathering densely around the stem. Over this, white glass dots of various sizes rise from the surface. The dots are irregular in shape, some round, some oval, some joined in twos and threes, and they are scattered most thickly over the lower half of the body. On some of the dots, flakes of gold-tone foil remain on the surface, and these details where white and gold overlap are a further highlight. Unlike the exterior, the interior has a glossy surface, through which the shimmer of the foil and the white dots can be seen. When light falls on the cup, the foil glitters with a greenish gold, and a scene resembling a swirl spiraling toward the center of the bottom appears. The underside of the stem is finished flat, and the signature is incised there.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece bears no date. It is a work bearing the artist’s personal signature, made between 1980, when he began presenting his work in solo and glass exhibitions, and his death in 2008. Documentation on Mr. Okawa is limited even within Japan, and his work has received almost no attention overseas. This stem cup, combining gold-tone foil and white glass dots on frosted blue-green glass, is a piece of documentary value for understanding his work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Okawa Kaoru (大川 薫, 1940–2008)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1964] Joined Hokuyo Glass, [1980 onward] Exhibited in solo exhibitions and glass exhibitions in various parts of Japan, [1985] 11th Aomori Prefecture Art and Culture Award (Crafts, fiscal year Showa 60), [1990] Grand Prize, Section 1, Tohoku Glass Art Exhibition (sponsored by Asahi Glass), [1991] Asahi Glass Prize, 1st Japan Glass Art Exhibition (sponsored by Asahi Glass), [2006] Adviser to Hokuyo Glass\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Between 1980 and 2008 (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eNone\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eGlass (metal foil decoration)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.5 cm, rim diameter approx. 7.3 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks: \u003c\/strong\u003eIncised signature “K. OKAWA” on the underside of the stem\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note:\u003c\/strong\u003e All items offered by our shop, even if new and unused, were produced long ago and are therefore listed as pre-owned. Items may show age-related wear or damage; please review and understand this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651889234107,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5310_result_d226054e-165b-4264-9de7-8859a745117a.jpg?v=1792252053"},{"product_id":"485","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Frosted Milk-White Glass Stem Cup (Bajohai) with Gold-Tone Foil and Blue Glass Dots, Sold As-Is #485","description":"\u003cp dir=\"ltr\"\u003eThis piece is a stemmed glass cup by Okawa Kaoru (1940–2008), who worked at Hokuyo Glass, a glassworks in Aomori Prefecture, while also presenting his own works as an independent artist. The side of the stem bears the incised signature “K. OKAWA.” The frosted, milky-white body is decorated with gold-tone foil combined with dots of blue glass. Measuring approximately 6.3 cm in height and 7.5 cm in rim diameter, it sits comfortably in the hand and is well suited for use as a Japanese-style shot glass for savoring aged spirits a little at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to his reported biography, Mr. Okawa was born in Niigata Prefecture in 1940, studied craft design at Musashino Art University, and joined Hokuyo Glass in Aomori City in 1964. Hokuyo Glass began in 1949 as a maker of glass fishing floats. Building on the free-blowing (chūbuki) technique developed through float making, the company created Tsugaru Vidro in 1977, a line of handmade glass expressing the four seasons and natural landscapes of Aomori. Tsugaru Vidro was also the first product to be designated a traditional craft of Aomori Prefecture. From 1980 onward, Mr. Okawa presented his work in solo exhibitions and glass exhibitions in various parts of Japan. According to the official records of Aomori Prefecture, he received the 11th Aomori Prefecture Art and Culture Award in the crafts category for fiscal year Showa 60 (1985). He is further reported to have won the Grand Prize in Section 1 of the Tohoku Glass Art Exhibition, sponsored by Asahi Glass, in 1990, and the Asahi Glass Prize at the 1st Japan Glass Art Exhibition in 1991. In 2006 he served as an adviser to the company, and he passed away in 2008.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMr. Okawa’s style is distinguished by the way he incorporated glassmaking techniques from abroad on a foundation of glassblowing. In particular, his tea ceremony utensils, in which he adapted millefiori, the mosaic glass technique handed down on the Venetian island of Murano, in his own distinctive way, are introduced as representative of his work. He also produced many works on the theme of the natural scenery of the Tsugaru region. This piece does not employ millefiori mosaic decoration. It is an example in which the surface is composed of gold-tone foil and blue glass dots, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel takes the form of a bajohai, or stem cup, with a rounded cup supported on a stem that widens toward its base. The stem is hollow inside, so that the decoration of the cup can be seen through it when looking up from below. The entire surface has a matte finish with subdued luster, and the milky-white glass softly diffuses the light. The cup is clad in gold-tone foil, which spreads like a haze of fine particles near the rim and becomes larger fragments broken into a fine network of cracks on the lower body, varying in density from place to place. Over this, blue glass dots are arranged in vertical rows radiating from just below the rim down to the top of the stem. The dots are larger toward the upper part of the cup and become smaller and more closely set as they approach the stem, so that when the cup is viewed from below, the blue lines form a pattern spreading outward in all directions from the stem. The dots rise slightly from the surface, and between the rows the body undulates gently. Looking into the interior, the rows of blue dots and the glimmer of the foil show through the frosted wall, and a single blue dot is set at the very center of the bottom. When the cup is filled, the blue and gold pattern emerges through the surface of the liquid, offering an expression different from that seen from the outside.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece bears no date. It is a work bearing the artist’s personal signature, made between 1980, when he began presenting his work in solo and glass exhibitions, and his death in 2008. Documentation on Mr. Okawa is limited even within Japan, and his work has received almost no attention overseas. This stem cup, combining gold-tone foil and blue glass dots on frosted milky-white glass, is a piece of documentary value for understanding his work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eOkawa Kaoru (大川 薫, 1940–2008)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1964] Joined Hokuyo Glass, [1980 onward] Exhibited in solo exhibitions and glass exhibitions in various parts of Japan, [1985] 11th Aomori Prefecture Art and Culture Award (Crafts, fiscal year Showa 60), [1990] Grand Prize, Section 1, Tohoku Glass Art Exhibition (sponsored by Asahi Glass), [1991] Asahi Glass Prize, 1st Japan Glass Art Exhibition (sponsored by Asahi Glass), [2006] Adviser to Hokuyo Glass\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eBetween 1980 and 2008 (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eSold as-is (one light surface scratch on the interior. It does not extend into any crack or break, and there are no chips on the rim. The scratch can be made out in the photographs at certain angles but is difficult to see with the naked eye. It does not affect the cup’s use as a sake cup)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eNone\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eGlass (metal foil decoration)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.3 cm, rim diameter approx. 7.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks: \u003c\/strong\u003eIncised signature “K. OKAWA” on the side of the stem\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced long ago and are therefore listed as pre-owned. Items may show age-related wear or damage; please review and understand this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651890282683,"sku":null,"price":18000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5257_result_0d6f819f-afd1-4f31-91ea-3d7ca1cf7d32.jpg?v=1792252020"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/color-white.oembed?page=2","provider":"Antique Liquor","version":"1.0","type":"link"}