{"title":"Yellow \u0026 Brown Sake Cups and Vessels (Ki-Seto, Yakishime, Ame Glaze)","description":"\u003cp\u003eKi-Seto, ame and iron glazes, and unglazed Bizen and Tokoname: warm tones that match whisky itself and suit a relaxed evening drink.\u003c\/p\u003e","products":[{"product_id":"49","title":"Fukuoka Multiglass (マルティグラス) FTG Multiple Layer Glass, Yellow \u0026 White Marble Glass, 6-Piece Set, #49","description":"\u003cp\u003eThis glass set is a masterpiece featuring a vibrant marbled pattern made by FTG Multi-Layer Glass, a company produced in Fukuoka in the 1980s. It is a highly artistic piece created using the multiple layer glass technique, which layers multiple layers of colored glass.\u003c\/p\u003e\n\u003cp\u003e The bowl is made up of vibrant yellow and opaque milky white glass, blending together in a powerful spiral from the base to the rim. This marbled band creates a dynamic diagonal line on the side of the glass, and its greatest appeal is that the appearance of the design changes depending on the angle from which it is viewed. In particular, when looking into the glass from above (center of image), a swirling pattern can be seen toward the bottom, giving a sense of depth to the colors.\u003c\/p\u003e\n\u003cp\u003e The shape is a simple, slightly tall cylindrical tumbler with the soft roundness unique to hand-blown glass. The thick base provides stability and practicality by helping to keep drinks cold. The bright, sunny yellow and white contrast brings vibrancy and modern color to the dining table. This is a valuable set of six glasses that can be used for a wide range of occasions, from everyday use to special occasions.\u003c\/p\u003e\n\u003cul\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\u003eProduced by:\u003c\/strong\u003e Multiglass Co., Ltd.\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\u003eModel name:\u003c\/strong\u003e FTG Multiple Layer Glass\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\u003eProduction year:\u003c\/strong\u003e 1980s (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 box included\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli data-start=\"0\" data-end=\"151\"\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\u003eMaterial:\u003c\/strong\u003e hand-blown\u003c\/span\u003e glass\u003c\/li\u003e\n\n\u003cli data-start=\"0\" data-end=\"151\"\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\u003eDimensions:\u003c\/strong\u003e \u003cspan\u003eDiameter approx. 7.5cm x 5.5cm, height approx. 10.5cm\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\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\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":47067296399547,"sku":null,"price":18000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1177.jpg?v=1759592543"},{"product_id":"169","title":"Bizen Akae Sake Cup by Isezaki Mitsuru (伊勢崎満), Bizen Ware, Okayama Prefecture Important Intangible Cultural Property #169","description":"\u003cp data-path-to-node=\"29\"\u003eMitsuru Isesaki (1934–2011), the eldest son of the master craftsman Yozan Isesaki and a designated Intangible Cultural Property Holder for Okayama Prefecture, was a towering figure in the world of traditional Bizen ware. He dedicated his life to restoring the medieval \"Old Bizen\" style, serving as the spiritual backbone of the craft.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThis piece features \u003cb data-path-to-node=\"30\" data-index-in-node=\"20\"\u003eMitsuru’s signature alongside the \"Yozan\" seal\u003c\/b\u003e on its presentation box. Throughout his career, Mitsuru continued to use this prestigious family seal as the head of \"Yozan-gama,\" honoring the legacy of his father. It serves as a testament to his pride in his lineage and a guarantee of the authentic quality of the Isesaki family kilns.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eNotably, this \"Bizen Aka-e\" (red enamel) work is estimated to have been created during \u003cb data-path-to-node=\"31\" data-index-in-node=\"87\"\u003eMitsuru’s mature later years, from the late 1990s into the 2000s\u003c\/b\u003e, when his artistic sensibility reached its zenith. Having mastered the stoic, unglazed aesthetic of traditional Bizen, it is significant that the master chose to embrace the modern challenge of \"color\" in his final decades. He overcame the technical difficulty of bonding enamel to iron-rich Bizen clay through firing techniques refined over half a century, achieving a magnificent contrast between the earth's weight and the vivid red.\u003c\/p\u003e\n\u003cp data-path-to-node=\"32\"\u003eWithin the traditional brownish-brown of Bizen, this work harbors a modern tension. It represents the \"final destination\" of Mitsuru Isesaki—a master who upheld a prestigious name while maintaining a forward-looking, timeless sensibility. This is a masterpiece of exceptional historical and artistic value.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIsezaki Mitsuru (伊勢崎満, 1934-2011)\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eNotable Achievements: \u003c\/strong\u003e1961 Sanyo Shimbun Prize at the Okayama Prefectural Exhibition, 1966 First selection for the Japan Traditional Crafts Exhibition, 1972 Grand Prize at the Chunichi International Ceramic Art Exhibition, 1973 Japan Ceramic Society Award, 1984 Okayama Prefecture Cultural Encouragement Award, 1994 Sanyo Culture Award, 1998 Designated a Holder of Okayama Prefecture Important Intangible Cultural Property for Bizen Ware Production Techniques.\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Victoria and Albert Museum (UK); British Museum (UK), among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Circa 1990s to early 2000s\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks) \u003cbr\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6 cm, diameter approx. 5.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePlease note: \u003c\/strong\u003eAlthough these items are in unused condition, they are vintage pieces and are listed as second-hand. Please understand that items may show characteristics of aging, and we encourage you to review all details before purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47477934129339,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4540.jpg?v=1772272950"},{"product_id":"179","title":"Fukuda Rikisaburo (福田力三郎), Iron-Glaze Polychrome Bamboo Design Tea Bowl, The Supreme Whisky Ceramic Whisky Tumbler #179","description":"\u003cp data-path-to-node=\"19\"\u003eFukuda Rikisaburo (1912-1993) was a legendary guardian who, for over half a century alongside the great Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, protected the sacred \"fire\" and \"earth\" of Mashiko pottery. This work, \"Tea Bowl with Iron-Glaze Polychrome Bamboo Design,\" transcends the scope of a mere apprentice's work; it is a masterpiece that represents the culmination of Fukuda's late-career artistry, fully embodying the essence of the Hamada Folk Craft (Mingei) movement. Apprenticing with Hamada Shoji in 1925 at the age of 13, Fukuda served his entire life as the chief workshop manager (Banto), the most trusted pillar of Hamada’s studio. His style, distinct from his teacher’s flamboyant artistry, distills a \"sincerity to the earth\" and \"beauty in utility\" that can only be achieved by a craftsman dedicated to the front lines of production.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe highlight of this piece is the bold yet delicate technique of \"Tetsu-e Kasai\" (iron-glaze with added polychrome) applied to the surface. Painted without hesitation over traditional Mashiko persimmon (Kaki) and rice husk (Nukajiro) glazes, the bamboo leaf design captures a fleeting moment of vitality swaying in the wind. These brushstrokes possess the robust power of a man who touched clay and conversed with fire daily for decades. The profound dark brown of the iron-glaze and the depth of the added colors create a magnificent contrast with the rustic texture of the Mashiko earth, bringing a spiritual depth to the entire vessel. Connoisseurs will be particularly impressed by the substantial \"heft\" and the mastery of the firing. As the manager of the studio’s climbing kiln, Fukuda understood the nature of fire perfectly, allowing him to achieve a degree of glaze melt that feels like a powerful, uncalculated force of nature. The moment you hold it, you feel the substantial weight and warmth of the earth. This texture, combined with the subtle flare of the rim and the depth of the bowl, elevates its functional perfection to the highest degree.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThere is a deliberate reason we propose this masterpiece as the \"Supreme Ceramic Whisky Tumbler.\" Originally, a tea bowl is a \"vessel for fragrance\" designed to maximize the aromatic experience. Its wide interior and calculated diameter allow the complex aromas of aged spirits—especially whisky—to open up more luxuriantly than in a standard glass, delivering the scent directly to the palate. The deep tones of the persimmon glaze and the powerful iron-glaze design resonate with bold single malts, such as a long-aged Macallan from sherry casks or a peaty Lagavulin. The heavy Mashiko earthenware gently embraces the musical sound of amber liquid swirling against ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003ePouring a fine Western spirit into a treasure of Japanese Kōgei creates a \"fusion of Eastern and Western cultures\" that defines the essence of modern luxury. Because Fukuda dedicated most of his life to assisting his master, works bearing his own signature—especially tea bowls of this caliber—are exceedingly rare. When the scent of the earth blends with the matured aroma of whisky, a unique time flows where Showa-era craftsmanship and contemporary sensibility intersect. Feeling the history of the Mingei movement at your fingertips while enjoying amber-colored moments—this piece promises an intellectual and elegant lifestyle.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Fukuda Rikisaburo (福田力三郎, 1912-1993)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"38\"\u003eKey Activities:\u003c\/b\u003e The very first apprentice of Living National Treasure Hamada Shoji. From the age of 13, he served as the chief manager (Banto) of the Hamada Workshop, overseeing all aspects of production and firing for his entire career. He embodied the spirit of Hamada Folk Craft on the front lines and was revered as the \"Craftsman among Craftsmen.\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"391\"\u003eAwards:\u003c\/b\u003e [1972] Honored as Tochigi Prefecture Cultural Contributor, [1984] Recipient of the Shimotsuke Prefectural Citizen's Award, etc. Recognized for his vast contributions to regional culture and his dedication to teaching younger generations.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"637\"\u003eMuseum Collections:\u003c\/b\u003e Mashiko Museum of Ceramic Art, Japan Folk Crafts Museum (Tokyo), Tochigi Prefectural Museum of Fine Arts, Hamada Shoji Memorial Mashiko Sankokan Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"815\"\u003eProduction Period:\u003c\/b\u003e 1980s (Estimated). Believed to be a masterpiece from his later years, when he transitioned from being the workshop foreman to holding solo exhibitions and perfecting his unique iron-glaze style.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1029\"\u003eCondition:\u003c\/b\u003e Very Good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1072\"\u003eAccessories:\u003c\/b\u003e Comes with original signed wooden box (Tomobako)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1134\"\u003eMaterial:\u003c\/b\u003e Ceramic (Iron-glaze polychrome \/ Mashiko Ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1191\"\u003eDimensions:\u003c\/b\u003e Height approx. 7.8 cm, Diameter approx. 11 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1249\"\u003eNote:\u003c\/b\u003e Please note that all products, even those in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47518571430075,"sku":null,"price":18000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4938_result.jpg?v=1774140824"},{"product_id":"188","title":"Hagi Ceramic Artists Association Regular Member \/ Genius of Ultra-Robust Oni-Hagi Born from Re-Firing: Kuroda Gaku (黒田岳), Hidasuki (Yohen \/ Kiln-Mutated) Sake Vessel, Hagi Ware Rock Glass for Western Spirits #188","description":"\u003cp data-path-to-node=\"15\"\u003eBorn in Nagano Prefecture in 1946 and having blossomed his unique artistry in Hagi City, Yamaguchi Prefecture—a ceramic capital boasting over 400 years of proud tradition—Kuroda Gaku is a highly talented Hagi ware artist recognized as a prestigious Regular Member of the Hagi Ceramic Artists Association. Currently based at his Nanchi Kobo studio in Yamada, Hagi City, he continues his ceramic creation with a deep reverence and philosophy toward clay and fire, stating, \"These are pieces fired during my days of wandering back and forth between the clay, the fire, and myself. The clay, which had been sleeping for hundreds of millions of years, might look a bit annoyed after facing such intense heat...\" His overwhelming solo exhibition activities and works, which effortlessly leap over the boundaries of tradition, are extremely highly acclaimed as an exceptional presence by vessel collectors and discerning buyers across the country.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003e\u0026nbsp;The greatest feature of this piece, and what has become Kuroda Gaku's signature, is the overwhelming texture of Oni-Hagi, which is meticulously controlled through his unique technique. Oni-Hagi is a traditional technique that possesses a highly rugged and dynamic texture, created by boldly mixing coarse sand into the traditional Hagi clay, such as Mishima clay, and then applying a straw ash glaze before firing. What deserves special mention is Kuroda's insatiable commitment to re-firing, a process where the vessel is fired again at a high temperature after its initial regular firing. This triggers a violent chemical reaction (yohen, or kiln mutation) inside the kiln, causing a diverse array of beautiful colors—such as gentle and soft cream, pink, and sometimes mysterious blue—to appear on the surface of the vessel like a painting. Furthermore, this thorough firing process completely overcomes the historical weakness of traditional Hagi ware, which is typically fired at lower temperatures and is somewhat fragile. He has successfully achieved both sufficient strength to withstand use as tableware and modern barware, and a layer of incredibly beautiful penetrations (crazing) in the slip at the same time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eWe propose this vessel, which possesses both definitive authority and ultra-robust strength, as the ultimate rock glass for savoring Japanese whisky, scotch, or bourbon, allowing you to boldly float a large block of ice. Distinct from rugged unglazed yakishime ware that uses no glaze at all, the texture of the fine crazing on the firmly fired Oni-Hagi fits the palm of your hand with surprising comfort from the moment you hold it, bringing a gentle warmth and a pleasing sense of weight suitable for an executive. The noble amber color of the whisky resonates beautifully with the complex color gradations born from the kiln mutation and the powerful scorch marks visible in places, giving an overwhelming three-dimensional depth inside the glass. Furthermore, through the greatest charm of Hagi ware, known as the Seven Transformations of Hagi (Hagi no Nanabake), the sake slowly seeps into the cracks (crazing) of the vessel over years of use, allowing you to enjoy the moving experience of watching the color and texture of the vessel gradually deepen and evolve as a lifelong companion without worrying about its strength. It is truly a refined, one-of-a-kind, ultimate sake vessel that harmonizes with a contemporary lifestyle.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kuroda Gaku (黒田岳, 1946- )\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"29\"\u003eArtist's Major Activities:\u003c\/b\u003e A Hagi ware artist born in Nagano Prefecture in 1946. Established his Nanchi Kobo studio in Hagi City, Yamaguchi Prefecture. Evolved the traditional Hagi clay blending and established the Oni-Hagi method, which extracts powerful expressions and strength far surpassing regular Hagi ware by repeatedly firing the piece after its initial firing. His high level of technique and unique artistry have been publicly recognized, leading to his designation as a prestigious Regular Member of the Hagi Ceramic Artists Association. He expands his energetic solo exhibition activities centering on department stores and galleries nationwide, establishing a solid position in the contemporary Hagi ware world.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"755\"\u003eProduction Period:\u003c\/b\u003e 1990s to 2000s (The mature period as a Regular Member of the Hagi Ceramic Artists Association) *This piece is a masterpiece symbolizing the golden era of his artistry, where his unique Oni-Hagi technique of repeatedly firing after the initial firing was perfected, beautifully fusing the ultimate yohen kiln mutation beauty where pinks and blues intricately intersect with a dignified structural beauty that powerfully tightens a modern table setting.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1226\"\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=\"1269\"\u003eAccessories:\u003c\/b\u003e Tomobako (Original signed wooden box), Ukon-nuno (Wrapping cloth)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1348\"\u003eMaterial:\u003c\/b\u003e Pottery (Hagi ware, Oni-Hagi, Yohen glazed color)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1408\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 7 cm, Height approx. 7 cm (approximate guide)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1489\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if new and unused, are from a very old production period and are listed as used. Items may have age-related damage, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47537146396859,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5087_result.jpg?v=1774141573"},{"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":"214","title":"Okayama Prefecture Important Intangible Cultural Property Holder, Yoshimoto Tadashi (吉本正), Hidasuki Bizen Ware Beer Cup (Bakushunomi), Authentic Heritage Work of Master Kei Fujiwara #214","description":"\u003cp data-path-to-node=\"8\"\u003eWe are pleased to introduce a work by Yoshimoto Tadashi (1943-), a leading figure in contemporary Bizen ware, who apprenticed under Living National Treasure \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E5%8E%9F%E5%95%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKei Fujiwara\u003c\/a\u003e for 19 years and inherited his spirit and techniques in their purest form. Mr. Yoshimoto was recognized as a holder of Okayama Prefecture's designated Important Intangible Cultural Property in 2007 and was also selected as an honorary citizen of Bizen City in 2025, making him a truly representative artist of the Bizen ware world in both name and reality. His works are housed in major museums worldwide, including the Sèvres National Ceramic Museum in France, establishing his artistry on an international standard. This piece is a condensation of Mr. Yoshimoto's exceptional skills, featuring the bold forms inherited from his mentor, alongside the refined order achieved through his signature tatara (slab-building) and hand-shaping techniques.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe most striking feature of this work is the vivid hidasuki pattern that adorns its surface. Hidasuki is a traditional Bizen ware decorative technique where rice straw is wrapped around the vessel before firing; the interaction between the flames and the clay causes vibrant scarlet streaks to emerge on the surface. As seen in the accompanying images, dynamic red lines, as if meticulously planned, run across the rustic brown surface of the natural clay, revealing a beauty that seems to imprison the memory of fire within the static vessel. Furthermore, the tactile quality of the hand-formed texture, reminiscent of the tatara technique that led to Mr. Yoshimoto receiving the Okayama Prefectural Cultural Encouragement Award, provides a feeling that adheres to the palm and a pleasant sense of weight. This is a direct manifestation of the artist's thoughts in his fingertips, something mass-produced items can never replicate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eOur shop suggests this vessel, originally crafted for enjoying beer, as a special sake cup for savoring amber-colored aged sake or matured Japanese whisky. Bizen ware, fired for extended periods at temperatures exceeding 1200 degrees Celsius without glaze, contains minute pores. These pores are said to interact with the components in liquids, mellowing their flavor. When whisky is poured, the scarlet of the hidasuki resonates with the golden hue of the liquid, and the rough texture of the clay visually and tactilely softens the alcohol's bite, offering an ultimate tasting experience that allows for a deeper and more contemplative enjoyment of the aged aroma born from the accumulation of time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eWhile the works of holders of Okayama Prefecture's Important Intangible Cultural Property are firmly established as art objects in Japan due to their rarity and technical foundation, information regarding the background of such artists and precise explanations of their techniques is often scarce in overseas markets. Therefore, a piece of exceptionally high quality like this one is highly prized. This work, imbued with the soul of Yoshimoto Tadashi, who trained for 19 years under the great Living National Treasure Kei Fujiwara, preserving tradition while continuously pursuing refinement that blends with modern spaces, will transcend the realm of mere tools and become a bridge connecting the joy of ownership with history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yoshimoto Tadashi (吉本正, 1943-)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist's Major Activities: \u003c\/strong\u003e[From 1964] Apprenticed under Living National Treasure Kei Fujiwara (19 years) [1975] Became independent, [1986] Received Okayama Prefectural Cultural Encouragement Award, [1988] Received Kaneshige Toyo Award, [2007] Recognized as a holder of Okayama Prefecture's Designated Important Intangible Cultural Property \"Bizen Ware Production Techniques,\" [2025] Selected as an Honorary Citizen of Bizen City. Regular member of the Japan Kōgei Association.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eWorks Housed At: \u003c\/strong\u003eSèvres National Ceramic Museum (France), Bizen City Museum of Bizen Ware, Okayama Prefectural Museum of Art, etc.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e 2010s (estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (original signed wooden box), Ukon-nuno (wrapping cloth), Shiori (informational brochure)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Bizen ware, hidasuki)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 13.2 cm, Mouth diameter approx. 9.6 cm, Body diameter approx. 12.6 cm, Base diameter approx. 6.1 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll products offered by our shop, even if new and unused, are from a very old production period and are listed as used items. The product may have age-related damage, so please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695921643707,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6460_result.jpg?v=1778895665"},{"product_id":"250","title":"Pitcher \/ Water Jug with Grape Design in Iron Painting and Green Coloring by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #250","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a pitcher (water jug) by Takeda Toshio (b. 1932), a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture. After studying ceramics at Kanazawa College of Art, Takeda honed his craft in Kyoto and Kanazawa, and also studied under \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e, who would later be designated a Living National Treasure. Since 1964 he has continued to make ceramics at the kiln he built in Mashiko, Tochigi Prefecture. His work has been accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Ceramic Art Exhibition and the Japan Traditional Kogei Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and then entered the collection of The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece has the robust, warm presence of a pottery vessel. We propose it as a water jug for pouring a chaser alongside koshu (aged sake) or water for adding to drinks, and also as a serving vessel that graces the table at any gathering over drinks.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to Takeda’s record of his ceramic career, he graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e, then a professor at Kanazawa College of Art. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. In 1969 (Showa 44) his work was accepted into the Japan Traditional Kogei Exhibition. In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. This entry was selected for a touring exhibition in Canada and the United States and was later purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya. Furthermore, in 1990 his “Bowl with Grape Design in Iron and Copper Decoration” was accepted into the 37th Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe work that can be confirmed as a representative piece attesting to Takeda’s standing is this “Bowl with Grape Design in Iron and Copper Decoration.” Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. This piece takes the grape as its subject, with green coloring layered over an iron-painted design to compose the pictorial field. In both subject and composition, it displays a style in common with his representative work accepted into the Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn the grape design that takes center stage in this work, the vines and fruit are drawn in free-flowing, powerful iron-painted brushwork. The green leaves layered over them create a vivid contrast against the white ground. Because the grapevine bears its fruit in abundant clusters, the grape has long been cherished as an auspicious motif symbolizing bountiful harvests and the flourishing of future generations. The lower body, the handle and the inner rim are glazed separately with an iron glaze that fires to tones ranging from deep chocolate brown to black. This clear contrast with the painted areas on the white ground lends the whole work a sense of visual stability. The handle and spout are joined to a wheel-thrown body, making the piece substantial yet comfortable to hold, and it is also practical to use as a pouring vessel.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnlike mass-produced ware, this is a one-of-a-kind piece that has passed through the artist’s own hands. Very little information on Takeda Toshio’s work circulates outside Japan, and opportunities to encounter examples such as pitchers are especially limited. The piece comes with its tomobako (the original box inscribed by the artist) and a shiori, a leaflet recording the artist’s ceramic career.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi in Sano, Tochigi Prefecture, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko, Tochigi Prefecture, and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, entry selected for the touring exhibition in Canada and the United States and added to the collection of The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e1990s (estimated; the career history in the leaflet runs to the 37th Japan Traditional Art Crafts Exhibition in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (box inscribed by the artist), shiori (leaflet recording the artist’s ceramic career)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Pottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 20 cm, width approx. 22 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47823832580283,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6734_result.jpg?v=1779248775"},{"product_id":"254","title":"Bizen Sake Cup by Takahara Shoji (高原昌治), Artist with Works in the Frankfurt Museum Collection, Trained Under Two Holders of Important Intangible Cultural Properties, With Ascending Kiln Natural Ash Glaze Melting Traces, Shot Glass #254","description":"\u003cp data-path-to-node=\"22\"\u003eWe are pleased to introduce a very rare sake cup (guinomi) by Takahara Shoji (1941-2000), a master Bizen ware artisan born in Okayama Prefecture in 1941. He boasts a brilliant record, including receiving the \"Sanyo Shimbun Award\" for two consecutive years in 1967 and 1968 at the Japan Crafts Association's Eastern Chugoku Branch Exhibition, and being selected for the \"1st Japan Ceramic Art Exhibition,\" the pinnacle of contemporary ceramic art, in 1971. In 1987, his work was publicly acquired and permanently stored by the Museum Angewandte Kunst (Frankfurt, West Germany at the time). As a deceased artist who passed away at the young age of 59, the supply of new works to the market has completely ceased, making his creations increasingly rare in the art market. We propose this supreme Japanese craftwork, with its undeniable history and prestige, to the world as a vintage premium sake vessel for savoring aged amber sake or premium Japanese whisky neat.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eThe fundamental artistic value of Shoji\u0026nbsp;Takahara lies in his exceptionally privileged and legitimate lineage, having directly inherited techniques from two top-tier Bizen ware masters of different styles. In 1958, he apprenticed under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e (1902-1961), a holder of Okayama Prefecture's Important Intangible Cultural Property, and deeply absorbed the sculptural sense of intricate ceramic carving and three-dimensional craftsmanship. Then, in 1962, he apprenticed under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e (1899-1964), also a holder of Okayama Prefecture's Important Intangible Cultural Property, thoroughly mastering Furo's signature excellent throwing (rokuro) technique. The reason Takahara's works are most highly praised by experts is precisely this exquisite balance achieved by integrating Yozan's three-dimensional spatial understanding in his detailed works with Furo's precise and confident lines on the potter's wheel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eA professional and detailed analysis of the piece confirms that the transcendent technique inherited from two great masters and the drama of the climbing kiln (noborigama) firing are clearly manifested across the entire surface of the vessel. In terms of form, the vessel retains the beautiful yet powerful wheel-throwing marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm of your hand. Without the use of any glaze, the external appearance (keshiki) is expressed with extraordinary density through the sharp contrast of authentic, traditional Bizen firing effects—such as yohen (natural kiln transformation), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eParticularly noteworthy is the design on the inside of the sake cup. Near the bottom interior, several small, dark, glossy spots can be observed. These are not stains or defects from artificial glaze, but rather genuine natural scenery called \"natural glaze fusion marks\" (technically referred to as black sesame spots or early fusion marks of \"Bidoro\" glass). These occur when the ash of red pine, the fuel, completely vitrifies and melts as a liquid onto the clay surface in pinpoint locations within the Bizen climbing kiln at extreme temperatures exceeding 1200 degrees Celsius. In Bizen ware, an aesthetic of subtraction that uses no glaze whatsoever, these glossy spots are the very \"memory of fire,\" vividly conveying the intense convection of flames, the placement of the work within the kiln, and the moment of extreme heat management. They are an important highlight that further enhances the work's appreciation value and prestige.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eOn the bottom of the vessel, Takahara's unique potter's mark, a deformed character \"Sho\" (昌) deeply carved with a spatula to prove his authorship, is clearly visible. Furthermore, the complete set includes a tomobako (wooden box) with the artist's own fluid brush calligraphy \"Bizen Sake Cup Shoji\" and an official red seal, along with a bookmark detailing his ceramic history at the time. This pristine condition serves as decisive evidence guaranteeing its authenticity and artistic value. Please fully enjoy this unique crystallization of Japanese traditional craftsmanship, which embodies the spirit of a master artisan in his most energetic period, marked by two consecutive major awards, as a privileged everyday companion for savoring exquisite sake.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakahara Shoji (高原昌治, 1941-2000)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist's Major Activities: \u003c\/strong\u003e[1958] Apprenticed under Isezaki Yozan, holder of Okayama Prefecture's Important Intangible Cultural Property; [1962] Apprenticed under Ishii Furo, holder of Okayama Prefecture's Important Intangible Cultural Property, selected for the Japan Crafts Association's Eastern Chugoku Branch Exhibition; [1965] Established his own climbing kiln and became independent; [1967 \u0026amp; 1968] Received the Sanyo Shimbun Award for two consecutive years at the Japan Crafts Association's Eastern Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the United States for ceramic research; [1987] Work publicly acquired by the Museum Angewandte Kunst (Frankfurt, West Germany at the time).\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eWorks Held By: \u003c\/strong\u003eMuseum Angewandte Kunst (Germany), among others.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eEarly 1970s (estimated peak period immediately after selection for the 1st Japan Ceramic Art Exhibition)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks, natural glaze fusion marks from the climbing kiln visible on the interior, slight opening of the clay boundary on the surface as a characteristic of the work)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (wooden box with artist's handwritten signature and seal), wrapping cloth, bookmark\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u0026nbsp;\u003c\/strong\u003ePottery (Bizen ware - Kiln change, Sangiri, Hidasuki, Natural glaze fusion marks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.3 cm, Mouth diameter approx. 6.0 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll products offered by our store, even if unused, are from a very old production period and are listed as pre-owned. Please be aware that products may have damage due to age, and consider this before making a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47835534950587,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6829_result.jpg?v=1779457727"},{"product_id":"264","title":"Award Recipient at the Shinbi Kogei-kai Exhibition and Selected Artist for the Suntory Museum of Art Grand Prize Exhibition, Kitagawa Hiroyuki (北川宏幸), Yakishime Stamped Pattern Three-Footed Water Dropper, High-End Water\/Whisky Dropper #264","description":"\u003cp data-path-to-node=\"3\"\u003eThis piece is a yakishime water dropper featuring a stamped pattern and a three-footed design, crafted by Kitagawa Hiroyuki (1955–2017), a master craftsman who underwent four years of rigorous training as a live-in inner disciple under \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E7%9B%9B%E5%BA%B7%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Moriyasu\u003c\/a\u003e, a world-renowned master of Tenmoku and iron glazes. Among traditional water droppers used to pour water into inkstones in Japanese calligraphy culture, this piece is extremely rare, featuring a unique three-footed design. We proudly propose it as a premium water dropper or whisky dropper to enhance contemporary luxury bar experiences. When savoring rare aged spirits that have transformed over time into a deep amber hue, exuding rich aromas and mellow richness, or enjoying a carefully selected whisky with ice, just a few drops of water added with this vessel will intensely unlock the true fragrance of the drink, making it an ultimate tool for connoisseurs. This vessel, which elevates traditional East Asian forms into practical art for modern lifestyles, offers a supremely luxurious experience for international collectors and discerning guests.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eKitagawa Hiroyuki, the artist, was born in Kyoto Prefecture and inherited the artisanal spirit of his grandfather, a master bamboo craftsman. He was a talented ceramic artist of Kyo-yaki and Kiyomizu-yaki, fusing traditional techniques with a contemporary sensibility. While studying at Kyoto Zokei Geijutsu Gakuin (Kyoto Institute of Design), he apprenticed under Kimura Moriyasu in 1977, learning a strict aesthetic, and continued to train under him for four years. Concurrently, in 1978, he graduated from the molding department of Kyoto Prefectural Ceramics Vocational Training School, mastering highly precise potter's wheel forming techniques. After opening his own kiln, Tobo Yasaburo, in Tsuzuki-gun, Kyoto Prefecture in 1987, he rose to prominence, starting with his selection for the Asahi Modern Craft Exhibition and the Shinsho Kogei-kai Exhibition in 1988, and again for the Asahi Modern Craft Exhibition in 1991. Furthermore, in 1992, he achieved the remarkable feat of being selected for the highly prestigious Suntory Museum of Art Grand Prize Exhibition '92: Challenging Forms, and was also successively selected for the Sapporo Art Park Craft Exhibition, the Asahi Ceramics Exhibition, and the Kyoten. Afterward, he continued to achieve brilliant results in major public exhibitions at the forefront of contemporary crafts, receiving the Encouragement Award at the Shinbi Kogei-kai Exhibition in 1995 and the Shimpō Kogyo Award at the same exhibition in 1997. Due to his sudden passing at the young age of 62 in 2017, all existing works are his posthumous creations, making it absolutely impossible for new pieces to be produced in the future, thus possessing extremely high rarity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eThe essence of Kitagawa's pottery lies in his highly skilled control of iron glazes and various slip glazes inherited from his mentor, and his meticulous yakishime technique, expressed with overwhelming precision as its foundation. Generally, yakishime is a simple technique where the clay itself is fired at high temperatures without any glaze. However, the greatest excellence of his work lies in meticulously covering the surface with fine granular patterns by precisely timing the firing just before the clay dries and repeatedly making countless accurate indentations. In addition to this painstaking manual work, the natural ash glaze created by wood ash falling naturally during kiln firing combines to produce a serene and modern landscape as intended, involving an extremely difficult firing process.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA detailed examination of the aesthetic beauty of this piece reveals that these advanced techniques and the artist's dedication are fully realized within this small spherical form. The minuscule stamped patterns, meticulously etched across the entire surface without any deviation, create delicate shadows when light hits them and convey a uniquely pleasant, adhering texture when held. Furthermore, the three feet placed at the bottom, a special and notable design in this work, carry a very high risk of causing cracks at the joint with the main body or wobbling after firing due to differences in shrinkage rates during drying and high-temperature firing. The forming technique that allows these to stand perfectly horizontally without any distortion is nothing less than proof of the high-precision craftsmanship he cultivated during his vocational school days. This three-footed style evokes an elegant dignity reminiscent of classical East Asian vessel aesthetics, and when placed on a bar counter, it slightly elevates the vessel, creating beautiful three-dimensional shadows and exuding a special presence. Additionally, the natural ash that fell during the intense flames of the climbing kiln perfectly integrates with the clay surface, partially creating subtle green and dark brown gradations from the natural glaze, thus capturing the dramatic moment where fire and earth become one within the vessel. The bottom of the vessel is engraved with the signature \"Hiro\" (宏), indicating it is an authentic work by the artist, and it comes with a dedicated tomobako (wooden box signed and sealed by the artist himself), a wrapping cloth, and a booklet showing his detailed pottery chronology, all intact. It is a complete piece in very good condition without any chips or cracks, possessing an unwavering asset value as a supreme Japanese craft piece that is extremely difficult to obtain overseas.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kitagawa Hiroyuki (北川宏幸, 1955-2017)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"38\"\u003eArtist's Representative Activities:\u003c\/b\u003e [1977] Graduated from Kyoto Zokei Geijutsu Gakuin, selected for the Kyoto Craft Exhibition, [1978] Graduated from Kyoto Prefectural Ceramics Vocational Training School, [1987] Opened the kiln \"Tobo Yasaburo\", [1988] Selected for the Asahi Modern Craft Exhibition and the Shinsho Kogei-kai Exhibition, [1991] Selected for the Asahi Modern Craft Exhibition, [1992] Selected for the Suntory Museum of Art Grand Prize Exhibition '92: Challenging Forms, selected for the Sapporo Art Park Craft Exhibition, the Asahi Ceramics Exhibition, and the Kyoten, [1995] Received the Encouragement Award at the Shinbi Kogei-kai Exhibition, [1996] Selected for the Nissin Men-bachi Grand Prize Exhibition, [1997] Received the Shimpō Kogyo Award at the Shinbi Kogei-kai Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"852\"\u003eWorks in Collection:\u003c\/b\u003e Kyoto Ceramic Center (special exhibition - selected ceramic artists), etc. \u003cb data-path-to-node=\"15\" data-index-in-node=\"948\"\u003eProduction Year:\u003c\/b\u003e Circa 2010 (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"988\"\u003eProduct Condition:\u003c\/b\u003e Very Good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1039\"\u003eAccessories:\u003c\/b\u003e Dedicated tomobako (wooden box) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1093\"\u003eMaterial:\u003c\/b\u003e Pottery (Yakishime with natural ash glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"1146\"\u003eDimensions:\u003c\/b\u003e Height approx. 7.5 cm, Width approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAlthough the products we offer may be new and unused, they are from a very old production period and are all listed as used items. Products may have damage due to age, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47881782034619,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7323_result.jpg?v=1780464121"},{"product_id":"266","title":"Hida Takayama Traditional Craft, Shibukusa Ryuzo VI (六代 渋草柳造), Koitozaka Irabo Glaze Ba-jou-hai Footed Cup \/ Shot Glass #266","description":"\u003cp data-path-to-node=\"26\"\u003eThis is a Koitozaka Irabo-glazed footed cup (Ba-jou-hai), directly crafted by Shibukusa Ryuzo VI (Birth name: Soshiro Toda), a master craftsman who carries on the legitimate lineage of Shibukusa ware, a traditional craft that has been continuously passed down in Hida Takayama, Gifu Prefecture, from the late Edo period to the present day. Its small size fits comfortably in the hand, and we propose it as a premium shot glass for enjoying Japan's excellent traditional crafts in a modern lifestyle. This piece holds the highest value as a vessel for savoring aged sake that has developed a rich amber color over time, possessing a profound, mellow aroma and a dense flavor, or for enjoying carefully selected whisky. Spending time enjoying exquisite sake in this vessel, which possesses overwhelming elegance as a work of art, offers a supremely luxurious experience for entertaining international collectors and discerning guests.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThe accompanying wooden box (tomobako) bears the elegant brushstrokes of \"Koitozaka\" on the right side, and Ryuzo's signature and seal on the left. The side of the box features Shibukusa Kobo's original green label, and the cloth wrapping the piece is stamped with the clear mark of Hida Shibukusa. These clearly prove that this work is an authentic piece created by Shibukusa Ryuzo VI.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eIn the history of Shibukusa ware, the fact that this piece is named Koitozaka and fired with this unique technique is extremely profound and dramatic. While Shibukusa ware began production in 1841 (Tenpo 12), its prehistory includes the year 1837 (Tenpo 7), when wealthy merchants from Takayama invited the renowned potter Toda Ryuzo from Seto. He established a kiln in Koitozaka, west of Takayama City, and began pottery production (the second period of Koito ware). Toda Ryuzo initially attempted to produce porcelain from local clay in Koitozaka, but due to the environment and technical difficulties of the time, he was forced to cease operations after only about five years. However, Ryuzo was later recalled by the Hida magistrate, successfully discovered high-quality pottery stone in the local mountains, and finally succeeded in producing porcelain. This marked the beginning of what is now Shibukusa ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eGenerally, Shibukusa ware is widely known for its porcelain pieces with splendid paintings on smooth white porcelain surfaces. However, the design and technique of this work hold a special meaning that sets them apart. For this vessel, instead of porcelain, a pottery base utilizing the texture of coarse clay is intentionally used, over which a yellowish-brown glaze with a slightly rough texture is applied. This is the very technique of Irabo glaze, the traditional basic glaze of Koito ware. Furthermore, the bold blackish-brown iron runs (tetsunagashi) applied over the glaze bake the powerful dynamism of the moment of chemical reaction with the flames in the kiln into the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eIn other words, the fact that Shibukusa Ryuzo VI intentionally named this footed cup \"Koitozaka\" and created it using the Irabo glaze technique, synonymous with Koito ware, tells us that this work expresses the utmost homage (historical respect) to the Koitozaka era—the origin of the founder Toda Ryuzo's challenging and difficult endeavors in pottery before successfully producing porcelain. This is an extremely rare and story-rich masterpiece that completely reproduces and fuses the beauty of the roots of Koito ware, another master craft of Hida Takayama, within the vessel, while utilizing the reliable technical skills of Shibukusa ware. This piece, which has been carefully preserved as a flawless complete item with its original box and original wrapping cloth, is a special sake vessel of museum-grade value, allowing international collectors to feel the profound depth of Japanese craft history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eShibukusa Ryuzo VI (六代 渋草柳造, Birth Name: Soshiro Toda)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003e[1946] Born in Takayama City, Gifu Prefecture; [1981] Succeeded as Shibukusa Ryuzo VI, establishing a unique and innovative style by incorporating refined Nihonga (Japanese painting) expressions into ceramic art, transcending traditional Shibukusa ware forms\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eHida Takayama Museum of Art, public institutions related to Takayama City, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1980s - 2000s (Maturity period after succeeding to Shibukusa Ryuzo VI)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (no chips, no cracks, some stains on box)\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box (tomobako), original wrapping cloth included\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Irabo glaze, iron run)\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.8 cm, Mouth diameter approx. 4.4 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Please note that all products offered by our store, even if brand new and unused, originate from a historic production period and are listed as pre-owned fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47881782165691,"sku":null,"price":11000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7665_result.jpg?v=1780832396"},{"product_id":"274","title":"Suntory Museum of Art Award Exhibition Finalist, Kitagawa Hiroyuki (北川宏幸), Yakishime Stamped Pattern Bajouhai, Ceramic Tasting Cup #274","description":"\u003cp data-path-to-node=\"17\"\u003eThis piece is a yakishime stamped pattern bajouhai (stem cup) that fully exhibits the exceptional sensibility and technique of Kitagawa Hiroyuki (1955-2017), a powerful potter of Kyo-yaki and Kiyomizu-yaki who left a brilliant mark in numerous major public exhibitions, including the Suntory Museum of Art Award Exhibition, which boasts an extremely high status in the contemporary art and craft world. This piece, meticulously crafted by the artist himself, comes with a dedicated wooden box (tomobako) secured with a Sanada cord, on the lid of which \"Yakishime Dakokumon Bajouhai\" is inscribed in ink by the artist's own hand, and on the back of the lid are the signatures of Yasaburo kiln and Hiroyuki, along with a vivid vermilion seal. The dignified form of the stem cup, with a height of approximately 8.8 cm and a mouth diameter of approximately 5.7 cm, conveys a refined presence the moment it is held, exuding an overwhelming presence as the ultimate Japanese kogei (craft) sake vessel (ceramic tasting cup) for slowly enjoying cold sake, special aged sake, or high-end spirits with large ice cubes. Kitagawa, who passed away suddenly in 2017 at the young age of 62, has no new works entering the market, making all existing pieces his life's legacy. This grants his works extremely high rarity and solid asset value for collectors both domestic and international.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe artist, Kitagawa Hiroyuki, was born in Kyoto Prefecture in 1955 and aspired to become a potter, deeply inheriting the craftsmanship spirit of his grandfather, a master of bamboo crafts. After graduating from the ceramics department of Kyoto Design and Arts College in 1977, he apprenticed under the master \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E7%9B%9B%E5%BA%B7%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Moriyasu\u003c\/a\u003e for four years, learning a strict sense of aesthetics. The following year, in 1978, he graduated from the molding department of Kyoto Prefectural Pottery Vocational Training School, where he acquired extremely precise wheel-throwing techniques. After establishing his own kiln, Tobo Yasaburo, in Tsuzuki District, Kyoto Prefecture, in 1987, he rose to prominence, beginning with his acceptance into the Asahi Modern Craft Exhibition and the Shinsho Kogeikai Exhibition in 1988. Furthermore, in 1992, he achieved the remarkable feat of being selected for the Suntory Museum of Art Award Exhibition '92 \"Forms to Challenge,\" which is extremely difficult to be selected for in the art world, and simultaneously continued to be selected for the Sapporo Art Park Craft Exhibition, the Asahi Ceramics Exhibition, and the Kyo-ten Exhibition. Thereafter, he continued to achieve brilliant results at the forefront of contemporary crafts, such as receiving the Encouragement Award at the Shinbi Kogeikai Exhibition in 1995 and the Shimpo Industrial Award at the same exhibition in 1997, and his excellent handiwork has been highly praised, including being selected for a special exhibition at the Kyoto Ceramic Art Hall.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eA professional analysis of the design and decorative beauty of this work reveals that it is a brilliant culmination of Kitagawa's profound understanding of iron glaze and mud glaze, meticulously controlled, and an accumulation of painstaking handiwork. The most distinctive feature of the vessel, and the technique for which he is most acclaimed, is the dakokumon (stamped pattern). This pattern is created by precisely stamping granular designs at an extremely delicate moment before the clay dries, bringing beautiful regularity to the upper and middle parts of the vessel. Furthermore, a warm reddish-brown mud glaze band is applied around the center of the vessel's body, on which green speckles and luxurious gold decoration are baked, creating a vibrant and modern contrast derived from Kyo-yaki within the rustic texture of the yakishime. Below this vivid band, a complex and organic carved pattern band, combining spatula marks and powerful indentations, extends, giving the tactile sensation an overwhelming depth. The base supporting the stem cup is finished with a lustrous, deep black iron glaze, smartly tightening the overall structure of the vessel. The entire interior of the vessel is beautifully coated with a unique metallic luster glaze that reflects light when sake is poured, creating an intriguing and beautiful shimmering effect. Inside the foot ring at the bottom of the vessel, a modern pottery seal, a stylized character of \"Hiro\" proving the artist's authenticity, is clearly stamped.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe production period of this work is presumed to be from the mid-1990s to around the 2000s, during the artist's prime in the middle to late stages of his career. The accompanying official artist's profile concludes with records of awards received in 1997 and regular solo exhibitions held since 1995, clearly indicating that this work was created after these dates. From a stylistic perspective, it perfectly blends the meticulous dakokumon (stamped pattern) and the multi-layered control techniques of mud glaze, iron glaze, and gold decoration, which were fully established after the opening of his kiln in 1987 and his selection for the Suntory Museum of Art Award Exhibition in 1992. This perfectly reflects the historical context of a period when high-class, one-of-a-kind sake vessels were actively showcased in art salons and department store galleries in major cities. This is a supreme piece of art and craft, in perfect condition without a single flaw, embodying the brilliance of a master craftsman's most mature moment, who passed away at a young age.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21,0,0\"\u003e\u003cb data-path-to-node=\"21,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Kitagawa Hiroyuki (北川宏幸, 1955-2017)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,1,0\"\u003e\u003cb data-path-to-node=\"21,1,0\" data-index-in-node=\"0\"\u003eArtist's Representative Activities\u003c\/b\u003e: [1977] Graduated from Kyoto Design and Arts College, Ceramics Department; Selected for Kyoto Craft Exhibition. [1978] Graduated from Kyoto Prefectural Ceramics Vocational Training School, Molding Department. [1987] Established \"Tobo Yasaburo\" kiln. [1988] Selected for Asahi Modern Craft Exhibition; Selected for Shinsho Kogeikai Exhibition. [1991] Selected for Asahi Modern Craft Exhibition. [1992] Selected for Suntory Museum of Art Award Exhibition '92 \"Forms to Challenge\"; Selected for Sapporo Art Park Craft Exhibition; Selected for Asahi Ceramics Exhibition; Selected for Kyo-ten Exhibition. [1995] Received Encouragement Award at Shinbi Kogeikai Exhibition. [1996] Selected for Nissin Menbachi Grand Prix Exhibition. [1997] Received Shimpo Industrial Award at Shinbi Kogeikai Exhibition.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,2,0\"\u003e\u003cb data-path-to-node=\"21,2,0\" data-index-in-node=\"0\"\u003ePublic Collections\u003c\/b\u003e: Permanently housed in public collections including the Kyoto Ceramic Art Hall (Special Exhibition, Selected Ceramic Artist Showcase), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,3,0\"\u003e\u003cb data-path-to-node=\"21,3,0\" data-index-in-node=\"0\"\u003eProduction Period\u003c\/b\u003e: Mid-1990s to around 2000s (estimated. Based on the artist's profile in the accompanying brochure and the maturity of the style, which shows perfect harmony of meticulous dakokumon, mud glaze, and gold decoration, it is presumed to be a valuable masterpiece from the middle to late period, during his prime era of solo exhibitions).\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,4,0\"\u003e\u003cb data-path-to-node=\"21,4,0\" 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=\"21,5,0\"\u003e\u003cb data-path-to-node=\"21,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Dedicated tomobako (wooden box), official artist's profile (brochure) included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,6,0\"\u003e\u003cb data-path-to-node=\"21,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (yakishime, mud glaze, iron glaze, gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,7,0\"\u003e\u003cb data-path-to-node=\"21,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Height approx. 8.8 cm, Caliber approx. 5.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"21,8,0\"\u003e\u003cb data-path-to-node=\"21,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products we offer are new and unused, they are from a very old production period and are all listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming this.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47931190280379,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7949_result.jpg?v=1781331719"},{"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":"287","title":"Restorer of the Legendary Meiji-Era Nishiura Ware: 5th-Generation Hiramasa Kiln Master Takagi Noritoshi (高木典利), Oribe Iron-Painted Wave and Bird Motif Sake Vessel #287","description":"\u003cp\u003eThis Oribe work is crafted by Takagi Noritoshi (born 1949), 5th-generation master of the Hiramasa Kiln in Mino, renowned for reviving the \"Yukasai\" (underglaze color) technique of the legendary Nishiura ware—a fine art ceramic produced in Tajimi during the Meiji period that won international acclaim before being lost to time. Inheriting a distinguished kiln lineage spanning five generations in Ichinokura-cho, Tajimi City, Gifu Prefecture, Takagi Noritoshi deeply pursued traditional Mino techniques and raw clay characteristics such as Shino, Oribe, and Ki-Seto while achieving the extraordinary feat of preserving heritage and restoring historical methods, earning high acclaim as a unique figure in the Mino ceramic art world.\u003c\/p\u003e\n\u003cp\u003eThis work represents a piece of E-Oribe (Narumi-Oribe) bearing the artist's handwritten inscription \"Oribe\" on its dedicated Tomobako. Featuring an elegant stemmed goblet form that opens outward like a morning glory from a dignified base, the entire body is finished in a warm white glaze laced with fine crackles. Expressed through energetic iron-brushwork, graceful wave motifs and soaring birds are painted with abstract graphic sensibility, while vibrant green copper glaze—the hallmark of Oribe ware—flows dynamically from the rim down the side. The interior of the stemmed base is also meticulously glazed with fine crackles and stamped with the artist's signature, resulting in a masterpiece that harmonizes traditional Oribe aesthetics with refined geometric form.\u003c\/p\u003e\n\u003cp\u003eOriginally possessing the dignified sculptural beauty of a futaoki (lid rest) used in tea ceremonies, we propose this vessel as a supreme Japanese Kogei sake vessel (stemmed goblet) for savoring aged sake, premium whisky, or Japanese sake in modern lifestyles. The moist, tactile feel of the raw clay when held, combined with the landscape created by the translucent green glaze and iron brushwork, elevates the act of pouring drinks into an extraordinary artistic experience. Identified as an authentic work created between 1985 and 1995—a period when his creative output as the 5th-generation master of Hiramasa Kiln matured and he actively pursued traditional Mino Oribe works—it arrives in pristine condition, complete with a dedicated Tomobako inscribed in ink and sealed by the artist.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTakagi Noritoshi (高木典利, 5th-Generation Hiramasa Kiln, born 1949)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003eInherited the 5th generation of \"Hiramasa Kiln\" in Ichinokura-cho, Tajimi City, Gifu Prefecture; created traditional Mino ceramics (Shino, Oribe, Ki-Seto); researched and revived the \"Yukasai\" (underglaze color) technique of the lost Meiji-era Nishiura ware over many years; held his first solo exhibition in Tajimi City in 2024\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1985–1995\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated Tomobako (with \"Oribe\" on the lid and \"Nori\" inscribed in ink with red seal on the lower left)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Mino ware, E-Oribe, iron-painted wave and bird motif, flowing green glaze, crackle glaze, stemmed goblet form)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 5.5 cm, Mouth diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli\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":47974193922235,"sku":null,"price":19000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9735_result.jpg?v=1784864061"},{"product_id":"296","title":"Otowayama Kiln, Sansei Sawamura Tosai (三世 澤村陶哉): Shiga Hino Anagama Fired Ash-Covered Unglazed Stoneware Sake Cup, Japanese Free Cup #296","description":"\u003cp data-path-to-node=\"16\"\u003eCreated by Sansei Tosai Sawamura (born 1951) of the Otowayama Kiln, born in Kyoto City, Kyoto Prefecture in 1951, this is an ash-covered unglazed stoneware sake cup woven by the flames and wood ash of a wood-firing kiln. The Sawamura Tosai lineage is a prestigious family of Kyo ware founded in 1919 (Taisho 8) by the first generation at the foot of Mount Otowa in Kiyomizu, Higashiyama Ward, Kyoto. Tosai II (born 1918) studied at the Japanese Painting Department of Kyoto City Specialist School of Painting and the National Ceramic Experimental Station, and was designated a National Technical Preservation Artist. Sansei Tosai studied under his father, Tosai II, and after completing ten years of rigorous kiln-firing and pottery training at the Gojobaka Communal Climbing Kiln starting in 1970, he succeeded to the name Sansei Tosai Sawamura in 1995. In 2004, he established the Garyu Kiln in Hino-cho, Shiga Prefecture, equipped with a climbing kiln and an anagama kiln, where he has pursued unglazed stoneware and natural ash glazes alongside traditional Kyo ware techniques. Our shop presents this creation, in which the dignity of traditional Kyo ware and the beauty of natural flames merge, to the global market not only as a traditional Japanese sake vessel, but also as a vintage free cup (Japanese shot glass) for quietly savoring the rich aroma and umami of amber aged sake or matured whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eObserving the details of this work reveals the true essence of haikaburi (ash-covered firing) embodied by Sansei Tosai through his anagama firing in Hino, Shiga. On the surface of the cylindrical form measuring approximately 6.5 cm in height and 5.5–6.5 cm in mouth diameter, gently flaring into a morning-glory shape, pine ash dancing inside the kiln during several days of continuous wood-firing fell onto the piece, melting at high temperatures to produce a dense deposit of yellow-green to yellow-brown natural ash glaze (haikaburi). While the ash-covered side takes on a vitreous luster, the opposite body and lower section display heavy scorched textures and fire-skin in dark brown and purplish-brown hues created by direct contact with wood flames and soot, constructing a dramatic interplay of light and dark unique to unglazed stoneware. From the interior base (mikomi) to the rim where the lips touch, the rustic warmth of clay and the smooth texture of natural ash glaze extend throughout, and the artist's oval seal reading \"Tosai\" is stamped on the bottom inside the foot ring.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the period of production, taking clues from Sansei Tosai building an anagama kiln (Garyu Kiln) in Hino-cho, Shiga Prefecture in 2004 and fully launching the creation and exhibition of unglazed stoneware and ash-covered works through anagama firing, it is identified as an authentic work produced from 2004 (Heisei 16) to circa the 2020s. The vessel itself has no cracks or chips, maintaining extremely good condition in natural glaze coloration, scorched texture, and raw clay state. It arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Haikaburi Sake Cup\" with a seal stamped, signed on the back of the lid \"Otowayama Kiln Tosai\" with a red seal, as well as a Tomonuno (wrapping cloth) with a red seal.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eSawamura Tosai (三世 澤村陶哉, 1951–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1970] Trained for 10 years at the Gojobaka Communal Climbing Kiln; [1995] Succeeded to the name Sansei Tosai Sawamura; [2004] Built a climbing kiln and an anagama kiln (Garyu Kiln) in Hino-cho, Shiga Prefecture and began creating unglazed stoneware pottery, holding regular solo exhibitions at Takashimaya and other venues\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 2004–2020s\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, Tomonuno included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Kyo ware, ash-covered unglazed stoneware, natural ash glaze, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.5 cm, Mouth diameter approx. 5.5–6.5 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":47974194348219,"sku":null,"price":23000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0821_result.jpg?v=1786435086"},{"product_id":"301","title":"British Museum \u0026 MOMAT Collection Artist - Okayama Prefecture Important Intangible Cultural Property Holder, Isezaki Mitsuru (伊勢崎満) - Anagama-Fired Bizen Guinomi Sake Cup with Signed Tomobako, Yohen \u0026 Goma Unglazed Stoneware, One-of-a-Kind #301","description":"\u003cp data-path-to-node=\"24\"\u003eThis is an exceptionally distinguished guinomi sake cup, representing the height of classic elegance, meticulously crafted by Isezaki Mitsuru, a master craftsman who significantly shaped the world of Bizen ware during the Showa era by restoring the medieval semi-underground anagama kiln and relentlessly pursuing the fundamental, primeval beauty of earth and fire. Isezaki Mitsuru was born into a highly respected lineage as the son of \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e, a celebrated master artisan designated as a holder of Okayama Prefecture’s Intangible Cultural Property. In 1998, Mitsuru himself was formally recognized as a holder of Bizen ware production techniques and certified as an Important Intangible Cultural Property holder by Okayama Prefecture, cementing his reputation as a premier giant of modern Bizen pottery. His single greatest contribution to ceramic history lies in successfully reviving the historical semi-underground anagama kiln—the exact firing environment used for ancient Bizen ware during the Muromachi and Momoyama periods—alongside his younger brother, \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E6%B7%B3%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Jun\u003c\/a\u003e, who is recognized as a Living National Treasure. Completely distinct from modern climbing kilns or automated gas kilns, the traditional anagama kiln presents extreme challenges in temperature control. Isezaki dedicated his creative life to this unpredictable environment, allowing the airborne wood ash from the red pine fuel and the intense, shifting torrents of flame to interact organically with the unglazed clay body, thus capturing a calculatingly elusive natural wonder within the physical form of the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis particular sake cup stands as a true masterwork, beautifully showcasing Isezaki Mitsuru's hallmark anagama yakishime (kiln-fired, unglazed) technique across its entire surface with mesmerizing visual contrast. On one half of the vessel, the melted ash from the burning red pine logs has settled to form \"kase-goma\"—a distinctive, matte, and dry-textured natural ash glaze that exudes a profound rustic charm. Conversely, the opposite side features \"yōhen\" (accidental kiln transformation) created by the dynamic passage of direct flames, which has painted a magnificent smoky coloration of warm scarlet and deep grayish-black across the moist, tactile clay surface. Creating such a sophisticated range of expressions solely through the raw elements of earth and fire, without relying on chemical glazes or painted pigments, requires several days of sleepless, intense kiln monitoring and represents the highest crystallization of a technique perfected over decades. The artist's genuine signature is carved with a spatula beside the foot rim as undeniable proof of authenticity, and on the exterior lid of the accompanying dedicated wooden box (Tomobako), the title \"Bizen Guinomi,\" the artist's personal signature \"Mitsuru,\" and his official vermilion seal (rakkan) are cleanly inscribed and stamped together in a unified composition. Furthermore, the inclusion of the original ceramic biography pamphlet detailing his career achievements up to 1984 (Showa 59) provides objective provenance, certifying this piece as a rare survivor from the early 1980s—the definitive golden era of Isezaki's anagama mastery.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eOur gallery proudly presents this historic vessel, whose sister works are permanently preserved within renowned international institutions such as the British Museum and the National Museum of Modern Art, Tokyo, as the ultimate expression of Japanese Kōgei. It is perfectly tailored to bring timeless refinement to a sophisticated modern lifestyle, allowing the collector to hold the heritage of Japan in the palm of their hand. The comfortable, compact proportion and the heavy, powerful structural form make it an incomparable premium vessel for savoring aged sakes, mature spirits, or fine whiskies that have developed a rich complexity and amber luminescence over long periods of cellaring. The contrast between the dry, organic texture of the wood ash and the smooth, moist glaze variations of the kiln transformation resonates beautifully with the spirit poured inside, elevating a quiet evening drink into a luxurious communion with a three-dimensional masterpiece of classic Japanese art.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIsezaki Mitsuru (伊勢崎満, 1934-2011)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003e[1961] Awarded the Sanyo Shimbun Prize at the Okayama Prefectural Art Exhibition; [1966] First selected for the Japan Traditional Crafts Exhibition (in the same year, restored the medieval semi-underground anagama kiln at Kuyasan with his brother, Isezaki Jun); [1972] Received the Grand Prize at the Chunichi International Exhibition of Ceramic Arts; [1973] Received the Japan Ceramic Society Award; [1984] Received the Okayama Prefectural Cultural Encouragement Prize; [1994] Received the Sanyo Culture Prize; [1998] Officially designated as a holder of Okayama Prefectural Important Intangible Cultural Property for Bizen ware production techniques\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Victoria and Albert Museum (London, UK); The British Museum (London, UK); and other major public fine art institutions\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1984 (specifically determined by the final recorded year, Showa 59, in the accompanying official documentation)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good (pristine condition with no chips or cracks, excluding the natural material characteristics and age-related maturation typical of antique and old fine art pieces)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (original signed and sealed artisan wooden box), original informational pamphlet detailing the artist's profile up to Showa 59\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Stoneware \/ Bizen ware, anagama unglazed yakishime, yōhen transformation, natural goma ash glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.5 cm, Diameter approx. 5.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Please be advised that all items curated by our gallery, even if unused, originate from a historic production era and are strictly categorized as antique\/collectible fine art. Vintage objects may display subtle age-related nuances; we kindly invite you to consider your purchase with a full understanding of the unique character of antique Japanese ceramics.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055746986171,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8601_result.jpg?v=1783739588"},{"product_id":"322","title":"Second-Generation Furai Kiln, Bizen Ware Artist Mori Taiga (森大雅): Unglazed Stoneware Yohen Free Cup, Sake Vessel, Guinomi, Rocks Glass #322","description":"\u003cp data-path-to-node=\"17\"\u003eInheriting the bloodline and traditional techniques of Furai Kiln, founded by his grandfather \u003ca href=\"\/en\/search?q=%22%E6%A3%AE%E9%A2%A8%E6%9D%A5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFurai Mori\u003c\/a\u003e—renowned as a master craftsman of Bizen ware—this unglazed stoneware free cup is created by Taiga Mori, a contemporary ceramic artist born in Bizen City, Okayama Prefecture in 1978. At Furai Kiln, Taiga Mori mastered the fundamental techniques of Bizen pottery, including the refining of carefully selected rice-field clay (tado) and wood-fired kiln firing. While inheriting the aesthetics of traditional tea ceramics and sake vessels, he has pursued a sharp, powerful sculptural beauty that harmonizes with modern spaces. Bizen ware uses no glazes or painted decoration whatsoever; by firing in a wood-burning kiln at temperatures exceeding 1,000 degrees Celsius over several days, it gives birth to coincidental beauty woven by the components within the clay, the flames, and the wood ash. Our shop presents this vessel, which condenses the strength of Japan's unglazed stoneware craft with over a thousand years of history, to the global market not only for sencha or everyday tea, but also as a vintage rocks glass (Japanese free cup) designed for slowly savoring aged sake or premium Japanese whisky with large ice cubes, enveloped in rich aromas matured through the years.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the details of this work reveals that the three-dimensional carving, powerful sculptural sensibility favored by Taiga Mori, and the diverse yohen (kiln transformation) scenery resulting from wood-firing are clearly manifested across the vessel. A horizontal, band-like ridge and depression are crafted around the center of the body; through manual carving and pressing after wheel-throwing, a bold, functional contoured form is created that fits the fingers naturally when held. The raw clay surface displays the warm reddish-brown hue characteristic of Bizen, while on one side of the body, minute goma (natural ash glaze) ranging from yellowish-brown to golden-green—formed by burned pine ash melting at high temperatures—appears as a beautiful accent. Furthermore, smoky dark brown shadows and vivid hiiro (scarlet fire marks) created by oxidation-reduction reactions within the kiln overlap one another, drawing a rich color gradation hard to imagine originating from a single clay. Inside the interior base (mikomi), swirling clay expressions and natural ash scorching spread out, while the bottom of the foot ring features powerful carved marks alongside the artist's own carved seal clearly incised.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is identified as an authentic work created between circa 2015 and 2022, when Taiga Mori established his unique three-dimensional sculpting and faceted\/tiered carving techniques at Furai Kiln, actively presenting works at major galleries and craft exhibitions nationwide, and reaching a mature stage in both sculptural beauty and firing technique. The vessel itself has no cracks or chips, maintaining the moist clay texture and yohen scenery unique to unglazed stoneware in extremely good condition.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Mori Taiga (森大雅, 1978–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [2000s] Began ceramic creation at Furai Kiln; [2010s–Present] Selected for the Japan Traditional Art Crafts Exhibition, received awards at the Okayama Prefecture Art Exhibition, and held numerous solo exhibitions at department stores and galleries\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Local exhibition facilities and private craft collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 2015–2022\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed stoneware, yohen kiln transformation, goma natural ash glaze, hiiro fire marks, carved seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 9.3 cm, Mouth diameter approx. 8.5–8.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115730907323,"sku":null,"price":29000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0494_result.jpg?v=1786023161"},{"product_id":"323","title":"Konishi Toko II (二代 小西陶古・小西光江, Konishi Mitsue), Bizen Ware Pair of Crescent Side Dishes \"A-UN\" with Hidasuki, Hand-Carved Craft Side Dishes #323","description":"\u003cp data-path-to-node=\"14\"\u003eThis is a pair of Bizen ware crescent-shaped side dishes crafted by Konishi Toko II (real name Konishi Mitsue, 1927–2018), a master who spanned the Taisho, Showa, and Heisei eras while inheriting the supreme skills of Konishi Toko I—renowned from the Taisho to early Showa eras as a master of intricate Bizen figural claywork (saikumono)—and preserving the proud tradition of the kiln. Konishi Toko II strictly maintained the highly complex fine clayworking techniques (sculptural carving and intricate shaping) and natural unglazed reduction firing knowledge directly handed down from the first generation, contributing deeply to the preservation and evolution of traditional craft until passing away at the age of 91. This set stands as a remarkable synthesis of refined artisanal precision and the raw power of earth and fire characteristic of Bizen ceramics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"15\"\u003eThe set consists of two crescent-shaped dishes featuring the raised Japanese characters \"A\" (あ) and \"UN\" (うん) in embossed relief. The concept of \"A-UN\" originates from the Sanskrit \"a-hūm,\" where \"A\" represents the open-mouthed first sound symbolizing the beginning of all creation, and \"UN\" represents the closed-mouthed final sound symbolizing the end. In Japan, this duality is famously depicted in paired guardian lions (Komainu) and Nio statues at temples and shrines. The phrase \"A-UN no Koshū\" (breath of A-UN) describes a state of perfect non-verbal harmony, mutual trust, and synchronized spirit between two individuals. This piece physically expresses this spiritual harmony through the contrast of two vessels: the \"A\" dish utilizes the Hidasuki technique, where rice straw wrapped around the clay reacts in the kiln to form vibrant reddish-brown streak lines, while the \"UN\" dish features a deep reddish Hiiro (fire color) tone formed by direct kiln flames across the raw stoneware. Both dishes are decorated with precise carved geometric line motifs using sculpting tools, harmonizing the signature Konishi family's fine clayworking prowess with contrasting natural kiln effects.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003eWe propose this pair of dishes, rich in traditional craftsmanship and cultural depth, as refined Japanese Kogei vessels for serving appetizers and side dishes paired with aged spirits, junmai sake, or whisky in modern lifestyles. The earthy texture of unglazed Bizen stoneware and the contrasting vermilion tones elevate presented food while bringing a sense of traditional Japanese aesthetic harmony to the table. Produced in limited quantities through delicate handwork during the second-generation era (1927–2018), this authentic pair bears the stamped mark \"Touko\" and comes with its original wooden box in exceptional condition.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eKonishi Toko II (二代 小西陶古・小西光江, real name Konishi Mitsue, 1927–2018)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003eStudied under Konishi Toko I (a master of intricate saikumono figural claywork) to inherit kiln traditions; Established signature Bizen unglazed reduction and fine carving techniques as the second generation of Konishi Toko Kiln; Awarded the Commendation for Persons of Distinguished Services to Traditional Craft Industries (Minister of Economy, Trade and Industry Award) by the Ministry of Economy, Trade and Industry in 2011; Contributed greatly to the preservation of traditional craft techniques and industrial promotion through the Bizen Pottery Artists Cooperative and other organizations\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003eCirca 1975–1995 (Peak mature era of Konishi Toko II)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\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=\"21\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eNone\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Bizen ware \/ Unglazed high-firing, Hidasuki straw markings, Hiiro fire color, carved line ornament, relief lettering)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eLength approx. 10.6 cm, Width approx. 16.0 cm, Height approx. 1.0–1.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\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":48115730940091,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9515_result.jpg?v=1784701540"},{"product_id":"328","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Sake Cup, Crafted Under Two Important Intangible Cultural Properties #328","description":"\u003cp data-path-to-node=\"16\"\u003eThis extremely rare sake cup (guinomi) is crafted by Takahara Shoji (1941–2000), a master of Bizen ware born in Okayama Prefecture in 1941. He achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having his work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of his creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, to the global market as a vintage premium sake vessel (shot glass) designed for slowly savoring aged amber sake or neat premium Japanese whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThe core artistic value of Takahara Shoji lies in his prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, he studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e (1902–1961), Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, he studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e (1899–1964), also a Holder of Okayama Prefectural Important Intangible Cultural Property, thoroughly mastering the superb potter’s wheel forming techniques that served as Ishii's trademark. Examining the details of this work reveals that the transcendent techniques inherited from both masters, along with the drama of noborigama (climbing kiln) firing, are clearly manifested across its entire surface. The vessel's form retains beautiful and powerful wheel marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm. Without the use of any glaze, the external appearance is expressed with extraordinary density through the sharp contrast of authentic, traditional Bizen firing effects—such as yohen (natural kiln transformation), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood. One side displays heavy hai-kaburi (ash deposit) and goma (sesame-like ash spots) that melted under intense falling wood ash to create a volcanic, rough texture, while the contrasting side vividly highlights warm hidasuki reddish tones alongside refined wheel marks. Furthermore, melted natural glaze has pooled at the bottom of the interior, presenting a deep, profound expression unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThis work is identified as an authentic piece created between 1971 and 1975—a peak period when Takahara's noborigama firing techniques and wheel-throwing skills reached full maturity following his entry into the 1st Japan Ceramic Art Exhibition in 1971. The artist’s signature seal is clearly stamped on the underside of the base, and the vessel remains in excellent condition with no chips or cracks.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTakahara Shoji (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e[1958] Studied under Isezaki Yozan, Holder of Okayama Prefectural Important Intangible Cultural Property; [1962] Studied under Ishii Furo, Holder of Okayama Prefectural Important Intangible Cultural Property; [1965] Built his own noborigama (climbing kiln) and established his independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003eMuseum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1971–1975 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\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=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Bizen ware, unglazed firing, natural ash glaze, goma ash spots, hai-kaburi ash deposit, sangiri, hidasuki, yohen kiln transformation, tado clay, potter's wheel marks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eMouth diameter approx. 6.0 cm, Height approx. 5.2 cm – 5.6 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":48115731169467,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9890_result.jpg?v=1785286224"},{"product_id":"329","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Hidasuki Tea Bowl, Crafted Under Two Important Intangible Cultural Properties, Western Liquor Vessel, Rocks Glass #329","description":"\u003cp data-path-to-node=\"17\"\u003eThis extremely rare Bizen ware tea bowl is crafted by Takahara Shoji (1941–2000), a master of Bizen ceramics born in Okayama Prefecture in 1941. He achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having his work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of his creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, 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 neat premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe core artistic value of Takahara Shoji lies in his prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, he studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e, Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, he studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e, also a Holder of Okayama Prefectural Important Intangible Cultural Property, thoroughly mastering the superb potter’s wheel forming techniques that served as Ishii's trademark. Examining the details of this work reveals that the transcendent techniques inherited from both masters, along with the drama of noborigama (climbing kiln) firing, are clearly manifested across its entire surface. The vessel's form retains beautiful and powerful wheel marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm. Without the use of any glaze, the external appearance coexists in extraordinary density with traditional Bizen firing effects—yohen (natural kiln transformation), hai-kaburi (ash deposit), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood. One side displays magnificent natural glaze (goma) that melted and settled like heavy tree bark or molten lava under intense falling wood ash from the noborigama kiln, while contrastingly, vibrant red hidasuki patterns born from rice straw wrapping powerfully encircle the area from the foot ring to its underside. Within the interior base (mikomi), melted natural glaze deposits and deep unglazed firing expressions spread out, while the outer surface exhibits minor natural fissures along the clay boundaries typical of noborigama firing (ishihaze and fine clay expressions), boasting the ultimate unglazed beauty unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, this work is identified as an authentic masterpiece created during his peak period between 1981 and 1984, grounded directly in the fact that his form and yohen techniques reached their zenith following his research trip to the United States in 1981, as well as the artist's biography leaflet included with the piece detailing his solo exhibition history up to 1984 (Showa 59). The artist's unique seal is clearly stamped inside the foot ring, and the piece remains in very good condition with no chips or cracks. It arrives as a complete set, accompanied by a matching wooden box for safe protection, a dedicated wrapping cloth stamped with a red seal, and a biography leaflet printed with the artist's mark.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Takahara Shoji (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1958] Studied under Isezaki Yozan, Holder of Okayama Prefectural Important Intangible Cultural Property; [1962] Studied under Ishii Furo, Holder of Okayama Prefectural Important Intangible Cultural Property, selected for the Japan Kougei Association Higashi-Chugoku Branch Exhibition for the first time; [1965] Built his own noborigama (climbing kiln) and established his independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Museum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 1981–1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks, natural ash glaze melted deposits inside the interior, minor natural clay boundary fissures on the surface as inherent character of the work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories： \u003c\/strong\u003eMatching wooden box, wrapping cloth with seal, leaflet printed with artist's seal included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed firing, natural ash glaze, goma ash spots, hai-kaburi ash deposit, sangiri, hidasuki, yohen kiln transformation, tado clay, potter's wheel marks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions： \u003c\/strong\u003eHeight approx. 7.9 cm, Mouth diameter approx. 12.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731235003,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0047_result.jpg?v=1785504621"},{"product_id":"344","title":"Traditional Craftsman of Bizen Ware, Sabukaze Anagama Kiln Founder Kobayashi Shuji (小林秀二): Unglazed Stoneware Scarlet Fire-Marked Bizen Sake Cup, Japanese Western-Style Spirits Glass #350","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Kobayashi Shuji (born 1950), a Traditional Craftsman of Bizen ware born in Okayama Prefecture in 1950 (Showa 25), this is an unglazed stoneware Bizen sake cup. After completing his training at the Okayama Prefectural Bizen Ceramics Center in 1973, Kobayashi Shuji trained at potteries in other ceramic regions, including Mashiko ware in Tochigi Prefecture, developing deep insights into glaze and clay characteristics along with a refined sculptural sensibility. In 1996, he established an independent kiln by building an anagama (cave kiln) near the ancient Sabukaze kiln site in Ushimado, Setouchi City—renowned as a cluster of ancient Sue ware kiln ruins—and earned high acclaim as a Traditional Craftsman of Bizen ware with repeated selections at the Japan Traditional Art Crafts Exhibition and the Okayama Prefecture Art Exhibition. Our shop presents this creation, finished solely through the direct action of wood-kiln flames and clay without applying any glaze, to the global market not only as a traditional Japanese sake vessel, but also as a vintage rocks glass (a Japanese free cup) for quietly savoring amber-colored aged sake or matured whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThis work clearly manifests the unique clay usage Kobayashi Shuji established through studies in other ceramic regions, together with the rustic, powerful design born from anagama firing. On the surface of the comfortable hand-held form measuring approximately 5.0 cm in height and 6.5–7.0 cm in mouth diameter, vivid reddish-orange fire marks (hiiro \/ scarlet fire-skin) generated by the passage of flames inside the kiln appear densely from the rim down across the upper body, drawing a beautiful contrast with the warm beige-to-light-brown clay texture remaining on the lower half. The unglazed stoneware body exhibits fine clay-grain undulations, while the interior base (mikomi) reveals deep tones of natural ash glaze and scorched marks; when sake is poured, the clay surface absorbs moisture, transforming into a moist, resonant hue. The artist's incised signature \"Shuji\" is clearly carved on the bottom, demonstrating an achievement where wheel-thrown precision and handcrafted warmth fuse at a high level.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking clues from his founding of an independent anagama kiln in Sabukaze, Ushimado, Setouchi City in 1996 (Heisei 8) and establishing his mature artistic style as a Traditional Craftsman of Bizen ware, it is identified as an authentic work produced between 1996 and circa the 2010s. The vessel itself has no chips or cracks, maintaining extremely good condition in both fire-skin coloration and clay texture preservation. It arrives as a complete masterpiece accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Bizen Sake Cup\" with the signature \"Shuji\" and red seal stamped below, as well as a Tomonuno (wrapping cloth).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Kobayashi Shuji (小林秀二, 1950–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1973] Completed training at the Okayama Prefectural Bizen Ceramics Center and trained in Mashiko ware, etc.; [1996] Built an anagama kiln in Sabukaze, Ushimado-cho, Setouchi City and became independent; [Heisei Period] Certified as a Traditional Craftsman of Bizen ware, selected for the Japan Traditional Art Crafts Exhibition and Okayama Prefecture Art Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Local exhibition facilities and private antique\/craft collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production： \u003c\/strong\u003eCirca 1996–2010s\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 Dedicated Tomobako, Tomonuno included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Ceramic (Bizen ware, unglazed stoneware, fire-skin marks, incised seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions： \u003c\/strong\u003eHeight approx. 5.0 cm, Mouth diameter approx. 6.5–7.0 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":48199387939003,"sku":null,"price":28000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0668_result.jpg?v=1786204696"},{"product_id":"348","title":"Lineage of Living National Treasure Kei Fujiwara, Bizen Ware Artist Mizutani Tosui (水谷陶酔): Unglazed Stoneware Hidasuki Deformed Guinomi with Dedicated Tomobako, Japanese Rocks Glass #348","description":"\u003cp data-path-to-node=\"17\"\u003eHand-kneaded deformed Bizen guinomi (sake cup) created by Tosui Mizutani (real name: Kiyoshi Mizutani, born 1949), a Bizen ware artist born in Akaiwa District, Okayama Prefecture in 1949 (Showa 24). In 1972 (Showa 47), Tosui Mizutani apprenticed under Seinosuke Ohira, a direct disciple of \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E5%8E%9F%E5%95%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKei Fujiwara\u003c\/a\u003e—the very first Living National Treasure of Bizen ware—and under strict guidance mastered the traditional pottery techniques of Old Bizen and the art of drawing out the clay's natural character. Encouraged by his master, he became independent in 1978 (Showa 53), building his kiln in a scenic area on the outer grounds of the National Treasure Shizutani School and firing his first kiln load. Subsequently, he was selected numerous times for the Okayama Prefecture Art Exhibition and held solo exhibitions in cities such as Himeji, Takarazuka, Nishinomiya, and Kurashiki, establishing a firm artistic style as a member of the Bizen Toyukai Association. Our shop presents this work, fired solely through the chemical reaction between wood-kiln flames and clay without applying any glaze, to the global market not only as a traditional sake vessel, but also as a vintage rocks glass (Japanese free cup) for quietly savoring the rich depth of amber-colored aged sake or matured whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eObserving the details of this work reveals a splendid harmony between the powerful sculptural sensibility praised in Tosui Mizutani's art and the yohen (kiln transformation) landscape unique to Bizen ware. Hand-sculpted while deliberately avoiding the linear geometry of the potter's wheel, a bold indentation as if forcefully pressed by fingers is applied around the center of the body, combining exceptional functionality that fits naturally in the fingertips when held. On the vessel's sides, vivid reddish-orange hidasuki (fire-cord markings) created by wrapping rice straw during firing emerge clearly in ring-like patterns, creating a dramatic contrast with the smoky dark brown and bluish-gray sangiri (ash-covered reduction marks) enveloping it, as well as the minute goma (natural ash glaze) from melted pine ash. From the organic rim broken from a true circle to the interior base, the texture of undulating clay and scorched landscapes spreads out; when sake is poured, the clay surface absorbs moisture and transforms into a moist, deeply resonant hue.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking clues from his independent kiln founding in 1978 (Showa 53) recorded in the biography leaflet, his repeated selections at the Okayama Prefecture Art Exhibition, his vigorous solo exhibition activities in major cities, and the mature stage of his original sculptural beauty and firing techniques evidenced by signing his art name \"Tosui\" on the box inscription, it is identified as an authentic work created circa 1980 to 1999 (late Showa 50s to early Heisei period). The vessel itself has no cracks or chips, maintaining extremely good condition in both hidasuki coloration and raw clay texture. It arrives as a complete masterpiece accompanied by a dedicated Tomobako (wooden box) inscribed in ink on the lid \"Bizen Guinomi\" with the signature \"Tosui\" and red seal stamped below, along with a biography leaflet detailing the artist's history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Mizutani Tosui (水谷陶酔, Born Name: Kiyoshi Mizutani, 1949–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1972] Apprenticed under Seinosuke Ohira, a direct disciple of Living National Treasure Kei Fujiwara; [1978] Became independent, built a kiln on the outer grounds of the National Treasure Shizutani School, and fired his first kiln load (first selection for the Okayama Prefecture Art Exhibition); [1980s–2000s] Selected numerous times for the Okayama Prefecture Art Exhibition and held solo exhibitions in Himeji, Takarazuka, Nishinomiya, Kurashiki, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Local exhibition facilities and private antique\/craft collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 1980–1999\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 Dedicated Tomobako, biography leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Ceramic (Bizen ware, unglazed stoneware, hidasuki fire marks, sangiri ash marks, incised seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 7.0–7.5 cm, Mouth diameter approx. 5.8–6.7 cm (Deformed)\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":48199388364987,"sku":null,"price":17000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0538_result.jpg?v=1786023725"},{"product_id":"421","title":"Designated Intangible Cultural Property Artist, Exhibited Artist at The Metropolitan Museum of Art, Mizuno Juzan II (二世 水野寿山), Tessha-yu (Iron-Sand Glaze) Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #421","description":"\u003cp data-path-to-node=\"1\"\u003eThis is an iron-sand glaze (tessha-yu) tea bowl created by Mizuno Juzan II (1908–1978, real name: Mizuno Sakae), a master craftsman who studied under \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E4%BA%95%E9%81%94%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFujii Tatsukichi\u003c\/a\u003e, a giant revered as the father of modern Japanese comprehensive craft art, and who led the Showa-era Seto ceramic art world alongside figures such as Kato Tokuro and Kato Shunji. Born into a multi-generational family of potters in Nishigama-cho, Seto City, Aichi Prefecture, Mr. Mizuno succeeded to the name Juzan II in 1931. He dedicated himself to the revival of traditional Seto tea ceramics, was selected multiple times for the Nitten exhibition, and was recognized as a \"Designated Artist for Cultural Preservation\" for maintaining advanced traditional techniques. He boasts brilliant achievements, including collaborative works with his master Fujii Tatsukichi, works collected by the Aichi Prefectural Museum of Art, and the exhibition and permanent preservation of his work at The Metropolitan Museum of Art in the United States. The lid of the accompanying dedicated paulownia wooden box (tomobako) features the handwritten calligraphy \"Seto-yaki Tessha-yu Chawan\" on the outside, accompanied by the signature seal \"Mizuno Juzan\" and seal stamps \"Juzan\" and \"Seto-gama\". Furthermore, as the included explanatory pamphlet (shiori) introduces his son Mizuno Meiichi as a promising new artist selected for the Nitten, this piece can be identified as an authentic work produced during the 1960s to early 1970s (early Showa 40s), a period when Meiichi began his active career and Juzan II's artistic style reached full maturity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eA detailed analysis of the piece's design reveals a perfect fusion of the heavy coloration of iron-sand glaze—Mr. Mizuno's true hallmark—and the refined modern sculptural beauty inherited from his master, Fujii Tatsukichi. Precise horizontal stepped carvings (comb-like line grooves) are applied around the body, over which the layered iron-sand glaze forms a fluid gradation from dark brown to warm yellowish-brown through firing. From the lower body to the waist, powerful brushstrokes and abstract shadow patterns in dense black iron glaze are fired onto the surface, creating deep contrast and a dignified appearance. Across the entire interior bowl (mikomi), speckles of iron-sand glaze spread beautifully like a nebula, with a deep tea-receptacle (chadamari) formed in the center. The area from the foot ring to the foot-side is intentionally left unglazed, exposing the bright and rustic raw clay body (rotai) characteristic of Seto-Nishigama, where a seal stamp \"Juzan\" proving it to be Mr. Mizuno's work is clearly impressed into the exposed clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting substantial yet comfortable dimensions measuring approx. 8.8 cm in height, approx. 11.5 cm in width, and approx. 11.0 cm in diameter that rest comfortably in the hand, our shop proposes this work, in alignment with modern refined lifestyles and drinking culture, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or premium spirits over a large ice cube. The tactile comfort drawn by the heavy texture of the iron-sand glaze and the three-dimensional stepped carvings touching your fingertips, combined with the visual effect of amber liquor reflecting beautifully against the deep dark brown and yellowish-brown speckles inside the vessel, dramatically deepens a special evening drink. A masterpiece in which international acclaim—represented by his exhibition at The Metropolitan Museum of Art—coalesces with the traditions of Seto-Akatsu and the design aesthetics of modern craft art, this piece allows one to relish the true essence of Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Contents (Shiori) Explanatory Pamphlet of the\u0026gt; \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eSeto Ware Tessha-yu Tea Bowl by Mizuno Juzan During the Kamakura period, Toshiro Kagemasa returned from Song China, discovered fine clay in Shibata (Shibatani), and established a kiln here. Since then, his descendants generation after generation transmitted the ancestral craft, fully demonstrating traditional techniques such as Old Seto, Seto-kuro, Shino, Oribe, and Ofuke. Even today, master craftsmen including Tokuro, Shunji, Shuntei, Shunto, Seisei-hachi, Juzan, and Sakusuke have emerged, making ceramic activity thriving second only to Kyoto. The author, Mizuno Juzan II, is well versed in tea ceremony ceramics and is a Designated Artist for Cultural Preservation selected multiple times for Nitten. His son, Mizuno Meiichi, is also a promising new artist selected for Nitten.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMizuno Juzan II (二世 水野寿山, 1908–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights: \u003c\/strong\u003eSucceeded to the name Juzan II in 1931. Studied under Fujii Tatsukichi, a giant of modern craft art. Designated Artist for Cultural Preservation, selected multiple times for Nitten. Active as a master craftsman representing the Showa Seto ceramic art world alongside Kato Tokuro, Kato Shunji, and others. His son, Mizuno Meiichi, is also a Nitten artist.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eMuseum \u0026amp; Exhibition Records: \u003c\/strong\u003eAichi Prefectural Museum of Art (Fujii Tatsukichi Collection), exhibited and permanently preserved at The Metropolitan Museum of Art (USA), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1960s to early 1970s (Showa 40s)\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 paulownia wooden box (Tomobako with handwritten calligraphy \"Seto-yaki Tessha-yu Chawan\", signature seal \"Mizuno Juzan\", and seal stamps \"Juzan\" and \"Seto-gama\" on the lid), explanatory pamphlet (shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Seto-Nishigama clay, tessha-yu \/ iron-sand glaze, stepped carving, iron brushwork)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.8 cm, Width approx. 11.5 cm, Diameter approx. 11.0 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 even if unused, and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332184715451,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4258_result.jpg?v=1791090649"},{"product_id":"429","title":"4th Generation of Mashiko's Oldest Kiln, Ceramics Engineering Researcher: Kikuchi Akira (菊池晃) - Persimmon Tenmoku Teacup, Sake Vessel, Japanese Western-style Liquor Glass #429","description":"\u003cp data-path-to-node=\"16\"\u003eThis Persimmon Tenmoku teacup (yunomi) was created by Kikuchi Akira, a unique ceramic artist born in 1935 as the fourth-generation heir to the oldest kiln in Mashiko Town, Tochigi Prefecture, who pursued scientific research in ceramic engineering and materials science at the university laboratory after graduating from Musashi Institute of Technology. Unbound by the constraints of the traditional apprenticeship system, he thoroughly researched clay and glaze component analysis alongside kiln temperature control through scientific and engineering insights gained in the laboratory. He earned high acclaim as a leading master representing modern Mashiko ware, receiving honors such as acceptance into the Japan Ceramic Art Exhibition (including selection for its Overseas Exhibition), selection for the Modern Ceramic Art Exhibition, and holding solo exhibitions at Ginza Matsuya. Featuring a powerful form that fits comfortably in the palm and a refined glaze surface with delicate crystals blooming within traditional Mashiko persimmon glaze, this work goes beyond its function as a teacup. We present it to the global market as a luxury Japanese rocks glass (sake vessel) for floating large ice rocks, quietly pouring matured whisky, aged sake, or authentic shochu, and savoring the beauty of crystals whose expressions shift with the light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eExamining the fine details of this piece, the \"Persimmon Tenmoku\" design that Kikuchi Akira attained after scientific pursuit is embodied with an exceptionally high degree of completion. Based on a persimmon glaze rich in the iron content characteristic of Mashiko, precise firing control causes the iron to melt and crystallize inside the high-temperature kiln, yielding dense, beautiful spots with silver-white and metallic iridescence across the entire outer surface down to the interior bottom (mikomi). Gentle faceted carving (mentori) is applied to the vessel body, imparting a three-dimensional, powerful shadow and an inviting tactile sensation unattainable by a simple cylinder. The area around the footring is left unglazed as raw clay exposition (tsuchimise), revealing the firm, rustic texture of Mashiko clay, while the inside of the footring is glazed in persimmon with a graceful central depression. The structure, featuring ideal thickness and appropriate depth, offers excellent thermal insulation and cold retention, serving as a magnificent setting to indulge the five senses in a luxurious moment where liquor and ice harmonize.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the production period, it can be specified as circa the 1980s to early 1990s (late Showa to early Heisei era), a period when his crystal expression of Persimmon Tenmoku reached full maturity after embarking on full-scale pottery production in Mashiko following his research career at Musashi Institute of Technology, establishing a stellar reputation through honors such as selection for the Japan Ceramic Art Overseas Exhibition and 17 solo exhibitions including Ginza Matsuya as noted in the accompanying leaflet. Because he was a researcher-type artist who eschewed mass production and strictly pursued the glaze finish of each individual piece, the number of extant works is limited, giving it significant value as a precious craft legacy. The vessel body itself has no cracks or chips, maintaining excellent condition in terms of Persimmon Tenmoku glaze coloration, crystal formation, and surface texture. It comes complete with a dedicated original box (Tomobako) bearing the handwritten ink inscription \"Persimmon Tenmoku Teacup\" and red seal on the inside of the lid, alongside an instructional leaflet (Shiori) outlining the artist's biography.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKikuchi Akira (菊池晃, b. 1935)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist Biography: \u003c\/strong\u003e4th generation heir of Mashiko's oldest kiln; graduated from Musashi Institute of Technology and conducted research in its ceramic engineering laboratory; selected for Japan Ceramic Art Exhibition (and its Overseas Exhibition); selected for Modern Ceramic Art Exhibition; held solo exhibitions including Ginza Matsuya\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1980–1990 (late Showa to early Heisei era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no cracks, no chips)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original box (Tomobako) and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Mashiko ware, Persimmon Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All items offered by our shop are listed as pre-owned due to their historical production period. Minor changes in texture due to age may be present, 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":48332216991931,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2605_result.jpg?v=1789091366"},{"product_id":"435","title":"Recipient of the Fifth Class Order of the Sacred Treasure, Pioneer of Mashiko Folk Craft, Sakuma Totaro (佐久間藤太郎), Amber Glaze Drip Hakeme Tea Bowl, Japanese-Style Rocks Glass (With Flaw) #435","description":"\u003cp id=\"p-rc_d373057c5ff65076-238\" data-path-to-node=\"1\"\u003e\u003cspan data-path-to-node=\"1,0\"\u003eCreated by Sakuma Totaro (1900–1976), a master who, alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, elevated Mashiko ware from everyday utilitarian items to folk craft (Mingei) works combining beauty and healthiness\u003c\/span\u003e\u003cspan data-path-to-node=\"1,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"1,2\"\u003e. Born in 1900 as the eldest son of the historic Sakuma Kiln in Mashiko, Sakuma Totaro established a deep fellowship with Hamada Shoji after inviting him to lodge at his home upon Hamada's return from the UK in 1924, stepping into the spotlight as a leading folk craft potter in Mashiko. Leaving a solid record of achievements—including selections for the Ministry of Commerce and Industry Crafts Exhibition, receiving the Tochigi Prefecture Cultural Merit Award, and being awarded the Fifth Class Order of the Sacred Treasure—his works are preserved in public institutions such as the Tochigi Prefectural Museum of Fine Arts, the Mashiko Museum of Ceramic Art, and The Japan Folk Crafts Museum. Dating from the period when Hamada Shoji praised his free and expansive ladle-poured glaze and brushed slip work in writing, and bearing the carved \"Fuji\" (藤) mark inside the foot ring, this piece is identified as a precious authentic creation from Sakuma Totaro's most mature artistic phase between 1955 and 1968 (the mid-1950s to late 1960s).\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp id=\"p-rc_d373057c5ff65076-239\" data-path-to-node=\"2\"\u003e\u003cspan data-path-to-node=\"2,0\"\u003eFrom the lower portion of the body down to the side of the foot, a dense, heavy poured amber glaze—a signature technique of Sakuma Totaro—is applied, creating a powerful scene where the glaze pools into a large droplet right at the edge of the foot. The soft expression of the rustic rice-husk ash white glaze (nukajiro glaze) on the upper body contrasts boldly with the strong gradient of the lustrous black-amber glaze below, while the coarse texture of the local Mashiko clay gives the piece a commanding presence\u003c\/span\u003e\u003cspan data-path-to-node=\"2,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"2,2\"\u003e. The foot ring is dynamically carved, leaving the raw clay exposed (rotai), with the artist's mark \"Fuji\" (藤) clearly incised inside the foot. On the interior, soft radial shadows and a pool of glaze at the bottom (mikomi) can be seen, beautifully expressing a rustic, warm, and healthy form born from wood firing in a climbing kiln (noborigama)\u003c\/span\u003e\u003cspan data-path-to-node=\"2,3\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"2,4\"\u003e.\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing a large, stable form measuring approximately 7.5 cm in height and 13.0 cm in mouth diameter, our shop proposes this piece as a dignified Japanese-style rocks glass (large sake cup) tailored to modern lifestyles for enjoying aged spirits, matured sake, or whisky on the rocks. The warmth of the raw clay felt when held in hand, combined with the heavy texture of the glazes, beautifully highlights the ice floating in a rocks glass or the amber color of aged spirits, adding an elegant refinement to luxurious drinking occasions.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eAs a special note regarding this piece, a deep crack (craquelure\/expansion seam formed during firing) runs along the interior from the bottom to the side, where a fingernail slightly catches on a portion of the inner surface. This crack does not reach the exterior of the vessel at all, nor does it affect water tightness or structural integrity; however, considering the condition of the interior, this piece is offered at a special price as an item with flaw. You can enjoy this authentic craft beauty, which tells the history of Mashiko Mingei, as a special vessel for everyday use.\u003c\/p\u003e\n\u003cp id=\"p-rc_046f77738d2823e1-156\" data-path-to-node=\"5\"\u003e\u003cstrong\u003e\u003cspan data-path-to-node=\"5,0\"\u003e\u0026lt;Artist's Message\u0026gt; \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,0\"\u003eFor over one hundred and ten years, the kilns of Mashiko have continued to fire ceramics, digging clay from the hills behind and cutting firewood from the mountains across\u003c\/span\u003e\u003cspan data-path-to-node=\"5,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,2\"\u003e. It has already been more than thirty years since Mr. Hamada Shoji came here to create new works alongside traditional kitchen utensils, and young potters gradually joined us\u003c\/span\u003e\u003cspan data-path-to-node=\"5,3\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,4\"\u003e. While excellent folk kilns preserving tradition remain throughout Japan, I believe our kiln was among the earliest to attempt—and create in abundance—vessels for flower arrangement and tableware for modern living using age-old techniques\u003c\/span\u003e\u003cspan data-path-to-node=\"5,5\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,6\"\u003e. The strength of work accomplished with good raw materials, natural fuel, and correct techniques imparts sufficient healthiness to the items and even reflects the essence of the land itself\u003c\/span\u003e\u003cspan data-path-to-node=\"5,7\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,8\"\u003e. As an inevitable result of being blessed with such favorable conditions, the texture of the clay and the state of the glaze improve the longer the piece is used—a rare characteristic in this day and age\u003c\/span\u003e\u003cspan data-path-to-node=\"5,9\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,10\"\u003e. I hope those who purchase Mashiko ware will put it to daily use from the very first day, and if you let us know your thoughts after using it, it will help us bring together the perspectives of maker and user for further learning, for which I would be most grateful\u003c\/span\u003e\u003cspan data-path-to-node=\"5,11\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,12\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\" data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003eMashiko Folk Kiln, Sakuma Totaro (1900–1976)\u003c\/span\u003e\u003cspan data-path-to-node=\"5,13\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u003cstrong\u003e\u003cspan data-path-to-node=\"5,12\"\u003e\u0026lt;Comment Knew Master Sakuma Totaro Well Who a from\u0026gt;\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003eSakuma Totaro has surely struck underground water right under his own feet; he needs no priming water. It is said that a potter becomes fully fledged when his personality begins to shine through his works, but Sakuma's recent work shows the local character seeping through even more strongly, and that is what strikes people in particular. His work has gained an expansiveness, like a garden tree growing into a mountain tree. Though he freely incorporates methods not previously found in traditional Mashiko, the pieces remain full of the true scent of Mashiko. In these days, I am deeply moved by the many things I learn from Sakuma, and I consider it a great blessing for Mashiko to have gained such a potter over these thirty-some years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\" style=\"text-align: right;\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003e\u003cbr\u003eHamada Shoji (1894–1978)\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuma Totaro (佐久間藤太郎, 1900–1976)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1924] Established a deep friendship with Hamada Shoji who lodged in Mashiko, commencing folk craft pottery, [1927] Selected for the Ministry of Commerce and Industry Crafts Exhibition, [1959] Received the Tochigi Prefecture Cultural Merit Award, [1973] Awarded the Fifth Class Order of the Sacred Treasure\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTochigi Prefectural Museum of Fine Arts, Mashiko Museum of Ceramic Art, The Japan Folk Crafts Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 1955–1968 (Mature period of Mashiko Mingei)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eFair (Deep internal craquelure where a fingernail catches on the interior, no effect on the exterior, offered as an item with flaw)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box included (with paper label \"Sakuma Totaro Chawan\"), Sanada-himo cord included\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Mashiko clay, amber glaze, rice-husk ash white glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Mouth diameter approx. 13.0 cm, Height approx. 7.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\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 and the special note regarding the internal craquelure before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332227575995,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3371_result.jpg?v=1790257168"},{"product_id":"446","title":"Member of Japan Kogei Association, Ishino Taizo (石野泰造), Anagama Fired Bizen Tea Bowl, Japanese-Style Rocks Glass, Accompanied by Brochure with Essay by Akutagawa Prize-Winning Author Miura Tetsuro #446","description":"\u003cp data-path-to-node=\"4\"\u003eThis is a Bizen tea bowl created by Ishino Taizo, a member of the Japan Kogei Association with a unique career trajectory who worked at the forefront with creative artists as an editor of literary books and magazines at a publishing house before transitioning into the world of ceramics in his thirties. Underlying his creative ceramic life is a fundamental pursuit of the rustic quality inherent in the clay itself and the remarkably diverse baptism brought about by the wood fire inside the kiln. Based on his detailed ceramic biography listed up to 1989 (Heisei 1) in the brochure included with this piece, as well as descriptions indicating a period of energetic creative activity following the construction of his Anagama kiln in June 1982 (Showa 57), this work is estimated to be a masterpiece from his mature period, produced between 1982 and 1989 through grueling firing in an Anagama or Noborigama kiln. In his contributed essay, Akutagawa Prize-winning author Miura Tetsuro also highly praises Ishino's dedication to pottery, viewing it as the culmination of devotion by a person who deeply understands the human heart and has turned to the creative side.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eWhat is most acclaimed in Ishino Taizo's Bizen ware is the complex and profound yohen (kiln-transformation) landscape created on the vessel's surface solely through clay selection and wood-kiln firing techniques, without applying any glaze whatsoever. Carefully inspecting the design of the work shown in the attached images, it is clear that his skill and aesthetic sense are fully demonstrated. The exterior of the vessel presents a vivid contrast between the calm Goma (natural ash glaze) skin—ranging from olive green to ochre formed by wood ash melting and settling at high temperatures—and the passionate scarlet (red-brown) hues produced by direct exposure to the flames. The entire vessel features hand-molded styling with subtle distortions and finger traces, creating a three-dimensional tactile quality that fits comfortably into the hands.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eA particular highlight is the design of the Mikomi (interior bottom) of the vessel. At the center of the interior, three Kaime (shell support) marks used during firing remain, surrounded by a magnificent Hidasuki (fire-cord) landscape forming concentric circles of vivid scarlet. The Kohodai (foot ring) section is powerfully carved with a rugged form, where the boundary between the unglazed raw clay skin and the scorched marks strongly asserts the rustic and solid charm inherent to Bizen ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eWhile this work was originally created as a formal tea bowl, its appropriate sense of weight—with a diameter of approximately 12.5 cm, height of approximately 7.7 cm, and weight of approximately 460 g—and its hand-conforming distorted structure allow it to function perfectly as an exquisite Japanese-style rocks glass in modern times. Floating large ice cubes and pouring thoroughly aged amber vintage sake, vintage whisky, or aged awamori allows the concentric scarlet circles spreading across the interior and the color of the liquor to shimmer beautifully through the liquid. As an authentic work of traditional Japanese craft extremely difficult to obtain in overseas markets, we propose this piece not only as a tea utensil, but also as a supreme sake vessel where one can savor the aesthetic of Japanese earth and fire through both touch and vision to their heart's content.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"8\"\u003e《Excerpts from the Included Brochure》\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"8\"\u003eGreeting (Ishino Taizo, Regular Member of Japan Kogei Association, 1942-)\u0026nbsp;\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"8\"\u003e：Drawn to Bizen ware for the inherent flavor of the clay itself, I entered the life of pottery making. Bizen clay presents a variety of landscapes through the baptism of fire. I hope to create works that focus particularly on the firing process, honoring this blessed earth from the perspectives of both utility and beauty. I welcome your criticisms and impressions.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"9\"\u003eAbout Friend Ishino (Miura Tetsuro, Akutagawa Prize-Winning Author in 1960, 1931-2010)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"10\"\u003e：How many years has it been since my friend Ishino Taizo began devoting himself to ceramic art? Here now is one of the fruits of his devotion to this day. Ishino is a person who spent many years at a publishing house engaging in the editing of literary books and arts magazines. He is someone who thoroughly associated with creative people, understood the work they nurtured, and encouraged them. He deeply knows the hearts of creators. That very person has now turned into a creator himself on the maker's side. Should we not watch his achievements with great anticipation? Please take Ishino's work into the palm of your hand and gaze upon it. If you like it, please keep it close at hand and cherish it for a long time.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIshino Taizo (石野泰造, 1942- )\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1967] Graduated from Waseda University, School of Letters, Arts and Sciences, and engaged in editing literary books and the magazine \"Bungei\" at Kawade Shobo Shinsha. [1975] Resigned to pursue ceramic art. [1977] Completed training at Aichi Prefectural Ceramics Vocational Training School; established a Noborigama kiln in Wake Town, Okayama Prefecture, and became independent. [1979] Selected for the first time upon initial submission to the Japan Traditional Art Crafts Exhibition (subsequently selected in 1982, 1983, 1984, and 1985). [1981] Selected for the Faenza International Competition in Italy. [June 1982] Built an Anagama kiln. [1985] Lecturer at the Department of Art, University of Hawaii. [1989] Created the relief \"Statue of Kojima Takanori\" for Tsuyama Kakuzan Hotel; held numerous solo exhibitions including his 10th anniversary exhibition at Ginza Mitsukoshi.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1982–1989 (Showa 57–Heisei 1)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original wooden box (Tomobako), cloth (yellow cloth), brochure featuring artist's biography and essay by Miura Tetsuro included\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Bizen ware, unglazed firing)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.7 cm, Rim diameter approx. 12.5 cm, Weight approx. 460 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48359790182587,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2968_result.jpg?v=1789965764"},{"product_id":"448","title":"In the National Crafts Museum Collection, Selected Artist for Permanent Preservation Work of Seto City, Winner of First Aichi Prefecture Arts \u0026 Culture Award, Second-Generation Kato Shuntei (二代 加藤春鼎), Kiseto Sake Cup (Guinomi), Japanese Shot Glass #448","description":"\u003cp data-path-to-node=\"1\"\u003eInheriting the bloodline of master potters tracing back to Kato Kagemasa (Toshiro), considered the founder of Seto ware, the Teiyo Kiln in Akazu-cho, Seto City, Aichi Prefecture, mastered the study of ancient ceramics and traditional techniques unique to Seto. This Kiseto sake cup (guinomi) is a work by master Second-Generation Kato Shuntei (1927–1995, artist name: Shunrin), who received extremely strict transmission of techniques from First-Generation Kato Shuntei and succeeded to the name in 1961 (Showa 36). Second-Generation Shuntei boasted outstanding skill in Seto tea ceramics such as traditional Kiseto, Hikidashi-guro (Seto-guro), Shino, and Oribe, winning the First Aichi Prefecture Arts \u0026amp; Culture Award. Furthermore, his representative work \"Old Seto Bowl\" was selected for permanent preservation by Seto City, and his works were acquired by the National Crafts Museum of Independent Administrative Institution National Museum of Art, earning him the highest acclaim in the contemporary Seto ceramic world. On the front of the lid of the accompanying dedicated paulownia wooden box (tomobako), the handwritten calligraphy reads \"Kiseto Guinomi,\" and on the reverse side, \"Shuntei\" along with his signature seal. Produced after his succession as the second generation in 1961, during his mature period from the 1970s to the 1980s (Showa 40s to 50s) when he actively demonstrated his skills at solo and public exhibitions as a regular member of the Japan Kougei Association, it is deduced to be an authentic work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eExamining the design of this piece, a yellow oil-like Kiseto glaze (ash glaze) with a moist, oil-film-like luster that perfectly follows the traditional aesthetics of Azuchi-Momoyama period Old Kiseto covers the entire body. On the front surface of the vessel, a deep green splash of \"Tanpan\" (copper-green glaze), the greatest highlight of Kiseto ware, is dynamically applied, creating a magnificent contrast between the pale yellow ground and the vivid green glaze. The form is not a perfect circle, but is shaped into a charming rounded square (four-cornered) form with gentle distortion through hand-kneading and facet-cutting techniques, while the fine craze marks (kannyu) and scorched marks over the body impart a profound depth reminiscent of ancient ceramics. The interior bottom (mikomi) of the vessel is covered with a softly lustrous ash glaze, while the area near and inside the foot ring reveals rustic, unglazed clay (rotai), with a round seal stamp of \"Tei\" (鼎), the mark of Teiyo Kiln, clearly impressed beside the foot ring.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eMeasuring approx. 5.8 cm by 5.8 cm and approx. 4.5 cm in height, an exquisite dimension that fits comfortably in the palm along with a pleasant thickness, our shop proposes this work as a dignified \"Japanese-style shot glass (Japanese-style Western liquor vessel)\" for slowly savoring aged spirits, premium whisky, matured sake, or spirits straight neat, tailored to modern drinking culture and refined lifestyles. The warm texture unique to Kiseto and the green of the copper glaze beautifully enhance the amber color of poured whisky or aged sake, bringing elegant and high-quality craft beauty to the table. Containing the skill and aesthetics of an artist represented in the collection of the National Crafts Museum, this masterpiece allows one to fully enjoy the true essence of traditional Japanese ceramics through both touch and sight.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSecond-Generation Kato Shuntei (二代 加藤春鼎, 1927–1995, Born name \/ artist name: Shunrin)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e Studied under First-Generation Kato Shuntei. Succeeded to the name Second-Generation Shuntei in 1961 and led the Teiyo Kiln. Won the First Aichi Prefecture Arts \u0026amp; Culture Award and received the Aichi Prefecture Educational and Cultural Merit Award. Served as a regular member of the Japan Kougei Association, judge for the Aichi Prefecture Art Exhibition, operating committee member of the Asahi Ceramic Art Exhibition, and board member of the Seto Ceramic Art Association.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eNational Crafts Museum of Independent Administrative Institution National Museum of Art, \"Old Seto Bowl\" selected for permanent preservation by Seto City (owned by Seto City), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s–1980s (Showa 40s–Showa 50s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako) included (with calligraphy \"Kiseto Guinomi, Shuntei\" and seal), wrapping cloth (with seal) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Seto clay, Kiseto glaze, copper green glaze\/Tanpan)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eApprox. 5.8 cm × 5.8 cm × Height approx. 4.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e The 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":48359790248123,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3573_result.jpg?v=1790495224"},{"product_id":"458","title":"Holder of Seto City Intangible Cultural Property for Ceramic Ash Glaze Technique, Taishi Kiln, Suzuki Hachiro (鈴木八郎), Irabo Tea Bowl, Japanese-Style Rocks Glass, Exhibited Artist at The Metropolitan Museum of Art USA, Studied under Fujii Tatsukichi #458","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a hand-formed Irabo tea bowl (Irabo Chawan) created by Suzuki Hachiro (1915–2005), a master craftsman of Taishi Kiln (Saijian) in Akatsu, Seto City, Aichi Prefecture, who studied under \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E4%BA%95%E9%81%94%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFujii Tatsukichi\u003c\/a\u003e, a giant of modern craft art, and achieved the remarkable feat of being selected 13 times for official exhibitions (Bunten and Nitten) as well as exhibiting at The Metropolitan Museum of Art in the United States, a palace of world art. Having traveled to Manchuria to study ceramic art in the final stages of World War II between 1944 and 1945, Mr. Suzuki built upon the traditional glazing techniques of Seto-Akatsu ware—one of Japan's Six Ancient Kilns—while integrating refined graphic design beauty and a modern sculptural spirit inherited from his master, Fujii Tatsukichi, creating works that stood out in the Showa period Seto ceramic art world. The lid of the accompanying dedicated paulownia wooden box (tomobako) bears the handwritten inscription \"Irabo Chawan\" on the outside and the signature seal and seal stamp \"Hachiro Saku\" on the inside. Furthermore, as the included explanatory pamphlet (sakureki) records his five selections for the Japan Contemporary Arts and Crafts Exhibition (established in 1962), this work can be identified as an authentic piece produced after 1966 when the 5th exhibition was held, specifically during the late 1960s (early Showa 40s), a period when his artistic style and technique reached their zenith.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe \"Irabo\" technique used in this work originates from a type of Goryeo tea bowl made during the Joseon Dynasty in the 16th to 17th centuries, which was brought to Japan as a vessel for the tea ceremony. It is said to have derived its name from the coarse, rough texture of the clay body rich in sand particles (\"irai-ra\" meaning rough or scratchy in texture), characterized by a rustic, understated expression lightly coated with an iron-bearing glaze. Utilizing the clay and glazes of Seto-Akatsu, Mr. Suzuki faithfully reproduced the rough texture and quiet coloration ranging from yellowish-brown to brown inherent to Irabo. At the same time, from the body to the waist, he carved horizontal and grid-like geometric \"kamaboko-bori\" (stepped\/convex carvings) inherited from his master Fujii Tatsukichi, elevating it into a unique, modern three-dimensional expression. On both the interior and exterior of the vessel, yellowish-brown and dark brown glazes form fluid layers, drawing deep and complex shadows depending on how the light strikes them. The area from the foot ring to the foot-side is intentionally left unglazed, exposing the rough and rustic clay body (rotai) characteristic of Irabo, where a seal stamp proving it to be Mr. Suzuki's work is clearly impressed into the exposed clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting substantial and generous handcrafted dimensions measuring approx. 12.8 cm in outer diameter and approx. 8.3 cm in height, our shop proposes this work, in alignment with modern refined lifestyles and fine spirits culture, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or premium spirits over a large ice cube. The tactile pleasure when your fingertips touch the rough clay texture characteristic of Irabo and the three-dimensional stepped carvings, along with the visual effect of the poured amber liquor reflecting beautifully against the deep yellowish-brown and brown gradation inside the vessel, dramatically deepens a special evening drink. A masterpiece in which international acclaim—represented by his exhibition at The Metropolitan Museum of Art—coalesces with the traditions of Seto-Akatsu and the design aesthetics of modern craft art, this piece allows one to relish the true essence of Japanese craft beauty through both visual appreciation and practical use.\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSuzuki Hachiro (鈴木八郎, 1915–2005)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights: \u003c\/strong\u003e[1944] Traveled to Manchuria for ceramic research, [1962, 1984, 1988] Awarded Medal with Blue Ribbon, [1975] Held 1st Anagama Kiln Pottery Exhibition (and many thereafter), [1981] Large Bowl with Fern Motif designated as a Seto City Permanently Preserved Work, [1988] Recognized as Holder of Seto City Intangible Cultural Property \"Ceramic Ash Glaze Technique\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eThe Metropolitan Museum of Art (USA), Aichi Prefectural Museum of Art, Aichi Prefectural Ceramic Museum, Ichinomiya City Museum, Hekinan City Fujii Tatsukichi Museum of Contemporary Art, Seto City\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1960s (early Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Irabo Chawan\" on the lid, signature seal \"Hachiro Saku\" and seal stamp on the inside of the lid), career pamphlet (sakureki) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Seto-Akatsu clay, Irabo glaze, stepped carving decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eOuter diameter approx. 12.8 cm, Height approx. 8.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e The items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48396667814075,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3935_result.jpg?v=1791081673"},{"product_id":"462","title":"Artist Represented in Mashiko Museum of Ceramic Art Collection, Matsubara Naoyuki (松原直之), Iron-Glaze Arabesque Tea Bowl, Japanese-Style Old Fashioned Glass, Aged Sake Vessel, Studied Under Yagi Kazuo and Kimura Ichiro #462","description":"\u003cp data-path-to-node=\"1\"\u003eThis tea bowl with an iron-underglaze arabesque pattern is created by Matsubara Naoyuki (1938–2024), a ceramic artist who studied under both \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, a master of Mashiko ware, and \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, a master of avant-garde ceramics who led Sodeisha, sophisticatedly fusing the rustic folk-art clay texture of Mashiko with the modern craft aesthetics of Kyoto. It is an authentic work by an accomplished artist whose high public acclaim includes winning the Tochigi Prefecture Arts Festival Award in 1967 and an Encouragement Award at the International Ceramic Art Exhibition in 1990, and whose representative works are housed in the Mashiko Museum of Ceramic Art. On the front of the lid of the accompanying dedicated paulownia wooden box (tomobako), the handwritten calligraphy reads \"Iron-Glaze Arabesque Tea Bowl,\" and on the reverse side, \"Naoyuki\" along with his signature seal. It can be deduced as a work produced during his mature period between the 1980s and 1990s (late Showa 50s to early Heisei era), after establishing his atelier in Kitanaka, Mashiko Town following his apprenticeship in Kyoto, when he established his unique arabesque expression combining iron-brush painting rich in tonal gradations with Namishiro glaze (traditional white glaze) and reduction firing unique to Mashiko.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAnalyzing the design details of this piece, the Namishiro glaze applied over the Mashiko clay forms a serene, matte-textured white ground with a subtle bluish tint through reduction firing, which strictly controls oxygen in the kiln. Delicate pinholes and craze marks (kannyu) are gracefully carved into the glazed surface, bringing forth silk-like, moist shadows depending on the light angle. Over this warm ground, iron-brush painting using iron-sand pigment is executed with clean, unhesitating strokes that evoke the true essence of avant-garde ceramics. The powerful brushwork reveals deep scorched blacks caused by pigment accumulation alongside soft tonal variations born from dry-brush strokes, enclosing dynamic energy within the surface. The body is formed into a cylindrical shape with moderate distortion and width that comfortably settles in the hands, while the unglazed area around the foot ring exposes the rustic and robust clay texture containing sand grains unique to Mashiko clay. Beside the foot, the round seal stamp \"Nao\" (直), Mr. Matsubara's mark, is clearly and deeply impressed in the exposed clay, asserting its overwhelming perfection as a handcrafted, one-of-a-kind work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting generous dimensions with a substantial presence and breadth, measuring approx. 8.4 cm in height and approx. 13.9 cm in width (mouth diameter), our shop proposes this work as a dignified \"Japanese-style old fashioned glass (Japanese-style Western liquor vessel)\" for luxuriously savoring aged spirits, vintage whisky, matured sake, or liquor on the rocks with large ice spheres, tailored to modern refined lifestyles. The moist white ground of the Namishiro glaze, the fluid iron painting, and the deep glaze quality inside the bowl beautifully enhance the amber hues of poured aged liquors and the clear glint of ice. A masterpiece fusing Mashiko folk-art tradition with Kyoto avant-garde ceramic expression, this piece allows one to savor the true essence of traditional Japanese craft through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsubara Naoyuki (松原直之, 1938–2024)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e Studied under Kimura Ichiro and Yagi Kazuo. Opened Yatake Kiln in 1961. Won the Tochigi Prefecture Arts Festival Award (Crafts Division) in 1967 and the International Ceramic Art Exhibition Encouragement Award in 1990.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eMashiko Museum of Ceramic Art (Collection includes representative work \"Black Pottery: Crested Kingfisher\", etc.)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1980s–1990s (Late Showa 50s–early Heisei era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Mashiko clay, Namishiro glaze, iron-underglaze painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.4 cm, Width (mouth diameter) approx. 13.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e The 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":67598474903739,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3731_result.jpg?v=1790765601"},{"product_id":"464","title":"Artisan Supplying the Imperial Household Agency's Togu Palace, Kimura Ichiro (木村一郎), Black Persimmon Glaze Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #464","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a black persimmon glaze (kuro-kaki-yu) tea bowl created by Kimura Ichiro, a master artisan who studied modern glaze chemistry and firing theory at the National Ceramic Experimental Station under the Ministry of Commerce and Industry and built the modern ceramic art history of Mashiko ware alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e. Having established his kiln in Mashiko after graduating from the National Ceramic Experimental Station, Mr. Kimura received high acclaim both domestically and internationally: he won special prizes at the Kokuten and Modern Japanese Ceramic Art Exhibitions, received the honor of crafting items for the Imperial Household Agency's Togu Palace (the Crown Prince's Residence), and was invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France. This piece can be estimated as an authentic work created between the late 1960s and early 1970s (Showa 40s), a period when his technique and artistic dignity reached their peak following his production of Imperial Household items.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe greatest highlight of this work lies in the fluid expression of the black persimmon glaze—boldly combining Mashiko's traditional persimmon glaze with black glaze—and the creative, sculptural beauty of the exterior bottom of the bowl (inside the foot ring) rising powerfully into a conical shape. On the surface of the vessel, through precise glaze control cultivated at the experimental station, deep dark brown persimmon glaze and lustrous black glaze overlap like crackle patterns, drawing a pictorial and dynamic contrast. Turning the bowl upside down reveals that the interior of the foot ring rises sharply toward the center into a conical shape (a technique known as Tokin-kodai, or helmet-crest foot), featuring an extraordinarily rare and powerful carved sculpting technique. The area around the contact surface of the foot ring is intentionally left unglazed, exposing Mashiko's characteristic rough and rustic unglazed clay body (rotai), where the circular stamp \"Ki\" (木), proof of Mr. Kimura's craftsmanship, is clearly impressed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith its substantial form that rests comfortably in the hand, our shop proposes this work, tailored to modern refined lifestyles, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or spirits over a large ice cube. Floating a large ice cube inside the grand tea bowl and watching the poured amber liquor reflect against the heavy brown and black glaze tones of the black persimmon glaze creates a visual effect that dramatically elevates a special evening drink. The conical rise at the bottom and the rough clay texture that touch your fingertips every time you lift the glass are hidden sculptural marvels secretly savored by the user. A masterpiece in which the technique and aesthetic sensibilities of a master who established the pinnacle of modern Mashiko ceramic art coalesce, this piece allows one to relish Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKimura Ichiro (木村一郎, 1915–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e [1938] Completed the 20th class of the National Ceramic Experimental Station under the Ministry of Commerce and Industry, [1945] Established a kiln in Mashiko-machi, Tochigi Prefecture, [1949] Special Prize at the 2nd Tokyo Craft Exhibition, [1955] Special Prize at the 4th Modern Japanese Ceramic Art Exhibition, [1965] Crafted items for the Imperial Household Agency's Togu Palace, invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; Tochigi Prefectural Museum of Fine Arts; Mashiko Museum of Ceramic Art\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1960s–early 1970s (Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Black Persimmon Glaze Tea Bowl\", signature seal, and seal stamp on the inside of the lid), explanatory pamphlet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic \/ Pottery (Mashiko clay, Black persimmon glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.6 cm, Diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm that the item may have age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598482440379,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4041_result.jpg?v=1791082190"},{"product_id":"468","title":"Kato Kenji (加藤賢司), Recipient of the Gifu Prefecture Arts and Culture Honor and the Turkish Government’s Osman Hamdi Art Award, Shinsho Kiln, Pair of Yunomi Cups with Iron Glaze and Red Enamel Decoration (Tetsuyu Akasai Kumi-Yunomi) #468","description":"\u003cp data-path-to-node=\"1\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThis is a pair of “Tetsuyu Akasai Kumi-Yunomi” (paired yunomi cups with iron glaze and red enamel decoration) by Kato Kenji, a ceramic artist who worked at the Shinsho Kiln in Tajimi, Gifu Prefecture. The lid of the tomobako (the artist’s original wooden storage box) bears the inscribed title “Tetsuyu Akasai Kumi-Yunomi,” the signature “Shinsho Kiln,” and a red seal. The set also comes with a shiori (leaflet) printed with the artist’s own career history, and a wrapping cloth. Although originally made as yunomi teacups, their comfortable size in the hand and substantial build make them well suited to slowly savoring vintage spirits neat, and we present them as Japanese-style drinking vessels for that purpose.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eKato Kenji was born on July 21, 1933 (Showa 8), in Tajimi, Gifu Prefecture, a city renowned as a production center of Mino ware. He graduated in ceramics from Kyoto City University of Fine Arts (now Kyoto City University of Arts) and studied under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, Yuzo Kondo, and \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E6%9C%AC%E8%83%BD%E9%81%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYoshimichi Fujimoto\u003c\/a\u003e. All three were later designated Holders of Important Intangible Cultural Properties (Living National Treasures). Training under the foremost masters of overglaze enamel (iro-e) and underglaze cobalt blue (sometsuke) formed the starting point of Kato’s ceramic work. According to the records of the Japan Kogei Association, a public interest incorporated association, he passed away in 2008.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eA defining feature of Kato’s career is how early he became active internationally. According to the career history in the shiori, he served as a lecturer at Ohio State University in the United States in 1968. He gave lectures at Indiana State University, the University of Michigan, and Antioch University, and in 1969 he held a solo exhibition at the Helen Winnemore Gallery in the United States. From 1971 to 1973 he was dispatched by the Japanese government as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts, and he took part in the 5th General Assembly of the World Crafts Council (Istanbul) as a representative of Japan. In 1976 he visited Australia and New Zealand as a ceramic art envoy dispatched by the Japan Foundation of the Ministry of Foreign Affairs. His career history also lists Norway, Denmark, and Canada under the year 1978. At the 8th General Assembly of the World Crafts Council, held in Kyoto in 1978, he served as a sub-coordinator.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eIn Japan, he received the Japan Kogei Association President’s Award at the 2nd Tokai Traditional Art Crafts Exhibition, the Aichi Prefectural Board of Education Award at the 10th edition of the same exhibition, and the Tomimoto Prize at the 32nd Shinsho Kogei Exhibition. He served as a director of the Mino Ceramic Art Association and was a member of the Shinsho Kogei Association, a regular member of the Japan Kogei Association, and a member of the International Ceramics Society. He also taught the next generation as a lecturer in the Department of Fine Arts and Crafts at Gifu University. His works are held in the following collections:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・University of Michigan Museum of Art (iron-glazed vase)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Museum für Kunst und Gewerbe Hamburg (square plate with red overglaze enamel)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Canterbury Museum (Shino tea bowl)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Art Gallery of South Australia (water jar with iron-painted decoration)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e・Embassy of Japan in Denmark (vase)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eHis exhibition records with the Japan Kogei Association reveal the evolution of his style. From the mid-1960s to the early 1970s, he repeatedly exhibited “nukie tenmoku” jars, which are tenmoku jars with resist-reserved decoration. After a set of square plates with overglaze enamel in 1974, he presented red overglaze enamel (aka-e) works such as square plates every year from 1976 to 1982. From 1984 onward he produced blue-glazed flattened flasks. From around 1986 until his final years, his entries centered on vases and incense burners in “Turkish blue.” Today, this body of Turkish blue work is what is most widely recognized as Kato’s signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eTurkish blue is not used in this piece. Instead, it clearly displays two elements that characterized Kato during this period. The first is iron glaze and iron-painted decoration, which also appear among his museum-collected works. The second is the red overglaze enamel he pursued intensively from the late 1970s to the early 1980s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eAfter the body was thrown on the wheel, it was pressed inward with the fingers at several points around the side, giving it a softly undulating contour. The rim flares slightly outward while gently wavering. An opaque white glaze covers the entire piece, and on close inspection fine crackle (kannyu) runs across its whole surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eOver this, iron glaze has been boldly applied in vertical strokes with a broad brush. Where the iron glaze is thin, it melts into the white glaze and creates a grayish-green blur. Where it pools thickly, it takes on a glossy blackish-brown sheen. Within these thick areas, speckled tones ranging from reddish-brown to amber appear here and there. These variations are especially pronounced where glaze has pooled in the finger-pressed indentations, creating a landscape (keshiki) in which forming and glazing become one.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe two cups differ in design. One has vivid red dots scattered among vertical lines of iron glaze, with iron-colored edging on the rim. The other uses no red, and combines vertical iron-glaze lines with ring-shaped and hooked brushstrokes. Together they form a “kumi” (matched set): paired, yet each with its own distinct expression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe foot ring (kodai) is trimmed low, and its resting edge (tatami-tsuki) shows dark purplish-brown, iron-bearing clay. The inside of the foot ring is glazed, and a square seal is impressed on the unglazed area at its center. Small iron spots can be seen inside the foot ring of the black cup.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe production period is estimated from the content of the accompanying shiori. Among the dated entries in the shiori, the most recent is the 1978 General Assembly of the World Crafts Council in Kyoto. According to Japan Kogei Association records, the 27th Tokai Traditional Art Crafts Exhibition corresponds to fiscal year Heisei 8 (1996), which places the 10th edition listed in the shiori in 1979. The shiori makes no mention of the Turkish blue works that became his signature from 1986 onward. It also omits his later honors: the Osman Hamdi Art Award, the top prize at the Tokai Traditional Art Crafts Exhibition, and the Gifu Prefecture Arts and Culture Honor. The postal code is printed in the three-digit format used before 1998. On this basis, these cups are considered to have been made between around 1979 and the mid-1980s. This period overlaps with that of his red overglaze enamel works, but because the shiori may have remained in use for some time, the dating is an estimate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eThe cups are free of chips and cracks and remain in very good condition. Kato is almost entirely unknown outside Japan. This work combines his grounding in overglaze enamel, in the lineage of Tomimoto Kenkichi, with free brushwork shaped by his international activities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKato Kenji (加藤賢司, Katō Kenji, 1933–2008)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1959] Selected for the 6th Japan Traditional Art Crafts Exhibition; [1968] Lecturer at Ohio State University; [1969] Solo exhibition at the Helen Winnemore Gallery, USA; [1971] Japan Kogei Association President’s Award, 2nd Tokai Traditional Art Crafts Exhibition; [1971–1973] Visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts, dispatched by the Japanese government; [1976] Ceramic art envoy dispatched by the Japan Foundation of the Ministry of Foreign Affairs (Australia and New Zealand); [1978] Norway, Denmark, and Canada (as listed in his career history); [1978] Sub-coordinator, 8th General Assembly of the World Crafts Council (Kyoto); [1979] Aichi Prefectural Board of Education Award, 10th Tokai Traditional Art Crafts Exhibition; [1986] “Turkish Blue Flattened Flask” selected for the 33rd Japan Traditional Art Crafts Exhibition; [2001] “Turkish Blue Vase” selected for the 48th Japan Traditional Art Crafts Exhibition\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eUniversity of Michigan Museum of Art, Museum für Kunst und Gewerbe Hamburg, Canterbury Museum, Art Gallery of South Australia, Embassy of Japan in Denmark\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1979 to the mid-1980s (estimated from the content of the accompanying shiori)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal tomobako (artist’s wooden box), wrapping cloth, shiori (leaflet)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (iron glaze, red enamel)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Red: height approx. 9.0 cm, mouth diameter approx. 7.3 cm \/ Black: height approx. 9.0 cm, mouth diameter approx. 7.1 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615312249019,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4567_result.jpg?v=1791639080"},{"product_id":"475","title":"Third Generation of the Mashiko Kiln, Grandson of Kimura Ichiro: Sakazuki Sake Cup by Kimura Mitsuyoshi (木村充良), Red-Brown Glaze with White and Blue Mottled Pattern, Japanese-Style Shot Glass, Artist with Permanent Display at Matsuzakaya Ginza #475","description":"\u003cp\u003eThis sakazuki sake cup is the work of Kimura Mitsuyoshi, a potter who continues to work in Mashiko, Tochigi Prefecture, as the third generation of a kiln handed down from his grandfather, \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, and his father, Kimura Mitsuru. Our shop presents it as a Japanese-style shot glass for savoring vintage spirits a little at a time.\u003c\/p\u003e\n\u003cp\u003eKimura Mitsuyoshi was born in Mashiko in 1970 and began making pottery under his father, Kimura Mitsuru, in 1994. After his father's death in 1998, he established himself as an independent potter and has presented his work at department stores and galleries including Isetan Matsudo, the Ueno Department Store in Utsunomiya, and Matsuzakaya Ginza. Exhibitions of ceramics and dyeing with his elder sister, the textile dyer Kimura Masako, are also held annually in various locations. In his published biography, the artist notes that he fires a climbing kiln (noborigama) twice a year using only pine firewood as fuel.\u003c\/p\u003e\n\u003cp\u003eHis grandfather, Kimura Ichiro (1915–1978), studied at the Ceramics Testing Institute of the Ministry of Commerce and Industry in Kyoto and went on to build a climbing kiln in Mashiko in 1946. At the 1953 Japan Ceramics Exhibition, he received the Director-General's Prize of the Small and Medium Enterprise Agency for his Large Dish with Net Pattern in Persimmon Glaze (Kakiyū Amime-mon Ōzara), and in his later years he worked mainly in copper-red glaze (shinsha) and iron-painted decoration (tetsu-e). Today the Mashiko Museum of Ceramic Art holds and presents his works, introducing him alongside \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShōji Hamada\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTatsuzō Shimaoka\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShōji Kamoda\u003c\/a\u003e, and others as one of the artists who defined an era in Mashiko. His father, Kimura Mitsuru (1939–1998), trained under his father-in-law, Ichirō, and succeeded to the kiln as its second generation. The maker of this piece belongs to this lineage.\u003c\/p\u003e\n\u003cp\u003eThe cup has a mouth that flares outward, a body that narrows gently at the middle, and a band-like step encircling the lower body. When held, the fingers rest naturally at the waist. The exterior is covered in a glossy red-brown glaze, over which irregular white mottled patches are scattered across the entire body. Within each patch, blue bleeds through in varying depths of tone, and the edges are crisply defined, as if outlined with a fine brown line. Shallow vertical undulations on the body and a glaze luster that turns a misty white in places give the cup a different expression from every angle.\u003c\/p\u003e\n\u003cp\u003eThe interior is covered in a grayish-white glaze that makes it easy to see the color of the poured spirit, and amber vintage spirits look especially beautiful against it. Throwing marks (rokuro-me) remain in a spiral in the mikomi, the interior well of the cup. The tatami-tsuki, the resting surface of the foot ring, is left unglazed and reveals the texture of the sandy clay as it is, and a square seal mark is impressed on part of it.\u003c\/p\u003e\n\u003cp\u003eThe lid of the tomobako, the artist's own signed wooden box, bears the ink inscription \"Mashiko-gama, Sakazuki, Mitsuyoshi\" with a red seal, and the cup comes with a sanada-himo cord, a protective cloth, and a shiori leaflet recording the artist's career. The year of production is not inscribed. As the final entry in the enclosed biography dates from 2007, we estimate that the cup was made in 2007 or later, around the latter half of the 2000s.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kimura Mitsuyoshi (木村充良, 1970–)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMajor Activities:\u003c\/strong\u003e [1994] Began making pottery under his father, Kimura Mitsuru; [1998] Became independent after his father's death; \"Mashiko Kiln Four-Artist Exhibition,\" Isetan Matsudo; [2001] \"Three Generations of the Mashiko \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Ceramics and Dyeing,\" Isetan Matsudo (held annually thereafter); [2003] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Gallery Spotlight, Setagaya; [2005] Permanent display at Matsuzakaya Ginza; solo exhibition at New Mikura, Utsunomiya (held annually thereafter); [2006] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Tsukamoto Sakkakan Gallery, Mashiko; [2007] \"Three Generations of the Mashiko Kiln Exhibition,\" Tōgei Messe Mashiko\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e No record of the artist's works in public collections has been confirmed\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2007 or later, around the latter half of the 2000s (estimated from the final year recorded in the enclosed biography)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal tomobako (with sanada-himo cord), protective cloth, and shiori leaflet included\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlazed pottery\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned goods. Items may show damage due to age; please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67635082264763,"sku":null,"price":26000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4969_result_7758a952-e7fe-42e1-9ae7-267587972442.jpg?v=1791899209"},{"product_id":"476","title":"Artist Featured in Ippodo Gallery New York's \"Magic of the Tea Bowl\" | Eldest Son of Mashiko Potter Matsuzaki Ken | Matsuzaki Kan (松崎幹) | Irabo Kofuku Chawan (Small Tea Bowl) | Tomobako | Japanese-Style Rocks Glass #476","description":"\u003cp dir=\"ltr\"\u003eThis is an Irabo kofuku chawan, a small tea bowl, by the potter Matsuzaki Kan (born 1977). The tomobako (the wooden box signed by the artist) bears the ink inscription \"Irabo Kofuku Chawan,\" together with the artist's signature, \"Kan,\" and his red seal. An incised mark cut with a spatula appears beside the foot ring. A shiori (the artist's biographical leaflet) and a wrapping cloth accompany the piece. Our shop proposes this compact tea bowl as a Japanese-style rocks glass for savoring aged spirits and whisky.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMatsuzaki was born in 1977 in Tsukiji, Tokyo, the eldest son of the potter \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E5%B4%8E%E5%81%A5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsuzaki Ken\u003c\/a\u003e. His father, Matsuzaki Ken, apprenticed 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 before establishing his kiln in Mashiko, Tochigi Prefecture, in 1977, and is a member of the Crafts Division of the Kokugakai art association. Matsuzaki Kan moved to the United States in 2000 and graduated from the New England School of Photography in 2006. After returning to Japan, he worked as a freelance photographer, and in 2016 he received the Newcomer's Prize in the Photography Division of the 90th Anniversary Kokuten Exhibition for his work \"Michi\" (Road). He began making ceramics in 2015 and continues to work alongside his father in Mashiko.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs a potter, he held his first solo exhibition at the Nihonbashi Mitsukoshi Main Store in 2020, followed by solo exhibitions at the Keio Department Store Shinjuku (2022), the Hankyu Umeda Main Store (2023), and the Nihonbashi Mitsukoshi Main Store (2023). In 2021, he took part in \"Magic of the Tea Bowl,\" an exhibition at Ippodo Gallery in New York that presented tea bowls by eleven contemporary artists. The gallery described his tea bowls as painterly and richly expressive, and also noted his use of thick, contrasting slip. The works he exhibited there included Shino, natural ash glaze, and yohen (kiln-transformed) tea bowls. His solo exhibitions at the Nihonbashi Mitsukoshi Main Store centered on Shino and Oribe tea bowls, alongside haikaburi (ash-covered) tea bowls, sake vessels, flower vases, and tableware.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis piece is an Irabo tea bowl, a style distinct from those works. Seen from above, the rim forms an irregular shape with rounded corners, and several vertical facets rise along the body to create a polygonal outline. Part of the body is densely incised with fine vertical lines, as if drawn with a comb, while the other facets are smoothed flat. The entire surface has a rough, gritty clay texture with prominent sand grains, and yellowish-green tones run in streaks and patches over the brown ground. Bold, glossy dark brown marks resembling brushstrokes sweep across the body in arcs and hooked shapes. The interior has a rough, dark olive surface scattered with fine grains. The foot ring is carved out, and the area inside the foot ring is also cut away. As the materials used for the decoration, the type of glaze, and the firing method 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 entries in the leaflet are the 2023 solo exhibitions at the Hankyu Umeda Main Store and the Nihonbashi Mitsukoshi Main Store, so the leaflet can be judged to have been produced after that time. As this piece has been passed down together with the leaflet, we estimate that it was made in 2023 or later.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsuzaki Kan (松崎幹, born 1977)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1977] Born in Tsukiji, Tokyo, the eldest son of the potter Matsuzaki Ken; [2000] Moved to the United States; [2006] Graduated from the New England School of Photography (USA) and began working as a freelance photographer after returning to Japan; [2015] Began making ceramics; [2016] Newcomer's Prize, Photography Division, 90th Anniversary Kokuten Exhibition (work: \"Michi\"); [2020] First solo exhibition as a potter, Nihonbashi Mitsukoshi Main Store; [2021] Exhibited in \"Magic of the Tea Bowl,\" Ippodo Gallery, New York; [2022] Solo exhibition, Keio Department Store Shinjuku; [2023] Solo exhibitions, Hankyu Umeda Main Store and Nihonbashi Mitsukoshi Main Store\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eNo records of acquisition by public institutions have been confirmed\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2023 or later (estimated from the contents of the accompanying leaflet)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery 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 cloth, and shiori (biographical leaflet) included\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Stoneware (Irabo)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.5–8.0 cm, Rim diameter approx. 8.6–10.2 cm (varies by position due to the irregular form)\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":67651884286139,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4701_result.jpg?v=1791639557"},{"product_id":"479","title":"Aomori Prefecture Art and Culture Award Recipient, Tsugaru Vidro, Hokuyo Glass, Okawa Kaoru (大川薫): Frosted Amber Glass Footed Cup with Silver-Tone and Brown-Tone Foil #479","description":"\u003cp dir=\"ltr\"\u003eThis piece is a footed 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 foot bears a single-character signature incised in cursive script that appears to read “Kaoru” (薫). The amber body, finished with a frosted matte surface, is layered with a white band at the rim and two kinds of foil. Measuring approximately 7 cm in height and 6 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 bands of differently colored glass and two kinds of foil layered one above another, and it demonstrates the breadth of his decorative expression.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe vessel rises from a small foot, its body opening gently upward before turning slightly outward at the rim. The entire surface has a matte finish with subdued luster and is composed of three layers stacked from top to bottom. From the rim to the upper body runs a milky white band, part of which is marked off by a section of silver-tone foil broken into a fine network of cracks. Below it, a band of brownish foil encircles the body, its upper edge breaking off irregularly in a wave-like line that creates a soft undulation along the border with the white band. The lower half of the body is amber glass that deepens toward orange as it nears the foot, and the foot itself is finished in a reddish orange. When light falls on the cup, the whole vessel glows brightly from within, and looking into the interior, the thick foot appears as a deep orange circle floating at the bottom. The underside of the foot 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 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 footed cup, combining layers of colored glass and two kinds of foil on a frosted body, is a piece of documentary value for understanding his work.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eOkawa \u003c\/span\u003e\u003cspan\u003eKaoru (大川薫,\u0026nbsp;\u003c\/span\u003e\u003cspan\u003e1940–2008)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRepresentative career\u0026nbsp;\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003ehighlights: \u003c\/strong\u003e[1964] \u003c\/span\u003e\u003cspan\u003eJoined Hokuyo Glass, \u003c\/span\u003e\u003cspan\u003e[1980 onward] \u003c\/span\u003e\u003cspan\u003eExhibited in solo \u003c\/span\u003e\u003cspan\u003eexhibitions and glass \u003c\/span\u003e\u003cspan\u003eexhibitions in \u003c\/span\u003e\u003cspan\u003evarious parts of \u003c\/span\u003e\u003cspan\u003eJapan, [1985] 11th \u003c\/span\u003e\u003cspan\u003eAomori Prefecture Art \u003c\/span\u003e\u003cspan\u003eand Culture Award \u003c\/span\u003e\u003cspan\u003e(Crafts, fiscal year \u003c\/span\u003e\u003cspan\u003eShowa 60), [1990] \u003c\/span\u003e\u003cspan\u003eGrand Prize, Section \u003c\/span\u003e\u003cspan\u003e1, Tohoku Glass Art \u003c\/span\u003e\u003cspan\u003eExhibition (sponsored \u003c\/span\u003e\u003cspan\u003eby Asahi Glass), \u003c\/span\u003e\u003cspan\u003e[1991] Asahi Glass \u003c\/span\u003e\u003cspan\u003ePrize, 1st Japan \u003c\/span\u003e\u003cspan\u003eGlass Art Exhibition \u003c\/span\u003e\u003cspan\u003e(sponsored by Asahi \u003c\/span\u003e\u003cspan\u003eGlass), [2006] \u003c\/span\u003e\u003cspan\u003eAdviser to Hokuyo \u003c\/span\u003e\u003cspan\u003eGlass\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMuseum \u003c\/span\u003e\u003cspan\u003ecollections: No \u003c\/span\u003e\u003cspan\u003emuseum holdings have \u003c\/span\u003e\u003cspan\u003ebeen confirmed\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod\u0026nbsp;\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003eof production: \u003c\/strong\u003eLate \u003c\/span\u003e\u003cspan\u003eShowa to Heisei era \u003c\/span\u003e\u003cspan\u003e(between 1980 and \u003c\/span\u003e\u003cspan\u003e2008)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u0026nbsp;\u003c\/strong\u003e\u003cspan\u003eShows signs of use\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlass\u0026nbsp;\u003c\/span\u003e\u003cspan\u003e(metal foil \u003c\/span\u003e\u003cspan\u003edecoration)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight\u0026nbsp;\u003c\/span\u003e\u003cspan\u003eapprox. 7.0 cm, rim \u003c\/span\u003e\u003cspan\u003ediameter approx. 6.0 \u003c\/span\u003e\u003cspan\u003ecm, foot diameter \u003c\/span\u003e\u003cspan\u003eapprox. 3.0 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eRemarks:\u0026nbsp;\u003c\/strong\u003e\u003cspan\u003eSingle-character \u003c\/span\u003e\u003cspan\u003esignature, appearing \u003c\/span\u003e\u003cspan\u003eto read “Kaoru” (薫), \u003c\/span\u003e\u003cspan\u003eincised on the \u003c\/span\u003e\u003cspan\u003eunderside of the \u003c\/span\u003e\u003cspan\u003efoot. In person, the \u003c\/span\u003e\u003cspan\u003epiece tends to look \u003c\/span\u003e\u003cspan\u003eduller and darker \u003c\/span\u003e\u003cspan\u003ethan in the images, \u003c\/span\u003e\u003cspan\u003ebut when viewed in a \u003c\/span\u003e\u003cspan\u003ebright place or with \u003c\/span\u003e\u003cspan\u003elight shining on it, \u003c\/span\u003e\u003cspan\u003eit shows the same \u003c\/span\u003e\u003cspan\u003ecoloring as in the \u003c\/span\u003e\u003cspan\u003eproduct photographs. \u003c\/span\u003e\u003cspan\u003eTo avoid any \u003c\/span\u003e\u003cspan\u003emisunderstanding \u003c\/span\u003e\u003cspan\u003ecaused by the images, \u003c\/span\u003e\u003cspan\u003ewe have posted a \u003c\/span\u003e\u003cspan\u003elarge number of \u003c\/span\u003e\u003cspan\u003ephotographs, so \u003c\/span\u003e\u003cspan\u003eplease carefully \u003c\/span\u003e\u003cspan\u003echeck how the \u003c\/span\u003e\u003cspan\u003ecoloring appears in \u003c\/span\u003e\u003cspan\u003eeach one.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll\u0026nbsp;\u003c\/span\u003e\u003cspan\u003eitems offered by our \u003c\/span\u003e\u003cspan\u003eshop, even if new and \u003c\/span\u003e\u003cspan\u003eunused, were produced \u003c\/span\u003e\u003cspan\u003elong ago and are \u003c\/span\u003e\u003cspan\u003etherefore listed as \u003c\/span\u003e\u003cspan\u003epre-owned. Items may \u003c\/span\u003e\u003cspan\u003eshow age-related wear \u003c\/span\u003e\u003cspan\u003eor damage; please \u003c\/span\u003e\u003cspan\u003ereview and understand \u003c\/span\u003e\u003cspan\u003ethis before \u003c\/span\u003e\u003cspan\u003econsidering your \u003c\/span\u003e\u003cspan\u003epurchase.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651885138107,"sku":null,"price":23000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4918_result_734870fb-da33-425f-bfad-369758da4801.jpg?v=1791899472"},{"product_id":"482","title":"Bizen-yaki Toyukai Member Kiln, Gorobei Kiln (五郎辺衛窯), Made by Asai: Bizen Ware Sangiri Soy Sauce Dispenser with Saucer, Water Dropper #482","description":"\u003cp dir=\"ltr\"\u003eGorobei Kiln is a Bizen ware kiln based in Kagato, Bizen City, Okayama Prefecture. It was founded in 1867 as Buyo Gorobei Shoten, a brewery, and established a Bizen ware division in 1979. A member kiln of the Okayama Prefecture Bizen Ware Toyukai Cooperative, it is dedicated to making vessels that combine practical functionality with dignity and depth of character, and it seeks to create works that convey a sense of comfort and nostalgia to those who hold them. This piece was made by Asai, a potter at the kiln. The kiln’s representative has confirmed, from the signature on the body, that it is Asai’s work. According to the kiln, it was made in or after 2000.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBizen ware is pottery produced around Imbe in Bizen City, Okayama Prefecture. Because it is fired unglazed at high temperatures, the kiln effects created by clay and flame become the very character of each vessel. The body of this piece displays sangiri, an effect produced by reduction firing within the kiln: yellowish-brown speckles rise across a ground that shifts from gray to purplish brown. The body is egg-shaped, and its sides bear indentations of various sizes, as if pressed in with the fingers, so that the fingers rest naturally in them when the piece is held. The top of the lid also has a hollow for the fingertip and a small air hole. The spout is short and curves downward. The kiln describes vessels of this design as crafted to prevent dripping.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe accompanying saucer is a small yakishime (unglazed, high-fired) dish whose well displays hidasuki, the reddish-brown linear markings that appear where rice straw was wrapped around the piece during firing. Within the foot ring are an incised mark and an impressed seal. Because its firing effects and marks differ from those of the body, the saucer may be the work of another kiln. Please understand that it was paired with the body separately.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAlthough originally made for pouring soy sauce at the table, we also propose it as a water dropper for adding just a few drops of water to old-bottle whisky. Fill the body with water, then cover and release the air hole in the lid with a fingertip to control how much water falls from the spout. Enjoy whiskies whose aroma and flavor change with a small addition of water, together with a Bizen ware vessel that fits in the palm of your hand.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eAsai, potter of Gorobei Kiln (五郎辺衛窯, 浅井 \/ signature on the body)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1867] Buyo Gorobei Shoten, a brewery and the predecessor of Gorobei Kiln, was founded; [1979] The company established a Bizen ware division\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e2000 or later\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, cracks, hairlines, or other defects)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded:\u003c\/strong\u003e Saucer\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Stoneware (Bizen ware, yakishime)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Body: width approx. 9.5 cm (including spout), depth approx. 7.5 cm, height approx. 8.5 cm (including lid), capacity approx. 150 ml \/ Saucer: diameter approx. 9.5 cm, height approx. 2.0 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eEven when unused, all items we offer were produced long ago and are therefore listed as pre-owned. Items may show damage from age. Please review the details and condition carefully before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651887235259,"sku":null,"price":10000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5133_result_237b089f-b890-42e9-a680-dd6c127e13ab.jpg?v=1791976756"},{"product_id":"503","title":"Iron-Painted Sankirai Tea Bowl \/ Japanese-Style Rocks Glass by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #503","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a tea bowl by Takeda Toshio (b. 1932). He is a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture, who from 1964 continued to make ceramics at his kiln in Mashiko, Tochigi Prefecture. Takeda’s work was accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Traditional Kogei Exhibition and the Japan Ceramic Art Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and was then purchased by The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece is a matcha tea bowl inscribed “Sankirai Chawan” (Sankirai Tea Bowl) on its tomobako (the original box inscribed by the artist). Drawing on its generous rim and the rounded form that sits comfortably in the hand, we propose it as a Japanese-style rocks glass (drinking vessel) for enjoying old whisky on the rocks over a large piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to the accompanying leaflet, “Takeda Toshio: Ceramic Career,” Takeda graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e. In 1960 (Showa 35) he sought out \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. His subsequent path continued with acceptance into the Japan Traditional Kogei Exhibition in 1969 (Showa 44). In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. His entry to that exhibition was selected for a touring exhibition in Canada and the United States and was purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAmong Takeda’s representative techniques is tetsu-dosai, as seen in his “Bowl with Grape Design in Iron and Copper Decoration,” accepted into the 37th Japan Traditional Kogei Exhibition in 1990. Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. In this piece, leaves and vines painted in blackish-brown iron contrast with berries that have fired to a crimson red within a single composition. The composition adds a second color to the deep tones of iron to bring variation to the picture, and in this Takeda’s style is clearly expressed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSankirai, the subject of this piece, is a name long familiar in Japan for sarutori-ibara, a climbing plant that bears red berries in autumn. Around the body, large rounded leaves, each painted in a single sweep of a broad brush, run in a row along the lower body. Within the leaves remain variations in tone left by the movement of the brush, along with fine lines left unpainted like leaf veins. From between the leaves, vines built up from short, dotted brushstrokes rise smoothly, and small berries are painted in clusters at their tips. The berries carry a pale crimson tint. Their dark outlines and partial metallic sheen convey the texture of ripe fruit. The painting is placed toward one side of the bowl, while the other side leaves the grayish-green ground almost untouched. Because of this contrast between painted area and empty space, turning the bowl shifts the scene from wild plants to a quiet expanse. The iron brush lines sink beneath the glaze, and their outlines blur slightly, creating a soft quality reminiscent of ink painting.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe grayish-green glaze covering the entire bowl has a moist, calm sheen. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) runs in a network from the exterior to the interior (mikomi). Another highlight is the way its expression changes with the light, from bluish gray to pale green. The bowl has a generous, rounded form, and the rim rises almost straight. At the very edge of the rim the glaze is thin, framing it in a lighter tone. The lower body has gentle vertical undulations that give the fingers a comfortable hold. The foot ring is low and compact, and the tatami-tsuki (the part of the base that touches the surface) is unglazed, revealing reddish-brown clay. Near the foot, a potter’s seal is impressed in a square area where the glaze has been scraped away. A little glaze has pooled in the center of the interior, holding a quiet sheen.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe wide mouth, approx. 13.4 cm in diameter, easily accommodates a large piece of ice, and the amber of aged spirits stands out beautifully against the grayish-green interior. This is a one-of-a-kind piece that passed through the artist’s own hands at every stage, from throwing on the wheel to painting, glazing and firing. No other piece has the same brushwork or glaze expression. Very little information on Takeda Toshio’s work circulates outside Japan. Opportunities to acquire an iron-painted vessel that carries on his teacher’s lineage, by an artist whose work is held in a national museum collection, are limited. The tomobako bears the artist’s handwritten inscription “Sankirai Chawan,” his signature “Toshio” and a red seal. A shiori, a leaflet recording the artist’s ceramic career, and a wrapping cloth are also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, selected for the touring exhibition in Canada and the United States, purchased by The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1990 (Heisei 2) to early 1990s (estimated, as the career history in the accompanying leaflet ends with the tenth solo exhibition at Nihombashi Takashimaya in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks; the crazing is an aesthetic feature of the glaze)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (inscribed “Sankirai Chawan,” signed, with red seal), shiori (leaflet recording the artist’s ceramic career), wrapping cloth\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eRim diameter approx. 13.4 cm, height approx. 9.2 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404890811,"sku":null,"price":60000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5676_result.jpg?v=1792903138"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/color-yellow-brown.oembed?page=2","provider":"Antique Liquor","version":"1.0","type":"link"}