{"title":"Mashiko Ware Sake Cups \u0026 Vessels","description":"\u003cp\u003eMashiko in Tochigi, home of Hamada Shoji's mingei movement: warm sake cups and vessels in ame and kaki glazes and hakeme brushwork, including Living National Treasure Shimaoka Tatsuzo and the lineage of Kamoda Shoji.\u003c\/p\u003e","products":[{"product_id":"82","title":"Set of 2 Black Ceramic Sake Cups and Glasses by Sakata Jinnai (甚\/Jin) #82","description":"\u003cp\u003eThe entire surface of the glass is deeply engraved with an original, swirling pattern that resembles fingerprints, tree rings, or ripples on the surface of water. This pattern gives the glass a sense of dynamism and yet a calm rhythm, making it uniquely pleasant to the touch. The matte texture of the black pottery, which retains the strong texture of the earth, accentuates the swirling pattern and creates powerful shadows.\u003c\/p\u003e\n\u003cp\u003eThe design is unique, with the base (legs) being firm and plump towards the top. This gives it a surprisingly stable balance in the hand, despite its heavy appearance. The base is engraved with the artist's signature \"甚(Jin)\" within a flower-like design, proving the piece's provenance.\u003c\/p\u003e\n\u003cp\u003eThe quiet, deep texture of black pottery makes it ideal as a sake cup for tasting not only sake, but also whisky and shochu. When you pour a drink, the black interior brings out the color and shine of the sake. In contrast to the gorgeous gold decoration seen in Sakata Jinnai's other works, this black pottery cup pursues the powerful beauty of the material itself, and is recommended as a collection that will add elegance to your evening drinking time.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Sakata Jinnai (坂田甚内, 1943-present)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable activities include:\u003c\/strong\u003e [ \u003cspan\u003e2009]\u003c\/span\u003e \u003cspan\u003eInvited artist at the 1st Shanghai International Ceramic Living Art Expo; [2013] Donated a large magatama plate with deep-patterned gold leaf and leaf glass, \"The Radiance of Life,\" to the Izumo Taisha Grand Shrine Heisei Grand Shrine Relocation; [2013] Donated a large black porcelain plate with deep-patterned gold leaf and leaf, \"Homage to the Sun,\" to coincide with the Ise Grand Shrine Shikinen Sengu; [\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cspan\u003e2014] Donated a deep-patterned gold leaf and leaf glass objet d'art, \"Yamanei,\" to Atsuta Shrine; [2014]\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cspan\u003eDonated a pair of black porcelain engraved gold leaf and leaf boxes, \"Longevity,\" to Kameoka Hachiman Shrine (Mashiko Town).\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction period:\u003c\/strong\u003e 1980s-1990s\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Black pottery\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 6.0cm, diameter approx. 6.3cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47134725701819,"sku":null,"price":9000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2418.jpg?v=1762244223"},{"product_id":"223","title":"Colored-Glaze Rocks Glass with Cattail Spikes by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Full Member of the Japan Kogei Association, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #223","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a vessel by Takeda Toshio (b. 1932), a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture. After studying ceramics at Kanazawa College of Art, Takeda honed his craft in Kyoto and Kanazawa, and also studied under \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e, who would later be designated a Living National Treasure. Since 1964 he has continued to make ceramics at the kiln he built in Mashiko, Tochigi Prefecture. His work has been accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Ceramic Art Exhibition and the Japan Traditional Kogei Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and then entered the collection of The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece was originally made as a yunomi (teacup). Drawing on its form and coloring, we present it as a rocks glass (drinking vessel) for slowly savoring amber-hued koshu (aged sake) or long-matured Japanese whisky over ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to Takeda’s record of his ceramic career, he graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e, then a professor at Kanazawa College of Art. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. In 1969 (Showa 44) his work was accepted into the Japan Traditional Kogei Exhibition. In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. This entry was selected for a touring exhibition in Canada and the United States and was later purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya. In 1990, his “Bowl with Grape Design in Iron and Copper Decoration” was accepted into the 37th Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe work that can be confirmed as a representative piece attesting to Takeda’s standing is this “Bowl with Grape Design in Iron and Copper Decoration.” Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. Takeda also received specialized training in glaze and firing techniques at the Nagoya Industrial Research Institute. His representative work centers on iron painting, but in this piece the surface is built from gradations of color created by overlapping colored glazes. It reveals one facet of the broad expressive range of an artist who made a study of glazes.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe subject of this piece is the cattail, a plant that grows in wetlands and along the shallow edges of ponds and marshes, bearing cylindrical spikes in summer. The exterior of the vessel takes cobalt blue as its keynote, with colors shifting from yellow to green and on to purple so smoothly that no boundary between them can be felt. These layers of color create deep, rich shading reminiscent of a waterside scene. The cattail spikes are depicted on the front and back of the vessel, each in a different composition. The texture of the brown spikes and the spread of the supple, outstretched leaves show a different expression on each side, so a new scene appears each time the vessel is turned.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnlike mass-produced ware, this is a one-of-a-kind piece that has passed through the artist’s own hands. Very little information on Takeda Toshio’s work circulates outside Japan. Opportunities to acquire a vessel by an artist whose work is held in a national museum collection are therefore limited. The piece comes with its tomobako (the original box inscribed by the artist) and a shiori, a leaflet recording the artist’s ceramic career.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi in Sano, Tochigi Prefecture, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko, Tochigi Prefecture, and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, entry selected for the touring exhibition in Canada and the United States and added to the collection of The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e1990s (estimated; the career history in the leaflet runs to the 37th Japan Traditional Art Crafts Exhibition in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded:\u003c\/strong\u003e Tomobako (box inscribed by the artist), shiori (leaflet recording the artist’s ceramic career)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePorcelain (colored glazes)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 10.0 cm, rim diameter approx. 7.9 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47701266956475,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6659_result.jpg?v=1779248311"},{"product_id":"250","title":"Pitcher \/ Water Jug with Grape Design in Iron Painting and Green Coloring by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #250","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a pitcher (water jug) by Takeda Toshio (b. 1932), a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture. After studying ceramics at Kanazawa College of Art, Takeda honed his craft in Kyoto and Kanazawa, and also studied under \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e, who would later be designated a Living National Treasure. Since 1964 he has continued to make ceramics at the kiln he built in Mashiko, Tochigi Prefecture. His work has been accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Ceramic Art Exhibition and the Japan Traditional Kogei Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and then entered the collection of The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece has the robust, warm presence of a pottery vessel. We propose it as a water jug for pouring a chaser alongside koshu (aged sake) or water for adding to drinks, and also as a serving vessel that graces the table at any gathering over drinks.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to Takeda’s record of his ceramic career, he graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e, then a professor at Kanazawa College of Art. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. In 1969 (Showa 44) his work was accepted into the Japan Traditional Kogei Exhibition. In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. This entry was selected for a touring exhibition in Canada and the United States and was later purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya. Furthermore, in 1990 his “Bowl with Grape Design in Iron and Copper Decoration” was accepted into the 37th Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe work that can be confirmed as a representative piece attesting to Takeda’s standing is this “Bowl with Grape Design in Iron and Copper Decoration.” Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. This piece takes the grape as its subject, with green coloring layered over an iron-painted design to compose the pictorial field. In both subject and composition, it displays a style in common with his representative work accepted into the Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn the grape design that takes center stage in this work, the vines and fruit are drawn in free-flowing, powerful iron-painted brushwork. The green leaves layered over them create a vivid contrast against the white ground. Because the grapevine bears its fruit in abundant clusters, the grape has long been cherished as an auspicious motif symbolizing bountiful harvests and the flourishing of future generations. The lower body, the handle and the inner rim are glazed separately with an iron glaze that fires to tones ranging from deep chocolate brown to black. This clear contrast with the painted areas on the white ground lends the whole work a sense of visual stability. The handle and spout are joined to a wheel-thrown body, making the piece substantial yet comfortable to hold, and it is also practical to use as a pouring vessel.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnlike mass-produced ware, this is a one-of-a-kind piece that has passed through the artist’s own hands. Very little information on Takeda Toshio’s work circulates outside Japan, and opportunities to encounter examples such as pitchers are especially limited. The piece comes with its tomobako (the original box inscribed by the artist) and a shiori, a leaflet recording the artist’s ceramic career.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi in Sano, Tochigi Prefecture, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko, Tochigi Prefecture, and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, entry selected for the touring exhibition in Canada and the United States and added to the collection of The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e1990s (estimated; the career history in the leaflet runs to the 37th Japan Traditional Art Crafts Exhibition in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (box inscribed by the artist), shiori (leaflet recording the artist’s ceramic career)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Pottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 20 cm, width approx. 22 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47823832580283,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6734_result.jpg?v=1779248775"},{"product_id":"253","title":"Shimaoka Tatsuzo (島岡達三, Living National Treasure) 1961 15th Anniversary Work \"Roar of a New Star\" Jomon Inlay Pair of Teacups, Sake Set, Rock Glasses (2-piece set) #253","description":"\u003cp data-path-to-node=\"18\"\u003eWe are pleased to introduce a highly significant cup by Shimaoka Tatsuzo (1919-2007), a living national treasure in contemporary pottery, renowned for his \"Jomon Zogan\" (Jomon inlay) technique. This piece marks a pivotal moment when Shimaoka re-evaluated his artistic roots and declared his independence as an artist. This monumental work was created in 1961, fifteen years after Shimaoka became an apprentice to the great master \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e in 1946. The year 1961 was a historical turning point that could be called the \"eve of a leap,\" as Shimaoka built his own climbing kiln in Mashiko, and the following year, 1962, he received the Japan Folk Crafts Museum Award, rapidly emerging as a rising star in the pottery world.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe design applied to this piece features Shimaoka's signature Jomon inlay technique, with the braided cords at the core of the pattern utilizing relics from his father, a master kumihimo (braiding) craftsman. His mentor, Hamada Shoji, described Shimaoka's style as possessing the skill to master most techniques but deliberately focusing his work to suit his preferences, praising his subdued work by likening it to the pattern of tsumugi silk. This aesthetic of restraint is alive in this piece as well, with a bold ridge applied midway through the vessel, giving the form an architectural stability and a profound presence. The Jomon pattern running diagonally from this ridge is pressed more deeply and powerfully compared to the refined expressions of his later Living National Treasure era, inscribing the raw yet pure passion of the young Shimaoka as he sought to establish his own style on the surface of the clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eAnalyzing this work from a technical perspective, the contrast of the white clay (inlay) embedded in the Jomon grooves is remarkably vivid, indicating the high level of perfection in the inlay technique that unifies different clays at temperatures exceeding 1200 degrees Celsius. The masterful skill with which Shimaoka established his unique style, entrusting the Jomon pattern to the tool of a cord, is precisely the manifestation of originality that his mentor Hamada acknowledged, saying, \"Indeed, this is exactly what one would expect from Shimaoka.\" This piece embodies Shimaoka's characteristic sincere personality, which, while harboring strong inner confidence, consciously maintains a humble presentation, culminating in the form of a pair of teacups, an everyday item closely tied to life.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eWe propose this historic teacup, created at the milestone of Shimaoka's 15th year of pottery, as a rock glass for enjoying amber-colored aged sake or Japanese whisky. When clear aged spirits are poured into it, the inlay lines that penetrate the interior of the vessel and the powerful Jomon irregularities refract through the liquid, creating a moment of deep contemplation that visually symbolizes the accumulation of time. On the inside of the lid of the accompanying wooden box, the inscription \"Commemorating 15 Years of Pottery\" is clearly written by the artist himself. Among Shimaoka's many works, its documentary value, allowing for the specific dating of its production, is extremely high, making it a benchmark piece closely watched by curators and collectors worldwide.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"3\"\u003e*Comments from Hamada Shoji, Shimaoka's mentor\u003cbr\u003e\u003c\/h3\u003e\n\u003cp data-path-to-node=\"3\"\u003eShimaoka, typical of someone raised in downtown Tokyo, possesses strong inner confidence but consciously remains modest in presenting his work. Having graduated from the Ceramics Department of Tokyo Institute of Technology more than twenty years ago, and having become accustomed to the Mashiko clay, he has the skill to master most techniques, yet he deliberately focuses his work, restraining it to his preferences.\u003cbr\u003eShimaoka has adopted a unique inlay pattern, drawing inspiration from Jomon pottery techniques. The main braided cords used in this work are relics from his father, who was a master kumihimo craftsman. The cleverness with which he entrusts the pattern to the cord to establish his own style is truly characteristic of Shimaoka. His work is generally subdued; if it were a kimono, one might say the thread is tsumugi silk and the pattern is kasuri.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003e\u003cstrong\u003eHamada Shoji (1894-1978)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Shimaoka Tatsuzo (島岡達三, 1919-2007)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Major Achievements:\u003c\/strong\u003e [1962] Awarded the Japan Folk Crafts Museum Award, [1980] Awarded the Tochigi Prefecture Cultural Merit Award, [1994] Awarded the Japan Ceramic Society Gold Award, [1996] Designated as a Holder of Important Intangible Cultural Property \"Jomon Zogan\" (Living National Treasure), [1999] Awarded the Order of the Rising Sun, Gold Rays with Rosette\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eVictoria and Albert Museum (London), British Museum (London), Metropolitan Museum of Art (New York), Brooklyn Museum (New York), Museum of Fine Arts, Boston, National Museum of Modern Art, Tokyo, Japan Folk Crafts Museum (a sacred site carrying on the legacy of his mentor Hamada Shoji and Soetsu Yanagi), Mashiko Museum of Ceramic Art, Tochigi Prefectural Museum of Fine Arts, etc.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eDate of Production: \u003c\/strong\u003e1961 (15th anniversary of Shimaoka Tatsuzo's pottery career)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (original wooden box)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Jomon Inlay)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e [Large] Height approx. 9.2cm, Mouth diameter approx. 9.0cm, [Small] Height approx. 8.2cm, Mouth diameter approx. 8.0cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll products offered by our store, even if unused, are very old productions and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming this.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47835534786747,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6517_result.jpg?v=1778943846"},{"product_id":"366","title":"Mashiko Modern Ceramics, Apprentice to Kamoda Shoji (Tono Period), Kojima Shigeo (小島茂夫): Banded Clay Slips Multi-Glazed Matcha Bowl, Japanese Rocks Glass #366","description":"\u003cp data-path-to-node=\"6\"\u003eCrafted by Kojima Shigeo (born 1950 in Ashikaga City, Tochigi Prefecture), a ceramic artist who developed his pottery practice based in Mashiko, this is a matcha bowl featuring banded clay slip decoration. After undergoing training at Mashiko Toen and Tsuboya in Okinawa, Kojima Shigeo studied directly under \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e—a legendary giant of 20th-century Japanese ceramics—in Tono, Iwate Prefecture, in 1978. Possessing a fierce creative ethos of \"completely denying his own style every six months and never repeating a past approach,\" Kamoda Shoji pursued meticulous clay slip techniques that admitted no division of labor. Coupled with his withdrawal from society when he relinquished his status in the Japan Art Crafts Association in 1969 to seclude himself in the wilderness of Tono, it was inherently impossible for him to teach techniques to disciples as repeatable patterns. Consequently, only a minuscule number of potters throughout ceramic history were ever able to study under Kamoda directly. Studying directly during that arduous Tono era, Kojima Shigeo was one of the few orthodox successors to receive the true essence of Kamoda's almost fanatical sculptural aesthetic and advanced ceramic techniques rather than mere stylistic imitation. As a figure carrying forward the lineage of Kamoda—one of the greatest potters of the 20th century—his style and achievements are deeply recorded and preserved in the ceramic history archives and regional collections of Mashiko Town. After establishing an independent kiln in Mashiko in 1980, he steadfastly maintained the rigorous manual artistry inherited from his master, refusing any mass production in favor of fully handcrafted, end-to-end creation. As a result, his lifetime output remains exceedingly small, with opportunities for his works to circulate in the market being exceptionally rare. In particular, works from his peak period—marked by three selections for the Asahi Ceramic Art Exhibition (1984, 1986, and 1987), a gateway for modern ceramic art—as well as his matcha bowls produced in limited numbers, are masterpieces of extraordinarily high rarity that are extremely difficult to acquire. Our shop presents this bowl, endowed with modern sculptural beauty reminiscent of earth-toned geological strata, to the global market not only as a vessel for enjoying traditional tea preparation, but also as a vintage rocks glass (Japanese free cup) for luxuriously savoring aged sake or matured whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eKojima Shigeo's representative artistic style lies in fusing the rustic clay character and dynamic handwork cultivated in Mashiko and Tsuboya, Okinawa, with the essence of Kamoda ceramics: hand-carving, faceting, incised motifs, and advanced clay slip (deisai) techniques layering different colors of colored engobes. Observing the details of this piece highlights the abstract sculptural expressions and specialized coloring techniques that vividly reflect the aesthetic of Kamoda Shoji's \"Tono Period.\" Around the outer circumference of the body, a layered clay slip decoration featuring natural earth tones—such as black slip, beige, and gray—boldly overlaid in multiple bands creates a beautiful, sculptural color composition evocative of geological strata and natural landscapes. On the other hand, the inner well (mikomi) is coated with a deep emerald-green vitreous glaze, creating a whimsical landscape where a web-like black pattern emerges from fine crackles and contraction differences during firing. From the lower body down to the base, the unglazed raw clay exposes a rustic soil texture, while a distinct seal impression unique to Kojima Shigeo is clearly stamped inside the foot ring, certifying it as an authentic work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eRegarding the period of production, taking the biography in the accompanying brochure—which concludes with his selection for the Asahi Ceramic Art Exhibition in Showa 62 (1987)—as a decisive clue, it is estimated to be a work created between 1987 and circa 1992 (Showa 62 to early Heisei period), his peak era when his artistic style matured and he achieved consecutive selections for the Asahi Exhibition. The vessel itself has no cracks or chips, maintaining extremely good condition in its layered slip textures and glaze coloration in the inner well. It arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) boldly inscribed on the lid with \"Chawan\" in ink and signed \"Shigeo\" with a seal stamped on the lower left, alongside a brochure recording his career up to 1987.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kojima Shigeo (小島茂夫, born. 1950)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1978] Studied under Kamoda Shoji in Tono, Iwate Prefecture; [1980] Established an independent kiln in Mashiko; [1984, 1986, 1987] Selected for the Asahi Ceramic Art Exhibition, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eMashiko Museum of Ceramic Art \/ Regional Cultural Archives, Private Connoisseur Collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1987–1992 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Mashiko ware, banded clay slip, polychrome glazes, hand-carved, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.5 cm, Width (mouth diameter) approx. 11.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48241386356923,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1177_result.jpg?v=1787277236"},{"product_id":"390","title":"Direct Disciple of Kamoda Shoji: Mashiko Ware by Sakata Jinnai (坂田甚内), Salt-Glaze Tomoe-Pattern Vessel, Free Cup, Sake Vessel, Japanese Rocks Glass #390","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Mr. Sakata Jinnai, a unique genius of Mashiko ware who studied under Mr. \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e—a legendary giant of Showa-era Japanese ceramics—and directly inherited his uncompromising sculptural spirit and pursuit of clay, this is a Chawan (tea bowl) work titled \"Enyu Tomoemon Ki\" (Salt-Glaze Vessel with Tomoe Pattern). Following his independence, after being selected for the Japan Ceramic Art Exhibition and the Japan Traditional Art Crafts Exhibition as well as overseas touring exhibitions, he transitioned from public competitions to focus on creating one-of-a-kind masterpieces for solo exhibitions. He is an exceptionally rare master whose works are housed in international institutions such as the British Museum and the Rockefeller Foundation, and who holds distinguished records of dedication to major shrines and temples, including the \"Heisei Grand Rebuilding\" of Izumo Taisha Shrine, Ise Jingu Shrine, and Enryaku-ji Temple on Mount Hiei. Although originally sculpted as a dignified Matcha bowl, our shop presents this piece to the global market not only as a tea vessel for enjoying a bowl of tea, but also as a luxury Japanese rocks glass (sake vessel) for quietly savoring amber aged sake, matured whisky, or authentic shochu over large ice cubes, utilizing its profound interior and heavy, handcrafted texture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully inspecting the details of this work reveals a magnificent realization of the salt-glaze technique—built by Mr. Sakata Jinnai through a dialogue between clay and flame—and the fluid, sculptural beauty of the Tomoe (comma-shaped whorl) pattern. Salt-glazing is an advanced method where rock salt is introduced into the kiln during high-temperature firing, causing the vaporized sodium to chemically react with silica in the clay to instantaneously form a thin, glassy glaze film, resulting in a distinct, dense texture known as \"orange peel\" along with beautiful crazing on the vessel's surface. Upon the deep, clear emerald-green salt-glazed surface, powerful S-shaped Tomoe patterns shifting from jet-black to amber-brown are painted, creating a dynamic visual effect that spirals continuously from the interior bottom that cradles the tea out to the exterior sides. In addition to the cylindrical bowl shape rising with strength and the foot rim crafted to feel natural in the hands, the artist's own hand-carved mark \"Jin\" (甚) is clearly inscribed on the bottom surface inside the foot, with the rough texture of the clay body and the tightly fused vitrification characteristic of salt-glazing testifying to its intentional craftsmanship and authenticity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is estimated to have been created between circa 1975 and 1985, an era when he established his own artistic world around solo exhibitions after leaving public competitions and vigorously released a series of his signature works utilizing salt glaze and Tomoe patterns. It prominently exhibits the peak technical brilliance that led to the purchase of his work by the Japan Foundation and its inclusion in overseas touring exhibitions, possessing extraordinarily high artistic value. The vessel body itself has no damage such as cracks or chips, maintaining extremely good condition in both the coloration of the salt glaze and its surface texture. It arrives in complete condition accompanied by its dedicated paulownia Tomobako inscribed in ink on the lid with \"Enyu Tomoemon Ki\" and on the back with \"Jinnai\" and stamped with a red seal, as well as its dedicated cloth (tomobure) with his artist's seal.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eSakata Jinnai (坂田甚内, 1943–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1964] Studied under Mr. Kamoda Shoji; [1966] Became independent and built his kiln; [1971] Selected for the Japan Ceramic Art Exhibition and chosen for touring exhibitions in the USA and Canada; [1973] Selected for the Japan Ceramic Art Exhibition and chosen for South American touring exhibition; [1987] Work purchased by the Japan Foundation and exhibited in the \"Contemporary Traditional Ceramic Art\" overseas touring exhibition; [1989] Selected for the New Zealand International Ceramics Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eBritish Museum (London), Rockefeller Foundation, Embassy of the United States, Japan Foundation (purchased), etc. (Dedications: Izumo Taisha Shrine, Ise Jingu Shrine, Mount Hiei Enryaku-ji Temple, Kodai-ji Temple, Takachiho Shrine)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1975–1985 (Late 1970s–early 1980s, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (wooden box), Tomobure (cloth), and bookmark included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mashiko ware, salt glaze, Chawan, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 8.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48296549777595,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1995_result.jpg?v=1787978389"},{"product_id":"391","title":"Studied under Sakata Jinnai, Guided by Kamoda Shoji: Mashiko Ware by Japan Art Crafts Association Regular Member Yanai Sai (矢内齊), Carved Pattern Colored Clay Inlay Chawan, Matcha Bowl, Sake Vessel, Japanese Rocks Glass #391","description":"\u003cp data-path-to-node=\"17\"\u003eAfter training at Kyoyaki \"Waraku\" and completing his studies at the Kyoto Prefectural Ceramics Technical Institute, Mr. Yanai Sai (1948–)—an up-and-coming Mashiko ware master and regular member of the Japan Art Crafts Association—studied under Mr. \u003ca href=\"\/en\/search?q=%22%E5%9D%82%E7%94%B0%E7%94%9A%E5%86%85%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e, a direct disciple of Mr. \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, and in 1976 received direct guidance from Mr. Kamoda Shoji himself at his workshop in Tono City, Iwate Prefecture. This \"Kokubun Saidei Zogan\" (carved pattern with colored clay inlay) Chawan (tea bowl) represents the culmination of the sculptural aesthetic fostered by his learnings from his mentor, Mr. Sakata Jinnai, and guidance from Mr. Kamoda Shoji, built upon the foundation of precise wheel-throwing techniques and traditional craftsmanship developed in Kyoto. Although originally crafted as a dignified Matcha bowl, our shop presents this piece to the global market not only as a tea vessel for enjoying a bowl of tea, but also as a luxury Japanese rocks glass (sake vessel) for quietly savoring amber aged sake, matured whisky, or authentic shochu over large ice cubes, capitalizing on its profound interior and heavy, handcrafted texture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully observing the details of this work reveals the masterful craftsmanship of sculptural carving and vivid colored clay inlay that evoke the techniques of his mentor, Mr. Sakata Jinnai, and the teachings from Mr. Kamoda Shoji's guidance. Against a heavy grey ceramic body containing coarse sand grains with a carbonized unglazed finish, one side is three-dimensionally carved with overlapping crescent and half-moon incisions inlaid with deep, lustrous cobalt blue clay (lapis lazuli saidei), while the opposite side features a matching series of overlapping carved patterns in white clay (white slip) to create a striking contrast. The contrasting colors of blue and white are deeply incised into the clay body as geometric, fluid wave motifs, producing an extraordinary level of handcrafted precision and three-dimensional presence. The entire interior (mikomi) of the vessel is finished with a soft, brush-stroked white slip coating, combining practical functionality that enhances the color of poured sake or tea with aesthetic appreciation. On the bottom surface beside the foot, the artist's own hand-carved mark \"Sai\" (齊) is clearly inscribed, testifying to its intentional craftsmanship and authenticity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is identified as an authentic work created between circa 1985 and 1995 (mid-1980s to early 1990s), a peak era when he achieved repeated selections for the Japan Traditional Art Crafts Exhibition and the Chunichi International Ceramics Exhibition, elevating the techniques of \"carved motifs and colored clay inlay\" into his own unique expression as a regular member of the Japan Art Crafts Association. It is a work from a period when his advanced sculptural aesthetic reached its highest brilliance, possessing exceptionally high artistic value. The vessel body itself has no damage such as cracks or chips, maintaining excellent condition in both the coloration of the colored clay and the powerful texture of the clay body. It arrives in complete condition accompanied by its dedicated paulownia Tomobako inscribed in ink on the back of the lid with \"Yanai Sai\" and stamped with a red seal, its dedicated cloth (tomobure) with his artist's seal, and a bookmark (shiori) detailing his ceramic biography.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eYanai Sai (矢内齊, 1948–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1972] Trained at Kyoyaki \"Waraku\"; [1974] Graduated from Kyoto Prefectural Ceramics Technical Institute and studied under Mr. Sakata Jinnai; [1976] Received guidance from Mr. Kamoda Shoji at his workshop in Tono City, Iwate Prefecture; [1977] Established his kiln and became independent in Mashiko Town, Tochigi Prefecture; [1979] Selected for the first time for the Japan Ceramic Art Exhibition; [1982] Selected for the first time for the Japan Traditional Art Crafts Exhibition (frequently selected thereafter); [1986] Selected for the first time for the Chunichi International Ceramics Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In \/ Official Qualifications:\u003c\/strong\u003e Regular Member of the Japan Art Crafts Association (Numerous selections for the Japan Traditional Art Crafts Exhibition, Japan Ceramic Art Exhibition, Chunichi International Ceramics Exhibition, Kita-Kanto Art Exhibition, and Traditional Art Crafts Musashino Exhibition)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1985–1995 (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 Dedicated Tomobako (wooden box), Tomobure (cloth), and bookmark included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mashiko ware, carved pattern colored clay inlay, Chawan, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.2 cm, Mouth diameter approx. 10.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48302502772923,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2061_result.jpg?v=1787978642"},{"product_id":"429","title":"4th Generation of Mashiko's Oldest Kiln, Ceramics Engineering Researcher: Kikuchi Akira (菊池晃) - Persimmon Tenmoku Teacup, Sake Vessel, Japanese Western-style Liquor Glass #429","description":"\u003cp data-path-to-node=\"16\"\u003eThis Persimmon Tenmoku teacup (yunomi) was created by Kikuchi Akira, a unique ceramic artist born in 1935 as the fourth-generation heir to the oldest kiln in Mashiko Town, Tochigi Prefecture, who pursued scientific research in ceramic engineering and materials science at the university laboratory after graduating from Musashi Institute of Technology. Unbound by the constraints of the traditional apprenticeship system, he thoroughly researched clay and glaze component analysis alongside kiln temperature control through scientific and engineering insights gained in the laboratory. He earned high acclaim as a leading master representing modern Mashiko ware, receiving honors such as acceptance into the Japan Ceramic Art Exhibition (including selection for its Overseas Exhibition), selection for the Modern Ceramic Art Exhibition, and holding solo exhibitions at Ginza Matsuya. Featuring a powerful form that fits comfortably in the palm and a refined glaze surface with delicate crystals blooming within traditional Mashiko persimmon glaze, this work goes beyond its function as a teacup. We present it to the global market as a luxury Japanese rocks glass (sake vessel) for floating large ice rocks, quietly pouring matured whisky, aged sake, or authentic shochu, and savoring the beauty of crystals whose expressions shift with the light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eExamining the fine details of this piece, the \"Persimmon Tenmoku\" design that Kikuchi Akira attained after scientific pursuit is embodied with an exceptionally high degree of completion. Based on a persimmon glaze rich in the iron content characteristic of Mashiko, precise firing control causes the iron to melt and crystallize inside the high-temperature kiln, yielding dense, beautiful spots with silver-white and metallic iridescence across the entire outer surface down to the interior bottom (mikomi). Gentle faceted carving (mentori) is applied to the vessel body, imparting a three-dimensional, powerful shadow and an inviting tactile sensation unattainable by a simple cylinder. The area around the footring is left unglazed as raw clay exposition (tsuchimise), revealing the firm, rustic texture of Mashiko clay, while the inside of the footring is glazed in persimmon with a graceful central depression. The structure, featuring ideal thickness and appropriate depth, offers excellent thermal insulation and cold retention, serving as a magnificent setting to indulge the five senses in a luxurious moment where liquor and ice harmonize.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the production period, it can be specified as circa the 1980s to early 1990s (late Showa to early Heisei era), a period when his crystal expression of Persimmon Tenmoku reached full maturity after embarking on full-scale pottery production in Mashiko following his research career at Musashi Institute of Technology, establishing a stellar reputation through honors such as selection for the Japan Ceramic Art Overseas Exhibition and 17 solo exhibitions including Ginza Matsuya as noted in the accompanying leaflet. Because he was a researcher-type artist who eschewed mass production and strictly pursued the glaze finish of each individual piece, the number of extant works is limited, giving it significant value as a precious craft legacy. The vessel body itself has no cracks or chips, maintaining excellent condition in terms of Persimmon Tenmoku glaze coloration, crystal formation, and surface texture. It comes complete with a dedicated original box (Tomobako) bearing the handwritten ink inscription \"Persimmon Tenmoku Teacup\" and red seal on the inside of the lid, alongside an instructional leaflet (Shiori) outlining the artist's biography.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKikuchi Akira (菊池晃, b. 1935)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist Biography: \u003c\/strong\u003e4th generation heir of Mashiko's oldest kiln; graduated from Musashi Institute of Technology and conducted research in its ceramic engineering laboratory; selected for Japan Ceramic Art Exhibition (and its Overseas Exhibition); selected for Modern Ceramic Art Exhibition; held solo exhibitions including Ginza Matsuya\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1980–1990 (late Showa to early Heisei era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no cracks, no chips)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original box (Tomobako) and instructional leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Mashiko ware, Persimmon Tenmoku glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All items offered by our shop are listed as pre-owned due to their historical production period. Minor changes in texture due to age may be present, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332216991931,"sku":null,"price":30000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2605_result.jpg?v=1789091366"},{"product_id":"434","title":"Mashiko Folk Kiln Sakuma Totaro Kiln (佐久間藤太郎窯), Pair of Teacups with Black Base Glaze and Rice-Husk Ash White Glaze Pouring, Pair of Sake Cups, Japanese-Style Liquor Glass Pair Set #434","description":"\u003cp data-path-to-node=\"1\"\u003e\u003ca href=\"\/en\/search?q=%22%E4%BD%90%E4%B9%85%E9%96%93%E8%97%A4%E5%A4%AA%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSakuma Totaro\u003c\/a\u003e (1900–1976) was a master craftsman who, alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, elevated Mashiko ware into everyday functional art within the Mingei (Folk Crafts) movement. This pair of teacups (kumi-yunomi) featuring rice-husk ash white glaze poured over a rich black base glaze was crafted by Mashiko Folk Kiln Sakuma Totaro Kiln (Sakuma Kiln), which has continuously inherited his tradition and high technique. On the reverse side of the lid of the accompanying dedicated wooden box (tomobako), the calligraphy reads \"Mashiko Folk Kiln Sakuma Totaro Kiln\" accompanied by a red seal with \"Ma\" (間), the kiln mark of Sakuma Kiln. Furthermore, the enclosed leaflet titled \"Mashiko, the Village of Pottery\" includes the statement: \"It has already been more than sixty years since Mr. Hamada Shoji came to Mashiko and began creating new works alongside traditional kitchen utensils.\" Based on the inscription on the box and the leaflet text, it can be objectively deduced that this piece was created and distributed between around 1984 and 1988 (late 1970s to 1980s in the Showa era) by the successors and craftsmen of Sakuma Kiln who received the guidance of the first generation, Totaro. As expressed in the leaflet, the strength of work that utilizes local clay and firewood to bring traditional techniques into modern living utensils imparts a sufficient healthiness to the items, displaying the true spirit of Mashiko ware where the clay texture and glaze character grow richer with long use.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAmong the techniques handed down continuously at Sakuma Kiln, the pouring (uchikake) technique—in which traditional local glazes are combined and ladled over the vessel in a single, fluid motion—is most symbolic of the robust strength of Mashiko ware. Examining the design of this pair, a milk-white rice-husk ash glaze is dynamically poured over a deep, lustrous jet-black base glaze, with every single flow line and splash creating a rhythmic vibrancy reminiscent of abstract painting. The lower part of the body and the area around the foot ring are left unglazed (rotai), exposing the raw clay. The rustic, powerful texture of the iron-rich local Mashiko clay gives the overall form a grounded sense of weight and stability.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eThe interior (mikomi) of the vessels is covered with a soft, yellowish-brown glaze, presenting a warm expression that contrasts sharply with the bold black-and-white exterior. Originally created as a matched pair of teacups (kumi-yunomi), their comfortable dimensions—Large (approx. 7.7 cm diameter, 8.1 cm height) and Small (approx. 7.5 cm diameter, 7.6 cm height)—along with their hand-fitting thickness and cylindrical form gently tapering toward the foot ring, allow them to function perfectly as supreme Japanese-style pair rocks glasses in modern settings. Placing a large ice cube inside and pouring well-aged amber spirits, vintage whisky, or Japanese shochu allows the serene clay texture of the interior to beautifully enhance the color of the drink. This fine pair of vessels is a valuable kiln creation from the late Showa period in which the aesthetics and craftsmanship of Mashiko Mingei pioneered by Sakuma Totaro I bore fruit, allowing one to fully savor Japanese folk craft aesthetics through both touch and sight.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e《Contents of the Included Brochure》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eMashiko, Home of Pottery Clay dug from the hills behind and firewood cut from the mountains opposite, the kilns of Mashiko have continued to fire ceramics for more than 130 years. It has unconsciously become more than sixty years since Mr. Hamada Shoji came to Mashiko and created new works in addition to conventional kitchen utensils. While excellent folk kilns preserving tradition remain throughout various regions of Japan, I believe this is perhaps the earliest kiln among folk kilns nationwide to attempt and produce in large quantities flower vases and tableware that bring ancient techniques to life in modern living utensils. The strength of work employing correct techniques with good raw materials and natural fuel imparts a thoroughly healthy quality to the items, further enlivening them by adding the folk art of the local area. As an inevitable result of being blessed with such favorable conditions, the longer they are used, the better the tone of the clay texture and glaze surface becomes, which can be called a rare characteristic in these times. For those who purchase Mashiko ware, we hope you will make daily use of them, as the more they are used, the more their inherent qualities emerge and improve, which can indeed be called the defining feature of Mashiko ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cstrong\u003e《Words from Living National Treasure, Hamada Shoji》 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eLooking at Sakuma Totaro's pottery over the past two or three years, his work seems enviably free and enjoyable; whether pouring various glazes over the surface or applying Hakeme (brushed slip) with white slip or colored glazes, it seems that things he wants to do spring up one after another, faster than he can keep up with. Whether good or bad, there is no unnatural strain. Even if he does something curious, unlike taking something from the outside and failing to catch it, he is grasping it from within, so there is always something worthy of attention. Sakuma has certainly struck underground water right beneath his own feet; he needs no priming water. It is said that a potter becomes fully fledged only when his personality begins to show in his work, but in Sakuma's recent work, in addition to that, the local flavor of the land bleeds through strongly, and that point strikes people particularly deep. Sakuma's work has acquired an expansive freedom, like a garden tree growing into a mountain tree. Even though he freely adopts techniques not originally found in traditional Mashiko, the work is filled to the brim with the scent of Mashiko. These days, I am deeply moved by the many things I am learning from Sakuma, and I consider it a great blessing for Mashiko to have gained such a potter after more than thirty years.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMashiko Folk Kiln Sakuma Totaro Kiln (佐久間藤太郎窯, Sakuma Kiln)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003eBorn into a family of Mashiko ware potters. Met Hamada Shoji when he moved to Mashiko in 1924 and became deeply involved in the Mingei movement. Spearheaded the transition of Mashiko ware from traditional kitchen utensils to modern daily ceramics. Designated as a Tochigi Prefecture Designated Intangible Cultural Property Holder in 1972, received the Tochigi Prefecture Cultural Merit Award, and was awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 1984–1988 (Late 1970s to 1980s, Showa era)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako), brochure featuring artist's biography included\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramics (Mashiko ware, Jiguro black glaze, Nukajiro white rice-husk glaze pour-over)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eLarge (Height approx. 8.1 cm, Rim diameter approx. 7.7 cm, Foot diameter approx. 5.2 cm) \/ Small (Height approx. 7.6 cm, Rim diameter approx. 7.5 cm, Foot diameter approx. 4.8 cm)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332227543227,"sku":null,"price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3017_result.jpg?v=1789967531"},{"product_id":"435","title":"Recipient of the Fifth Class Order of the Sacred Treasure, Pioneer of Mashiko Folk Craft, Sakuma Totaro (佐久間藤太郎), Amber Glaze Drip Hakeme Tea Bowl, Japanese-Style Rocks Glass (With Flaw) #435","description":"\u003cp id=\"p-rc_d373057c5ff65076-238\" data-path-to-node=\"1\"\u003e\u003cspan data-path-to-node=\"1,0\"\u003eCreated by Sakuma Totaro (1900–1976), a master who, alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, elevated Mashiko ware from everyday utilitarian items to folk craft (Mingei) works combining beauty and healthiness\u003c\/span\u003e\u003cspan data-path-to-node=\"1,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"1,2\"\u003e. Born in 1900 as the eldest son of the historic Sakuma Kiln in Mashiko, Sakuma Totaro established a deep fellowship with Hamada Shoji after inviting him to lodge at his home upon Hamada's return from the UK in 1924, stepping into the spotlight as a leading folk craft potter in Mashiko. Leaving a solid record of achievements—including selections for the Ministry of Commerce and Industry Crafts Exhibition, receiving the Tochigi Prefecture Cultural Merit Award, and being awarded the Fifth Class Order of the Sacred Treasure—his works are preserved in public institutions such as the Tochigi Prefectural Museum of Fine Arts, the Mashiko Museum of Ceramic Art, and The Japan Folk Crafts Museum. Dating from the period when Hamada Shoji praised his free and expansive ladle-poured glaze and brushed slip work in writing, and bearing the carved \"Fuji\" (藤) mark inside the foot ring, this piece is identified as a precious authentic creation from Sakuma Totaro's most mature artistic phase between 1955 and 1968 (the mid-1950s to late 1960s).\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp id=\"p-rc_d373057c5ff65076-239\" data-path-to-node=\"2\"\u003e\u003cspan data-path-to-node=\"2,0\"\u003eFrom the lower portion of the body down to the side of the foot, a dense, heavy poured amber glaze—a signature technique of Sakuma Totaro—is applied, creating a powerful scene where the glaze pools into a large droplet right at the edge of the foot. The soft expression of the rustic rice-husk ash white glaze (nukajiro glaze) on the upper body contrasts boldly with the strong gradient of the lustrous black-amber glaze below, while the coarse texture of the local Mashiko clay gives the piece a commanding presence\u003c\/span\u003e\u003cspan data-path-to-node=\"2,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"2,2\"\u003e. The foot ring is dynamically carved, leaving the raw clay exposed (rotai), with the artist's mark \"Fuji\" (藤) clearly incised inside the foot. On the interior, soft radial shadows and a pool of glaze at the bottom (mikomi) can be seen, beautifully expressing a rustic, warm, and healthy form born from wood firing in a climbing kiln (noborigama)\u003c\/span\u003e\u003cspan data-path-to-node=\"2,3\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"2,4\"\u003e.\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing a large, stable form measuring approximately 7.5 cm in height and 13.0 cm in mouth diameter, our shop proposes this piece as a dignified Japanese-style rocks glass (large sake cup) tailored to modern lifestyles for enjoying aged spirits, matured sake, or whisky on the rocks. The warmth of the raw clay felt when held in hand, combined with the heavy texture of the glazes, beautifully highlights the ice floating in a rocks glass or the amber color of aged spirits, adding an elegant refinement to luxurious drinking occasions.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eAs a special note regarding this piece, a deep crack (craquelure\/expansion seam formed during firing) runs along the interior from the bottom to the side, where a fingernail slightly catches on a portion of the inner surface. This crack does not reach the exterior of the vessel at all, nor does it affect water tightness or structural integrity; however, considering the condition of the interior, this piece is offered at a special price as an item with flaw. You can enjoy this authentic craft beauty, which tells the history of Mashiko Mingei, as a special vessel for everyday use.\u003c\/p\u003e\n\u003cp id=\"p-rc_046f77738d2823e1-156\" data-path-to-node=\"5\"\u003e\u003cstrong\u003e\u003cspan data-path-to-node=\"5,0\"\u003e\u0026lt;Artist's Message\u0026gt; \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,0\"\u003eFor over one hundred and ten years, the kilns of Mashiko have continued to fire ceramics, digging clay from the hills behind and cutting firewood from the mountains across\u003c\/span\u003e\u003cspan data-path-to-node=\"5,1\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,2\"\u003e. It has already been more than thirty years since Mr. Hamada Shoji came here to create new works alongside traditional kitchen utensils, and young potters gradually joined us\u003c\/span\u003e\u003cspan data-path-to-node=\"5,3\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,4\"\u003e. While excellent folk kilns preserving tradition remain throughout Japan, I believe our kiln was among the earliest to attempt—and create in abundance—vessels for flower arrangement and tableware for modern living using age-old techniques\u003c\/span\u003e\u003cspan data-path-to-node=\"5,5\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,6\"\u003e. The strength of work accomplished with good raw materials, natural fuel, and correct techniques imparts sufficient healthiness to the items and even reflects the essence of the land itself\u003c\/span\u003e\u003cspan data-path-to-node=\"5,7\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,8\"\u003e. As an inevitable result of being blessed with such favorable conditions, the texture of the clay and the state of the glaze improve the longer the piece is used—a rare characteristic in this day and age\u003c\/span\u003e\u003cspan data-path-to-node=\"5,9\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,10\"\u003e. I hope those who purchase Mashiko ware will put it to daily use from the very first day, and if you let us know your thoughts after using it, it will help us bring together the perspectives of maker and user for further learning, for which I would be most grateful\u003c\/span\u003e\u003cspan data-path-to-node=\"5,11\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-path-to-node=\"5,12\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\" data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003eMashiko Folk Kiln, Sakuma Totaro (1900–1976)\u003c\/span\u003e\u003cspan data-path-to-node=\"5,13\"\u003e\u003cspan\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003csup class=\"superscript\"\u003e\u003c!----\u003e\u003c\/sup\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u003cstrong\u003e\u003cspan data-path-to-node=\"5,12\"\u003e\u0026lt;Comment Knew Master Sakuma Totaro Well Who a from\u0026gt;\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-path-to-node=\"5\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003eSakuma Totaro has surely struck underground water right under his own feet; he needs no priming water. It is said that a potter becomes fully fledged when his personality begins to shine through his works, but Sakuma's recent work shows the local character seeping through even more strongly, and that is what strikes people in particular. His work has gained an expansiveness, like a garden tree growing into a mountain tree. Though he freely incorporates methods not previously found in traditional Mashiko, the pieces remain full of the true scent of Mashiko. In these days, I am deeply moved by the many things I learn from Sakuma, and I consider it a great blessing for Mashiko to have gained such a potter over these thirty-some years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\" style=\"text-align: right;\"\u003e\u003cspan data-path-to-node=\"5,12\"\u003e\u003cbr\u003eHamada Shoji (1894–1978)\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuma Totaro (佐久間藤太郎, 1900–1976)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1924] Established a deep friendship with Hamada Shoji who lodged in Mashiko, commencing folk craft pottery, [1927] Selected for the Ministry of Commerce and Industry Crafts Exhibition, [1959] Received the Tochigi Prefecture Cultural Merit Award, [1973] Awarded the Fifth Class Order of the Sacred Treasure\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTochigi Prefectural Museum of Fine Arts, Mashiko Museum of Ceramic Art, The Japan Folk Crafts Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003ec. 1955–1968 (Mature period of Mashiko Mingei)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eFair (Deep internal craquelure where a fingernail catches on the interior, no effect on the exterior, offered as an item with flaw)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box included (with paper label \"Sakuma Totaro Chawan\"), Sanada-himo cord included\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Mashiko clay, amber glaze, rice-husk ash white glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Mouth diameter approx. 13.0 cm, Height approx. 7.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes and the special note regarding the internal craquelure before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332227575995,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3371_result.jpg?v=1790257168"},{"product_id":"447","title":"Direct Disciple of Kamoda Shoji, Mashiko Ware, Sakata Jinnai (坂田甚内), 1988 Work, Inscribed Ash Glaze Yohen Bowl, Tea Bowl, Japanese Style Rocks Glass #447","description":"\u003cp data-path-to-node=\"1\"\u003eThis is an ash-glazed yohen (kiln-transformation) sake vessel created by Sakata Jinnai, a ceramic artist who directly inherited the unique modeling spirit of \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, a genius who established a milestone in the Showa period ceramic art world. The top of the lid of the included original wooden box (Tomobako) is inscribed by the artist's own hand with \"Ash Glazed Yohen Bowl\" (灰釉窯変盌). Clear characters reading \"63nd Year\" (六十三年) are carved into a section on the side of the vessel, which indicates Showa 63 (1988), definitively identifying this work as having been created in 1988.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eWhat is most highly acclaimed in Sakata Jinnai's work is the fusion of heavy incised-lettering (carved text) techniques backed by the structural design philosophy of his master, Kamoda Shoji, three-dimensional pattern compositions directly carved into the clay surface with chisels and spatulas, a passionate sculptural beauty, and the ash glaze yohen created through grueling firing in a wood-burning kiln. Examining the design of this piece, the surface of the vessel is systematically divided into regular vertical bands, with extremely deep carving executed within each section. The body utilizes coarse clay with exposed feldspar and sand grains, presenting a complex yohen landscape across the entire surface that transitions from a glass-like vitrified ash glaze formed by wood ash melting at high temperatures to shades of green-brown and scorched textures.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eObserving the group of characters carved into the vessel's surface, in addition to the inscription \"63nd Year\" indicating the production date, one can confirm carvings in the style of ancient scripts reminiscent of primitive forms and brushstrokes of kanji such as \"龍\" (dragon), \"竜\" (dragon), \"辰\" (dragon\/zodiac), \"達\" (reach\/attain), \"立\" (stand), \"絶\" (surpass\/sever), and \"発\" (depart\/emanate). A major characteristic of these characters is that they all share the pronunciation \"Tatsu\" in Japanese. It is inferred that the meanings of ascent, departure, and attainment represented by verbs like \"to stand\" (Tatsu), \"to depart\" (Tatsu), and \"to attain\" (Tatsu) are overlaid with the symbolism of the \"dragon\" (Tatsu\/Shin), a divine beast ascending to the heavens. Rather than mere character recording, this design is considered to express the surging of vitality, auspicious omens, and the artist's own resolve in ceramic creation through the overlapping sounds of \"Tatsu\". The powerful carvings, evocative of ancient bronze and stone inscriptions or oracle bone script, are thought to endow the vessel with ancient mystical and geometric decorative qualities.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eWhile this work was originally created as a tea bowl or small bowl, its sturdy, thick-walled structure, comfortable form in the hands, and the three-dimensional tactile feel of the carved characters transmitted directly to the fingertips provide it with the function of an exceptionally high-quality Japanese-style rocks glass in modern times. Floating ice and pouring thoroughly aged amber-colored vintage sake, vintage whisky, or aged awamori allows the rustic, heavy texture of the ash glaze yohen and the colors of the liquor to show a magnificent harmony. As a precious authentic work of Japanese modern craft (Japanese Kogei) with virtually no information available in overseas markets, we propose this piece not only as a tea vessel, but also as a supreme sake vessel where one can experience deep aesthetic sensibilities through both touch and visual scenery.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Sakata Jinnai (坂田甚内, 1943- )\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1964] Studied under Kamoda Shoji, [1966] Established independent kiln, [1971] Selected for Japan Ceramic Art Exhibition; selected for US and Canada Touring Exhibition, [1973] Selected for Japan Ceramic Art Exhibition; selected for South America Touring Exhibition, [1987] Purchased by The Japan Foundation; exhibited at the \"Modern Traditional Ceramic Art Exhibition\" overseas touring exhibition, [1989] Selected for New Zealand International Ceramic Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections \/ Shrine Dedications: \u003c\/strong\u003eThe British Museum (London), Rockefeller Foundation, Embassy of the United States, The Japan Foundation (purchased), etc. (Dedications: Izumo Taisha, Ise Jingu, Hieizan Enryakuji, Kodaiji, Takachiho Shrine)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1988\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\u003eDedicated original wooden box (Tomobako), cloth (Tomobuke), certificate\/brochure (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Mashiko ware, salt glaze, tea bowl, stamped\/inscribed)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.6 cm, Rim width approx. 12.5 cm, Weight approx. 340 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48359790215355,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2920_result.jpg?v=1789962297"},{"product_id":"462","title":"Artist Represented in Mashiko Museum of Ceramic Art Collection, Matsubara Naoyuki (松原直之), Iron-Glaze Arabesque Tea Bowl, Japanese-Style Old Fashioned Glass, Aged Sake Vessel, Studied Under Yagi Kazuo and Kimura Ichiro #462","description":"\u003cp data-path-to-node=\"1\"\u003eThis tea bowl with an iron-underglaze arabesque pattern is created by Matsubara Naoyuki (1938–2024), a ceramic artist who studied under both \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, a master of Mashiko ware, and \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, a master of avant-garde ceramics who led Sodeisha, sophisticatedly fusing the rustic folk-art clay texture of Mashiko with the modern craft aesthetics of Kyoto. It is an authentic work by an accomplished artist whose high public acclaim includes winning the Tochigi Prefecture Arts Festival Award in 1967 and an Encouragement Award at the International Ceramic Art Exhibition in 1990, and whose representative works are housed in the Mashiko Museum of Ceramic Art. On the front of the lid of the accompanying dedicated paulownia wooden box (tomobako), the handwritten calligraphy reads \"Iron-Glaze Arabesque Tea Bowl,\" and on the reverse side, \"Naoyuki\" along with his signature seal. It can be deduced as a work produced during his mature period between the 1980s and 1990s (late Showa 50s to early Heisei era), after establishing his atelier in Kitanaka, Mashiko Town following his apprenticeship in Kyoto, when he established his unique arabesque expression combining iron-brush painting rich in tonal gradations with Namishiro glaze (traditional white glaze) and reduction firing unique to Mashiko.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAnalyzing the design details of this piece, the Namishiro glaze applied over the Mashiko clay forms a serene, matte-textured white ground with a subtle bluish tint through reduction firing, which strictly controls oxygen in the kiln. Delicate pinholes and craze marks (kannyu) are gracefully carved into the glazed surface, bringing forth silk-like, moist shadows depending on the light angle. Over this warm ground, iron-brush painting using iron-sand pigment is executed with clean, unhesitating strokes that evoke the true essence of avant-garde ceramics. The powerful brushwork reveals deep scorched blacks caused by pigment accumulation alongside soft tonal variations born from dry-brush strokes, enclosing dynamic energy within the surface. The body is formed into a cylindrical shape with moderate distortion and width that comfortably settles in the hands, while the unglazed area around the foot ring exposes the rustic and robust clay texture containing sand grains unique to Mashiko clay. Beside the foot, the round seal stamp \"Nao\" (直), Mr. Matsubara's mark, is clearly and deeply impressed in the exposed clay, asserting its overwhelming perfection as a handcrafted, one-of-a-kind work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting generous dimensions with a substantial presence and breadth, measuring approx. 8.4 cm in height and approx. 13.9 cm in width (mouth diameter), our shop proposes this work as a dignified \"Japanese-style old fashioned glass (Japanese-style Western liquor vessel)\" for luxuriously savoring aged spirits, vintage whisky, matured sake, or liquor on the rocks with large ice spheres, tailored to modern refined lifestyles. The moist white ground of the Namishiro glaze, the fluid iron painting, and the deep glaze quality inside the bowl beautifully enhance the amber hues of poured aged liquors and the clear glint of ice. A masterpiece fusing Mashiko folk-art tradition with Kyoto avant-garde ceramic expression, this piece allows one to savor the true essence of traditional Japanese craft through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsubara Naoyuki (松原直之, 1938–2024)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e Studied under Kimura Ichiro and Yagi Kazuo. Opened Yatake Kiln in 1961. Won the Tochigi Prefecture Arts Festival Award (Crafts Division) in 1967 and the International Ceramic Art Exhibition Encouragement Award in 1990.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eMashiko Museum of Ceramic Art (Collection includes representative work \"Black Pottery: Crested Kingfisher\", etc.)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1980s–1990s (Late Showa 50s–early Heisei era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Mashiko clay, Namishiro glaze, iron-underglaze painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.4 cm, Width (mouth diameter) approx. 13.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e The items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598474903739,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3731_result.jpg?v=1790765601"},{"product_id":"475","title":"Third Generation of the Mashiko Kiln, Grandson of Kimura Ichiro: Sakazuki Sake Cup by Kimura Mitsuyoshi (木村充良), Red-Brown Glaze with White and Blue Mottled Pattern, Japanese-Style Shot Glass, Artist with Permanent Display at Matsuzakaya Ginza #475","description":"\u003cp\u003eThis sakazuki sake cup is the work of Kimura Mitsuyoshi, a potter who continues to work in Mashiko, Tochigi Prefecture, as the third generation of a kiln handed down from his grandfather, \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, and his father, Kimura Mitsuru. Our shop presents it as a Japanese-style shot glass for savoring vintage spirits a little at a time.\u003c\/p\u003e\n\u003cp\u003eKimura Mitsuyoshi was born in Mashiko in 1970 and began making pottery under his father, Kimura Mitsuru, in 1994. After his father's death in 1998, he established himself as an independent potter and has presented his work at department stores and galleries including Isetan Matsudo, the Ueno Department Store in Utsunomiya, and Matsuzakaya Ginza. Exhibitions of ceramics and dyeing with his elder sister, the textile dyer Kimura Masako, are also held annually in various locations. In his published biography, the artist notes that he fires a climbing kiln (noborigama) twice a year using only pine firewood as fuel.\u003c\/p\u003e\n\u003cp\u003eHis grandfather, Kimura Ichiro (1915–1978), studied at the Ceramics Testing Institute of the Ministry of Commerce and Industry in Kyoto and went on to build a climbing kiln in Mashiko in 1946. At the 1953 Japan Ceramics Exhibition, he received the Director-General's Prize of the Small and Medium Enterprise Agency for his Large Dish with Net Pattern in Persimmon Glaze (Kakiyū Amime-mon Ōzara), and in his later years he worked mainly in copper-red glaze (shinsha) and iron-painted decoration (tetsu-e). Today the Mashiko Museum of Ceramic Art holds and presents his works, introducing him alongside \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShōji Hamada\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTatsuzō Shimaoka\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShōji Kamoda\u003c\/a\u003e, and others as one of the artists who defined an era in Mashiko. His father, Kimura Mitsuru (1939–1998), trained under his father-in-law, Ichirō, and succeeded to the kiln as its second generation. The maker of this piece belongs to this lineage.\u003c\/p\u003e\n\u003cp\u003eThe cup has a mouth that flares outward, a body that narrows gently at the middle, and a band-like step encircling the lower body. When held, the fingers rest naturally at the waist. The exterior is covered in a glossy red-brown glaze, over which irregular white mottled patches are scattered across the entire body. Within each patch, blue bleeds through in varying depths of tone, and the edges are crisply defined, as if outlined with a fine brown line. Shallow vertical undulations on the body and a glaze luster that turns a misty white in places give the cup a different expression from every angle.\u003c\/p\u003e\n\u003cp\u003eThe interior is covered in a grayish-white glaze that makes it easy to see the color of the poured spirit, and amber vintage spirits look especially beautiful against it. Throwing marks (rokuro-me) remain in a spiral in the mikomi, the interior well of the cup. The tatami-tsuki, the resting surface of the foot ring, is left unglazed and reveals the texture of the sandy clay as it is, and a square seal mark is impressed on part of it.\u003c\/p\u003e\n\u003cp\u003eThe lid of the tomobako, the artist's own signed wooden box, bears the ink inscription \"Mashiko-gama, Sakazuki, Mitsuyoshi\" with a red seal, and the cup comes with a sanada-himo cord, a protective cloth, and a shiori leaflet recording the artist's career. The year of production is not inscribed. As the final entry in the enclosed biography dates from 2007, we estimate that the cup was made in 2007 or later, around the latter half of the 2000s.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kimura Mitsuyoshi (木村充良, 1970–)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMajor Activities:\u003c\/strong\u003e [1994] Began making pottery under his father, Kimura Mitsuru; [1998] Became independent after his father's death; \"Mashiko Kiln Four-Artist Exhibition,\" Isetan Matsudo; [2001] \"Three Generations of the Mashiko \u003cbr\u003e\u003cstrong\u003eKiln:\u003c\/strong\u003e Ceramics and Dyeing,\" Isetan Matsudo (held annually thereafter); [2003] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Gallery Spotlight, Setagaya; [2005] Permanent display at Matsuzakaya Ginza; solo exhibition at New Mikura, Utsunomiya (held annually thereafter); [2006] \"Kimura Mitsuyoshi Ceramic Works Exhibition,\" Tsukamoto Sakkakan Gallery, Mashiko; [2007] \"Three Generations of the Mashiko Kiln Exhibition,\" Tōgei Messe Mashiko\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e No record of the artist's works in public collections has been confirmed\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2007 or later, around the latter half of the 2000s (estimated from the final year recorded in the enclosed biography)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eOriginal tomobako (with sanada-himo cord), protective cloth, and shiori leaflet included\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlazed pottery\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned goods. Items may show damage due to age; please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67635082264763,"sku":null,"price":26000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4969_result_7758a952-e7fe-42e1-9ae7-267587972442.jpg?v=1791899209"},{"product_id":"476","title":"Artist Featured in Ippodo Gallery New York's \"Magic of the Tea Bowl\" | Eldest Son of Mashiko Potter Matsuzaki Ken | Matsuzaki Kan (松崎幹) | Irabo Kofuku Chawan (Small Tea Bowl) | Tomobako | Japanese-Style Rocks Glass #476","description":"\u003cp dir=\"ltr\"\u003eThis is an Irabo kofuku chawan, a small tea bowl, by the potter Matsuzaki Kan (born 1977). The tomobako (the wooden box signed by the artist) bears the ink inscription \"Irabo Kofuku Chawan,\" together with the artist's signature, \"Kan,\" and his red seal. An incised mark cut with a spatula appears beside the foot ring. A shiori (the artist's biographical leaflet) and a wrapping cloth accompany the piece. Our shop proposes this compact tea bowl as a Japanese-style rocks glass for savoring aged spirits and whisky.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMatsuzaki was born in 1977 in Tsukiji, Tokyo, the eldest son of the potter \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E5%B4%8E%E5%81%A5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsuzaki Ken\u003c\/a\u003e. His father, Matsuzaki Ken, apprenticed under \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e before establishing his kiln in Mashiko, Tochigi Prefecture, in 1977, and is a member of the Crafts Division of the Kokugakai art association. Matsuzaki Kan moved to the United States in 2000 and graduated from the New England School of Photography in 2006. After returning to Japan, he worked as a freelance photographer, and in 2016 he received the Newcomer's Prize in the Photography Division of the 90th Anniversary Kokuten Exhibition for his work \"Michi\" (Road). He began making ceramics in 2015 and continues to work alongside his father in Mashiko.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs a potter, he held his first solo exhibition at the Nihonbashi Mitsukoshi Main Store in 2020, followed by solo exhibitions at the Keio Department Store Shinjuku (2022), the Hankyu Umeda Main Store (2023), and the Nihonbashi Mitsukoshi Main Store (2023). In 2021, he took part in \"Magic of the Tea Bowl,\" an exhibition at Ippodo Gallery in New York that presented tea bowls by eleven contemporary artists. The gallery described his tea bowls as painterly and richly expressive, and also noted his use of thick, contrasting slip. The works he exhibited there included Shino, natural ash glaze, and yohen (kiln-transformed) tea bowls. His solo exhibitions at the Nihonbashi Mitsukoshi Main Store centered on Shino and Oribe tea bowls, alongside haikaburi (ash-covered) tea bowls, sake vessels, flower vases, and tableware.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis piece is an Irabo tea bowl, a style distinct from those works. Seen from above, the rim forms an irregular shape with rounded corners, and several vertical facets rise along the body to create a polygonal outline. Part of the body is densely incised with fine vertical lines, as if drawn with a comb, while the other facets are smoothed flat. The entire surface has a rough, gritty clay texture with prominent sand grains, and yellowish-green tones run in streaks and patches over the brown ground. Bold, glossy dark brown marks resembling brushstrokes sweep across the body in arcs and hooked shapes. The interior has a rough, dark olive surface scattered with fine grains. The foot ring is carved out, and the area inside the foot ring is also cut away. As the materials used for the decoration, the type of glaze, and the firing method cannot be determined with certainty from external appearance, we refrain from stating them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe period of production has been estimated from the accompanying leaflet. The final entries in the leaflet are the 2023 solo exhibitions at the Hankyu Umeda Main Store and the Nihonbashi Mitsukoshi Main Store, so the leaflet can be judged to have been produced after that time. As this piece has been passed down together with the leaflet, we estimate that it was made in 2023 or later.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsuzaki Kan (松崎幹, born 1977)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1977] Born in Tsukiji, Tokyo, the eldest son of the potter Matsuzaki Ken; [2000] Moved to the United States; [2006] Graduated from the New England School of Photography (USA) and began working as a freelance photographer after returning to Japan; [2015] Began making ceramics; [2016] Newcomer's Prize, Photography Division, 90th Anniversary Kokuten Exhibition (work: \"Michi\"); [2020] First solo exhibition as a potter, Nihonbashi Mitsukoshi Main Store; [2021] Exhibited in \"Magic of the Tea Bowl,\" Ippodo Gallery, New York; [2022] Solo exhibition, Keio Department Store Shinjuku; [2023] Solo exhibitions, Hankyu Umeda Main Store and Nihonbashi Mitsukoshi Main Store\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eNo records of acquisition by public institutions have been confirmed\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2023 or later (estimated from the contents of the accompanying leaflet)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (wooden box signed by the artist), wrapping cloth, and shiori (biographical leaflet) included\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Stoneware (Irabo)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.5–8.0 cm, Rim diameter approx. 8.6–10.2 cm (varies by position due to the irregular form)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand this and review the details carefully before deciding to purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651884286139,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4701_result.jpg?v=1791639557"},{"product_id":"490","title":"Mashiko Ware, Certified Traditional Craftsman, Hokudo Kiln Mimura Toen, Nuka Glaze Matcha Bowl by Mimura Hokudo (三村北土), Japanese-Style Rocks Glass, Nuka Glaze Matcha Bowl #490","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a nuka-glazed matcha bowl by Mimura Hokudo (real name Mimura Takao), a potter who was born in Mashiko, Tochigi Prefecture, trained at the institution devoted to developing the craftsmen of Mashiko ware, and later went on to teach the next generation himself. The tomobako, the original wooden box prepared by the artist, bears the inscription “Nuka-yu Matcha Chawan” (Nuka Glaze Matcha Bowl) together with the signature “Hokudo” and the artist’s seal, and the potter’s seal “Hokudo” is impressed beside the foot ring. A bold sweep of milky-white nuka glaze contends with the sandy, tea-brown ground across this single bowl, conveying with quiet candor the character of Mashiko’s clay and glazes. We propose this bowl as a vessel of Japanese Kogei: a Japanese-style rocks glass for leisurely savoring amber aged spirits over a generous piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMimura Hokudo was born in Mashiko in 1920 (Taisho 9). In 1938 (Showa 13) he graduated from the Research Course of the Mashiko Ceramics Training Institute, and in the same year he became a technician in the Ceramics Division of the Aomori Prefectural Industrial Research Institute. In 1945 (Showa 20) he was engaged in ceramic production on the outskirts of Bangkok, Thailand, and this experience of working abroad as a Japanese ceramic engineer is one of the most distinctive features of his career. After returning to Japan, he became a technical officer at the Tochigi Prefectural Ceramics Guidance Institute in 1949 (Showa 24), and as an instructor in its successor-training program he helped nurture the next generation of Mashiko ware makers. Beginning as the Mashiko Pottery Training Institute and continuing through the Tochigi Prefectural Ceramics Guidance Institute to today’s Ceramic Technology Support Center, this institution has long been responsible for training successors and conducting technical research for the ceramic industry of Tochigi Prefecture, Mashiko ware foremost among it. Mimura studied there and later taught there, a figure deeply involved in passing on the techniques of Mashiko ware.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1970 (Showa 45), Mimura built the Hokudo Kiln in Sayado, Mashiko, and set out as an independent, self-employed potter. He received the Tochigi Prefectural Arts Festival Award and was repeatedly selected for the Traditional Crafts Exhibition, the North Kanto Art Exhibition, and the Japan Ceramic Art Exhibition. In 1980 (Showa 55) he was certified as a Dento Kogeishi (Certified Traditional Craftsman). Only the year before, in 1979 (Showa 54), Mashiko ware had been designated a Traditional Craft Product by the national government. The kiln was later run together with his family as Hokudo Kiln Mimura Toen, and under his real name, Mimura Takao, he and his entire family contributed to an illustrated guide to Mashiko ware written for children.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe philosophy that the Hokudo Kiln set out for itself is clearly expressed in the words of its shiori, the printed leaflet that accompanied its works. There, the kiln declares that a simple yet substantial character is the true nature of Mashiko ware, and that it pursues this through handmade work and firing in a wood-fired climbing kiln (noborigama). It further states that the kiln devotes itself to refining the techniques handed down by its forebears, taking the spirit of traditional mingei (folk craft) to heart, and to making things that are honest, wholesome, and beautiful, suited to people’s daily lives. This sincere approach to making, rooted in the mingei spirit, lies at the core of understanding this artist’s work.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eClose observation of this piece reveals that this philosophy is expressed throughout its form and glaze. The bowl rises from the foot ring with a firm, full lower body, forms a gentle step at mid-body, and then draws slightly inward toward the rim. Soft throwing lines remain across the entire body, and in places the walls show gentle hollows and distortions, as if pressed by hand. This deliberate, slight departure from perfect symmetry is an expression found only in handmade work. The rim is thinly thrown, and where the glaze thins at the lip, the color of the clay shows faintly through, lending a gentle warmth to the drinking edge. The foot ring is firmly trimmed, and from the foot rim up to the area beside the foot the clay is left unglazed. The coarse, sandy texture typical of Mashiko clay is conveyed to the hand together with the bowl’s reassuring weight.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe composition of the glazes is the highlight of this work. The ground of the bowl is covered in an iron-bearing glaze ranging from tea-brown to deep umber, with a gritty texture in which fine particles are scattered like stars. Over this, the nuka glaze named in the box inscription has been boldly applied. The milky-white glaze cascades from the body down to the area beside the foot, where it gathers into pools with a lustrous, glassy sheen. Where the white glaze overlaps the ground glaze, countless fine bluish streaks appear within the white, tracing a raindrop-like landscape along the direction of the flow. The milky opacity characteristic of nuka glaze and the bluish-white flowing patterns born where it melts into the ground glaze arise only when chance in glazing and firing meets the maker’s intention. The bowl’s expression changes markedly with the viewing angle: one face carries a great flowing sweep of white, another a quiet expanse of tea-brown ground, and yet another small dabs of white glaze, so that its landscape can be enjoyed by turning it in the hand. Mashiko ware has long preserved traditional local glazes such as kaki (persimmon) glaze, namijiro glaze, and nukajiro glaze, together with techniques such as nagashi-gake (poured glazing). This piece may be regarded as a work that distills the Mashiko tradition of glazes and techniques into the refined form of a matcha bowl. The interior is calmly finished in a grayish-white glaze scattered with small iron specks, offering a fine contrast to the powerful landscape of the exterior.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eWith a diameter of about 12.0 cm and a height of about 8.1 cm, the generously proportioned bowl is just the right size to hold a large ice sphere. The contrast of milky white and tea brown beautifully enhances the color of amber aged spirits. It also offers the gentle chill retention of thick-walled pottery and a steady presence that seems to cradle itself in both hands. As pottery is absorbent, we recommend dipping the vessel in water before use and drying it thoroughly after use before storing it. This is a bowl by a Certified Traditional Craftsman who supported the transmission of Mashiko’s techniques, and whose work is almost unknown outside Japan. We hope it will be cherished for years to come, both as a vessel for special moments with aged spirits and as a work of craft that carries the tradition of Mashiko ware.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMimura Hokudo (三村 北土, Born name Mimura Takao \/ 三村孝夫, 1920–2003)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1938] Graduated from the Research Course of the Mashiko Ceramics Training Institute; the same year, became a technician in the Ceramics Division of the Aomori Prefectural Industrial Research Institute, [1945] Engaged in ceramic production on the outskirts of Bangkok, Thailand, [1949] Technical officer at the Tochigi Prefectural Ceramics Guidance Institute and instructor in its successor-training program, [1970] Built the Hokudo Kiln in Mashiko and established his own independent practice; received the Tochigi Prefectural Arts Festival Award; selected for the Traditional Crafts Exhibition, the North Kanto Art Exhibition, and the Japan Ceramic Art Exhibition, [1980] Certified as a Dento Kogeishi (Certified Traditional Craftsman)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e1970s–1990s (estimated)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (original wooden box inscribed “Nuka-yu Matcha Chawan,” signed “Hokudo,” with the artist’s seal)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery (Mashiko ware)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eDiameter approx. 12.0 cm, height approx. 8.1 cm, weight approx. 337 g\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note:\u003c\/strong\u003e Although some items we offer may be new and unused, all were produced a considerable time ago, and every item is therefore listed as pre-owned. Items may show signs of age-related wear; please review the details carefully and consider your purchase with this understanding.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651894018235,"sku":null,"price":29000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5556_result_bb1a8dd5-a1c9-4dec-9ede-4982d748157d.jpg?v=1792249652"},{"product_id":"506","title":"Mashiko Ware – Studied under Hamada Shoji – Sakuma Totaro (佐久間藤太郎): Tokkuri Sake Flask and Pair of Meoto Yunomi Teacups with Floral Design in Gosu Cobalt Blue – Japanese Decanter and Japanese Rocks Glasses #506","description":"\u003cp dir=\"ltr\"\u003eThis is a set of one tokkuri sake flask and a pair of meoto yunomi (matching teacups for a couple) by Sakuma Totaro (1900–1976), a ceramic artist of Mashiko ware. Sakuma Totaro was born in 1900 (Meiji 33) into a family that ran a Mashiko ware kiln in Haga District, Tochigi Prefecture, and in 1918 (Taisho 7) he graduated from the Mashiko Town Ceramics Training Institute. From 1924 (Taisho 13), when \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e moved to Mashiko, Sakuma studied under Hamada. As one of the leading artists of Mashiko ware, second only to Hamada, he contributed to the flourishing of Mashiko ware as mingei (folk craft) pottery. The Mashiko Museum of Ceramic Art describes Sakuma, who was born into a kiln-owning family, as the first person in Mashiko who, after meeting Hamada, set out to become a ceramic artist.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1927 (Showa 2), Sakuma’s work was selected for the craft section of the Kokugakai exhibition, and in 1949 (Showa 24) he became a member of the Kokugakai. He held solo exhibitions frequently throughout Japan, beginning with Takashimaya in Tokyo, and in 1956 (Showa 31) he held an exhibition commemorating thirty years of his ceramic work at Tochigi Kaikan. A three-person exhibition with Hamada Shoji and \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (Daimaru, Kyoto) and a two-person exhibition with Hamada Shoji in 1966 (Showa 41) (Toki, Gifu Prefecture) were also held. In 1953 (Showa 28) he became a director of the Tochigi Prefecture Mingei Association, and he received the Tochigi Prefecture Cultural Merit Award in 1959 (Showa 34) and the Order of the Sacred Treasure, Fifth Class in 1973 (Showa 48).\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1934 (Showa 9), writing in Kogei (Crafts), the journal of the mingei movement, Hamada Shoji noted that among the young makers of Mashiko, Sakuma was the one of longest standing. He went on to observe that Sakuma’s “way of working that brings Mashiko clay to life,” guided by his own eye and hand, possessed an honesty true to the character of the land. When Bernard Leach visited Japan in 1954, ceramics were made at the Sakuma Totaro Kiln.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHis works are held in the collections of the Mashiko Museum of Ceramic Art (Vase with Plum Design in Tessha Glaze) and the Otaru City Museum of Art. The works in the Otaru City Museum of Art include pieces in a wide range of techniques: inlay (zogan), three-color glaze (sansai), dotted patterns in tessha iron glaze, persimmon (kaki) and black glazes applied in divided sections with resist decoration (nukie), and white glaze with poured amber (ame) and blue glazes. The Mashiko Museum of Ceramic Art explains that Sakuma possessed assured skill on the potter’s wheel and excelled at painted decoration. On the vase in the museum’s collection, the trunk is painted in iron oxide (tetsu-e), and the blossoms are painted in persimmon glaze and gosu cobalt blue.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn this work, slender leaves are painted in gosu cobalt blue over a grayish-white glaze. Each leaf is drawn in a single stroke, thick at the base and tapering to a sharp point. Between the leaves, a stem-like motif whose tip curves and curls inward is painted in thick brown glaze. On the yunomi, the brown motif crosses two parallel lines incised around the upper body, and the glaze breaks off and separates at the grooves. The tone of the brown differs from piece to piece: on the larger yunomi it ranges from reddish brown to pale purplish brown, on the smaller yunomi it is a deep brown close to black, and on the tokkuri it has fired to a subdued, low-gloss brown. On the tokkuri, the brown motif is applied so thickly that its outline stands in relief.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBoth yunomi share the same form: the rim flares slightly outward, and the body narrows at the waist before joining a stepped foot ring. Spiral trimming marks remain inside the foot ring, and the unglazed footrim reveals a coarse, reddish clay body. The glaze surface shows fine crackle (kannyu) throughout, scattered with black specks from the iron in the clay. The tokkuri has a refined form, with a distinct step at the shoulder and a short neck opening into a rim that flares and rolls outward. Throwing marks remain on the inside of the neck. At the middle of the body, the glaze surface divides into a glossy upper section and a lower section with a finely pitted, pear-skin texture. The outer edge of the base is unglazed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOur shop proposes the tokkuri as a Japanese decanter for pouring vintage spirits, and the meoto yunomi as Japanese rocks glasses for enjoying vintage spirits and aged liquors on the rocks. The two yunomi differ slightly in size, and together with the tokkuri bearing the same design, they can be used as a matching set.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe pair of yunomi comes with a tomobako (the artist’s own wooden box) bearing an ink inscription and a red seal. The tokkuri comes with no accessories. There is a small spot on the rim of the tokkuri where the color of the clay body is visible.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuma Totaro (佐久間 藤太郎、1900–1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1924] Studied under Hamada Shoji, who had moved to Mashiko; [1927] Selected for the craft section of the Kokugakai exhibition; [1949] Became a member of the Kokugakai; [1953] Director of the Tochigi Prefecture Mingei Association; [1956] Exhibition commemorating thirty years of ceramic work (Tochigi Kaikan); [1959] Received the Tochigi Prefecture Cultural Merit Award; [1966] Two-person exhibition of Hamada Shoji and Sakuma Totaro (Toki); [1973] Received the Order of the Sacred Treasure, Fifth Class\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Mashiko Museum of Ceramic Art, Otaru City Museum of Art\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e c. 1950 – c. 1975 (estimated; estimated to fall between c. 1950 and c. 1975, the period from when the artist held repeated solo exhibitions throughout Japan after the war until his death in 1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks; in good condition with minimal soiling)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako for the pair of yunomi only (with ink inscription and red seal); no accessories for the tokkuri\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery (painted in gosu cobalt blue)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Tokkuri: body diameter approx. 8 cm, height approx. 16 cm \/ Yunomi (large): height approx. 9.0 cm, width approx. 8.6 cm, rim diameter approx. 7.2 cm \/ Yunomi (small): height approx. 8.5 cm, width approx. 8.0 cm, rim diameter approx. 6.7 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show damage from age, so please understand and review this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67781390106811,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6141_result_13fbbce5-c641-4dde-9882-b9efeff16a4c.jpg?v=1793023442"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/collections\/IMG_6517_result.jpg?v=1793377784","url":"https:\/\/antiqueliquor1926.com\/en\/collections\/mashiko-ware.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}