{"title":"Ice Bowls","description":"\u003cp\u003eIce bowls and bowls for serving ice, and other vessels that can hold ice.\u003c\/p\u003e","products":[{"product_id":"34","title":"Ichiya Akira (壹谷旭) Hand-blown Glass Ice Bowl with Gold and Silver Accents #34","description":"\u003cp\u003eIchiya Akira (壹谷 旭, 1937–2003) was a leading Japanese glass artist of the modern era, renowned for developing and perfecting a unique technique known as “Yōkisai” (Kiln Rare Colour), which employs exquisite silver foil and gold decoration. The artist's mastery of technique and rich colour expression earned Ichiya high acclaim both domestically and internationally.\u003c\/p\u003e\n\u003cp\u003eThe piece presented here is Ichiya Akira's Yōkisai Ice Bowl. The interplay of light created by the gold and silver decoration. This ice bowl, with its thick hand-blown glass and inherent curved beauty, adds a touch of refined colour to the table. The flowing curves on the substantial glass are exquisite, and the design, where gold delicately spreads within the transparency, exudes a sense of luxury.\u003c\/p\u003e\n\u003cp\u003eMeasuring approximately 10.5 cm in height and 15.4 cm in diameter, it can be used not only as an ice bowl for whisky, but also as an interior decoration to brighten up your table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#glass\" target=\"_blank\" rel=\"noopener\"\u003eIchiya Akira\u003c\/a\u003e (壹谷旭, 1937–2003)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRepresentative activities of the artist:\u003c\/strong\u003e [1984] Received the Minister of Education Award at the Sanki Exhibition, [1982] Work acquired by the Cornyn Museum of Glass in New York\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate of production:\u003c\/strong\u003e 1980s (estimated)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 10.5cm, diameter approx. 15.4cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the items offered by our shop are new and unused, they are very old and are listed as second-hand goods. Please understand that the items may show signs of ageing and check them carefully before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":46961520443579,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0722.jpg?v=1763284139"},{"product_id":"74","title":"Iwata Toshichi (岩田藤七)'s `Gen (Black)` hand-blown crystal wine cooler, ice bowl, masterpiece from his later years, large-scale work #74","description":"\u003cp\u003eThis is a rare hand-blown glass piece by \u003ca href=\"\/en\/collections\/maker-iwata-toshichi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e (岩田藤七, 1893–1980), a master who laid the foundation for modern Japanese glass art. Created in 1972, towards the end of the artist's life, this piece is one of Iwata's greatest masterpieces, and its crystal clear transparency and dynamic form give it a particularly striking presence among Toshichi's works.\u003c\/p\u003e\n\u003cp\u003eThis piece's graceful curves resemble the waters of a powerful mountain stream instantly transformed into solid crystal. Despite its imposing dimensions, approximately 27cm high and 21.5cm wide, maintaining its exceptional clarity, free of air bubbles and impurities, requires exceptional skill and delicate temperature control. The hand-blown molding of large, pure crystal glass is prone to cracks and distortions during the cooling process, making it extremely difficult to produce a successful piece, further underscoring its rarity and value. The highly transparent glass creates a deep curve within, evoking a sense of spaciousness. While originally intended as a flower vase, we suggest placing a large block of ice inside to create a fantastical ice bowl, where the ice and glass appear to blend seamlessly. The graceful flow of light and shadows reflect in this captivating piece, drawing you in the moment.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\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\u003cstrong\u003e:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-iwata-toshichi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e (岩田藤七, 1893–1980)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements:\u003c\/strong\u003e [1943] Certified as a Class A Art Preservation Qualification, [1951] Awarded the Japan Art Academy Prize, [1970] Awarded the Person of Cultural Merit, [1980] Awarded the Order of the Treasure, Second Class\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eWork name:\u003c\/strong\u003e Gen\u0026nbsp;(Black)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e 1972 (Showa 47)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, dedicated wrapping cloth\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 27cm, width approx. 21.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial Notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to the manufacturing process, but no notable damage after production. Please note that \u003cspan style=\"color: rgb(255, 42, 0);\"\u003ethe wooden box has dried out and cracked due to aging\u003c\/span\u003e .\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47125266858171,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2308.jpg?v=1761739788"},{"product_id":"79","title":"Yoshida Takeo (吉田丈夫): `Kousho (Light Dress)` Hand-blown Crystal Ice Bowl, Large-scale Work #79","description":"\u003cp data-path-to-node=\"3\"\u003e\u003ca href=\"\/en\/collections\/maker-yoshida-takeo\" target=\"_blank\" rel=\"noopener\"\u003eYoshida Takeo\u003c\/a\u003e (吉田丈夫, 1916–2002) was an artist who made a significant contribution to the development of glass art in postwar Japan. Yoshida's pen name was \"Okibito\" (fireman), and the artist created a world of work that embodied warmth and tranquility. The artist studied at the lacquerware department of the Department of Crafts at the Tokyo School of Fine Arts (now Tokyo University of the Arts), specializing in lacquerware. After Yoshida's postwar pursuit of new materials, the artist switched to the field of glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eYoshida joined \u003ca href=\"\/en\/collections\/maker-kagami-crystal\" target=\"_blank\" rel=\"noopener\"\u003eKagami Crystal\u003c\/a\u003e Manufacturing (now Kagami Crystal), Japan's first factory specializing in crystal glass, in 1935 (Showa 10), as a student of the company's founder, \u003ca href=\"\/en\/search?q=%22%E5%90%84%E5%8B%99%E9%91%9B%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKagami Kozo\u003c\/a\u003e. Throughout the turbulent times of war and postwar Japan, the artist remained at the company's headquarters in Nishirokugo, Ota Ward, from 1949 onwards, holding key positions such as Director of the Crafts Department and Managing Director. Through Yoshida's many years of experience in production here, particularly the highly demanding work of creating items for the Imperial Household and gifts for state guests, Yoshida developed a unique style of expression that combined the creative sensibility of traditional crafts with the modern material of crystal glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eWhile Yoshida's works are based on the \"beauty of utility\" found in tea ceremony utensils, flower vases, and sake cups, they also display a tranquil and refined beauty through the transparency of the materials and the refraction of light. After retiring from Kagami Crystal in 1978 (Showa 53) and going independent, the artist established Yoshida's own studio, \"Yoshida Takeo Crystal Crafts,\" in Ibaraki Prefecture. Devoted to highly artistic creative endeavors that transcend organizational boundaries, the artist has produced numerous masterpieces that harmonize smooth textures with organic forms, as exemplified by Yoshida's signature work, \"Date Gourd\" (1988, National Crafts Museum). The artist's natural-themed sculptures, such as gourds and buds, are imbued with a sense of vitality and inner light, exuding the delicate sensibility and warmth of handwork that come from a background in lacquerware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThis work, `Kousho (Light Dress)` is believed to have been specially commissioned by Sumitomo Trust Bank while Yoshida was employed at Kagami Crystal. It was created during a time when Yoshida was at a career peak as a businessman, having been selected as a \"Contemporary Master Craftsman\" in 1974. Unlike the artist's later independent works, it displays the refined and refined aesthetic unique to Yoshida's time as a corporate workshop. This beautiful piece features light flowing like a trailing hem across the crystal's transparent white space. True to its name, this vessel, adorned as if wrapped in light, also excels as an ice bowl, adding a touch of elegance to everyday moments. The thick crystal holds the ice, and the soft, swaying shadows of light envelop the vessel like the hem of a garment. The harmony of the ice and glass, along with the tranquil beauty of the light, creates a rich and unforgettable experience.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\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\u003cstrong\u003e:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-yoshida-takeo\" target=\"_blank\" rel=\"noopener\"\u003eYoshida Takeo\u003c\/a\u003e (吉田丈夫, 1916–2002)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements include:\u003c\/strong\u003e [\u003c\/span\u003e 1974] \u003cstrong\u003eAwarded the Minister of Labor's Commendation as a Contemporary Master Craftsman\u003c\/strong\u003e ; [1977] Selected for the 24th Japan Traditional Art Crafts Exhibition for the first time; [1981] Awarded the Tokyo Governor's Award at the 28th Japan Traditional Art Crafts Exhibition; [1986] Awarded the Medal with Yellow Ribbon; \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e[1988] Yoshida's representative work, \"Date Gourd,\" is in the collection of the National Crafts Museum;\u003c\/span\u003e \u003cstrong\u003e[1990] Awarded the Minister of International Trade and Industry's Award (Traditional Craft Industry Outstanding Technician Award)\u003c\/strong\u003e ; [1992]\u003cspan data-path-to-node=\"4,5,0\" data-index-in-node=\"0\"\u003e \u003c\/span\u003eYoshida was awarded the Order of the Sacred Treasure, Fifth Class, and in 1995 received the Japan Crafts Association Holder's Award at the 42nd Japan Traditional Crafts Exhibition. \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Kousho (Light Dress)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction year:\u003c\/strong\u003e 1970s (estimated)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 23cm, width approx. 20cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to manufacturing, but no notable damage after manufacturing is found.\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47134669177019,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2470.jpg?v=1762763500"},{"product_id":"164","title":"Iwata Hisatoshi (岩田久利) – Vibrant Scarlet Pulse: Hand-Blown Glass Masterpiece, Aka-Yahazu \"Scarlet Flame\" Ice Bowl #164","description":"\u003cp data-path-to-node=\"7\"\u003e\u003ca href=\"\/en\/collections\/maker-iwata-hisatoshi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Hisatoshi\u003c\/a\u003e (岩田久利, 1925–1994), born in Tokyo, was a rare master who elevated contemporary Japanese glass art from mere decoration to the status of fine art. Iwata's works are held in the permanent collections of world-renowned institutions, including the Metropolitan Museum of Art and the Museum of Modern Art (MoMA) in New York, the Musée des Arts Décoratifs in Paris, and The Corning Museum of Glass, the world's preeminent glass museum. The artist has established an immovable position as an international artist of whom Japan is justly proud. As the inscription \"September 1981\" on the base of this work indicates, this monumental masterpiece was created during Iwata’s most prolific period, just before the artist received the Japan Art Academy Award in 1982.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe core of this work, the Yahazu (arrow-notch) pattern, is a technique that represents the very essence of Iwata’s artistry. It is created by physically stretching and rotating layers of molten glass of different colors. To control the brilliant, flame-like red and pure white glass layers without distortion on such a large vessel—measuring approximately 23 cm in diameter and 25 cm in height—requires highly sophisticated heat management and master-level hotworking skills. The opaque white and transparent red glass, which possess different thermal expansion coefficients, are fused at the molecular level in a molten state exceeding 1,000 degrees Celsius. The precise physical calculations required to avoid breakage during the cooling process represent the pinnacle of the \"dialogue between fire and matter.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eVisually, the passionate scarlet energy appears to well up from the bottom of the vessel, brimming with vitality, while the white lines at the rim and base tighten the overall impression, lending a modern sense of tension. We propose this masterpiece with its overwhelming presence as an \"ice bowl\" for the finest whiskies. The cool brilliance reflected from the ice inside the vessel resonates with Iwata’s \"fire\" pattern, creating the ultimate stage to adorn the amber liquid. Iwata Hisatoshi's aesthetic, recognized by museums worldwide, will elevate the tranquil ritual of a special evening to an unprecedented moment of luxury.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Iwata Glass Studio\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Iwata Hisatoshi (岩田久利, 1925–1994)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist's Notable Achievements:\u003c\/strong\u003e [1976] Minister of Education Award at the Nitten Exhibition; [1982] Japan Art Academy Award Date of Creation: September 1981 (inscribed on the base)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original signed wooden box (with \"Beni-Yahazu\" calligraphy)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 23 cm, Height approx. 25 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice①:\u003c\/strong\u003e The black spots visible in this area are 'iron spots' (iron mottling), caused by the natural iron minerals within the clay reacting during the firing process. Rather than artificial stains, these are an integral part of the vessel's unique 'Keshiki' (scenery), born within the 1,200°C flames. We invite you to appreciate this as a singular, organic characteristic of the piece.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice②:\u003c\/strong\u003e While this item is in unused condition, it is a vintage piece produced many years ago and is therefore listed as second-hand. Please be aware that vintage items may show minor signs of age. We invite you to examine the provided images carefully before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47473125621947,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4335.jpg?v=1784941337"},{"product_id":"196","title":"Iwata Hisatoshi (岩田久利), Jobun (Striped) Glass Vessel \/ Ice Bowl, Japan Art Academy Award Winning Artist #196","description":"\u003cp data-path-to-node=\"18\"\u003e\u003ca href=\"\/en\/collections\/maker-iwata-hisatoshi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Hisatoshi\u003c\/a\u003e (岩田久利, 1925–1994) was a pioneer who elevated modern Japanese glass craft to the realm of fine art. As a recipient of the Japan Art Academy Award in 1982, Iwata Hisatoshi is considered one of the most distinguished glass artists of the Showa period. Building upon the traditions of Iwata Koge Glass, founded by the artist's father \u003ca href=\"\/en\/collections\/maker-iwata-toshichi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e, Iwata Hisatoshi pursued a refined aesthetic that has garnered significant international acclaim. Iwata Hisatoshi's works are held in prestigious global collections, including the Metropolitan Museum of Art in New York and the Corning Museum of Glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThis piece features a distinctive striped design known as \"Jobun,\" where opaque milky white glass and colorless transparent glass alternate in layers. This intricate spiral pattern is created using advanced hand-blowing techniques, where a heated mass of glass is twisted instantaneously while being blown and shaped. The minimalist design, devoid of all color and composed solely of white and transparent tones, highlights Iwata Hisatoshi's exceptional technical skill and the intrinsic beauty of glass as a medium.\u0026nbsp;\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eWith its palm-sized dimensions (approx. 9 cm in width and height) and unique, stable form, this vessel is perfectly suited for contemporary use as a personal ice bowl for enjoying aged sake or whisky. The substantial weight characteristic of the artist's glass work and its comfortable fit in the hand provide excellent practicality as a functional vessel. The contrast between the opaque white lines and transparent lines creates complex light transmission and refraction, producing stunningly beautiful shadows. When ice is added, the texture and coolness are visually accentuated, offering a luxurious experience that blends traditional Japanese aesthetics with a modern lifestyle.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"0\"\u003eManufacturer:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-iwata-hisatoshi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Hisatoshi\u003c\/a\u003e Studio\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"37\"\u003eArtist:\u003c\/b\u003e Iwata Hisatoshi (岩田久利)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"61\"\u003eArtist's notable career highlights:\u003c\/b\u003e [1976] Received the Minister of Education Award at the Nitten Exhibition; [1982] Received the Japan Art Academy Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"215\"\u003eWorks held in collections at:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Hokkaido Museum of Modern Art; The Japan Art Academy; The Metropolitan Museum of Art, New York; The Corning Museum of Glass, New York; Museum Kunstpalast, Düsseldorf; Musée des Arts Décoratifs, Paris; and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"541\"\u003ePeriod of creation:\u003c\/b\u003e 1980s (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"579\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"622\"\u003eAccessories:\u003c\/b\u003e Dedicated box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"658\"\u003eMaterial:\u003c\/b\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"685\"\u003eDimensions:\u003c\/b\u003e Diameter approx. 8.2-9.1 cm, Height approx. 8.7 cm (approximate)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"762\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47546926629051,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5351_result.jpg?v=1774142207"},{"product_id":"273","title":"Senior Disciple of Mingei Master Kawai Kanjiro, Kyoto Gojozaka Shokei Kiln, Kawai Takeichi (河井武一), Kaiki Glaze Bowl, Flambé Sea-Cucumber Glaze Large Bowl, Ice Bowl, Fruit Basket #273","description":"\u003cp data-path-to-node=\"1\"\u003eCreated by Kawai Takeichi (河井武一, 1908–1989), a ceramic artist who was the nephew of Mingei Movement master \u003ca href=\"\/en\/search?q=%22%E6%B2%B3%E4%BA%95%E5%AF%9B%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKawai Kanjiro\u003c\/a\u003e and served as Kanjiro's senior disciple and right-hand man at the Shokei Kiln in Gojozaka, Kyoto, for nearly forty years from 1927 to 1966, supporting the workshop's throwing and shaping techniques. In 1935, Kawai Takeichi served as an assistant to British potter Bernard Leach during Leach's visit to Japan, and after Kanjiro's passing, the artist worked independently, presenting Kawai Takeichi's works primarily through solo exhibitions at Takashimaya department stores nationwide and other venues. Dating from the artist's mature period between the 1970s and early 1980s (the late 1940s to 1950s of the Showa era), when Kawai Takeichi fully pursued independent creation following Kanjiro's death and began signing and sealing the inner lid of dedicated wooden boxes (tomobako) as \"Kaiki Glaze Bowl, Takeichi,\" this piece is identified as an authentic work. Pursuing the functional beauty (\"Yo no Bi\") of folk crafts without seeking official exhibition awards or official honors, Takeichi's works are held in public collections such as the Asahi Group Oyamazaki Villa Museum of Art, the Adachi Museum of Art, and the Izumo Museum of Folk Crafts.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAs inscribed on the dedicated wooden box as \"Kaiki Glaze\" (Kaiki-yu), this vessel richly incorporates the traditional sea-cucumber glaze (Namako glaze, an opalescent blue-white glaze using cobalt and straw ash) for which the Kawai workshop is renowned. Over a heavy, dark-brown base glaze, a foamy, wave-like blue-white glaze is poured, creating fine crystals and mottling during the melting and flowing process of the viscous glaze in the kiln, drawing a beautiful gradient reminiscent of the mysterious deep sea. The large, voluptuous form rounded and swelling from the lower body to the waist is the result of Takeichi's robust and powerful wheel-throwing technique, which is Kawai Takeichi's true signature. From the lower body down to the foot ring, the glaze pools in heavy droplets to form a dramatic landscape, while the unglazed raw clay (rotai) around the foot exposes the rustic, iron-rich texture of the earthenware clay. The interior bowl bottom (mikomi) also holds a deep pool of opalescent blue glaze, conferring rich texture and profound depth to the entire vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eMeasuring an impressive approx. 12.4 cm in height and approx. 19.5 to 20.0 cm in width with substantial depth, our shop proposes this vessel as a dignified large ice bowl for enjoying aged spirits or premium whisky, or as an elegant fruit basket or centerpiece bowl for the table, tailored to modern lifestyles. The contrast between the deep blue-white sea-cucumber glaze and the dark brown base beautifully highlights the ice or colorful fruits placed inside, bringing a refined Japanese craft aesthetic to luxurious evening drinks or dining occasions. An authentic piece uniting Mingei philosophy and the techniques of the Kawai workshop, this masterpiece allows one to savor the true essence of traditional Japanese ceramic art through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKawai Takeichi\u003c\/a\u003e (河井武一, 1908–1989)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003eStudied under the artist's uncle Kawai Kanjiro from 1927, supporting the Shokei Kiln as senior disciple. Served as assistant to Bernard Leach in 1935. Worked independently following Kanjiro's passing, presenting works primarily through solo exhibitions.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eAsahi Group Oyamazaki Villa Museum of Art, Adachi Museum of Art, Izumo Museum of Folk Crafts, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s–early 1980s (late Showa 40s to 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 original wooden box (Tomobako) included (with calligraphy \"Kaiki Glaze Bowl, Takeichi\" and seal on inner lid)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Sea-cucumber glaze, Kaiki glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.4 cm, Width approx. 19.5–20.0 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 and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758791355,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3620_result.jpg?v=1790495411"},{"product_id":"275","title":"Kyoto City Cultural Merit Award Winner, Master of Nakagawa Joeki Workshop Tradition, Tanaka Hideaki (田中秀明) Forged Copper Chrysanthemum Motif Kensui, Hammered Craft Ice Bowl #275","description":"\u003cp data-path-to-node=\"31\"\u003eThis is a forged copper chrysanthemum-motif Kensui (slop bowl) by Tanaka Hideaki (田中秀明, b. 1916; real name Tanaka Shigeo, full member of the Japan Art Crafts Association), a Kyoto metal artist who contributed to the production of tea utensils at the renowned workshop of Nakagawa Jōeki—one of the Senke Jisshoku (Ten Artisans to the Sen Houses of Tea)—and later trained prominent figures including Masatoyo Miyoshi (designated a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e for Forged Metalwork) and Gorosaburo Kanaya XV. Having learned traditional techniques under Tanaka Hideaki's father, the metalworker \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E4%B8%AD%E8%8B%B1%E8%94%B5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTanaka Eizo\u003c\/a\u003e, Tanaka Hideaki supported the pinnacle of Kyoto's tea-ceremony metalwork behind the scenes and earned immense acclaim in the field of traditional hammered metalwork (tsuiki), including receiving the Kyoto City Cultural Merit Award in fiscal 1985. In the art of forging metal, which involves hammering and shaping metal plates with incredible precision, Tanaka possessed supreme craftsmanship, creating many works that merged traditional tea-utensil dignity with modern sculptural elegance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"32\"\u003eThis piece is a forged copper masterpiece that perfectly embodies Tanaka's signature \"Mole\" (repoussé\/hammered relief) technique. By meticulously hammering a single sheet of copper, the entire vessel is raised into a three-dimensional form resembling a large, blooming chrysanthemum blossom. From the outer body to the inner basin, uniform and rich petal undulations create beautiful contrasts of light and shadow. Along the raised band of the rim, elegant auspicious cloud motifs (ruyi cloud patterns) are delicately carved in relief, and the central bottom bears a clear square stamp reading \"Hideaki.\" The innate warmth of the copper, combined with a quiet, antique bronze patina that has deepened over time and the geometric chrysanthemum repoussé, radiates a dignified beauty that conveys the essence of Kyoto metal craftsmanship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"33\"\u003eWe propose this Kensui, possessing historical metalworking technique and noble sculptural beauty, as an individual ice bowl for chilling aged spirits, premium whisky, or wine, or as a tabletop craft vessel to adorn special spaces in modern lifestyles. The superior thermal conductivity of metal and the heavy presence of forged copper exude commanding prestige on the tabletop when filled with ice and cold water, elevating sophisticated evening drink moments alongside peak art. Individual forged metal vessels by Tanaka Hideaki—embodying the tradition of the Nakagawa Jōeki workshop and the mastery that trained a Living National Treasure—are extremely rare on the market. This masterpiece comes in flawless condition, complete with its original wooden box (Tomobako) bearing the handwritten inscription \"Made by Tanaka Hideaki\" and artist seal on the lid.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#metal\" target=\"_blank\" rel=\"noopener\"\u003eTanaka Hideaki\u003c\/a\u003e (田中秀明, b. 1916; Birth name Tanaka Shigeo)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003eStudied under Tanaka Hideaki's father Tanaka Eizo; Engaged in tea utensil crafting at the Senke Jisshoku \"Nakagawa Jōeki\" workshop; Selected for the Kyoto Prefectural Craft Exhibition (1958); First selected for Nitten (1962); Exhibited at the 21st Japan Traditional Crafts Exhibition (1974); Awarded the Kyoto City Cultural Merit Award in FY1985 (as Tanaka Shigeo); Full Member of the Japan Art Crafts Association. Trained pupils including Masatoyo Miyoshi (Living National Treasure in Forged Metalwork) and Gorosaburo Kanaya XV.\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003eMid-to-Late Showa Period (1970s–1980s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eGood (no dents, no deformation, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Made by Tanaka Hideaki\" calligraphic inscription and seal on the lid\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eCopper (Forged metal \/ Tsuiki, chrysanthemum repoussé mole technique, cloud motif relief)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 12.5 cm, Mouth diameter (maximum width) approx. 17.0 cm,\u0026nbsp;Weight Approx. 249 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47931190706363,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9222_result.jpg?v=1784445795"},{"product_id":"276","title":"Japan Ceramic Society Award Winner, Visiting Fellow at Harvard University, Kozuru Hajime (高鶴元), Mount St. Helens Volcanic Ash Glazed Bellows-Structure Mizusashi Water Jar, Covered Ice Bowl #276","description":"\u003cp\u003eBorn into a prestigious family of Agano ware with approximately 400 years of history, this extremely historically valuable Mizusashi (water jar) is created by \u003ca href=\"\/en\/collections\/maker-kozuru-hajime\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Hajime\u003c\/a\u003e (高鶴元, 1938–), a master who was active as a top leader in traditional craft circles, winning consecutive awards at the Japan Traditional Art Crafts Exhibition and receiving the Japan Ceramic Society Award. In 1980, highly acclaimed for research achievements in Old Agano ware and unique, refined modeling prowess, Kozuru traveled to the United States as a Visiting Fellow at Harvard University. Immediately after the artist's arrival, on May 18, 1980, Mount St. Helens in Washington State suffered a catastrophic eruption. Focusing on the volcanic ash that dispersed widely across the eastern North American continent, Kozuru personally collected and refined this natural geological material rich in silicic acid, alumina, and various minerals, independently developing and elevating it into an unprecedented ceramic glaze: \"Mount St. Helens Volcanic Ash Glaze.\" Created in the early 1980s (c. 1980–1985), coinciding with the 1980 eruption and Kozuru's tenure at Harvard University, this piece is a supreme contemporary work in which the earth's geological energy and traditional Japanese ceramic techniques fuse at a high level.\u003c\/p\u003e\n\u003cp\u003eTitled \"Mount St. Helens Volcanic Ash Glaze Mizusashi\" in the artist's own handwriting on the original wooden box (Tomobako), this work splendidly crystallizes Kozuru's architectural structural beauty and unique geological glazing. On the surface of its commanding, near-spherical form measuring approximately 18.0 cm in width and 18.0 cm in height, multiple horizontal tiers (a bellows-like step structure) are meticulously carved, creating three-dimensional shadows evocative of geological strata and crustal movements. The Mount St. Helens volcanic ash glaze covering the entire work displays a smooth transition from a heavy dark gray that absorbs light to a deep dark brownish-black where minute mineral crystals float, conveying a tranquil texture characteristic of minerals while remaining matte to the touch. From the knob of the matching lid to the precise fit with the body, there is not a single flaw, and trace marks of shell stacking (kaizumi)—evidence of high-temperature firing—remain on the foot ring, demonstrating an exquisite harmony between North American natural phenomena and advanced firing control techniques.\u003c\/p\u003e\n\u003cp\u003ePossessing a commanding form and heavy texture, our shop proposes this piece as a high-end covered ice bowl (luxury ice bucket) tailored to modern lifestyles, enhancing special moments for enjoying Western spirits. The deep matte black texture produced by Mount St. Helens volcanic ash beautifully highlights transparent ice crystals floating in rocks glasses, creating a refined contrast with amber whisky or bourbon. Its structured design with a matching lid and stable 18 cm scale offer outstanding practicality, exuding overwhelming dignity on bar counters and living room tables. Fusing the historical fact of a North American natural phenomenon with traditional Japanese craft, this is an extraordinarily rare authentic piece with few parallels in the world, serving as a supreme craft piece that elegantly graces sophisticated adult spaces.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-kozuru-hajime\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Hajime\u003c\/a\u003e (高鶴元, 1938–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1968, 1969] Received the Japan Art Crafts Association Chairman's Award at the 15th and 16th Japan Traditional Art Crafts Exhibitions (won 2 consecutive years), [1975] Received the 22nd Japan Ceramic Society Award, [1980] Traveled to the U.S. as a Visiting Fellow at Harvard University, [1997] Received the 9th Fukuoka Prefecture Cultural Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eFukuoka Prefectural Museum of Art, Tagawa City Museum of Art, Peabody Museum of Archaeology and Ethnology at Harvard University, Forest Hills Park (Boston), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 1980–1985 (Eruption of Mount St. Helens and period as Visiting Fellow at Harvard University)\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\u003eDedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), cloth wrap included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (Mount St. Helens volcanic ash glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Width approx. 18.0 cm, Height approx. 18.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47931191460027,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3091_result.jpg?v=1790256060"},{"product_id":"284","title":"Minister of Education Award Winner, Councilor of Nitten, and Artist Permanently Housed in the Museum of Fine Arts, Boston: Kano Mitsuo (叶光夫). Masterpiece: Hariyu-yusai Large Flower Vase, Large Bowl, Ice Bowl #284","description":"\u003cp data-path-to-node=\"26\"\u003eThis is a large-sized vase featuring the finest techniques and designs of \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970), a legendary master who reigned at the pinnacle of glaze research based on scientific analysis in the history of modern Japanese ceramics, yet held only six solo exhibitions in a lifetime. Born into the prestigious Kano family of \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e and a graduate of the Kyoto Ceramic Testing Institute, Kano Mitsuo studied under \u003ca href=\"\/en\/search?q=%22%E5%B0%8F%E6%A3%AE%E5%BF%8D%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKomori Shinobu\u003c\/a\u003e, a renowned pioneer of scientific ceramics in Japan. In 1920, the artist joined the Chinese Ceramics Research Institute in Dalian, where Kano Mitsuo thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, Kano Mitsuo was commissioned by the Manchukuo government to select sites for official kilns, and that overwhelming knowledge and astonishing technical skill would shock the Japanese art world shortly after the war. Beginning with a Special Selection Award at the Nitten Exhibition in 1949, the artist's works were permanently acquired by authoritative museums and national institutions worldwide, including the National Museum of Modern Art, Kyoto (purchased by the Ministry of Education), the Paroris Museum (purchased at the Contemporary Ceramic Exhibition in Paris), donated to the Museo Internazionale delle Ceramiche in Faenza, and acquired by the Museum of Fine Arts, Boston, the Museu de Arte de São Paulo, and the Japan Art Academy. In 1967, Kano Mitsuo received the Minister of Education Award at the Nitten Exhibition, and in 1968, the artist became a Nitten councilor. Highly praised for a refined aesthetic spirit, Kano Mitsuo produced a white porcelain vase for the Imperial Household at the time of the new palace construction in 1969, leaving behind an unparalleled legacy and honor as a master craftsman.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eKano Mitsuo's ceramic philosophy was rooted in the modernization of Eastern traditions based on thorough scientific evidence, and the pursuit of functional beauty that maximizes the potential of clay and glaze within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of Kano Mitsuo's nephew and direct disciple, Kano Tetsuo (Kano Shokoku II), a founding member of the \u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e group. In the early Sodeisha, which was spearheaded by \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 aimed at establishing purely three-dimensional objects completely devoid of practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that Tetsuo's master, Kano Mitsuo, had built through arduous research. As a result, Kano Mitsuo left the group at a very early stage around 1951 and embarked on the orthodox succession of practical vessels that fused tradition and modernism. Kano Mitsuo's global and outstanding modern aesthetic sense was also evident in the numerous cutting-edge Western tableware the artist created at the request of Noémi Raymond, wife of the renowned architect Antonin Raymond and a prominent designer. Kano Mitsuo embodied a universal modernism that harmonized with contemporary living spaces, rather than merely recreating classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eThe Hariyu-yusai (glass glaze with variegated colors) technique employed in this work is an extremely important representative technique, with a similar masterpiece published in Kano Mitsuo's collection of works. It is rooted in the artist's unique glass glaze technology, which Kano Mitsuo perfected in July 1942, before the war, by deriving a precise blending ratio of 75 parts Nango feldspar and 25 parts lead-free white jade. A professional analysis of the inside of the piece reveals a thickly melted, precisely calculated glass glaze, with ice crackle crazing, finely and densely spread like jewels from the bottom to the rim. This layer of transparent, delicate crazing reflects light in a beautiful, kaleidoscopic manner depending on the angle of incidence, lending immeasurable depth to the interior of the vessel. In contrast, the exterior of the vessel is uniformly covered with a deep black glaze, creating a vivid contrast with the serene world within. Furthermore, the lower part of the body features a sophisticated interlocking pattern in a continuous band, created by intricate stamping (indented patterning). In these textured patterned areas, the Yusai technique, where iron content and complex colors blend intricately, is fully utilized, precisely revealing changes in the crystallization, such as reddish-brown and slight bluish hues, as if floating from the jet-black background. The contrast between the hard black luster and the organic crystallization residing within the regular patterns is the epitome of extremely difficult glaze control that only Kano Mitsuo could achieve.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eFurthermore, what determines the artistic value of this work is the presence of a highly special potter's mark applied within the foot rim at the base of the vessel. In contrast to the simple incised marks seen on the bottom of ordinary vases and practical vessels, fine white slip clay is applied within the foot rim, and Kano's painted signature is inscribed beautifully over it in a vivid blue cobalt pigment. This blue potter's mark serves as a vibrant accent that jumps out at the viewer when the bottom is revealed, transitioning from the jet-black exterior. It possesses extremely high precision and visual impact, as if a blue design has been embedded using meticulous inlay techniques. Kano Mitsuo's uncompromising dedication to perfectly controlling an artistic signature down to the invisible details is condensed in the uniqueness of this single potter's mark, eloquently testifying that this work is an undeniable authentic masterpiece from Kano Mitsuo's own hand. The lid of the accompanying wooden box features a dynamic inscription of the title \"Hariyu-yusai Kaki\" (Glass Glaze Variegated Vase) and Kano's signature, complete with a clear red seal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThe production period of this work is identified as the mature period of the mid-Showa era (circa 1955–1962). This logically supports that it was produced over approximately 28 years, from July 1942, when Kano Mitsuo completed a unique glass glaze blending ratio, through Kano Mitsuo's journey to Manchuria in 1943, the period from 1946 when Kano Mitsuo began exhibiting extensively at the Nitten exhibition and Kano Mitsuo's overwhelming technique of functional beauty entered its golden age, the 1940s and 1950s when Kano Mitsuo drew Kano Mitsuo's direct disciple Kano Tetsuo back to the succession of tradition, until the artist's passing in August 1970. The historical background of this work being a genuine piece from the master's mature period, produced directly by Kano Mitsuo's hands and transcending the turbulent wartime and postwar periods, further solidifies its artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWith dimensions of approximately 15 cm in height, 30 cm in body diameter, and 26.5 cm in mouth diameter, it boasts a commanding, impressive extra-large size. While its sculptural beauty can, of course, be enjoyed as a large vase that creates an elegant indoor atmosphere, it also offers rich practicality as a special accent in modern, sophisticated table settings. When enjoying fine aged sake or vintage wine, it can be placed in a space as a large ice bowl filled with ice or an exquisite wine cooler to chill bottles. The beautiful ice crackle of the glass glaze on the inside will resonate with the ice and condensation, creating breathtakingly luxurious and executive moments. This is a museum-quality, one-of-a-kind piece that embodies the essence of Kano Mitsuo's functional beauty, which has been highly praised and permanently collected by leading museums around the world, allowing you to directly experience its luxury in your daily life. It is something you will never encounter again, whether domestically or internationally.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"32\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1920] Joined the Chinese Ceramics Research Institute in Dalian and engaged in research on ancient Chinese ceramics; [1943] Traveled to Manchuria as a Manchukuo government consultant to select sites for official kilns; [1946] First exhibited at the Japan Fine Arts Exhibition (Nitten); [1949] Received a Special Selection Award at Nitten; [1953] Received the Hokuto Award at Nitten; [1957] Appointed as a Nitten judge; [1958] Became a member of the Nitten Association; [1967] Appointed as a Nitten judge and received the Minister of Education Award; [1968] Appointed as a Nitten councilor; [1969] Produced a white porcelain vase for the new palace construction.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"728\"\u003eWorks in Collections:\u003c\/b\u003e National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museu de Arte de São Paulo (Brazil); Japan Art Academy; Musée Paroris (France); Museo Internazionale delle Ceramiche, Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955–1962 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1067\"\u003eProduct Condition:\u003c\/b\u003e Very good (no chips, no cracks, box has age-related cracks and dirt).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1156\"\u003eAccessories:\u003c\/b\u003e Comes with original wooden box (note age-related deterioration).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1234\"\u003eMaterial:\u003c\/b\u003e Pottery (glass glaze, variegated glaze).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1285\"\u003eDimensions:\u003c\/b\u003e Height approx. 15.0 cm, body diameter approx. 30.0 cm, mouth diameter approx. 26.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1384\"\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 age-related damage, so please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974192283835,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8291_result.jpg?v=1782049469"},{"product_id":"295","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #295","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, Kumakura pursued an artistic career in ceramics. The artist apprenticed under Fukuda Rikisaburo at the Shosai Toen atelier in Kyoto, and further had Kumakura's creative spirit rigorously instilled by \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, a giant of modern ceramics and a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e. Kumakura's style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with Kumakura's own industrial design and architectural background, shone with a unique brilliance in the ceramic world of Kumakura's era. In 1957, the artist joined the legendary avant-garde ceramic artist group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e,\" formed by \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\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. Kumakura's artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. The artist's works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in Kumakura's youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued a unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. Kumakura's spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to a relatively short active period of ceramic creation and the fact that many of Kumakura's major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194315451,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8558_result.jpg?v=1783258162"},{"product_id":"341","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #341","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, Kumakura pursued an artistic career in ceramics. The artist apprenticed under Fukuda Rikisaburo at the Shosai Toen atelier in Kyoto, and further had Kumakura's creative spirit rigorously instilled by \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, a giant of modern ceramics and a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e. Kumakura's style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with Kumakura's own industrial design and architectural background, shone with a unique brilliance in the ceramic world of Kumakura's era. In 1957, the artist joined the legendary avant-garde ceramic artist group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e,\" formed by \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\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. Kumakura's artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. The artist's works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in Kumakura's youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued a unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. Kumakura's spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to a relatively short active period of ceramic creation and the fact that many of Kumakura's major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48145420681403,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0220_result.jpg?v=1785639061"},{"product_id":"408","title":"Regular Member of Japan Handicrafts Council: Oketani Teiichi II (二代 桶谷定一) - Kinindate White Tenmoku Tea Bowl, Matchawan, Sake Vessel, Ice Bowl, Kyoto-Kiyomizu Ware #408","description":"\u003cp data-path-to-node=\"17\"\u003eThis White Tenmoku tea bowl is crafted by master artisan \u003ca href=\"\/en\/collections\/maker-oketani-teiichi-ii\" target=\"_blank\" rel=\"noopener\"\u003eOketani Teiichi\u003c\/a\u003e II, who inherits the tradition of Kyoto-\u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e and boasts ten awards at the Japan Traditional Art Crafts Kinki Exhibition alongside selections for the Japan Traditional Art Crafts Exhibition. Born in 1935 in the pottery district of Higashiyama, Kyoto, Teiichi II graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School in 1955 and apprenticed under the artist's father, Oketani Teiichi I, who was active in the Teiten and Nitten exhibitions, mastering advanced Tenmoku glaze pottery techniques. Becoming a leading authority in the research of Tenmoku glazes originating from China's Song Dynasty, this work crafted by the artist's hand is presented to the world not only as a noble tea utensil matchawan, but also as a luxury sake vessel for pouring amber aged sake or matured whisky, or as a Japanese ice bowl filled with crushed ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eGenerally, when thinking of Tenmoku works, black Tenmoku comes to mind—where oil spot or hare's fur crystallization floats upon a jet-black field created by black iron glaze. However, White Tenmoku, as seen in this piece, possesses an exceptionally special and noble history, having been used exclusively since the Muromachi period for Kinindate (tea presentation reserved for shogun families and high-ranking figures). While black Tenmoku reflects the night sky and the subtle beauties of natural kiln transformations, White Tenmoku symbolizes noble purity and flawless dignity. Examining the fine details of this work, the subtle indentation at the rim unique to Tenmoku, known as \"suppon-guchi\" (turtle mouth), and the soft vertical shading applied to the exterior surface harmonize beautifully with the milky-white glaze reminiscent of silky white porcelain. Quiet gradations of shadow emerge depending on the angle of light, creating a structure that brilliantly highlights the deep amber hue of poured aged sake or the transparency of ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be specified as circa the 1980s to 1990s (late Showa to early Heisei era), a timeframe following Teiichi II's entry into pottery production in 1955, during which the artist achieved consecutive awards at the Japan Traditional Art Crafts Kinki Exhibition and selections for the Japan Traditional Art Crafts Exhibition, bringing Teiichi II's reproduction and research of Tenmoku glazes to its utmost peak of maturity. Inside the footring, an incised signature indicating the hand of Oketani Teiichi II is carved, which, combined with the highly perfected White Tenmoku glaze tone, endows the vessel with precious craft value. The vessel body itself shows no damage such as cracks or chips, maintaining excellent condition in both the milky-white glazed surface and the texture of the footring's raw clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-oketani-teiichi-ii\" target=\"_blank\" rel=\"noopener\"\u003eOketani Teiichi\u003c\/a\u003e II (二代 桶谷定一, 1935–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School and apprenticed under Oketani Teiichi I; [1970–1990] Received 10 awards at the Japan Traditional Art Crafts Kinki Exhibition, selected 3 times for the Japan Traditional Art Crafts Exhibition, and certified as a regular member of the Japan Handicrafts Council\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited; however, the artist's works are widely cherished as tea utensils for practice and formal gatherings across various tea ceremony schools, earning high trust in the antique art and tea utensil markets\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1990 (late Showa to early Heisei era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None (item only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kyoto ware, White Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.8 cm, Width approx. 12.8 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313810911419,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2560_result.jpg?v=1789091248"},{"product_id":"409","title":"Kyoto Prefecture Cultural Merit Award Winner, Sodeisha Member, Miyanaga Tozan III (三代 宮永東山・宮永理吉, Miyanaga Rikichi), Yatou Colored Glazed Incised Bowl, Fruit Bowl, Ice Bowl #409","description":"\u003cp data-path-to-node=\"1\"\u003eThis \"Yatou Colored Glazed Incised Bowl\" (Yatou Saiyu Koku-no-Hachi) is created by Miyanaga Tozan III (三代宮永東山, 1935–; real name: \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e), the third-generation master of the renowned Tozan Kiln of Kyo-ware ceramics, who left a monumental legacy in modern Japanese ceramic history as a member of the avant-garde ceramic group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e.\" After studying sculpture under Shindo Tsuji and others at the Kyoto City College of Fine Arts (now Kyoto City University of Arts), Miyanaga Rikichi traveled to the United States in 1959 to study at the Art Students League of New York. Upon returning to Japan, through the formation of the sculpture group \"Zero\" and activities at the Kodo Bijutsu Association, Tozan III became a member (Dojin) of the avant-garde ceramic artist group \"Sodeisha\" in 1970, developing intellectual structural expressions that overturned traditional ceramic frameworks. The original leaflet accompanying this piece includes an essay by art critic Yoshida Kozo stating, \"This solo exhibition is an attempt by him to create everyday items by applying his innovative sculptural sensibility,\" along with Tozan III's career history up to 1966 (Showa 41). The description in this leaflet serves as direct, objective evidence specifically identifying this piece as a precious early work from the 1966 solo exhibition that attempted the fusion of utility and sculpture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eTitled \"Yatou Saiyu Koku-no-Hachi\" on the original wooden box (Tomobako), this work bears a stamped signature \"Ri\" (理) in gosu (underglaze cobalt blue) on the bottom surface. The greatest charm of this piece lies in its overwhelming structural beauty, where intellectual structural expression as a sculptor and traditional techniques of Tozan Kiln fuse at a high level. On the solid vessel body reminiscent of bedrock carved from a rocky mountain, geometric and powerful incised motifs (sculptural cutout lines) are deeply carved into the sides, creating heavy shadows depending on the angle of light. The \"Yatou colored glaze\" covering the surface exhibits a matte, rustic glaze quality based on feldspar and wood ash, highlighting the rough texture of sand grains and minute feldspar particles mixed into the clay body. The thick construction and stable form of the vessel dissolve the traditional concept of a bowl, perfectly harmonizing sculptural three-dimensionality with functional utility—a true crystallization of structural thinking unique to a Sodeisha member.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing a commanding scale and overwhelming weight with a height of approximately 12.0 cm and a diameter of approximately 26.5 cm, our shop proposes this bowl tailored to modern lifestyles as a supreme Japanese Kogei piece where traditional Japanese beauty intersects with modernism. In particular, in refined spaces for savoring aged spirits and whisky that have acquired rich depth and aroma over time, it exudes a distinctive presence as a fruit basket for vibrant seasonal fruits or an ice bowl filled with rock ice. The contrast between the rough yet serene rock-like texture and the colors of ice or fruit placed within brings a definite dignity and modern art sophistication to dining tables and living spaces. Created on the eve of Tozan III's transition to thin celadon and white porcelain works in later years, this is an extremely rare authentic masterpiece created in the mid-1960s that challenged everyday items with a sculptural approach, serving as a supreme craft piece to be savored with all five senses.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Comment from an Art Critic Who Knew Miyanaga Tozan III (Miyanaga Rikichi)\u0026gt;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u0026nbsp;\"Miyanaga Rikichi is currently creating unique sculptures using ceramics as his medium, presenting his work as a member of Kodo-kai and the 'Zero' group. While he is undoubtedly a sculptor, he also has a career working as a potter in the workshop of his father, Miyanaga Tozan. This solo exhibition represents an attempt by him to apply his innovative sculptural sensibility to the creation of everyday goods, which I am greatly looking forward to. I hope that through efforts like this, a new frontier will open up in the domestic ceramics around us.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\" style=\"text-align: right;\"\u003eYoshida Kozo (吉田耕三, 1915–2013; Art Critic and Ceramic Researcher)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyanaga Tozan III (三代 宮永東山・宮永理吉) \/ \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e (1935–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1958] Graduated from Kyoto City College of Fine Arts, Department of Sculpture, [1959] Traveled to the U.S. and studied at the Art Students League of New York, [1961] Formed the sculpture group \"Zero\", [1970] Joined the avant-garde ceramic group \"Sodeisha\" as a member, [1998] Received the Kyoto Prefecture Cultural Merit Award, [1999] Succeeded to the name Miyanaga Tozan III, [2008] Received the Kyoto City Arts Merit Award, [2024] Received the Special Cultural Merit Award at the 42nd Kyoto Prefecture Cultural Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Museum of Modern Ceramic Art, Shigaraki (Shigaraki Ceramic Cultural Park); Kyoto City KYOCERA Museum of Art; etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1966 (Showa 41, work presented at solo exhibition)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), original leaflet included (featuring essay by Yoshida Kozo)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Yatou colored glaze, incised decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.0 cm, Width (Diameter) approx. 26.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313814810811,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3302_result.jpg?v=1790256838"},{"product_id":"420","title":"Kyoto Prefecture Cultural Merit Award Recipient, Sodeisha Founder Yamada Hikaru (山田光), White-Glazed Bowl, Ice Bowl #420","description":"\u003cp data-path-to-node=\"1\"\u003eThis white-glazed bowl is created by \u003ca href=\"\/en\/collections\/maker-yamada-hikaru\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, a master who founded the avant-garde ceramic group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e\" 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\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, overturning the conventional concept of ceramics bound by \"utility\" and establishing a monumental peak in Japanese avant-garde ceramics (objet pottery). While establishing international acclaim for Yamada's objet creations as pure sculptural forms, Yamada also founded \"Mon Kobo\" in 1962 with Yagi Kazuo and others, launching practical craft works that fused refined modernist design with artisan craftsmanship. The lid of the included original wooden box (Tomobako) bears the artist's handwritten inscription \"White Glaze Bowl\" (Hakuyu Hachi), and on the bottom of the piece, the stamp \"HiKaru\" (光) indicating an authentic work by Yamada Hikaru can be confirmed. Produced between the 1960s and 1970s—a period when Sodeisha's activities deepened most significantly after the founding of Mon Kobo in 1962—this piece is identified as an outstanding work in which sculptural beauty and practicality harmonize at a high level.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eWhat is most highly acclaimed in Yamada Hikaru's ceramic art is the intellectual structural thinking utilizing geometric plane compositions, openings, and cutouts, as well as the smooth, serene texture of Yamada's white glaze. Examining the design of this piece, while the overall silhouette of the vessel assumes a gentle roundness, sharp and precise cutouts are executed along the rim together with regular wavelike curves. These cutouts clearly articulate a Sodeisha aesthetic that deconstructs and reconstructs the boundaries of traditional bowls. The white glaze covering the surface exhibits a moist, matte, milky-white glaze quality, creating extremely delicate shadows on the body depending on how the light falls upon it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA particular highlight of this vessel is the relief-like spiral decoration applied to the center of the interior bottom (Mikomi). The subtle concavities and convexities that smoothly swirl from the center impart visual rhythm and dynamism to the quiet white glaze texture. The form, which gracefully tapers toward the foot, and its commanding sense of scale—measuring approximately 9.5 cm in height and approximately 17.0 cm in width—go beyond mere appreciation value as an artwork, perfectly fulfilling the function of an exceptionally high-quality ice bowl in modern dining and contemporary spaces.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eFilled with large ice blocks and arranged with bottles of aged amber vintage sake, vintage whisky, or chilled Japanese sake, the glitter and chill of the ice reflect beautifully on the spiral decoration of the interior bottom, drawing a magnificent contrast with the serene white-glazed body. As a precious authentic work by one of the most important artists in the history of Japanese ceramics, whose works are housed in the National Museum of Modern Art, Tokyo, the National Museum of Modern Art, Kyoto, and the Centre Pompidou in Paris, we propose this piece not only as a tea utensil or ice bowl, but also as a supreme liquor vessel and craft work where one can experience sculptural beauty as modern art with all five senses.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-yamada-hikaru\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e (山田光, 1923–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1948] Founded the avant-garde ceramic art group \"Sodeisha\" alongside Yagi Kazuo, Suzuki Osamu, and others; [1962] Established \"Mon Kobo\" to pursue modern design in living spaces; [1970s] Received the Japan Ceramic Society Award (later also received the Gold Prize); [1990s] Received the Kyoto Art and Culture Award, and was honored as a Person of Cultural Merit by Kyoto City.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Museum of Modern Ceramic Art, Shigaraki (Shigaraki Ceramic Cultural Park); Kyoto City KYOCERA Museum of Art, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1960s-1970s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (White glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 9.5 cm, Width approx. 17.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332184682683,"sku":null,"price":60000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3059_result.jpg?v=1789969799"},{"product_id":"451","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #451","description":"\u003cp data-path-to-node=\"1\"\u003eThis bowl is a piece by \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985), a master who left a legendary mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 (Taisho 9) and passing away in 1985 (Showa 60), Kumakura was a pioneer who led post-war Japanese ceramic history. After thoroughly studying modernist design and architectural structural expression at the Architectural Department of Kyoto Municipal First Industrial School and the Design Department of Kyoto Higher School of Arts and Crafts (currently Kyoto Institute of Technology), Kumakura pursued the path of ceramics. The artist studied under Fukuda Rikisaburo at Shosai Toen in Kyoto, and was further instilled with the creative spirit 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, a master of modern ceramics and a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e. Inheriting the strict modernist philosophy from Tomimoto Kenkichi of \"not creating patterns from existing patterns,\" combined with Kumakura's own background in design and architecture, the artist's style stood out uniquely in the ceramic art world at that time. In 1957, the artist joined \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e,\" the legendary avant-garde ceramic group formed by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and others, becoming a member (Dojin) and reigning at the pinnacle of Japanese ceramics as a central figure. Kumakura's artistry gained high international acclaim, winning the Grand Prix at the 1958 Brussels World's Fair in Belgium and the Silver Prize at the 1962 Prague International Ceramics Exhibition in Czechoslovakia, with works publicly collected in institutions such as The National Museum of Modern Art, Tokyo and The National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAlthough titled \"Green Glazed Bowl\" (Ryokuyu Hachi) on the original wooden box (Tomobako), this work is a masterpiece where Kumakura's unique sense of modernism and Yohen (kiln transformation) technique crystalize splendidly. Across the surface of the vessel spreads a breathtakingly beautiful and grand landscape, where layers of Yohen interweave from eye-dazzling vivid turquoise blue to deep cobalt blue, with olive green and golden-brown hues floating around the rim and center. In the midst of radial waves of delicate, reticulated crystalline glaze, at the central interior bottom (Mikomi), an irregular three-dimensional relief (an island-like motif) adorned in golden-brown and green is constructed, reminiscent of an ancient solitary island or a lagoon floating upon a blue ocean. Furthermore, the sculpturally deformed rim line that waves freely in organic curves demonstrates the structural backbone unique to Kumakura Junkichi, high-dimensionally fusing graphic design sensibility with architectural modeling thought. While other members of Sodeisha moved toward pure objets that completely rejected the vessel form, Kumakura maintained the beauty of utility and form as a vessel while pushing the boundaries of avant-garde expression under a personal artistic philosophy. Because Kumakura's career as a potter was relatively short and many major works are housed in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this an exquisite item of very high rarity as a world-class collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing an exquisite size with a diameter of approximately 18.5 cm, our shop proposes this bowl as a Japanese Kogei piece to enjoy traditional Japanese aesthetics tailored to modern lifestyles. It is particularly ideal as a small dish for simmered dishes, appetizers, or a deep bowl when savoring aged sake or chilled sake that has acquired deep richness and aroma over time. The mysterious solitary island motif floating in the center of the interior bottom and the overwhelming ocean colors surrounding it elegantly complement served dishes, creating a luxurious time that satisfies all five senses alongside the rich flavor of sake. Imbued with the spirit of a master who pursued beauty without a single compromise, this vessel is a supreme modern piece that brings refined dignity and a unique presence to daily dining tables.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48371985154235,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3181_result.jpg?v=1790256383"},{"product_id":"452","title":"Regular Member of Japan Handicrafts Council: Oketani Teiichi II (二代 桶谷定一) - Kinindate White Tenmoku Tea Bowl, Matchawan, Sake Vessel, Ice Bowl, Kyoto-Kiyomizu Ware #452","description":"\u003cp data-path-to-node=\"17\"\u003eThis White Tenmoku tea bowl is crafted by master artisan \u003ca href=\"\/en\/collections\/maker-oketani-teiichi-ii\" target=\"_blank\" rel=\"noopener\"\u003eOketani Teiichi\u003c\/a\u003e II, who inherits the tradition of Kyoto-\u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e and boasts ten awards at the Japan Traditional Art Crafts Kinki Exhibition alongside selections for the Japan Traditional Art Crafts Exhibition. Born in 1935 in the pottery district of Higashiyama, Kyoto, Teiichi II graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School in 1955 and apprenticed under the artist's father, Oketani Teiichi I, who was active in the Teiten and Nitten exhibitions, mastering advanced Tenmoku glaze pottery techniques. Becoming a leading authority in the research of Tenmoku glazes originating from China's Song Dynasty, this work crafted by the artist's hand is presented to the world not only as a noble tea utensil matchawan, but also as a luxury sake vessel for pouring amber aged sake or matured whisky, or as a Japanese ice bowl filled with crushed ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eGenerally, when thinking of Tenmoku works, black Tenmoku comes to mind—where oil spot or hare's fur crystallization floats upon a jet-black field created by black iron glaze. However, White Tenmoku, as seen in this piece, possesses an exceptionally special and noble history, having been used exclusively since the Muromachi period for Kinindate (tea presentation reserved for shogun families and high-ranking figures). While black Tenmoku reflects the night sky and the subtle beauties of natural kiln transformations, White Tenmoku symbolizes noble purity and flawless dignity. Examining the fine details of this work, the subtle indentation at the rim unique to Tenmoku, known as \"suppon-guchi\" (turtle mouth), and the soft vertical shading applied to the exterior surface harmonize beautifully with the milky-white glaze reminiscent of silky white porcelain. Quiet gradations of shadow emerge depending on the angle of light, creating a structure that brilliantly highlights the deep amber hue of poured aged sake or the transparency of ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it can be specified as circa the 1980s to 1990s (late Showa to early Heisei era), a timeframe following Teiichi II's entry into pottery production in 1955, during which the artist achieved consecutive awards at the Japan Traditional Art Crafts Kinki Exhibition and selections for the Japan Traditional Art Crafts Exhibition, bringing Teiichi II's reproduction and research of Tenmoku glazes to its utmost peak of maturity. Inside the footring, an incised signature indicating the hand of Oketani Teiichi II is carved, which, combined with the highly perfected White Tenmoku glaze tone, endows the vessel with precious craft value. The vessel body itself shows no damage such as cracks or chips, maintaining excellent condition in both the milky-white glazed surface and the texture of the footring's raw clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-oketani-teiichi-ii\" target=\"_blank\" rel=\"noopener\"\u003eOketani Teiichi\u003c\/a\u003e II (二代 桶谷定一, 1935–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1955] Graduated from the Ceramics Department of Kyoto Prefectural Fushimi High School and apprenticed under Oketani Teiichi I; [1970–1990] Received 10 awards at the Japan Traditional Art Crafts Kinki Exhibition, selected 3 times for the Japan Traditional Art Crafts Exhibition, and certified as a regular member of the Japan Handicrafts Council\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Permanent museum collection records are limited; however, the artist's works are widely cherished as tea utensils for practice and formal gatherings across various tea ceremony schools, earning high trust in the antique art and tea utensil markets\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1990 (late Showa to early Heisei era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None (item only)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kyoto ware, White Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48396097093819,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3769_result.jpg?v=1790767297"},{"product_id":"466","title":"Artist in the Collection of the Corning Museum of Glass (USA) | Kagami Mitsuru (各務満) | \"Kurisutaru Chawan\" (Crystal Tea Bowl) | Reddish-Purple Coloration, Matte Finish | Suggested for Use as an Ice Dish or Confectionery Dish #466","description":"\u003cp dir=\"ltr\"\u003eThis is a \"Kurisutaru Chawan\" (crystal tea bowl) by the glass artist Kagami Mitsuru. The front of the tomobako (the wooden box signed by the artist) bears an ink inscription that reads \"Kurisutaru Chawan,\" together with the artist's signature, \"Mitsuru,\" and a red seal. Our shop proposes this vessel, originally made as a tea bowl, as an ice dish for serving ice alongside whisky and other Western spirits. This mitate, the Japanese practice of giving a vessel a new role, makes the most of its wide mouth and shallow form. It is equally suited to serving snacks with drinks, sweets, or small portions of Japanese cuisine.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAfter studying in the Department of Sculpture at the Tokyo School of Fine Arts, Kagami Mitsuru joined \u003ca href=\"\/en\/collections\/maker-kagami-crystal\" target=\"_blank\" rel=\"noopener\"\u003eKagami Crystal\u003c\/a\u003e Works (today's Kagami Crystal) in 1943 (Showa 18). The company had been founded in 1934 (Showa 9) by \u003ca href=\"\/en\/search?q=%22%E5%90%84%E5%8B%99%E9%91%9B%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKagami Kozo\u003c\/a\u003e as Japan's first factory dedicated to crystal glass. After repeated selections for the Nitten (Japan Fine Arts Exhibition) and the Contemporary Arts and Crafts Exhibition, Kagami Mitsuru withdrew from open-call exhibitions in 1966 (Showa 41) and became an independent artist. In the 1980s, Kagami Mitsuru exhibited as an invited artist in exhibitions held at institutions including the National Museum of Modern Art, Kyoto, the Hokkaido Museum of Modern Art, and the Suntory Museum of Art. The artist also took part in \"Japon des avant-gardes 1910–1970,\" held at the Centre Pompidou in Paris from 1986 into the following year.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe Corning Museum of Glass in the United States holds a tea bowl and a mizusashi (fresh-water jar for the tea ceremony), both made around 1981 at the Kagami Crystal factory. According to the museum's records, both are made of colorless lead glass and formed by free-blowing. Their design features wavy lines of color rising from the base toward the rim, overlaid with spotted gold leaf, and they are finished without a pontil mark on the base.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe same approach to form can be seen in this piece. On translucent glass with a pale yellow tint, color ranging from reddish purple to reddish brown spreads from around the foot ring across the lower half of the body. Its irregular contours evoke flames or flower petals, and the color fades softly as it approaches the rim. This composition, with color rising from the base toward the rim, follows the same direction as the works in the museum's collection. The surface has a matte texture inside and out, and countless fine bubbles are dispersed throughout the glass, appearing to sparkle gold as they catch the light.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe rim undulates gently in an irregular outline, forming a soft-cornered polygon when viewed from above. It has been finished with its thickness retained, and when held up to the light its cross-section glows brightly. The low foot ring has been cut out, and both the tatamitsuki (the resting surface of the foot ring) and the base have been ground flat. Concentric grinding marks remain on the base, and no pontil mark can be seen. Small granules of reddish-brown colored glass are scattered near the foot ring. We refrain from stating the method used to create the matte finish, whether gold leaf has been used, or the forming technique, as these cannot be determined with certainty from external appearance.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe period of production has been estimated from the accompanying shiori (the artist's biographical leaflet). The telephone number of Kagami Crystal Co., Ltd. printed on the leaflet is in the seven-digit Tokyo format, which predates the change of Tokyo telephone numbers to eight digits on January 1, 1991. In addition, the final entry in the artist's biography is dated Showa 62 (1987). On these two grounds, we have determined that the leaflet was printed between 1987 and 1990. As this piece has been passed down together with the leaflet, we estimate that it was made in the same period.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#glass\" target=\"_blank\" rel=\"noopener\"\u003eKagami Mitsuru\u003c\/a\u003e (各務満, 1918–1999)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1941] Graduated from the Department of Sculpture, Tokyo School of Fine Arts, and entered the Ministry of Education's Industrial Arts Technical Training Institute as a member of its first class; [1943] Joined Kagami Crystal Works; [1951] Received the Kanagawa Prefecture Best Design Award (subsequently selected 15 times for the crafts section of the Nitten and 3 times for the Contemporary Arts and Crafts Exhibition); [1966] Ceased submitting to open-call exhibitions and became an independent artist, thereafter holding solo exhibitions every year in various locations; [1980] Exhibited as an invited Japanese artist in \"Contemporary Glass: Europe \u0026amp; Japan,\" the National Museum of Modern Art, Kyoto; [1981] Exhibited as an invited Japanese artist in the \"Today's Glass\" exhibition: Australia, Canada, the United States and Japan, the National Museum of Modern Art, Kyoto; [1982] Exhibited as a specially invited Japanese artist in \"World Glass Now,\" Hokkaido Museum of Modern Art; [1983] Exhibited as an invited artist in \"Contemporary Japanese Crafts: Their Course and Development,\" Fukui Prefectural Museum of Modern Art; [1986] Exhibited as an invited artist in \"300 Years of Japanese Glass,\" Suntory Museum of Art, and in \"Japon des avant-gardes 1910–1970,\" Centre Pompidou, Paris; [1987] Exhibited as an invited artist in \"The World of Glass,\" Iwataya, Kurume; [2023] Works shown in \"The Origins of Japanese Modern Glass,\" Toyama Glass Art Museum (posthumous)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eCorning Museum of Glass (USA)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003ec. 1987–1990 (estimated from the printing period of the accompanying leaflet)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good (no chips, no cracks; fine scuffs, mainly on the mikomi, the interior well)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Tomobako (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\u003eGlass (inscribed \"kurisutaru,\" meaning crystal, on the tomobako)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.0 cm, Width approx. 14.3 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice:\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. Items may show age-related wear or damage. Please understand this and review the details carefully before deciding to purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598486044859,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4301_result.jpg?v=1791349309"},{"product_id":"469","title":"Recipient of the Gifu Prefecture Arts and Culture Honor and the Turkish Government’s Osman Hamdi Art Award, Regular Member of the Japan Kogei Association, Shinsho Kiln, Kato Kenji (加藤賢司), Turkish Blue Bowl, Small Appetizer Dish #469","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a Turkish blue bowl crafted by \u003ca href=\"\/en\/collections\/maker-kato-kenji\" target=\"_blank\" rel=\"noopener\"\u003eKato Kenji\u003c\/a\u003e (加藤賢司, 1933–2008), a ceramic artist who worked at the Shinsho Kiln in Tajimi City, Gifu Prefecture. A square seal stamp with the single character \"Ken\" is impressed inside the foot ring, and a shiori (leaflet) printed with the artist's ceramic career history is included. Measuring approximately 13 cm in diameter, it is a convenient and versatile size. Our shop proposes it as an appetizer dish for enjoying aged spirits and liquor.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eKato Kenji was born on July 21, 1933 (Showa 8), in Tajimi City, Gifu Prefecture, a region famous for \u003ca href=\"\/en\/collections\/mino-ware\" target=\"_blank\" rel=\"noopener\"\u003eMino ware\u003c\/a\u003e production. Kato graduated from Kyoto City University of Fine Arts (now Kyoto City University of Arts) majoring in ceramics within the Department of Crafts, and studied under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, Yuzo Kondo, and \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E6%9C%AC%E8%83%BD%E9%81%93%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYoshimichi Fujimoto\u003c\/a\u003e. All three masters were later designated Holders of Important Intangible Cultural Properties (\u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasures\u003c\/a\u003e). In 1959, the artist established the \"Shinsho Kiln,\" named by Tomimoto Kenkichi, and was selected for the first time for the 6th Japan Traditional Art Crafts Exhibition with a \"Bowl.\" According to records of the Japan Kogei Association, a public interest incorporated association, Kato passed away in 2008.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eKato became active internationally from an early stage. In 1968, Kato served as a lecturer in the Department of Ceramic Art within the College of The Arts at Ohio State University in the United States, giving touring lectures at the University of Michigan, Indiana State University, Antioch College, and other institutions. In 1969, the artist held a solo exhibition at the Helen Winnemore Gallery in the US. From 1971 to 1973, dispatched by the Japanese government, Kato served as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts. From 1976 to 1981, as a ceramic art envoy dispatched by the Ministry of Foreign Affairs and the Japan Foundation, the artist visited Australia, New Zealand, Denmark, Canada, Norway, and other countries several times. In 1981, Kato appeared on the NHK Educational TV column \"Japanese Ceramics Going International.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThe artist's connection with Turkey continued thereafter. In 1986, the artist received the Osman Hamdi Art Award from the Turkish government, and in 1992, at the invitation of the Turkish government, Kato participated in the International Antalya Arts Festival. Kato presented a \"Turkish Blue Vase\" to His Imperial Highness Prince Mikasa and held two solo exhibitions at the Embassy of the Republic of Turkey in Japan.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThe artist also received numerous awards domestically. Kato won the Tomimoto Prize at the Shinsho Kogei Association in 1976, the 5th Kobei Prize in 1987, and the Education and Culture Award at the 38th Gifu Shimbun Grand Prize in 1988. At the Tokai Traditional Art Crafts Exhibition, the artist received the Japan Kogei Association President's Award at the 2nd exhibition, the Aichi Prefectural Board of Education Award at the 10th exhibition, and also won the top prize. In 1994, Kato exhibited at the Japan Traditional Art Crafts Selected Scandinavian Touring Exhibition, and in 1995, the artist received the Gifu Prefecture Arts and Culture Honor.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn terms of official roles, the artist served as a lecturer in the Department of Fine Arts and Crafts at Gifu University from 1974 to 1994. Kato also successively served as vice president of the Mino Ceramic Art Association, an expert committee member for the International Ceramics Competition MINO, and an executive committee member and judge for various art exhibitions. The artist was a regular member of the Japan Kogei Association, a member of the International Academy of Ceramics (IAC), and served as secretary-general of the executive committee for the International Academy of Ceramics Japan Conference '96 in Nagoya. Kato's works are held in the collections of museums, art galleries, and diplomatic missions in Japan and abroad.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eTracing the exhibition records of the Japan Kogei Association reveals the evolution of the artist's style. After periods of producing nukie tenmoku (tenmoku with resist decoration) and red overglaze enamel (akae) works, Kato exhibited \"Turkish Blue Flattened Flask\" at the 33rd Japan Traditional Art Crafts Exhibition in 1986. Thereafter, until the 48th exhibition in 2001, Kato continuously submitted Turkish blue works. The artist also presented Turkish blue vases, incense burners, and individual serving plates at the Tokai Traditional Art Crafts Exhibition, submitting \"Turkish Blue Bowl\" to the 28th exhibition in 1997. Turkish blue became Kato's most widely recognized signature style, and this piece is precisely one created using that technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe inside and outside of the vessel are covered in a vivid Turkish blue glaze. The interior bowl (mikomi) is filled with a deep blue, within which minute air bubbles are scattered like white speckles, creating a tone with depth. On the exterior, large crackle (kannyu) runs across the surface, giving variation to the glaze's expression.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe rim is an irregular shape gently distorted by hand, forming a softly undulating contour. The edge of the rim is thinly glazed, allowing the dark underlying clay tone to peek through, alongside bleeding of cobalt blue to purplish-blue. Below the interior rim, short dark lines are arranged radially. In the center of the interior bowl, a single small motif consisting of a circle, dot, and curved line—evoking an eye—is drawn in the same dark color. Amid the sea of Turkish blue, it serves as an anchor that tightens the composition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe exterior is a solid Turkish blue without patterns, gently constricting below the rim before bulging outward into a form with a sense of volume. The foot ring is trimmed low and wide, and both the foot ring and its interior are unglazed. Concentric wheel-trimming marks remain on the reddish-brown clay surface, with the seal stamp \"Ken\" impressed in the center. The contrast between the cool, clear Turkish blue and the warm red clay is another highlight of this piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe production period is estimated from the content of the accompanying shiori. The most recent dated entry in the shiori's career history is the Gifu Prefecture Arts and Culture Honor in 1995. The role of secretary-general of the executive committee for the IAC Japan Conference Nagoya in 1996 is also listed. On the other hand, the postal code is printed in the three-digit format used prior to the change to seven digits in February 1998. Based on these points, this bowl is considered to have been made between around 1996 and early 1998. This aligns with the period when Kato was submitting Turkish blue works to the Japan Kogei Association exhibitions, though since the shiori may have continued to be used for a certain period, this remains an estimate.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eThe piece has no chips or cracks and remains in very good condition. Although an artist who is hardly introduced abroad, this work allows one to savor at the daily dining table or during an evening drink the Turkish blue that Kato—who taught in Turkey and was honored by the Turkish government—pursued until the artist's later years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"13,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-kato-kenji\" target=\"_blank\" rel=\"noopener\"\u003eKato Kenji\u003c\/a\u003e (加藤賢司, 1933–2008; Katō Kenji)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights:\u003c\/strong\u003e [1959] Established Shinsho Kiln named by Tomimoto Kenkichi; first selected for the 6th Japan Traditional Art Crafts Exhibition with \"Bowl\"; [1968] Lecturer in the Department of Ceramic Art, College of The Arts at Ohio State University; [1969] Solo exhibition at Helen Winnemore Gallery, USA; [1971–1973] Dispatched by the Japanese government as a visiting professor at the Turkish National Istanbul Higher School of Fine Arts and Crafts; [1974–1994] Lecturer in the Department of Fine Arts and Crafts at Gifu University; [1976] Tomimoto Prize at Shinsho Kogei Association; [1976–1981] Ceramic art envoy dispatched by the Ministry of Foreign Affairs \/ Japan Foundation (Australia, New Zealand, Denmark, Canada, Norway, etc.); [1981] Appeared on NHK Educational TV column \"Japanese Ceramics Going International\"; [1986] Osman Hamdi Art Award (Turkish government); [1986] Selected for 33rd Japan Traditional Art Crafts Exhibition with \"Turkish Blue Flattened Flask\"; [1987] 5th Kobei Prize; [1988] Education and Culture Award at 38th Gifu Shimbun Grand Prize; [1992] Participated in International Antalya Arts Festival (invited by the Turkish government); [1994] Japan Traditional Art Crafts Selected Scandinavian Touring Exhibition; [1995] Gifu Prefecture Arts and Culture Honor; [1996] Secretary-General of the Executive Committee for IAC Japan Conference '96 in Nagoya; [2001] Selected for 48th Japan Traditional Art Crafts Exhibition with \"Turkish Blue Vase\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,2,0\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Gifu Prefectural Museum of Art, Gifu Prefectural Museum, Gifu Prefectural Ceramics Museum, Embassy of Japan in Denmark, Swiss National Museum, Museum für Kunst und Gewerbe Hamburg, Seattle Art Museum, University of Michigan Museum of Art, Everson Museum of Art, Cincinnati Art Museum, Art Gallery of South Australia, Canterbury Museum, Turkish National Museum of Painting and Sculpture, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1996 to early 1998 (estimated from the content of the accompanying shiori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,4,0\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eShiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Turkish blue glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,7,0\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Mouth diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615312543931,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4666_result.jpg?v=1791639422"},{"product_id":"486","title":"Certified Preserver of Craft Techniques, Miyanaga Tozan II (二代 宮永東山・宮永友雄, Miyanaga Tomoo): Ruri-Glazed Gilt Lobed Confectionery Bowl with Jindai Moji Inscription, Kashiki \/ Kashibachi \/ Fruit Bowl #486","description":"\u003cp\u003eThis is a \"Ruri-Glazed Gilt Confectionery Bowl with Shinji (Divine Characters)\" by Miyanaga Tozan II (二代宮永東山, 1907–1995; given name Miyanaga Tomoo), the second-generation head of the Miyanaga Tozan Kiln, one of the distinguished names of Kyoto ceramics (\u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKyo-yaki\u003c\/a\u003e). The entire vessel is covered in a deep lapis-blue ruri glaze, and the interior is inscribed in gold with a single line of Jindai moji, the so-called \"characters of the Age of the Gods.\" This lobed bowl comes with its Tomobako (the original wooden box bearing the artist's ink inscription and red seal) and its Tomonuno (the original cloth wrapper bearing a red seal). Carrying on the celadon, blue-and-white (sometsuke), and polychrome enamel wares produced since the first generation, Miyanaga Tozan II excelled in fine tableware and came to be known as \"Tozan of Tableware.\" This piece exemplifies the refined tableware style of the second generation.\u003c\/p\u003e\n\u003cp\u003eThe history of the Miyanaga Tozan Kiln begins with Miyanaga Tozan I (初代宮永東山, 1868–1941; given name Miyanaga Gotaro). Born into a samurai family of the Daishoji Domain in Ishikawa Prefecture, Tozan I served as assistant to Okakura Tenshin, principal of the Tokyo School of Fine Arts, and took part in surveys of art institutions in Western countries. Tozan I later worked at the Provisional Office for the Paris Exposition Universelle of the Ministry of Agriculture and Commerce and was dispatched to Paris, where Tozan I became acquainted with Kinkozan Sobei VII. After returning to Japan, Tozan I moved to Kyoto, became artistic adviser to the Kinkozan workshop, and was devoted to the reform of Meiji-era Kyoto ceramics. In 1903 (Meiji 36), Tozan I joined Yutoen, Japan's first society for the study of ceramic design, founded through the initiative of the ceramic chemist Nakazawa Iwata and the Western-style painter Asai Chu. In 1909 (Meiji 42), Tozan I built the Tozan Kiln at Fukakusa, at the foot of Mount Inari in Fushimi. The art name \"Tozan\" was chosen by Koda Rohan, a friend with whom Tozan I had shared lodgings for about two years while studying at the Tokyo French Language School; Rohan took it from the phrase in Mencius, \"Confucius ascended the Eastern Mountain.\" During the Showa era, Tozan I's works \"Two-Color Glazed Vase\" and \"Pale Celadon Pentagonal Vase with Floral Design\" were selected for the Imperial Art Academy Exhibition (Teiten), and from the 14th exhibition onward Tozan I was granted mukansa status (exemption from jury screening). Celadon was the greatest specialty of Tozan I, who was known as \"Tozan of Celadon.\"\u003c\/p\u003e\n\u003cp\u003eMiyanaga Tozan II was born in Kyoto in August 1907 (Meiji 40), the son of Tozan I. After attending Kyoto First Middle School, Tozan II graduated from the Design Department of the Kyoto Higher School of Arts and Crafts in 1930 (Showa 5). In 1935 (Showa 10), the artist completed the training course at the National Ceramics Testing Institute, where Tozan II carried out research on feldspar, among other subjects. During this period Tozan II also studied under \u003ca href=\"\/en\/search?q=%22%E6%B2%BC%E7%94%B0%E4%B8%80%E9%9B%85%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eNumata Ichiga\u003c\/a\u003e, and \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e was among Tozan II's fellow pupils. In 1939 (Showa 14), the artist's work was selected for the 3rd Ministry of Education Art Exhibition (Bunten), and in December 1941 (Showa 16), following the sudden death of Tozan I, Tozan II succeeded to the name as Tozan II. In 1943 (Showa 18), Tozan II was certified as a Preserver of Craft Techniques under the national system established during wartime. After the war, Tozan II served as a member of the Kinki regional committee for the national certification of traditional craftsmen. From 1955 (Showa 30), Tozan II studied the tea ceremony under Yurinsai, grand master of the Mushakojisenke (Kankyuan) school, and in 1960 (Showa 35), the artist took part in founding the Kyoto Traditional Ceramic Artists Association, later serving as its vice president. From 1964 (Showa 39) to 1990 (Heisei 2), the artist lectured at the Sen Chado Bunka Gakuin (Sen Tea Culture Institute), and from 1975 (Showa 50) onward Tozan II traveled widely around the world, gaining extensive knowledge of the ceramics and antiquities of the Middle East and the Mediterranean coast in particular. Tozan II passed away in March 1995 (Heisei 7).\u003c\/p\u003e\n\u003cp\u003eThe Miyanaga Tozan name has been passed on to \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e (宮永理吉, 1935–), the eldest son of Tozan II. In 1970 (Showa 45), Rikichi joined \u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e, the avant-garde ceramic artists' group, and is known for works that pursue sculptural form. The Miyanaga family has been engaged in ceramics for more than 120 years. In addition, a great many works by Tozan II and by the Tozan Kiln, made up to the artist's death, were preserved at the family home through the efforts of Tozan II's wife, Keiko. As a valuable body of material on postwar Kyoto ceramics, these works have been studied by the Kyoto Modern Ceramics Research Group, composed of ceramic historians, curators, and potters based in the Kansai region, and made public as the \"Miyanaga Tozan Kiln Ceramics Database.\"\u003c\/p\u003e\n\u003cp\u003eThe technique most highly esteemed at the Miyanaga Tozan Kiln is celadon, as the epithet \"Tozan of Celadon\" given to the first generation attests. The second generation, in addition to celadon, was called \"Tozan of Tableware\" for Tozan II's fine tableware, including blue-and-white and polychrome enamel wares. This piece is not celadon but a work of fine tableware in the polychrome family, executed in ruri glaze and gold, and it clearly displays the quality of craftsmanship in tableware that was the true hallmark of the second generation. The interior and exterior are evenly covered in a deep ruri glaze with little variation, giving a strong luster. The rim is lobed, formed by notches cut into its edge, and is encircled by a gilt band. A single ridge runs around the inside of the rim; because the glaze thins over this ridge, a bright blue line emerges against the deep lapis of the vessel, outlining the lobed contour from within. In the interior, a line of characters drawn in slender, flowing strokes is applied in overglaze gold. The design is restrained and refined, with gold lines glowing against the dark blue ground; by confining the decoration to a single line in the interior, the composition heightens the depth of the ruri glaze. The foot ring is carved relatively tall; the area within it is glazed in ruri, with an oval \"Tozan\" kiln mark written in gold at the center. The white clay body is visible on the inner side of the foot ring, contrasting with the ruri glaze.\u003c\/p\u003e\n\u003cp\u003eAs the word \"Shinji\" (divine characters) in the inscriptions on the Tomobako and the paper label indicates, the characters in the interior are Jindai moji (characters of the Age of the Gods). Jindai moji is the collective term for scripts that have been claimed to have existed in Japan before the introduction of Chinese characters. Several types are known, including Hifumi, Anaichi, and Ahiru, and most of them are phonetic scripts in which each character represents a single sound. Theories that ancient Japan possessed its own script can be found as early as the Kamakura period, but debate became especially lively in the Edo period. In the late Edo period, the Kokugaku (National Learning) scholar Hirata Atsutane argued for their authenticity in Shinji Hifumi Den, while Ban Nobutomo put forward a dissenting view in Kana no Motosue, giving rise to controversy. Modern Japanese linguistics regards all Jindai moji as later creations. The term \"Shinji\" used in the box inscription is a traditional name for Jindai moji, also seen in the title of Atsutane's work. That Miyanaga Tozan II, who was also versed in the tea ceremony, adopted such characters as a design for fine tableware gives this piece its distinctive rarity.\u003c\/p\u003e\n\u003cp\u003eThe characters on this piece are written in a cursive style of linked curves, with ten characters arranged in a single line. No character form appears twice among the ten. The content of the inscription is not recorded on the Tomobako or in any accompanying material, and no reading based on comparison with a character table has been established. With that caveat, we would add our own conjecture: the inscription may record \"hi fu mi yo i mu na ya ko to,\" the ten opening sounds of the Hifumi Norito (Hifumi prayer). There are two grounds for this. First, all ten characters differ in form, which matches these ten sounds, none of which is repeated. Second, as the name of one type of Jindai moji, \"Hifumi,\" suggests, Jindai moji have been handed down in association with the sound sequence \"hi fu mi.\"\u003c\/p\u003e\n\u003cp\u003e\"Hi fu mi yo i mu na ya ko to\" is formed by placing in order the initial sounds of the native Japanese numerals from one to ten: \"hito, futa, mi, yo, itsu, mu, nana, ya, kokono, to.\" The Hifumi Norito, which begins with these ten sounds, is a prayer composed of forty-seven sounds, each used once without repetition, and it has been chanted within Shinto-related traditions. If this conjecture is correct, the interior of this piece bears, in gold, a celebratory phrase counting the numbers from one to ten. Please note, however, that this is our conjecture based on features such as the number and forms of the characters, and it should be regarded as a reference only.\u003c\/p\u003e\n\u003cp\u003eThe accompanying Tomobako is made of cedar; the lid bears the title in ink and the signature \"Tozan zo\" (made by Tozan), with an oval red seal reading \"Tozan.\" The Tomonuno that wraps the bowl is likewise stamped with the same oval red \"Tozan\" seal. On the side of the box remains a paper label (price tag) inscribed in ink with \"Tozan\" and \"Shinji Kashibachi\" (Confectionery Bowl with Divine Characters), together with a price in the two-hundred-yen range, written beginning with \"two hundred\" in the old-style formal numeral. As this is a work by Miyanaga Tozan II, it dates from after December 1941 (Showa 16), when the artist succeeded to the name. Furthermore, based on the price level on this label, we estimate that it was sold in the postwar period, between the Showa 20s and the first half of the Showa 30s (approximately 1945 to the late 1950s).\u003c\/p\u003e\n\u003cp\u003eWith a height of approx. 7.0 cm and a diameter of approx. 21.5 cm, this is a fairly shallow bowl of generous proportions. Beyond its use as a kashiki for serving wagashi and higashi (dry confections), it can also hold nuts, chocolates, or seasonal fruit while enjoying aged spirits or whisky. The contrast of deep ruri blue and gold grows richer still under lighting. This is a piece of Kyoto ceramics rarely introduced overseas, conveying the history of the Miyanaga Tozan Kiln and the fine tableware of its second generation.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyanaga Tozan II (宮永 東山, 1907–1995) \/ Given name: \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Tomoo\u003c\/a\u003e（宮永 友雄）\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1930] Graduated from the Design Department, Kyoto Higher School of Arts and Crafts; [1935] Completed the training course at the National Ceramics Testing Institute (studied under Numata Ichiga); [1939] Selected for the 3rd Bunten; [1941] Succeeded to the name Miyanaga Tozan II; [1943] Certified as a Preserver of Craft Techniques; [1955] Began studying the tea ceremony under Yurinsai, grand master of Mushakojisenke; [1960] Took part in founding the Kyoto Traditional Ceramic Artists Association (later Vice President); [1964] Lecturer at the Sen Chado Bunka Gakuin (until 1990); [1968] Three-person exhibition of Miyanaga Tozan, the artist's wife Keiko, and Rikichi at Mitsukoshi Nihonbashi, Tokyo; [1983] Exhibition of Miyanaga Tozan and Rikichi at Mitsukoshi Nihonbashi, Tokyo; [1987] Exhibited in \"Currents of the Modern Era: Nihonga and Crafts of Kyoto,\" Kyoto Municipal Museum of Art\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eNo record of holdings in public institutions has been confirmed (works by Tozan II and the Tozan Kiln have been studied by the Kyoto Modern Ceramics Research Group and published as the \"Miyanaga Tozan Kiln Ceramics Database\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eShowa period (after Tozan II's succession to the name in December 1941; estimated from the price on the label to be postwar, between the Showa 20s and the first half of the Showa 30s)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (no notable chips or cracks; age-related wear to the gilding on the rim)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (ink inscription \"Tozan zo,\" oval red seal \"Tozan,\" price label on the side), Tomonuno (oval red seal \"Tozan\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eCeramic (ruri glaze, gilding)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.0 cm, diameter approx. 21.5 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show damage from age; please understand and review this before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651891593403,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5463_result_c4102838-5dce-4f00-9102-b152b47a7a03.jpg?v=1792252425"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/collections\/IMG_3621_result.jpg?v=1793674479","url":"https:\/\/antiqueliquor1926.com\/en\/collections\/ice-bowls.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}