{"title":"Exceptional Pieces from ¥100,000","description":"\u003cp\u003eExceptional pieces from ¥100,000 (in-stock items only): works by Imperial Household Artists and Living National Treasures, rare old bottles and other cornerstones of a collection.\u003c\/p\u003e","products":[{"product_id":"16","title":"Miyanaga Rikichi (宮永理吉), Yanagihara Mutsuo (柳原睦夫), Morino Taimei (森野泰明) - Sodeisha Special Selection No. 1 \"Sanpai\": Avant-Garde Ceramic Masters Take On the Miniature Vessel, 3-Piece Set Including a Rare Hand-Blown Glass Sake Cup #16","description":"\u003cp data-path-to-node=\"15\"\u003eThis masterpiece was released as a special selection of \"Sanpai\" (Three Sake Cups) by three contemporary ceramic artists representing Japan. It brings together the works of Miyanaga Rikichi, Yanagihara Mutsuo, and Morino Taimei—masters who led the golden age of \"Sodeisha,\" the legendary avant-garde art group that rejected the concept of practical vessels and elevated ceramics into the realm of pure contemporary art known as \"Objets-yaki\" (sculptural ceramics). Among these three pieces, the work by Morino Taimei, a Person of Cultural Merit and a member of the Japan Art Academy, is crafted from hand-blown glass, which is extremely unusual for a ceramic artist. This highly rare and precious piece symbolizes Sodeisha's core philosophy of \"liberating art from the preconceived notions of materials.\" You can fully appreciate the wondrous paradox where the avant-garde aesthetic of dismantling and reconstructing tradition is confined within the miniature frame of a palm-sized sake cup. When savoring a precious Japanese whisky, why not enjoy it from a glass born of the same homeland where their passion still breathes?\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"0\"\u003eArtists:\u003c\/b\u003e Miyanaga Rikichi (宮永理吉), Yanagihara Mutsuo (柳原睦夫), Morino Taimei (森野泰明)\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"60\"\u003eEra of Production:\u003c\/b\u003e 1980s–1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"91\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"134\"\u003eAccessories:\u003c\/b\u003e Original box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"169\"\u003eMaterial:\u003c\/b\u003e Ceramic, hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"205\"\u003eDimensions:\u003c\/b\u003e Height approx. 6.5 cm, diameter approx. 5.5 cm each\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"269\"\u003eNote:\u003c\/b\u003e Even if the products we offer are new and unused, they are all listed as second-hand products because they were produced very long ago. Please note that the products may have damage due to aging, so please understand and check before considering purchasing.\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"533\"\u003eAbout the Artists:\u003c\/b\u003e As follows\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"17\"\u003e\u003cb data-path-to-node=\"17\" data-index-in-node=\"0\"\u003eMiyanaga Rikichi (Born 1935)\u003c\/b\u003e He began studying sculpture at the Kyoto City University of Arts in 1954 under Shindo Tsuji and Masakazu Horiuchi, before dropping out of the postgraduate course in 1960 to travel to the United States. There, he engaged with Peter Voulkos and others. After returning to Japan, he garnered attention as a sculptor through exhibitions such as the \"Trends in Contemporary Art\" exhibition and became a member of the Sodeisha group in 1971. While possessing a background in the highest traditions of celadon techniques from the prestigious \"Miyanaga Tozan\" lineage, he developed organic and sculptural avant-garde forms that eliminated utility. By expressing the inherent vitality and tension of clay as a raw material, he powerfully embodied Sodeisha's vision of \"breaking away from the beauty of utility.\" He received the Kyoto Prefecture Order of Cultural Merit in 1998 and inherited the title of Miyanaga Tozan III in 1999.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eYanagihara Mutsuo (Born 1934)\u003c\/b\u003e A ceramic artist from Kochi Prefecture, he studied at the Kyoto City University of Arts and studied under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e. He joined Sodeisha in 1958. In contrast to the avant-garde ceramics of the time, which tended to favor stoic, monochrome tones, he injected brilliant color expressions using gold and silver luster glazes and vivid primary colors. Through his experience living in the United States, he pursued a sculptural beauty endowed with an international sensibility, opening up a new horizon of the \"liberation of color\" for Sodeisha's avant-garde objects. He is one of the leading figures representing contemporary ceramics. Professor Emeritus at Osaka University of Arts.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003e\u003cb data-path-to-node=\"19\" data-index-in-node=\"0\"\u003eMorino Taimei (Born 1934)\u003c\/b\u003e A ceramic artist born in Kyoto. Born to the master craftsman Yoshimitsu Morino, he graduated from the Kyoto City University of Arts and subsequently released numerous works that fused tradition with modernity. He joined Sodeisha in 1957. Since the 1980s, he has participated in both domestic and international exhibitions, receiving high acclaim for his avant-garde forms and glaze expressions. Excelling in sharp, architectural geometric compositions—as symbolized by this hand-blown glass piece—he transcended the very boundaries of clay as a material. Through a supreme conceptual expression that controlled the fluidity of fire and material, as well as the transmission of light and space, he embodied the pinnacle of the unique sculptural philosophy that Sodeisha aspired to achieve. He is a Person of Cultural Merit, a member of the Japan Art Academy, and one of the supreme titans of contemporary Japanese ceramics.\u003c\/p\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":46647482515643,"sku":"","price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8214_result.jpg?v=1781791862"},{"product_id":"38","title":"Distributed since 1979, Bowmore Deluxe 1,000ml, 43% #38","description":"\u003cp data-end=\"342\" data-start=\"169\"\u003eThis is Bowmore Deluxe 1,000ml 43% whisky, which has been in circulation since the late 1970s, but was mainly distilled in the early 1980s.\u003c\/p\u003e\n\u003cp data-end=\"342\" data-start=\"169\"\u003eUnlike the Bowmore of today, the original bottles retained the distinctive character of the vintage bottles. The \"Deluxe\" bottles in particular were highly praised for their rich, full-bodied flavor, despite not having an age indication, and were extremely popular, especially in overseas markets.\u003c\/p\u003e\n\u003cp data-end=\"456\" data-start=\"344\"\u003eThe aroma is a blend of classic Islay malt peat smoke, the sweetness of sherry, and the soft woodiness of aging. It also has nuances of dried fruit, honey, and smoked nuts, evoking the gentle salty aroma characteristic of Bowmore at the time.\u003c\/p\u003e\n\u003cp data-end=\"553\" data-start=\"458\"\u003eThe taste is well-rounded, with the gentle peaty notes and complex aged aromas characteristic of Old Islay lingering on the finish. The 1-liter bottle has a distinctive presence, making it an extremely attractive collector's item. As this is an old bottle, the liquid level and label may show signs of aging. Please check the condition before purchasing.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eProduct name:\u003c\/strong\u003e Bowmore Deluxe, 1,000ml, 43%\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAge:\u003c\/strong\u003e Unknown (believed to be at least 12 years old)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCapacity:\u003c\/strong\u003e 1,000ml\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 43%\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eDistillation period:\u003c\/strong\u003e Before the 1960s\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDistribution period:\u003c\/strong\u003e After 1979\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 15,000 yen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an old bottle of whisky is unopened, the volume may have gradually evaporated over the years and decreased. Our store uses the shoulder line of the bottle as a criterion and only carefully selects products that we deem suitable for sale.\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e■Please cooperate with age verification.\u003c\/h2\u003e\n\u003cdiv class=\"sa-089-age-confirmation-body\"\u003e\n\u003ch3\u003e*Drinking alcohol under the age of 20 is prohibited by law.\u003cbr\u003e*We do not sell alcohol to anyone under the age of 20.\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47057548968123,"sku":null,"price":135000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0837.jpg?v=1759038933"},{"product_id":"43","title":"Living National Treasure Nakada Kazuo (中田一於)'s Kutani Ware Silver-Glazed Shochu Drinking Glass #43","description":"\u003cp data-path-to-node=\"3\"\u003eNakada Kazuo has been designated as a Living National Treasure (Preserver of Important Intangible Cultural Property) for his ceramic technique known as Yukasai (underglaze coloring), the first designation ever made for this technique. This designation serves as public proof that the unique world of Yuri-ginsai (underglaze silver foil), which he has refined over many years, represents one of the highest peaks of Japanese traditional beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThe reason Nakada Kazuo, who has established a new milestone in the history of Kutani ware, is held in such high esteem lies in the almost obsessive precision condensed into this work. The essence of Yuri-ginsai lies in the nearly impossible technical harmony of sealing the brilliance of silver deep beneath a lapis lazuli glaze. While ordinary silver decoration typically oxidizes and turns black when exposed to air, Nakada arranges paper-thin pieces of silver foil one by one like a puzzle based on meticulous calculations. He perfectly controls the risk of the silver foil melting away due to the intense heat during firing, maintaining an eternal sparkle within the glaze. This process is a divine skill that only he can achieve. This specific expression of silver shining with dignity beneath the glaze was the decisive reason for his selection as the first Living National Treasure in the field of Yukasai.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThis work was created around 2009, a period when Nakada had completely mastered his technique and was receiving intense attention from museums worldwide; it is a representative piece that embodies his true essence. The silver foil hidden beneath the lapis lazuli glaze changes its expression like a kaleidoscope depending on the angle of the light, sometimes shimmering sharply like a gemstone and at other times swaying softly like morning mist. The geometric patterns reminiscent of lotus petals covering the entire vessel are his signature design. The contrast of blue and silver reflecting on the inside when sake is poured can be described as a supreme view that only the owner can enjoy.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eFurthermore, this work is exceptionally outstanding in terms of its form. The footed style exudes the dignity of a fine art craft, yet it maintains excellent center-of-gravity balance when actually held, fusing practicality and aesthetics at a high level. As a testament to its global value, his works are part of the permanent collections of institutions such as the Smithsonian's Arthur M. Sackler Gallery in the United States. Following his designation as a Living National Treasure in 2025, there is no doubt that the rarity of such fulfilling works from his mature period will increase further in the art market. Holding the crystal of light of a master who has carved his name in history while enjoying a supreme drink is nothing less than a luxurious cultural privilege that transcends a mere evening glass.\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\u003eProduced by:\u003c\/strong\u003e Nakada Kazuo\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements include:\u003c\/strong\u003e [ \u003cspan class=\"line\"\u003e\u003cspan class=\"year\"\u003e1990]\u003c\/span\u003e \u003cspan class=\"title\"\u003eMinister of Education Award at the Japan Traditional Crafts Exhibition; [\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"line\"\u003e\u003cspan class=\"year\"\u003e1993]\u003c\/span\u003e \u003cspan class=\"title\"\u003eUnderglaze Silver Vase selected for permanent collection at the Smithsonian Institution's Mackler Gallery in Washington; [\u003c\/span\u003e\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 class=\"line\"\u003e2001] Grand Prize at the Traditional Kutani Ware Crafts Exhibition; [ \u003cspan class=\"year\"\u003e2011]\u003c\/span\u003e \u003cspan class=\"title\"\u003eMedal with Purple Ribbon; [ \u003cspan class=\"year\"\u003e2019]\u003c\/span\u003e Order of the Rising Sun, Gold Rays with Rosette; [2025] Designated Living National Treasure for his underglaze enamel technique.\u003c\/span\u003e\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-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e circa 2009\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, wrapping cloth, artist biography\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kutani ware, pottery)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 10.8cm, diameter approx. 8.1cm\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\u003eCharacteristics of Nakada Kazuo's works:\u003c\/strong\u003e His greatest feature is the \"underglaze silver color\" technique, which involves applying a pattern with silver foil under the glaze. This technique allows the shine of the silver to show through the glaze, and the soft, pale colors and shading of light create a delicate expression with depth. Many of his works feature plants and geometric patterns applied with silver color, and are characterized by a cool, modern style.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47058962448571,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1090_result.jpg?v=1784445616"},{"product_id":"68","title":"Early 1980s distribution, Bowmore 12 Year Old, 1,000ml, 43% #68","description":"\u003cp\u003eThis bottle is a precious old bottle released in the early 1980s by Bowmore Distillery, known as the Queen of Islay Malt, under the umbrella of Morrison's Bowmore Distillery Ltd. Set apart from current products, this is a masterpiece that embodies the essence of the golden age of Islay malt.\u003c\/p\u003e\n\u003cp\u003eThe bottle is made of heavy, dark brown glass, reflecting the care taken at the time to preserve the quality of the contents. The label is a lustrous gold base with a dignified black border. The traditional Bowmore crest is featured in the center, with the words \"MORRISON'S BOWMORE DISTILLERY Ltd\" below, indicating the owner and bottling at the time. The volume is 1,000ml (1 liter) and the alcohol content is 43%, reflecting the old standards and the international market at the time.\u003c\/p\u003e\n\u003cp\u003eCompared to current releases, this 1980s Bowmore 12 Year Old boasts a deeper maturity typical of older bottles, as well as a stronger resemblance to the distinctive sweet peaty aromas of Bowmore from that time. The aroma combines the gentle salty notes and smoke typical of Islay malt with mature tropical fruit and honeyed sweetness, creating a highly complex and alluring aroma. The palate is round and smooth, with rich malt notes reminiscent of bitter chocolate and cocoa, along with creamy vanilla and a lingering, elegant smokiness.\u003c\/p\u003e\n\u003cp\u003eThis bottle is not just an old whisky, but a precious relic from a time when Bowmore's whisky was of exceptional quality, before it took the world by storm as the \"Queen of Islay Malt.\" It's a supreme bottle that offers a special tasting experience. As this is an old bottle, there may be signs of a drop in the liquid level and changes in the label over time. Please check the condition and only consider purchasing if you understand these changes.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eProduct name:\u003c\/strong\u003e Bowmore 12 years\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAge:\u003c\/strong\u003e 12 years (or more)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCapacity:\u003c\/strong\u003e 1,000ml\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 43%\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eDistillation period:\u003c\/strong\u003e Before the 1970s\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDistribution period:\u003c\/strong\u003e Early 1980s onwards\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 20,000 yen\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSpecial note:\u003c\/strong\u003e The amount of whisky that evaporates is very small, and the surface of the whisky reaches above the cap seal, making it impossible to visually check the remaining amount.\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an old bottle of whisky is unopened, the volume may have gradually evaporated over the years and decreased. Our store uses the shoulder line of the bottle as a criterion and only carefully selects products that we deem suitable for sale.\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e■Please cooperate with age verification.\u003c\/h2\u003e\n\u003cdiv class=\"sa-089-age-confirmation-body\"\u003e\n\u003ch3\u003e*Drinking alcohol under the age of 20 is prohibited by law.\u003cbr\u003e*We do not sell alcohol to anyone under the age of 20.\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47109462393019,"sku":null,"price":115000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1606.jpg?v=1761032944"},{"product_id":"74","title":"Iwata Toshichi (岩田藤七)'s `Gen (Black)` hand-blown crystal wine cooler, ice bowl, masterpiece from his later years, large-scale work #74","description":"\u003cp\u003eThis is a rare hand-blown glass piece by Iwata Toshichi (1893–1980), a master who laid the foundation for modern Japanese glass art. Created in 1972, towards the end of the artist's life, this piece is one of his greatest masterpieces, and its crystal clear transparency and dynamic form give it a particularly striking presence among Toshichi's works.\u003c\/p\u003e\n\u003cp\u003eThis piece's graceful curves resemble the waters of a powerful mountain stream instantly transformed into solid crystal. Despite its imposing dimensions, approximately 27cm high and 21.5cm wide, maintaining its exceptional clarity, free of air bubbles and impurities, requires exceptional skill and delicate temperature control. The hand-blown molding of large, pure crystal glass is prone to cracks and distortions during the cooling process, making it extremely difficult to produce a successful piece, further underscoring its rarity and value. The highly transparent glass creates a deep curve within, evoking a sense of spaciousness. While originally intended as a flower vase, we suggest placing a large block of ice inside to create a fantastical ice bowl, where the ice and glass appear to blend seamlessly. The graceful flow of light and shadows reflect in this captivating piece, drawing you in the moment.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003e:\u003c\/strong\u003e Iwata Toshichi (岩田藤七, 1893–1980)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements:\u003c\/strong\u003e [1943] Certified as a Class A Art Preservation Qualification, [1951] Awarded the Japan Art Academy Prize, [1970] Awarded the Person of Cultural Merit, [1980] Awarded the Order of the Treasure, Second Class\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eWork name:\u003c\/strong\u003e Gen\u0026nbsp;(Black)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e 1972 (Showa 47)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, dedicated wrapping cloth\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 27cm, width approx. 21.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial Notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to the manufacturing process, but no notable damage after production. Please note that \u003cspan style=\"color: rgb(255, 42, 0);\"\u003ethe wooden box has dried out and cracked due to aging\u003c\/span\u003e .\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47125266858171,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2308.jpg?v=1761739788"},{"product_id":"79","title":"Yoshida Takeo (吉田丈夫): `Kousho (Light Dress)` Hand-blown Crystal Ice Bowl, Large-scale Work #79","description":"\u003cp data-path-to-node=\"3\"\u003eYoshida Takeo (1916-2002) was an artist who made a significant contribution to the development of glass art in postwar Japan. His pen name was \"Okibito\" (fireman), and he created a world of work that embodied warmth and tranquility. He studied at the lacquerware department of the Department of Crafts at the Tokyo School of Fine Arts (now Tokyo University of the Arts), specializing in lacquerware. After his postwar pursuit of new materials, he switched to the field of glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eYoshida joined Kagami Crystal Manufacturing (now Kagami Crystal), Japan's first factory specializing in crystal glass, in 1935 (Showa 10), as a student of the company's founder, \u003ca href=\"\/en\/search?q=%22%E5%90%84%E5%8B%99%E9%91%9B%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKagami Kozo\u003c\/a\u003e. Throughout the turbulent times of war and postwar Japan, he remained at the company's headquarters in Nishirokugo, Ota Ward, from 1949 onwards, holding key positions such as Director of the Crafts Department and Managing Director. Through his many years of experience in production here, particularly his highly demanding work in creating items for the Imperial Household and gifts for state guests, Yoshida developed a unique style of expression that combined the creative sensibility of traditional crafts with the modern material of crystal glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eWhile Yoshida's works are based on the \"beauty of utility\" found in tea ceremony utensils, flower vases, and sake cups, they also display a tranquil and refined beauty through the transparency of the materials and the refraction of light. After retiring from Kagami Crystal in 1978 (Showa 53) and going independent, he established his own studio, \"Yoshida Takeo Crystal Crafts,\" in Ibaraki Prefecture. Devoting himself to highly artistic creative endeavors that transcend organizational boundaries, he has produced numerous masterpieces that harmonize smooth textures with organic forms, as exemplified by his signature work, \"Date Gourd\" (1988, National Crafts Museum). His natural-themed sculptures, such as gourds and buds, are imbued with a sense of vitality and inner light, exuding the delicate sensibility and warmth of handwork that come from a background in lacquerware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThis work, `Kousho (Light Dress)` is believed to have been specially commissioned by Sumitomo Trust Bank while Yoshida was employed at Kagami Crystal. It was created during a time when Yoshida was at the peak of his craft as a businessman, having been selected as a \"Contemporary Master Craftsman\" in 1974. Unlike his later independent works, it displays the refined and refined aesthetic unique to his time as a corporate workshop. This beautiful piece features light flowing like a trailing hem across the crystal's transparent white space. True to its name, this vessel, adorned as if wrapped in light, also excels as an ice bowl, adding a touch of elegance to everyday moments. The thick crystal holds the ice, and the soft, swaying shadows of light envelop the vessel like the hem of a garment. The harmony of the ice and glass, along with the tranquil beauty of the light, creates a rich and unforgettable experience.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003e:\u003c\/strong\u003e Yoshida Takeo (吉田丈夫, 1916-2002)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements include:\u003c\/strong\u003e [\u003c\/span\u003e 1974] \u003cstrong\u003eAwarded the Minister of Labor's Commendation as a Contemporary Master Craftsman\u003c\/strong\u003e ; [1977] Selected for the 24th Japan Traditional Art Crafts Exhibition for the first time; [1981] Awarded the Tokyo Governor's Award at the 28th Japan Traditional Art Crafts Exhibition; [1986] Awarded the Medal with Yellow Ribbon; \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e[1988] His representative work, \"Date Gourd,\" is in the collection of the National Crafts Museum;\u003c\/span\u003e \u003cstrong\u003e[1990] Awarded the Minister of International Trade and Industry's Award (Traditional Craft Industry Outstanding Technician Award)\u003c\/strong\u003e ; [1992]\u003cspan data-path-to-node=\"4,5,0\" data-index-in-node=\"0\"\u003e \u003c\/span\u003eHe was awarded the Order of the Sacred Treasure, Fifth Class, and in 1995 received the Japan Crafts Association Holder's Award at the 42nd Japan Traditional Crafts Exhibition. \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Kousho (Light Dress)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction year:\u003c\/strong\u003e 1970s (estimated)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 23cm, width approx. 20cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to manufacturing, but no notable damage after manufacturing is found.\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47134669177019,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2470.jpg?v=1762763500"},{"product_id":"85","title":"Early 1980s Distribution: Johnnie Walker Black Label 12 Year Old, 4.5L (1 Gallon) Extra-Large Bottle #85","description":"\u003cp data-path-to-node=\"12\"\u003eThis is an extremely rare 4.5-liter bottle of Johnnie Walker Black Label, the world’s most iconic Scotch whisky. Its massive scale, far exceeding standard bottles, combined with its heritage as an original 1980s bottling, gives it an overwhelming presence for collectors. The bottle features the traditional Johnnie Walker square design, but its 4.5-liter magnum scale emphasizes a remarkable sense of weight and authority. The label is affixed at the signature 24-degree angle, with bold cursive script reading \"Johnnie Walker Black Label\" and \"Old Scotch Whisky,\" highlighting the classic aesthetic of this era.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eBottled at 43% ABV, it carries a higher strength than the modern 40% version. The bottom of the label reads \"Bottled in Scotland by John Walker \u0026amp; Sons Limited, Kilmarnock, Scotland,\" a proud testament to its production in the historic home of the brand, Kilmarnock—a site that is now a part of whisky history. This extra-large 4.5-liter size was primarily produced for bar displays, promotions, or duty-free shipboard sales rather than general retail, making its survival in such condition exceptionally rare. Based on the bottle and label design, this piece is estimated to have been produced between the late 1970s and early 1980s. As these were rarely sold through official retail channels in Japan at the time, a fixed price is hard to determine, but given it holds six times the volume of a standard bottle, it was treated as a highly expensive commercial asset or a premium luxury gift.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eUnlike modern blends, Black Label from this era is renowned for the deeper maturity and richer smokiness of its constituent malts. The aroma is a sophisticated harmony of rich dried fruits, sherry sweetness, and the deep, robust peat smoke characteristic of Johnnie Walker. While the mouthfeel is mellow, the 43% ABV provides a powerful structure, delivering complex flavors of smoke, vanilla, and aged fruits that linger in a long, satisfying finish. This is a monumental bottle that encapsulates the history of the world's definitive Scotch. As this is a vintage bottle, there may be signs of natural evaporation (lowered fill level) or aging of the label. Please review the condition carefully and purchase only with an understanding of the nature of vintage spirits.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eProduct Name:\u003c\/strong\u003e Johnnie Walker Black Label 12 Year Old, 4.5L Gallon\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eBottle Type:\u003c\/strong\u003e Blended Scotch Whisky\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eKey Malts:\u003c\/strong\u003e Cardhu, Talisker, Clynelish, Caol Ila, Glen Elgin\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eAge:\u003c\/strong\u003e 12 Years Old\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eCapacity:\u003c\/strong\u003e 4,500ml\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eAlcohol Content:\u003c\/strong\u003e 43% ABV\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDistillation Period:\u003c\/strong\u003e Before the early 1970s\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eDistribution Period:\u003c\/strong\u003e Early 1980s\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eOriginal Retail Price:\u003c\/strong\u003e Approx. 60,000 JPY\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote 1:\u003c\/strong\u003e While we select our inventory with the utmost care, this product was manufactured many decades ago and may not retain its original flavor profile. Therefore, we cannot accept returns or refunds after purchase, even if the quality does not meet expectations. We appreciate your understanding prior to purchase.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote 2:\u003c\/strong\u003e Even in unopened vintage whiskies, the volume may have gradually decreased over time due to natural evaporation. We use the shoulder line of the bottle as our standard and only list items we deem suitable for sale.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e■Please cooperate with age verification.\u003c\/h2\u003e\n\u003cdiv class=\"sa-089-age-confirmation-body\"\u003e\n\u003ch3\u003e*Drinking alcohol under the age of 20 is prohibited by law.\u003cbr\u003e*We do not sell alcohol to anyone under the age of 20.\u003c\/h3\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47170276098235,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2538.jpg?v=1763560781"},{"product_id":"87","title":"Living National Treasure Kitamura Shinichi (北村眞一)'s masterpiece: The Silver Arbor, Lost-wax casting (Rōgata) silver and blown glass sake cup #87","description":"\u003cp data-path-to-node=\"6\"\u003eThis sake vessel, titled Wax-mold Cast Silver and Blown Glass Sakazuki, is a masterpiece that distills the exceptional techniques of Kitamura Shinichi, a Living National Treasure. It is an extremely rare piece that demonstrates the depth of the artist's exploration, beautifully fusing the disparate materials and techniques of metalwork and glass craftsmanship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eBorn in 1952, Kitamura Shinichi is a metal artist who was certified in 2019 as a Preserver of the Important Intangible Cultural Property of Wax-mold Casting. This vessel is an exquisite creation utilizing those traditional techniques. Because silver, which is a metal, and glass have vastly different melting points and thermal expansion coefficients, the task of completely integrating the two requires extremely advanced skill to overcome the risk of bursting or cracking from thermal shock. This work features an ingenious structure that overcomes this challenge by blowing glass into a silver framework shaped like a tree. The silver ornamentation is characterized by an organic texture with numerous perforations and a form resembling a powerful, undulating tree trunk, creating a fantastical beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis piece is presumed to be an ambitious work from around the year 2000 (Heisei 12), a period of maturity in Kitamura's creative career during which he pursued the ultimate in technical fusion and decorativeness. The silver portion features a delicate design reminiscent of extending branches and leaves, evoking both the vitality of nature and a sense of tranquil beauty. When a drink is poured, light reflects through the intricate gaps in the silver, emitting a quiet radiance unlike any other. The expression of this light changes over time and projects various shadows depending on the viewing angle. The ability to appreciate the sophisticated craftsmanship of a Living National Treasure through an everyday vessel is one of this work's greatest charms. Fusions of glass with such complex silver motifs are rare even within Kitamura's body of work, making this a precious collector's item worthy of high acclaim for both its artistic and technical merit.\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 Kitamura Shinichi (北村眞一, 1952-present)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist's major activities:\u003c\/strong\u003e [2019] Certified as a holder of the Important Intangible Cultural Property \"Lost-wax casting (Rōgata)\" (Living National Treasure)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e circa 2000\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated box included\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Silver, glass\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 7.5cm, diameter 5.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(255, 42, 0);\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\" class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial note:\u003c\/strong\u003e As this is a silver product, discoloration due to oxidation of silver may occur.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47170608365755,"sku":null,"price":550000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2601.jpg?v=1763175269"},{"product_id":"119","title":"Early 1980s distribution, Bowmore 12 Year Old, 1,000ml, 43% #119","description":"\u003cp\u003eThis bottle is a precious old bottle released in the early 1980s by Bowmore Distillery, known as the Queen of Islay Malt, under the umbrella of Morrison's Bowmore Distillery Ltd. Set apart from current products, this is a masterpiece that embodies the essence of the golden age of Islay malt.\u003c\/p\u003e\n\u003cp\u003e The bottle is made of heavy, dark brown glass, reflecting the care taken at the time to preserve the quality of the contents. The label is a lustrous gold base with a dignified black border. The traditional Bowmore crest is featured in the center, with the words \"MORRISON'S BOWMORE DISTILLERY Ltd\" below, indicating the owner and bottling at the time. The volume is 1,000ml (1 liter) and the alcohol content is 43%, reflecting the old standards and the international market at the time.\u003c\/p\u003e\n\u003cp\u003e Compared to current releases, this 1980s Bowmore 12 Year Old boasts a deeper maturity typical of older bottles, as well as a stronger resemblance to the distinctive sweet peaty aromas of Bowmore from that time. The aroma combines the gentle salty notes and smoke typical of Islay malt with mature tropical fruit and honeyed sweetness, creating a highly complex and alluring aroma. The palate is round and smooth, with rich malt notes reminiscent of bitter chocolate and cocoa, along with creamy vanilla and a lingering, elegant smokiness.\u003c\/p\u003e\n\u003cp\u003e This bottle is not just an old whisky, but a precious relic from a time when Bowmore's whisky was of exceptional quality, before it took the world by storm as the \"Queen of Islay Malt.\" It's a supreme bottle that offers a special tasting experience. As this is an old bottle, there may be signs of a drop in the liquid level and changes in the label over time. Please check the condition and only consider purchasing if you understand these changes.\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eProduct name:\u003c\/strong\u003e Bowmore 12 years\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAge:\u003c\/strong\u003e 12 years (or more)\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eCapacity:\u003c\/strong\u003e 1,000ml\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 43%\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003e\u003cstrong\u003eDistillation period:\u003c\/strong\u003e Before the 1960s\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eDistribution period:\u003c\/strong\u003e Early 1980s onwards\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 20,000 yen\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eSpecial note:\u003c\/strong\u003e The amount of whisky that evaporates is very small, and the surface of the whisky reaches above the cap seal, making it impossible to visually check the remaining amount.\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an old bottle of whisky is unopened, the volume may have gradually evaporated over the years and decreased. Our store uses the shoulder line of the bottle as a criterion and only carefully selects products that we deem suitable for sale. \n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e\u003cbr\u003e\u003c\/h2\u003e\n\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e ■Please cooperate with age verification.\u003c\/h2\u003e\n\n\u003cdiv class=\"sa-089-age-confirmation-body\"\u003e\n\n\u003ch3\u003e *Drinking alcohol under the age of 20 is prohibited by law.\u003cbr\u003e *We do not sell alcohol to anyone under the age of 20.\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47343225077947,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3458.jpg?v=1767787668"},{"product_id":"120","title":"BOWMORE DELUX, 750ml, 43%, Italian market since 1979 #120","description":"\u003cp data-path-to-node=\"0\"\u003eFounded in 1779, Bowmore is known as Islay's oldest distillery. Among them, the \"Bowmore De Luxe\" \u003cb data-path-to-node=\"0\" data-index-in-node=\"122\"\u003ebottles\u003c\/b\u003e produced during the \u003cb data-path-to-node=\"0\" data-index-in-node=\"73\"\u003eMorrison Bowmore era and exported to the Italian market are especially coveted by vintage spirit lovers worldwide as a \"Golden Age Bowmore.\" Imported by the prestigious Italian importer Fecchio \u0026amp; Frassa\u003c\/b\u003e from the 1970s to the 1980s, this bottle, bearing the distinctive Italian UTIF (red tax stamp)** still on the bottleneck, is an extremely rare historical relic from a time when the European market was supplied with exceptionally high-quality raw spirits.\u003c\/p\u003e\n\u003cp data-path-to-node=\"1\"\u003eThe Italian market at the time was known for its discerning and sophisticated tastes when it came to single malts, and this \"Deluxe\" bottle was generously stocked with only the finest spirits that had reached the peak of maturation, the pride of Bowmore Distillery. The distinctive, tropical aromas of rich tropical fruit reminiscent of Bowmore from the Morrison era, which cannot be replicated in modern bottles, the elegant sea breeze finish typical of Islay malt, and the delicate peat smoke that has been mellowed by long ageing combine to create a flavor that is truly worthy of being called the \"legendary Bowmore.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe label proudly features the historic emblem, which remains a symbol of the brand today, and the words \"Since 1779.\" At 75cl (0.75 liters) and 43% alcohol, the international standard of the time, this whisky has been further refined by bottle aging. Even after nearly half a century, this bottle retains the luster of a \"true Islay malt\" carefully selected by the importer at the time, and, together with its original presentation box, it will be an unparalleled collection piece for collectors seeking the ultimate Old Scotch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eProduct name:\u003c\/strong\u003e Bowmore Deluxe\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAge:\u003c\/strong\u003e Unknown (believed to be at least 12 years old)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCapacity:\u003c\/strong\u003e 750ml\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 43%\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cstrong\u003eDistillation period:\u003c\/strong\u003e Before the 1960s\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDistribution period:\u003c\/strong\u003e After 1979\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 12,000 yen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an old bottle of whisky is unopened, the volume may have gradually evaporated over the years and decreased. Our store uses the shoulder line of the bottle as a criterion and only carefully selects products that we deem suitable for sale.\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003ch2 class=\"sa-089-age-confirmation-heading\"\u003e■Please cooperate with age verification.\u003c\/h2\u003e\n\u003cdiv class=\"sa-089-age-confirmation-body\"\u003e\n\u003ch3\u003e*Drinking alcohol under the age of 20 is prohibited by law.\u003cbr\u003e*We do not sell alcohol to anyone under the age of 20.\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47343225340091,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3436.jpg?v=1767787625"},{"product_id":"132","title":"Tamnavulin-Glenlivet 15 Year Old, 750ml, 46%, Moon Import, Italian market, late 1980s, #132","description":"\u003cp data-path-to-node=\"0\"\u003eFounded in Speyside in 1966, Tamnavulin Distillery primarily supplied raw spirits for blended whiskies. This exceptionally rare Tamnavulin Glenlivet 15 Year Old was specially selected by the prestigious Italian \u003cb data-path-to-node=\"0\" data-index-in-node=\"83\"\u003ecompany Moon Import\u003c\/b\u003e during the golden age of independent bottling. Based on the detailed specifications on the bottle, this bottle is estimated to have been produced in \u003cb data-path-to-node=\"0\" data-index-in-node=\"165\"\u003ethe late 1980s or early 1990s\u003c\/b\u003e . The bottom of the label displays the name of Moon Import sas, the company with exclusive import and sales rights in Italy, along with the European market standard of 750ml capacity and 46% alcohol by volume at the time. The signature of R.H. MacMillan, blender for Invergordon, the distillery's owner at the time, is engraved as a mark of quality.\u003c\/p\u003e\n\u003cp data-path-to-node=\"1\"\u003e The greatest feature of this bottle is the aging environment, which is proudly stated on the label: \"Aged in Sherry Wood.\" In contrast to the clean and light style of modern Tamnavulin, the raw spirit carefully selected by Moon Imports during this period spent 15 years aging exclusively in luxurious sherry casks. The deep, rich mahogany color, as can be seen in the image, indicates the extremely rich components extracted from the casks, truly embodying the essence of \"good old Speyside sherry.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003e Its rich, multi-layered flavor is difficult to replicate in today's official bottles. Poured into the glass, the rich sweetness of sherry casks, such as ripe raisins and bitter chocolate, emerges, while the high 46% alcohol content maximizes the whisky's potential. On the palate, the velvety texture blends antique woodiness with Tamnavulin's signature delicate malt flavor, culminating in a long, sensual finish with hints of spice. Moon Imports' early bottlings, renowned for their exceptional selection, are revered by collectors worldwide. Each bottle, individually numbered (No. 03...), is a unique collector's piece, evocative of the history of single malt.\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eProduct name:\u003c\/strong\u003e Moon Import Distribution, Tamnavulin Glenlivet 15 Year Old\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAge:\u003c\/strong\u003e 15 years\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eCapacity:\u003c\/strong\u003e 750ml\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 46%\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003e\u003cstrong\u003eDistillation date of raw liquor:\u003c\/strong\u003e Before 1970\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eCirculation period:\u003c\/strong\u003e Late 1980s onwards\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 12,000 yen (estimated)\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an aged whisky (old bottle whisky) is unopened, the whisky may contain sediment, which is the solidification and precipitation of whisky components, or the volume may have gradually evaporated and decreased over the years. At our store, we use the shoulder line of the bottle as one of our criteria and only carefully select products that we have deemed suitable for sale.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47367626916027,"sku":null,"price":200000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3661.jpg?v=1768560458"},{"product_id":"133","title":"1980s Distribution, SMWS No.2 Glenlivet (GLEN LIVET) 1971-1989, 18 years old, 750ml, 59.5% #133","description":"\u003cp data-path-to-node=\"0\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"60\"\u003eWe are pleased to present an extremely rare early bottle from The Scotch Malt Whisky Society (SMWS), a pioneering independent bottler distributed in the late 1980s. This historic cask-strength single malt from the prestigious Glenlivet, assigned the distillery code \"2\" by SMWS,\u003c\/b\u003e was distilled and casked in 1971, aged for 18 years, and bottled in September 1989.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003e While SMWS bottles are typically labeled \"2.XX,\" combining the distillery code and the series number indicating the order of bottling, this bottle retains the original designation from shortly after the distillery's founding in 1983, before this rule was strictly enforced. This style, featuring only the identification number \"2\" prominently displayed in the center of the label instead of the distillery name (Glenlivet), symbolizes founder Pip Hills' revolutionary philosophy of encouraging people to enjoy the flavor of the contents without being bound by preconceived notions of the brand. At the time, it was highly unusual for a renowned distillery like Glenlivet to bottle a single cask without naming its own whisky. This bottle, born during the formation of the SMWS identity that continues to this day, is a valuable documentary treasure.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e The volume is 750ml, boasting a cask-strength alcohol content of 59.5%. Having spent 18 years in casks and over 35 years since bottling, this whisky is packed with a rich, multi-layered flavor unmatched by current Glenlivet whiskies. Through its long aging and gradual transformation in the bottle, the high alcohol content has become surprisingly smooth and refined, resulting in a long, lingering finish with notes of ripe fruit and honey, as well as the elegant floral notes that are the hallmark of Speyside malt.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e Bottled during the golden age of whisky in the 1980s and available only to early members of the Society, this Code 2 bottle is a truly exquisite collectible piece that goes beyond mere whisky and embodies the passion of the pioneers who elevated single malt to global acclaim.\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eProduct name:\u003c\/strong\u003e SMWS No.2 Glenlivet (GLEN LIVET) 1971-1989, aged for 18 years\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eType:\u003c\/strong\u003e Single malt whisky\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAge:\u003c\/strong\u003e 18 years\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eCapacity:\u003c\/strong\u003e 750ml\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eAlcohol content:\u003c\/strong\u003e 59.3%\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003e\u003cstrong\u003eDistillation date:\u003c\/strong\u003e 1971\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eDistribution period:\u003c\/strong\u003e 1989 onwards\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cstrong\u003eRelease price at the time:\u003c\/strong\u003e Approximately 15,000 to 25,000 yen (estimated)\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 1\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e We carefully select our products, but because this product was manufactured many years ago, it may not retain its original quality. Therefore, even if you are not satisfied with the quality, we cannot accept returns or refunds after purchase. We apologize for the inconvenience, but please be aware of this before purchasing.\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eNote 2\u003c\/strong\u003e\u003c\/span\u003e \u003cstrong\u003e:\u003c\/strong\u003e Even if an aged whisky (old bottle whisky) is unopened, the whisky may contain sediment, which is the solidification and precipitation of whisky components, or the volume may have gradually evaporated and decreased over the years. At our store, we use the shoulder line of the bottle as one of our criteria and only carefully select products that we have deemed suitable for sale.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47367629078715,"sku":null,"price":200000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3679.jpg?v=1768560701"},{"product_id":"156","title":"Hiroshima Prefectural Important Intangible Cultural Property, Uchida Yasuhide (内田泰秀), Late Mature Period, 1980 Masterpiece of Pottery, Lost and Visionary Technique \"Hyori Kantsu Nishiki Neriage\" Ceramic Whisky Tumbler #156","description":"\u003cdiv dir=\"ltr\" aria-busy=\"false\" aria-live=\"polite\" id=\"model-response-message-contentr_460f7b4b0b04bce1\" class=\"markdown markdown-main-panel stronger enable-updated-hr-color\"\u003e\n\u003cp data-path-to-node=\"6\"\u003eUchida Yasuhide is a ceramic artist hailed as a solitary legend in the history of Showa era ceramics. Following immense acclaim at the 1970 Osaka Expo and his subsequent research at the Manufacture nationale de Sèvres, the prestigious national porcelain manufactory of France, he reached a unique artistic pinnacle that harmoniously fused Japanese and French aesthetics. This piece is a miraculous masterpiece created by Uchida during his final years at age 87, a work of such dedication that it took five full months to bring just a single cup to completion.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eAt first glance, the intricate patterns might appear to be beautiful designs painted with a brush. However, the true marvel of this work lies in the fact that these colors and motifs are not created using any pigments or surface painting at all. Instead, they are the result of the lost, phantom technique known as Hyori Kantsu Nishiki Neriagede (Surface-to-Reverse Penetration Brocade Marbling). Clays colored with various metal oxides are assembled like a complex puzzle based on precise calculations, forming the pattern itself as the very structure of the clay body.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe fantastical flowers appearing at the center of the work, set against a blue mosaic background reminiscent of pond ripples, evoke Claude Monet's Water Lilies. In works like this, which utilize different colored clays, the risk of cracking at the joints is extremely high due to varying shrinkage rates during firing, and any flaws cannot be hidden with glaze. Uchida utilized the advanced techniques he honed at Sèvres to overcome these grueling conditions, achieving vivid, clear colors without turbidity and a robust, flawless finish.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe most defining characteristic is the surface-to-reverse penetration. When peering into the glass, one will be breathless to find that the complex patterns on the exterior extend perfectly through to the interior and even the base without the slightest deviation. This is evidence of the flawless layering of the clay strata and represents a supreme structural beauty imbued with a wish for peace without a back side (sincerity without duplicity) by Uchida, who was a native of the atomic-bombed city of Hiroshima.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eWhen amber whisky is poured into the glass, the intricate patterns shimmer like a kaleidoscope within the liquid, revealing a new, breathtaking landscape. This is the world of Nishiki (Brocade) where five months of passion and technique are encapsulated. To savor fine spirits in this ultimate Ceramic Whisky Tumbler is a luxurious cultural privilege that transcends a mere evening drink.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Uchida Yasuhide (内田泰秀, 1893–1997)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotable Career Highlights:\u003c\/strong\u003e [1952] Solo exhibition at Mitsukoshi Nihonbashi Main Store; [1960s] Studied color and porcelain techniques at the Manufacture nationale de Sèvres in France; [1965] Designated as an Intangible Cultural Property of Miyoshi City; [1970] Exhibited at the Osaka Expo (EXPO'70); [1973] Recognized as a Holder of an Important Intangible Cultural Property of Hiroshima Prefecture.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDate of Production:\u003c\/strong\u003e April 1980 (Showa 55). Inscribed on the back of the box: Produced over five months, April 1980.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original wooden box, wrapping cloth (with signature and seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Nishiki Neriage-de (Ceramic, Through-and-Through technique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.5 cm, Diameter approx. 7.4 cm (approximate)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Although the products we offer may be unused, they were produced many years ago and are listed as vintage\/pre-owned items. Please be aware that products may show signs of aging. We appreciate your understanding and careful review before purchase.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47416312070331,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4124.jpg?v=1770887564"},{"product_id":"158","title":"Hiroshima Prefectural Important Intangible Cultural Property, Uchida Yasuhide (内田泰秀), Late Mature Period, 1977 Masterpiece, Lost and Visionary Technique \"Hyori Kantsu Nishiki Neriage\" Ceramic Rock Glasses (2-Piece Set) #158","description":"\u003cdiv dir=\"ltr\" aria-busy=\"false\" aria-live=\"polite\" id=\"model-response-message-contentr_460f7b4b0b04bce1\" class=\"markdown markdown-main-panel stronger enable-updated-hr-color\"\u003e\n\u003cp data-path-to-node=\"7\"\u003eUchida Yasuhide is a ceramic artist hailed as a solitary legend in the history of Showa era ceramics. Following immense acclaim at the 1970 Osaka Expo and his subsequent research at the prestigious Manufacture nationale de Sèvres in France, he reached a unique artistic pinnacle that harmoniously fused Japanese and French aesthetics. This specific work, Hyori Kantsu Nishiki Neriage (Surface-to-Reverse Penetration Brocade Marbling), was created in July 1977 (Showa 52), a time when Uchida's technique had reached its full maturity and was approaching its absolute peak. On the reverse side of the accompanying original wooden box (tomobako), there is an ink inscription that reads July 24, Showa 52, Intangible Cultural Property, making this a pair of historical significance where years of dedicated study are kneaded into every single grain of clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAt first glance, the intricate patterns might appear to be beautiful designs painted with a brush. However, the true marvel of this work lies in the fact that these colors and motifs are not created using any pigments or surface painting at all. They are the result of the lost, phantom technique known as Hyori Kantsu Nishiki Neriage. Clays colored with various metal oxides are assembled like a complex puzzle based on precise calculations, forming the pattern itself as the very structure of the clay body. Because different colored clays shrink at different rates during firing, the risk of cracking at the joints is extremely high, and any flaws cannot be hidden with glaze. While most works with such multi-colored and complex patterns would crack during firing, Uchida utilized the exceptional skills he honed at Sèvres to achieve vivid, clear colors without turbidity and a robust, flawless finish.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eUnique discolorations caused during firing can be seen on the surface, but in Uchida's work, these are by no means defects. They are the traces of a battle in which different clays fiercely pulled against one another under grueling heat, eventually merging and sublimating into a single entity. This expression, which looks as if the flickering of the flames themselves has been captured, is the scenery (keshiki) unique to fine kōgei (craft) and absent in industrial products; it is the steadfast proof that this work is a one-of-a-kind piece that survived the harsh kiln fire. Furthermore, the most defining characteristic, surface-to-reverse penetration, means that the complex patterns on the exterior extend perfectly through to the interior and even the base without the slightest deviation. This is evidence of the flawless layering of the clay strata and represents a supreme structural beauty imbued with a wish for peace without a back side (sincerity without duplicity) by Uchida, who was a native of the atomic-bombed city of Hiroshima.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eWe propose this historical Japanese masterpiece not merely as a teacup, but as a supreme whisky rock glass worthy of its esteemed status. When held in the hand, one can feel the profound weight of the kneaded clay and the intricate textures of the patterns beneath the fingertips. The moment amber whisky is poured in, the geometric motifs that penetrate through to the interior shimmer like a kaleidoscope within the liquid, revealing a new, breathtaking landscape at the bottom of the glass. This time spent where fine spirits meld with passion that has not faded after nearly fifty years will be a luxurious cultural privilege that transcends a mere evening drink.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Uchida Yasuhide (内田泰秀, 1893–1997)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotable Career Highlights:\u003c\/strong\u003e [1952] Solo exhibition at Mitsukoshi Nihonbashi Main Store; [1960s] Studied color and porcelain techniques at the Manufacture nationale de Sèvres in France; [1965] Designated as an Intangible Cultural Property of Miyoshi City; [1970] Exhibited at the Osaka Expo (EXPO'70); [1973] Recognized as a Holder of an Important Intangible Cultural Property of Hiroshima Prefecture.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDate of Production:\u003c\/strong\u003e July 1977 (Showa 52). *Note: The back of the original wooden box (tomobako) bears an ink inscription that reads: July 24, Showa 52, Intangible Cultural Property.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original wooden box, wrapping cloth (with signature and seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Nishiki Neriage-de (Ceramic, Through-and-Through technique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e [Large] Height: Approx. 7.5cm, Diameter: Approx. 7.4cm \/ [Small] Height: Approx. 7cm, Diameter: Approx. 6cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Although the products we offer may be unused, they were produced many years ago and are listed as vintage\/pre-owned items. Please be aware that products may show signs of aging. We appreciate your understanding and careful review before purchase.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47454026793147,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4188.jpg?v=1771241582"},{"product_id":"164","title":"Iwata Hisatoshi (岩田久利) – Vibrant Scarlet Pulse: Hand-Blown Glass Masterpiece, Aka-Yahazu \"Scarlet Flame\" Ice Bowl #164","description":"\u003cp data-path-to-node=\"7\"\u003eIwata Hisatoshi (1925–1994), born in Tokyo, was a rare master who elevated contemporary Japanese glass art from mere decoration to the status of fine art. His works are held in the permanent collections of world-renowned institutions, including the Metropolitan Museum of Art and the Museum of Modern Art (MoMA) in New York, the Musée des Arts Décoratifs in Paris, and The Corning Museum of Glass, the world's preeminent glass museum. He has established an immovable position as an international artist of whom Japan is justly proud. As the inscription \"September 1981\" on the base of this work indicates, this monumental masterpiece was created during Iwata’s most prolific period, just before he received the Japan Art Academy Award in 1982.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe core of this work, the Yahazu (arrow-notch) pattern, is a technique that represents the very essence of Iwata’s artistry. It is created by physically stretching and rotating layers of molten glass of different colors. To control the brilliant, flame-like red and pure white glass layers without distortion on such a large vessel—measuring approximately 23 cm in diameter and 25 cm in height—requires highly sophisticated heat management and master-level hotworking skills. The opaque white and transparent red glass, which possess different thermal expansion coefficients, are fused at the molecular level in a molten state exceeding 1,000 degrees Celsius. The precise physical calculations required to avoid breakage during the cooling process represent the pinnacle of the \"dialogue between fire and matter.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eVisually, the passionate scarlet energy appears to well up from the bottom of the vessel, brimming with vitality, while the white lines at the rim and base tighten the overall impression, lending a modern sense of tension. We propose this masterpiece with its overwhelming presence as an \"ice bowl\" for the finest whiskies. The cool brilliance reflected from the ice inside the vessel resonates with Iwata’s \"fire\" pattern, creating the ultimate stage to adorn the amber liquid. Iwata Hisatoshi's aesthetic, recognized by museums worldwide, will elevate the tranquil ritual of a special evening to an unprecedented moment of luxury.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Iwata Glass Studio\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Iwata Hisatoshi (岩田久利, 1925–1994)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist's Notable Achievements:\u003c\/strong\u003e [1976] Minister of Education Award at the Nitten Exhibition; [1982] Japan Art Academy Award Date of Creation: September 1981 (inscribed on the base)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original signed wooden box (with \"Beni-Yahazu\" calligraphy)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 23 cm, Height approx. 25 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice①:\u003c\/strong\u003e The black spots visible in this area are 'iron spots' (iron mottling), caused by the natural iron minerals within the clay reacting during the firing process. Rather than artificial stains, these are an integral part of the vessel's unique 'Keshiki' (scenery), born within the 1,200°C flames. We invite you to appreciate this as a singular, organic characteristic of the piece.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice②:\u003c\/strong\u003e While this item is in unused condition, it is a vintage piece produced many years ago and is therefore listed as second-hand. Please be aware that vintage items may show minor signs of age. We invite you to examine the provided images carefully before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47473125621947,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4335.jpg?v=1784941337"},{"product_id":"170","title":"Living National Treasure Shimaoka Tatsuzo (島岡達三)'s Masterpiece: Jomon Inlaid Salt Glaze Couple's Teacup and Rocks Glass Set (2 Pieces) #170","description":"\u003cp data-path-to-node=\"8\"\u003eShimaoka Tatsuzo (1919-2007), a designated Living National Treasure, was born in the heart of old Tokyo as the eldest son of a master Kumihimo (traditional braided cord) artist. After completing his specialized education at the Department of Ceramics at the Tokyo Institute of Technology, he became a disciple of \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, the giant of the Mingei (Folk Crafts) movement, in 1946. For over 20 years in Mashiko, he refined his craft. Hamada described Shimaoka as possessing profound inner confidence yet remaining consciously modest in his public presentations, highly praising his unwavering dedication to his personal aesthetic and technical focus.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe primary reason for Shimaoka's global acclaim is his original Jomon Inlay technique. This process involves rolling braided cords into semi-dry clay to impress rope patterns, then meticulously inlaying the depressions with contrasting colored slips before scraping away the excess to reveal the design. Remarkably, the cords used to create these patterns were silk heritage pieces belonging to his father, a renowned Kumihimo master. The exceptionally fine texture of these silk cords imbues the vessels with a refined rhythm and elegance that stands in stark contrast to the ruggedness of ancient Jomon pottery. Although inlaying is an ancient technique, flawlessly controlling the shrinkage of the clay and preventing the delicate patterns from blurring during the carving process requires extraordinary mastery. The impeccable beauty of the patterns in Shimaoka’s work is a testament to his immense concentration and precise engineering.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThis set of inlaid cups is a masterpiece that lavishly incorporates both Jomon Inlay and the salt glaze (or soda glaze) technique that Shimaoka perfected in his final years. Salt glazing is an exceptional method where rock salt or soda ash is introduced directly into the kiln when temperatures peak at 1250 to 1300 degrees Celsius. The volatilized sodium reacts chemically with the silica in the clay, creating a signature orange-peel texture with a subtle, glassy luster. This process severely erodes the kiln itself, requiring a dedicated structure and the intuitive mastery of an expert to control the volatile color development.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe defining brilliance of this work lies in its band-like composition, which allows two difficult techniques to coexist harmoniously in a single vessel. The upper section evokes the ancient stillness of Jomon Inlay, while the lower section showcases a vibrant, modern emerald green born from the soda glaze reaction. While Shimaoka’s work is often characterized by the soft, hazy textures his mentor Hamada likened to tsumugi or kasuri textiles, this high-contrast design reflects the sophisticated, modern aesthetic Shimaoka reached through his extensive international exhibitions.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eWhile originally crafted as Yunomi (teacups), we propose a new way to experience this masterpiece: as the ultimate stage for savoring rare, discontinued vintage whiskies that have captured decades of time. Aged whisky is often described as drinkable perfume, and the slightly tapered rim of these cups is perfectly designed to concentrate the rising aromatic particles, directing them straight to the senses. Picking up the vessel and drawing it near creates a luxurious sanctuary for appreciating the rich bouquet of the spirit.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003eThe intricate texture of the Jomon Inlay at your fingertips and the smooth, salt-glazed surface against your lips provide a tactile pleasure that elevates the profound depth of aged spirits. This is the meeting of two arts: the art of earth perfected by Shimaoka Tatsuzo and the art of amber honed by the passage of time. When these two timelines converge, you are not merely drinking; you are engaging in a silent dialogue with the memories of a bygone era. Watching the colors born from the caprice of the flames while savoring a supreme vintage spirit is the ultimate luxury, reserved for those who truly appreciate the authentic.\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=\"14\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Shimaoka Tatsuzo (島岡達三, 1919-2007)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eNotable Achievements:\u003c\/strong\u003e 1962 Japan Folk Crafts Museum Award, 1980 Tochigi Prefecture Cultural Merit Award, 1994 Japan Ceramic Association Gold Prize, 1996 Designated as a Holder of Important Intangible Cultural Property Jomon Inlay (Living National Treasure), 1999 Received the Order of the Rising Sun, Gold Rays with Rosette.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Victoria 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, The Japan Folk Crafts Museum (the spiritual home of Hamada Shoji and Soetsu Yanagi), Mashiko Museum of Ceramic Art, Tochigi Prefectural Museum of Fine Arts, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Circa 1980s to 1990s (estimated)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, artist's pamphlet\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e (Large) Height approx. 8.8 cm, diameter approx. 8.4 cm. (Small) Height approx. 7.8 cm, diameter approx. 7.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the items are in unused condition, they are vintage pieces and are listed as second-hand. Please understand that items may show characteristics of aging, and we encourage you to review all details before purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47478150234299,"sku":null,"price":200000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4410.jpg?v=1772272087"},{"product_id":"175","title":"Maki Yukichi (牧勇吉) Masterpiece: Blue and White Gold Dragonfly Flower Motif Mizuzashi - Palm-sized Water Dropper for Spirits #175","description":"\u003cdiv class=\"container\"\u003e\n\u003cdiv class=\"markdown markdown-main-panel stronger enable-updated-hr-color\" id=\"model-response-message-contentr_e4a2f8a9c1c4a68e\" aria-live=\"polite\" aria-busy=\"false\" dir=\"ltr\"\u003e\n\u003cp data-path-to-node=\"5\"\u003eWe are pleased to introduce the Sometsuke Gold Dragonfly Flower Motif Mizuzashi by Maki Yukichi (1916-1998), a master who was the top disciple of \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e, the emperor of modern ceramics, and who inherited his master's aesthetics most faithfully with his own unique sensibility. Originally created as a suiteki (water dropper) for calligraphy, Antique Liquor redefines this palm-sized piece as the ultimate water dropper for dramatically opening up the aroma and flavor of high-proof whisky. Maki Yukichi was a master of the postwar Japanese ceramic world, winning the Special Selection at the Nitten Exhibition in both 1951 and 1953, and later receiving the Fourth Class Order of the Sacred Treasure. The elegance radiating from his work stems not only from technical mastery but also from the spiritual depth inherited from his master Hazan, of treating ceramics like jewels.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThe highlight of this work is the contrast between the Sometsuke blue, which harbors a deep tranquility, and the Gold Gilt (Kinzai) that shines vividly upon it. First, please observe the floral motif drawn with cobalt and the design of the dragonfly dancing lightly above it. Since ancient times, the dragonfly has been called Katsumushi (victory insect), a lucky motif beloved by samurai and literati for its posture of never retreating. Even in this tiny space, Maki Yukichi used meticulous brushstrokes for each wing of the dragonfly and the center of the flowers, where the Saidei (colored clay) texture inherited from his master is alive. By controlling clay particles to the extreme and discerning subtle differences in firing temperatures, he perfectly achieved the contradictory color design of submerging the Sometsuke blue while making the gold gilt stand out.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eAnalyzing this work from a technical standpoint, the difficulty of production is incomparable to that of ordinary tea utensils. After the main firing of the Sometsuke, a multi-stage firing process is essential to bake the gold at a lower temperature. For such a small water dropper, the thinness of the walls causes rapid heat transfer, frequently leading to breakage or distortion in the kiln. Furthermore, the sharpness of the spout and the fine-tuning of the water drop volume require high-level forming techniques backed by years of experience. Although Maki Yukichi possessed the academic technical strength to serve as a Nitten judge, he poured the same or even greater meticulous passion into these palm-sized tools as he did into his larger works.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eOur gallery proposes this work as a companion for whisky because of its exceptional tactile quality. The silky, moist porcelain texture pursued by Itaya Hazan is strongly reflected in Maki Yukichi's work. The smooth touch that seems to cling to the fingertips gently stimulates the owner's five senses during the quiet time of savoring the afterglow of aged spirits. When dropping one or two drops of water from this beautiful vessel into the amber liquid, the gold gilt on the vessel reflects the light, casting a glow as if blessing the microcosm within the glass. This elevates the simple act of adding water into a supreme ritual where traditional Japanese beauty and Scottish distilling techniques intersect.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003ePlease confirm in the palm of your hand the life of the artist Maki Yukichi and the pure beauty inherited from Itaya Hazan. As a rare small piece by a master whose works are housed in overseas museums, and as a tool that scientifically and artistically enhances the flavor of whisky, it will surely become an irreplaceable once-in-a-lifetime treasure for collectors with a true aesthetic eye.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Maki Yukichi (1916-1998) Representative Career History: Studied under Itaya Hazan, the first ceramic artist to receive the Order of Culture. [1951] Won Special Selection at the 7th Nitten Exhibition, [1953] Won Special Selection at the 9th Nitten Exhibition, [1987] Awarded the Fourth Class Order of the Sacred Treasure. Later served as a Nitten councilor, Nitten member, and chairman of the Ibaraki Prefectural Art Exhibition.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e The Museum of Modern Art, Ibaraki; Chikusei Municipal Museum of Art (formerly Shimodate Municipal Museum of Art); Itaya Hazan Memorial Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduction Era:\u003c\/strong\u003e Circa 1980s (Showa to Heisei period)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original box (tomobako), wrapping cloth, and descriptive leaflet included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (Saidei and Gold Gilt)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.5 cm, Width approx. 9.4 cm x 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are new and unused, they were produced a long time ago and are listed as second-hand items. Please understand and confirm that the products may have damage due to aging before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47518425710779,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4732.jpg?v=1772964550"},{"product_id":"191","title":"Prime Minister's Award-Winning Artist, Heian Sokyu (三代 平安宋丘, Kubo Yoshizo) Tenmoku Yo-hen Water Dropper \/ Whisky Dropper #191","description":"\u003cp data-path-to-node=\"23\"\u003eKubo Yoshizo (1913-1989), known as Heian Sokyu, is one of the most distinguished master craftsmen who connected the tradition of Kyo ware to modern times. Having inherited the family business in 1933 and continuing the authentic techniques of the first and second generations of Sokyu, he reigned as a leading figure in Kyo-yaki and Kiyomizu-yaki from the Showa to Heisei periods. His achievements are highly acclaimed; he received the Prime Minister's Award, the highest honor for Japanese artisans, at the 25th Japan Traditional Art Crafts Exhibition in 1978, and the Order of the Sacred Treasure, Gold and Silver Rays, in 1984. His works are housed in major public museums in Japan, such as The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto, officially establishing their artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThis piece is a Tenmoku Yo-hen (Kiln Transformation) water dropper created by Kubo Yoshizo's masterful technique. Tenmoku Yo-hen is an advanced technique where the glaze transforms into unique crystals and colors due to the complex action of flames within the kiln, possessing a one-of-a-kind beauty resulting from the intersection of the artist's calculations and the natural serendipity of the flames. As he passed away in 1989, his works are now highly rare posthumous pieces by a deceased master that can no longer be newly produced.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis tool, originally conceived as a calligraphy instrument for dripping water drop by drop, is redefined by our shop as a \"Water Dropper\" for enjoying Western spirits or rare aged spirits that have matured for decades. High-purity alcohol and aged spirits that have been bottled for decades experience a moment of \"blooming\" when a very small amount of water is added, changing the surface tension and dramatically opening up the complex layers of aroma and flavor that were trapped. To control this extremely delicate change, the shape of this water dropper, which can precisely control water drop by drop, is ideal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eIts use is surprisingly intuitive and elegant. By lightly pressing a small air hole on the top of the main body with your fingertip and slightly adjusting the pressure, you can control the airflow into the interior in millimeter increments. This allows you to quietly guide the intended \"single drop\" into the amber liquid.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThe supreme form created by the Prime Minister's Award-winning artist is not only a functional tool for bringing out the true charm of aged spirits but also a proposal for the luxury of enjoying traditional Japanese beauty in daily life. This rare Japanese craft, with limited information available globally, is a unique existence for collectors seeking the finest sake ware and spirit accessories.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003e*Artist's comment: Works applied with black-based glazes are commonly called Tenmoku. Tenmoku is the oldest glazed pottery in the East, and its origin is said to have been discovered in the ancient kilns of Yuezhou in Deqing County during the Wu-Pu period (3rd-4th century) in China. Its colors range widely from black to brown, and the variations are infinite—including those with mottled crystal patterns, those partially discolored, and those transformed by layering glazes of other colors. Ancient Chinese Tenmoku calligraphy tools often featured not just a single black color but also partially discolored areas. Referring to various historical materials, I created this piece with a composition of Tenmoku black and other colors.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Heian Sokyu (三代 平安宋丘, Kubo Yoshizo, 1913-1989)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on Kyo-yaki and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"584\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Kyoto Prefecture; and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"718\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (Mature period after receiving the Prime Minister's Award). This \"Tenmoku Yo-hen\" piece features complex crystals and deep colors created by the accidental interplay of fire and glaze. It is a masterpiece from his \"Golden Age,\" representing the culmination of refined form and technique pursued by the artist until his final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1079\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1122\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako, signed and sealed by the artist), introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1221\"\u003eMaterial:\u003c\/b\u003e Pottery (Kyo-yaki \/ Tenmoku Yo-hen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1267\"\u003eDimensions:\u003c\/b\u003e Width approx. 5.0 cm, Height approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1323\"\u003eNote:\u003c\/b\u003e Please note that all products offered by our shop, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47540057407675,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5186_result.jpg?v=1774159664"},{"product_id":"203","title":"Tani Shukei (谷秋渓), Kin-sai Aka-e Saibyo, Cloud Dragon Motif Sake Cups, Pair, Early Showa Period, Essence of the Takeuchi Ginshu School, Freehand Ultra-fine Dragon Pattern, A Masterpiece of Japanese Kogei #203","description":"\u003cp data-path-to-node=\"8\"\u003eTani Shukei (1888–1959, Birth name: Masaki), born in Daishoji, Kaga City, Ishikawa Prefecture, was a master craftsman who inherited the orthodox lineage of Kutani Aka-e Saibyo (ultra-fine red painting). He apprenticed under the Meiji-era master \u003ca href=\"\/en\/search?q=%22%E7%AB%B9%E5%86%85%E5%90%9F%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakeuchi Ginshu\u003c\/a\u003e and his third son, \u003ca href=\"\/en\/search?q=%22%E5%BA%83%E6%B2%A2%E8%8A%A6%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHirosawa Roshu\u003c\/a\u003e. Shukei’s most remarkable talent lay in his superhuman brushwork—he could fill an entire vessel with microscopic patterns using a single ultra-fine brush without any underdrawing (shitagaki). It is said he could freely replicate identical, intricate designs of dragons and phoenixes. This pair of sake cups features his signature Cloud Dragon motif. The depiction of dragon scales and auspicious clouds, spiraling around the small vessels, clearly displays his fluid, unhesitating brushstrokes and elegant color palette enriched with gold enamel (Kin-sai).\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eWhen compared to the works of \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E6%9C%AC%E8%8A%B3%E5%B2%B3%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamamoto Hogaku\u003c\/a\u003e, the contemporary pinnacle of Aka-e Saibyo, the nature of precision in Shukei’s work reflects the vast difference in the technological environments of their respective eras. Modern works by Yamamoto are achieved through the use of high-powered magnifying glasses, microscopes, uniform synthetic fiber brushes, and highly refined pigments, resulting in microscopic precision and perfect symmetry that transcends human vision. In contrast, Shukei worked a century ago without any magnifying aids. He relied solely on his natural eyesight and concentration, using brushes hand-carved from animal hair and naturally derived pigments.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThis environmental difference imbues Shukei’s lines with a rhythmic vitality and \"breath\" that differs from modern uniformity. While the absolute thickness of the lines may yield to what modern tools can achieve, the momentum of drawing everything in one go without a guide and the intensity of expressing such density with limited tools symbolize the peak of physical skill attained by craftsmen of that era. If Yamamoto Hogaku represents the ultimate in modern precision beauty, Tani Shukei’s work is a concentrated historical legacy of the pure artisan spirit from an age where one faced the clay using only their five senses. When whisky is poured, the red-painted dragon shimmering through the golden liquid conveys a raw passion from a hundred years ago—a beauty distinct from the perfected precision of today.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Tani Shukei (谷秋渓, 1888–1959, Birth name: Tani Masaki)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"56\"\u003eRepresentative Career:\u003c\/b\u003e Born in 1888 in Daishoji, Ishikawa Prefecture. Apprenticed under Takeuchi Ginshu, the master who revived Meiji Kutani Aka-e Saibyo, and Hirosawa Roshu, mastering the authentic techniques of ultra-fine red painting. Operating a ceramic painting business in Yamashiro, he became renowned for his exceptional brushwork, capable of drawing intricate dragon and phoenix motifs directly onto the clay without any underdrawing. Throughout the turbulent transition from the Meiji to the Showa era, he remained a solitary master who preserved the superhuman craft of Aka-e Saibyo.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"651\"\u003eMuseum Collections:\u003c\/b\u003e Public museums in Kaga City, Kutani Ware Archives, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"734\"\u003ePeriod of Creation:\u003c\/b\u003e Circa 1926 (Showa 1) – 1945 (Showa 20) (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"805\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"848\"\u003eAccessories:\u003c\/b\u003e Dedicated wooden box\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"882\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kutani Ware \/ Aka-e Saibyo \/ Kin-sai)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"939\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 5.5 cm, Height approx. 3.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"1004\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47580656369851,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5595_result.jpg?v=1774857548"},{"product_id":"204","title":"Yohen Tenmoku Tripod Incense Burner by Heian Sokyu III (三代 平安宋丘, Kubo Yoshizo), a recipient of the Prime Minister's Award. Museum-grade Yohen Tenmoku. #204","description":"\u003cp data-path-to-node=\"7\"\u003eThis is a Yohen Tenmoku three-legged incense burner by third-generation Heian Sokyu, Birth name Kubo Yoshizo (1913-1989), a master craftsman who connected the tradition of Kyoyaki to the present day and inscribed his name in the history of pottery, bringing the aesthetics of national treasures back to life in the modern era. Kubo Yoshizo was born in Kyoto in 1913 as the eldest son of a potter family. Building on the legitimate Kyoyaki techniques inherited from the first and second Sokyu generations, he dedicated his entire life to reproducing Yohen Tenmoku, a lost legendary technique whose production method was thought to have been completely lost since it was first fired in China's Jian ware kilns during the Southern Song Dynasty in the 12th century. There are only three complete Yohen Tenmoku pieces in the world, all designated as National Treasures of Japan (owned by Seikado Bunko Art Museum, Fujita Museum, and Ryoko-in Temple). The iridescent glow on the jet-black glaze is said to capture the abyss of the universe, making it the Holy Grail of the pottery world, coveted by warlords throughout history. Challenging this divine realm that was deemed impossible to reproduce, he achieved the remarkable feat of winning the Prime Minister's Award, the highest honor for all artisans, for his Yohen Tenmoku work at the 25th Japan Traditional Crafts Exhibition in 1978. This award was not merely an artistic evaluation; it signified the nation's official recognition of the historical fact that the lost light of Yohen, after 800 years, had been scientifically and artistically reproduced through modern wisdom and perseverance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis piece is a three-legged incense burner housing a Yohen of national treasure quality, truly demonstrating the technical pinnacle of the third generation's ceramic career. Yohen, where iridescent or rainbow-colored crystals emerge like stars on the glaze due to accidental effects of the flame within the tenmoku glaze (black glaze), is considered the ultimate gem in pottery. He strictly classified his own works: those with fluid blue or white crystals were called Tenmoku Yohen and cherished as beauty found in everyday use. In contrast, only his confident masterpieces, which represented his technical peak with perfect crystals and iridescent glow appearing vividly like stars in the night sky, were given the designation of Yohen Tenmoku. The tomobako (storage box) for this piece is inscribed with Yohen Tenmoku by the third generation himself with unwavering pride, eloquently attesting that this is an authentic piece of the highest caliber among his existing works. His skill was officially established, as evidenced by receiving the Order of the Sacred Treasure, Gold and Silver Rays (Fifth Class), in 1984. The fact that his works are housed in major museums such as the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto, suggests that this piece will acquire even greater historical value in the future.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eIn terms of design, it adopts the three-legged (hakama-goshi) shape, which has been considered the highest grade for ritual vessels since ancient times, and features an intricately openwork-carved hoya (lid). The glaze covering the entire ultimate body, approximately 13 cm in height—a dimension where precise control of Yohen crystals is considered most difficult—emits a brilliant glow reminiscent of galaxy stars from the profound jet black. The visual effect, changing moment by moment with the angle of light, is truly worthy of being called a microcosm in hand. The bottom clearly bears the square seal of Sokyu, the authentic mark of the third generation. It has been carefully preserved as a flawless, perfect piece with its original box, maintaining the utmost excellent condition. Since his passing in 1989, no new Yohen Tenmoku works of this caliber have been created, making this piece an important legacy in the history of modern ceramics that inherits the soul of national treasures—a museum-quality treasure coveted by enthusiasts and investors worldwide. Savoring fine sake from a bygone era or rich Japanese whisky while gazing at this star-like shimmering iridescent kiln effect will be an exceptionally luxurious lifestyle, allowing one to fully enjoy the supreme tranquility achieved by traditional Japanese crafts.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Heian Sokyu III (三代 平安宋丘), Birth name: Kubo Yoshizo (1913-1989)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on Kyo-yaki and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"12\" data-index-in-node=\"0\"\u003eWorks in Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo (houses his Prime Minister's Award-winning work Yohen Tenmoku Bowl), The National Museum of Modern Art, Kyoto (houses Aka-e Kin-sai Bowl and others), Kyoto Prefecture, Kyoto City, The Museum of Kyoto, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cb data-path-to-node=\"13\" data-index-in-node=\"0\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (his very late period and golden age, after receiving the Prime Minister's Award and being recognized as an intangible cultural asset). *The Yohen Tenmoku of this piece is characterized by complex crystals and deep colors created by the accidental interplay of fire and glaze. This is a masterpiece symbolizing the golden age where the refined forms and techniques pursued by the artist, who stood at the pinnacle of Japan both in name and reality after winning the highest award, culminated in his final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, no scratches), [Authenticity Guaranteed]\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"0\"\u003eDate of Production:\u003c\/b\u003e Circa 1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"0\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box with artist's handwritten signature, Yohen Tenmoku inscription, and seal), Wrapping cloth (with seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cb data-path-to-node=\"17\" data-index-in-node=\"0\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kyoyaki, Yohen Tenmoku)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eDimensions:\u003c\/b\u003e Diameter approx. 10.3 cm, Height approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cb data-path-to-node=\"19\" data-index-in-node=\"0\"\u003eNote:\u003c\/b\u003e All items we offer, even if new and unused, are from a very old production period and are listed as used. Please understand that items may have age-related damage and consider this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47581461905595,"sku":null,"price":2000000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5520_result.jpg?v=1774857314"},{"product_id":"208","title":"Imperial Household Agency Purveyor, 14th Generation Tsuji Hitachi (十四代 辻常陸): Blue and White Fukizumi Phoenix Motif Sculptural Water Dropper \/ Whisky Dropper #208","description":"\u003cp data-path-to-node=\"6\"\u003eThis artistic water dropper is the work of 14th Generation Tsuji Hitachi (Birth name Tsuneshige Tsuji, 1909-2007), the head of the prestigious Tsuji Hitachi family. This lineage inherited the unique official title of Hitachi-no-suke in the history of Arita ware and was the first in the ceramic world to be appointed as a Purveyor to the Imperial Household Ministry (now the Imperial Household Agency) during the Meiji era. The 14th Generation head had an unusual background for a ceramic artist, having graduated from the Sculpture Department of the Tokyo School of Fine Arts (now Tokyo University of the Arts). His masterful modeling skills brought a three-dimensional sculptural beauty to his works that transcends the boundaries of mere vessels. He elevated the traditional techniques of Kinri Goyo (items for the Imperial Family), which had continued since the Edo period, into the modern era, and for his achievements, he was awarded the Order of the Sacred Treasure, Gold Rays with Rosette (Fourth Class). His works are permanently preserved in major museums worldwide, including the British Museum and the National Crafts Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eIn this work, the fukizumi (blown ink) technique, the most highly acclaimed technical feature of the 14th Generation Tsuji Hitachi, and the three-dimensional modeling unique to a sculptor are perfectly fused. Fukizumi is a secret technique unique to the Tsuji family, in which gosu (blue pigment) is sprayed in a fine mist to express the haze of the night sky and deep gradations. The delicate blue particles seen on the surface of this work represent the pinnacle of this technique. Furthermore, its form, which depicts an auspicious bird reminiscent of a phoenix, is composed of flowing curves without any waste, boasting a sculptural perfection that conveys a sense of vital dynamism despite the hard material of porcelain. This contrast between the pure white porcelain, from which impurities have been removed to the utmost limit, and the deep, clear gosu is the authentic aesthetic of Tsuji Hitachi, which has been cherished by the Imperial Family for over 300 years.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAlthough this water dropper was originally created as a calligraphy tool, its dignified presence and functionality make it an unparalleled high-end whisky dropper (water dispenser) for allowing the aroma of aged spirits or whisky to bloom in the modern day. The precise drop falling from the phoenix's beak possesses a dignity befitting the moment when a magical change is brought to the amber liquid during whisky tasting. Since the passing of the 14th Generation head, original works in the market—especially water droppers with such outstanding modeling—have become extremely rare. It can be described as the ultimate tool for savoring aged spirits as a consumable cultural heritage that embodies the national dignity of Japan.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e 14th Generation Tsuji Hitachi (十四代 辻常陸, Birth name: Tsuneshige Tsuji, 1909-2007)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"79\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1933] Graduated from the Sculpture Department, Tokyo School of Fine Arts, [1981] Received the Saga Prefecture Cultural Merit Award, [1983] Awarded the Order of the Sacred Treasure, Gold Rays with Rosette, [1988] Produced porcelain for Emperor Showa's 80th birthday (Kanshu)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"388\"\u003eWorks in Collections:\u003c\/b\u003e The British Museum (London), Embassy of Japan in the UK, Imperial Household Agency (numerous Imperial treasures), National Crafts Museum (Tokyo), Saga Prefectural Kyushu Ceramic Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"601\"\u003eProduction Period:\u003c\/b\u003e Early 1990s (Estimated to be from his mature period \/ late-career work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"692\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"735\"\u003eAccessories:\u003c\/b\u003e Original wooden box (with signature and seal of Imperial Household Agency Purveyor, 14th Generation Tsuji Hitachi), \u003cspan\u003ewrapping cloth\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"872\"\u003eMaterial:\u003c\/b\u003e Porcelain (Arita ware, pure white porcelain)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"927\"\u003eDimensions:\u003c\/b\u003e Height approx. 4.0cm, Width approx. 3.5cm, Total length approx. 9.0cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"1009\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from a very old production period and are listed as used items. The product may have damage due to age, so please understand and confirm this before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919775931,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5807_result.jpg?v=1776176312"},{"product_id":"232","title":"Sakata Jinnai (坂田甚内, Jin) Handmade Blown Glass Red Gold Painted Gold Leaf Gold Painted Shinjinmon Glass Wine Glasses Set of 2 #232","description":"\u003cp data-path-to-node=\"6\"\u003eIntroducing an extremely rare set of two large wine glasses by Sakata Jinnai (born 1943), a master based in Mashiko who continues to pursue original expressions that transcend the boundaries of pottery. This work is a masterpiece where Sakata's theme of the fusion of pottery and glass, which he pursued energetically in the 1990s, is beautifully realized through its sculptural beauty and superb technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe most astonishing feature of this work lies in the structure of its vivid red stem, which immediately captures the eye. This is not merely a solid block of red glass, but rather employs an advanced technique similar to filigrana—a traditional Venetian glass art form—where numerous extremely thin red glass rods are bundled together and twisted into shape. The texture created by this aggregation of countless lines is Sakata's expression in glass of the powerful, rhythmic Shinjinmon (Deeply Subtle Pattern) that he established in his black pottery works. When illuminated, the red lines intersect in multiple layers, emitting a complex and profound brilliance impossible with a single color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eIn contrast, the transparent bowl features the ice glass technique, with beautiful cracks spreading across its entire surface. This technique involves momentarily dipping hot blown glass into cold water to create fine cracks on the surface, then reheating and shaping it to produce a unique, ice-like texture. This serendipitous texture causes the irregularly placed gold leaf, known as Haku-ha-hari (foil-leaf glass), to diffusely reflect light, creating a fantastical prism when liquid is poured into it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eFurthermore, the overwhelming scale of approximately 21 cm in height and 12 cm in rim diameter is exceptionally large for a hand-blown glass wine glass. To fire a work of this size with perfect control over cracks and distortions while maintaining a refined symmetry requires masterful control of fire and a profound understanding of gravity, truly demonstrating the artist's extraordinary skill. The handwritten signatures of Jin and Sakata Jinnai on only one of the two pieces serve as a testament to the artist's pride, indicating that these two pieces constitute a complete set.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eStarting from orthodox pottery under the tutelage of the legendary potter \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, Sakata boldly incorporated diverse materials such as glass and gold leaf, establishing craft as contemporary art. His glass works from the 1990s, in particular, document an important transitional period that led to his later dedications to Ise Jingu (Ise Grand Shrine) and Izumo Taisha (Izumo Grand Shrine). Glass works created by potters possess a unique blend of earthy strength and decorative beauty not found in works by dedicated glass artists, and their presence in the market is extremely limited. These are supreme art pieces that not only brightly adorn everyday moments but also offer the joy of owning a fragment of Japan's modern craft history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Sakata Jinnai (坂田甚内, 1943–Present)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"37\"\u003eArtist's Representative Activities:\u003c\/b\u003e [2009] Invited artist at the 1st Shanghai International Ceramic Art Exhibition; [2013] Donated Shinjinmon Haku-ha-hari Magatama Large Plate \"Brilliance of Life\" for the Great Heisei Relocation of Izumo Taisha; [2013] Donated Black Pottery Shinjinmon Foil-Pressed Large Plate \"Homage to the Sun\" for the Shikinen Sengu of Ise Jingu; [2014] Donated Shinjinmon Foil-Glass Object \"Waannei\" to Atsuta Jingu; [2014] Donated a pair of Black Pottery Engraved Shinjinmon Foil-Pressed Ceramic Boxes \"Longevity\" to Kameoka Hachimangu (Mashiko Town).\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"612\"\u003eProduction Period:\u003c\/b\u003e 1990s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"649\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"692\"\u003eAccessories:\u003c\/b\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"710\"\u003eMaterials:\u003c\/b\u003e Glass, Gold Leaf\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"738\"\u003eDimensions:\u003c\/b\u003e Height approx. 21 cm, Rim Diameter approx. 12 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"799\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from very old production periods and are listed as used items. Products may have age-related damage, so please understand and confirm before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47754503749819,"sku":null,"price":135000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5943_result.jpg?v=1778344905"},{"product_id":"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":"260","title":"Kutani Master with Imperial Presentation Record Yamamoto Hogaku (山本芳岳) Special Top-Tier Work Kutani Ware Red Ground Gold Brocade Cloud Dragon Motif Sake Cup (Bajohai) Tasting Glass #260","description":"\u003cp data-path-to-node=\"3\"\u003eThis is an akaji kinran unryu-mon bajohai (red-ground gold brocade cloud dragon stem cup) by Yamamoto Hogaku, a master of modern Kutani ware based in Kaga City, Ishikawa Prefecture. With its elegant proportions of approximately 10.0 cm in height and 6.0 cm in mouth diameter, we propose this stem cup as a special tasting glass for enjoying the profound aromas of aged sake and long-aged sake, which have matured into a beautiful amber color over time. The shape of the stem cup, with its slender stem, prevents body temperature from the hand from affecting the sake, allowing the complex aromatic changes of aged sake, from chilled to room temperature, to be captured in perfect condition. Furthermore, the white porcelain on the inside of the vessel clearly reflects the deep and beautiful gradation of aged sake, creating a supremely luxurious bar time that satisfies all five senses. This vessel, which elevates the highest level of Japanese traditional craftsmanship into practical art for modern lifestyles, promises a moment of supreme hospitality for overseas collectors and special guests.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eYamamoto Hogaku, the artist, was born in 1960 and is a genius potter who elevated the technique of Akae Saibyo, which flourished during the Meiji period but then saw a drastic decrease in successors and was becoming a phantom technique, to the highest level in modern times. As the greatest historical fact symbolizing his outstanding technical skill and artistry, in 1985 he was honored with the unparalleled privilege of humbly crafting and presenting an Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan (fine-line chrysanthemum, paulownia, and phoenix design sencha bowl) to His Imperial Highness the Crown Prince, who is now the Emperor Emeritus. Thereafter, he solidified his position as the pinnacle of akae in modern Kutani, receiving an honorable mention at the 54th Issuikai Pottery Exhibition in 1992 and being nationally certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry in 1996. His works are deeply housed in prestigious public institutions in Japan, such as the Ishikawa Prefectural Museum of Art, the Ishikawa Kutani-yaki Art Museum, and the Kutani Ware Kiln Ruins Exhibition Hall, and are extremely highly valued collector's items that are rarely available overseas.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWhat is most highly regarded in Yamamoto Hogaku's art is his Akae Saibyo technique, which uses ultra-fine lines of 0.1 mm or less, described as micro-drawing lines beyond human vision. This work is a special top-tier piece estimated to have been produced during his mature period from the 2000s to 2010s, when his technique was most stable after his certification as a traditional craftsman. It represents his characteristic style, in which his ultimate Akae Saibyo and dazzlingly brilliant gold decoration achieve a miraculous harmony.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA detailed examination of this work reveals that these superlative techniques are clearly and perfectly expressed across the entire surface of this small stem cup. The intricate background pattern covering the surface of the vessel is meticulously drawn with breathtakingly fine and uniform red ultra-fine lines, upon which the powerfully depicted cloud dragon motif emerges with overwhelming dynamism. The exquisitely rendered dragon scales and flowing clouds in gold decoration emit a luxurious shimmer like a kaleidoscope depending on the angle of the light, directly conveying the supreme dignity of modern Kutani ware to the beholder. At the bottom, Hogaku's signature, indicating its authenticity, is beautifully inscribed. The dedicated tomobako (wooden box) with the artist's own inscription and seal, a wrapping cloth, and a booklet showing his detailed pottery chronology are all included. This is a complete piece in very good condition with no chips or cracks, an exceptional item with unwavering asset value as the ultimate Japanese craft art, extremely difficult to encounter overseas.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamamoto Hogaku (山本芳岳, 1960-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"32\"\u003eArtist's significant career highlights:\u003c\/b\u003e Inherited the \"Akae Saibyo\" technique, which flourished during the Meiji period but saw a drastic decrease in successors, to the highest modern level. [1985] Humbly crafted and presented an \"Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan\" to His Imperial Highness the Crown Prince (now Emperor Emeritus), [1992] Received an Honorable Mention at the 54th Issuikai Pottery Exhibition, [1996] Certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry (now Minister of Economy, Trade and Industry). His extremely precise technique is regarded as the pinnacle of Akae in modern Kutani.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"691\"\u003eWorks housed:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani Ware Kiln Ruins Exhibition Hall, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"828\"\u003eProduction period:\u003c\/b\u003e 2000s to 2010s (estimated to be a work from his mature period after being certified as a traditional craftsman). *The \"Akaji Kinran Unryu-mon\" of this work is a representative style of Hogaku's mature period, where his exceptional technique and artistry reached their peak, showcasing a perfect harmony between intricate fine-line drawing with ultra-fine lines of 0.1 mm or less and brilliant gold decoration.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1257\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1300\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box), wrapping cloth, artist's profile insert\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1376\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani ware - Akaji Kinrande - Gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1443\"\u003eDimensions:\u003c\/b\u003e Height approx. 10.0 cm, Mouth diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1509\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if new and unused, are from a very old production period and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming their condition.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47849214312635,"sku":null,"price":160000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7039_result.jpg?v=1780155395"},{"product_id":"271","title":"Winner of the Gold Prizes at the Prague and Vallauris International Ceramics Exhibitions, Founder of Sodeisha, Suzuki Osamu (鈴木治), \"Return to Primitive Art,\" Bakushu-nomi Beer Mug Ceramic Whisky Tumbler #271","description":"\u003cp data-path-to-node=\"9\"\u003eThis is a handled sake vessel directly crafted by Suzuki Osamu (1926-2001), a master who reigns at the pinnacle of Japan's contemporary ceramic art world, whose works are permanently housed in major modern art museums both in Japan and abroad. The dedicated wooden box (kyobako) bears the artist's own inscription, \"Bakushu-nomi,\" written in elegant, powerful cursive script. The vessel itself has a substantial cylindrical form that sits weightily in the hand, and a thick, powerfully drawn handle. While the artist created it as a vessel for savoring beer at its finest, in today's luxurious lifestyle, it also possesses an overwhelming presence as a supreme on-the-rocks Ceramic Whisky Tumbler for slowly enjoying rare aged spirits that have transformed into a beautiful amber color over many years, or premium single malt whiskies with large ice cubes. The extremely precise skeletal structure born from the bloodline of master potters, the carefully studied thickness, and the direct texture of the rough clay surface, which immediately conveys itself to the touch and sets it apart from blown glass or ordinary hand-formed vessels, elevates the time spent enjoying alcohol into an exceptional artistic experience. This is an avant-garde craft piece from Japan that is extremely difficult to obtain in overseas art markets and possesses the highest asset value to satisfy the discerning eye of an avid collector.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe artist, Suzuki Osamu, was born in 1926 as the third son of \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E5%AE%87%E6%BA%90%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Ugenji\u003c\/a\u003e, a renowned potter in Kyoto. Until his sudden passing in 2001, he relentlessly pursued avant-garde expressions that rewrote the history of Japanese craft. In 1948 (Showa 23), he formed the avant-garde ceramic art group \"Sodeisha\" with \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E7%94%B0%E5%85%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, Matsui Bisuke, and Kano Tetsuo, initiating a movement that fundamentally broke the spell of practicality (\"beauty of utility\") – the absolute norm in the Japanese ceramic world, where ceramics were primarily for serving food or pouring water. They redefined clay not merely as a material for vessels but as a medium for pure self-expression, giving birth to a completely new genre of art: objet ceramics, the first of its kind in Japan. Sodeisha subsequently led the forefront of Japan's contemporary art scene for half a century, and with its 50th exhibition in 1998, it dissolved amicably, having fully fulfilled its historic mission of elevating ceramics to contemporary art within the art world. Amidst this tumultuous movement, Suzuki preferred to use the term \"deisho\" (mud-form) for his works, meaning to manifest the form of the world through clay (mud), rather than simply calling them \"objects.\" He continued to pursue unique, poetic forms by deforming and deconstructing his superb potting wheel techniques. By 1999, his global status was firmly established, as evidenced by a large-scale retrospective exhibition held at the National Museum of Modern Art, Tokyo.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe distinctive face-shaped motif that dominates the front of this work perfectly embodies Suzuki's lifelong pursuit of reverence for nature and a return to primitive art. The eyes and nose carved into this circular bas-relief, along with the continuous spiral patterns arranged at the bottom, personify the life force of great nature, such as the sun and wind, with his unique poetic humor, imbuing the modern vessel with the pure magical energy of Jomon clay figurines and ancient masks. The surface of the vessel intentionally exposes a powerful, clay texture like Mikage clay containing coarse particles, over which a thin layer of feldspar glaze with a pale greenish-gray tint is applied. This masterfully merges the organic warmth of the clay with the sparkling beauty of the finely appearing crazing (fine crack patterns) on the surface. Furthermore, at the bottom edge of the vessel, a vibrant reddish \"hi-iro\" (fire color) has emerged, a result of the chemical reaction between the edge of the glaze and the unglazed body caused by the intense flames of the climbing kiln, thus encapsulating the dramatic moment when fire and earth became one within the vessel. At the base of the handle, Suzuki's circular \"治\" (Osamu) seal is clearly impressed, confirming its authenticity. The handwritten signature and seal on the lid of the wooden box, along with the official ceramic history (bookmark) from Yodo Gallery in Osaka, which conveys the atmosphere of his solo exhibitions at the time, are perfectly preserved. This is a supreme piece in excellent condition, condensing the artist's lifelong artistry, where Suzuki's object philosophy (Deisho) admirably returns to its origin as a functional vessel.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Suzuki Osamu (鈴木治, 1926-2001)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career History\u003c\/b\u003e: [1926] Born in Kyoto as the third son of master potter Suzuki Ugenji, [1948] Formed the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Yamada Hikaru, holding their first exhibition, [1961] Received the Japan Ceramic Society Award, [1962] Won a Gold Medal at the Prague International Ceramics Exhibition, [1968] Appointed Assistant Professor of Ceramics at Osaka University of Arts, [1970] Won a Gold Medal at the Vallauris International Ceramics Biennale and invited to exhibit at \"Contemporary Ceramics - Europe and Japan\" organized by the National Museum of Modern Art, Kyoto, [1971] Won the Minister of International Trade and Industry Award at the Faenza International Ceramics Exhibition and invited to exhibit at the Japan Ceramics Exhibition (subsequently exhibiting every time), invited to exhibit at \"Contemporary Ceramics - America, Canada, Mexico and Japan\" exhibition organized by the National Museums of Modern Art, Kyoto and Tokyo, [1975] Exhibited at \"International Ceramics Exhibition '75\", [1979] Exhibited at \"Art Now '79\", [1999] A large-scale retrospective exhibition \"Poetic Objects: Suzuki Osamu's Ceramics\" was held at the National Museum of Modern Art, Tokyo, [2001] Passed away at the age of 73\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,2,0\" data-index-in-node=\"0\"\u003eMuseum Collections\u003c\/b\u003e: Permanently housed in public collections of major modern art museums around the world, including The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955 (Presumed identical or same-series works are currently in the collection of institutions such as The National Museum of Modern Art, Kyoto)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Original wooden box, wrapping cloth, official ceramic history (bookmark) issued by Yodo Gallery.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (feldspar glaze)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Approx. 9.0 cm diameter, approx. 9.5 cm height\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products offered by our shop are new and unused, they are from a very old production period and are all listed as used items. The products may have damage due to age, so 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":47930758725819,"sku":null,"price":260000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7923_result.jpg?v=1781230271"},{"product_id":"273","title":"Senior Disciple of Mingei Master Kawai Kanjiro, Kyoto Gojozaka Shokei Kiln, Kawai Takeichi (河井武一), Kaiki Glaze Bowl, Flambé Sea-Cucumber Glaze Large Bowl, Ice Bowl, Fruit Basket #273","description":"\u003cp data-path-to-node=\"1\"\u003eCreated by Kawai Takeichi (1908–1989), a ceramic artist who was the nephew of Mingei Movement master \u003ca href=\"\/en\/search?q=%22%E6%B2%B3%E4%BA%95%E5%AF%9B%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKawai Kanjiro\u003c\/a\u003e and served as Kanjiro's senior disciple and right-hand man at the Shokei Kiln in Gojozaka, Kyoto, for nearly forty years from 1927 to 1966, supporting the workshop's throwing and shaping techniques. In 1935, he served as an assistant to British potter Bernard Leach during Leach's visit to Japan, and after Kanjiro's passing, he worked independently, presenting his works primarily through solo exhibitions at Takashimaya department stores nationwide and other venues. Dating from his mature period between the 1970s and early 1980s (the late 1940s to 1950s of the Showa era), when he fully pursued independent creation following Kanjiro's death and began signing and sealing the inner lid of dedicated wooden boxes (tomobako) as \"Kaiki Glaze Bowl, Takeichi,\" this piece is identified as an authentic work. Pursuing the functional beauty (\"Yo no Bi\") of folk crafts without seeking official exhibition awards or official honors, Takeichi's works are held in public collections such as the Asahi Group Oyamazaki Villa Museum of Art, the Adachi Museum of Art, and the Izumo Museum of Folk Crafts.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAs inscribed on the dedicated wooden box as \"Kaiki Glaze\" (Kaiki-yu), this vessel richly incorporates the traditional sea-cucumber glaze (Namako glaze, an opalescent blue-white glaze using cobalt and straw ash) for which the Kawai workshop is renowned. Over a heavy, dark-brown base glaze, a foamy, wave-like blue-white glaze is poured, creating fine crystals and mottling during the melting and flowing process of the viscous glaze in the kiln, drawing a beautiful gradient reminiscent of the mysterious deep sea. The large, voluptuous form rounded and swelling from the lower body to the waist is the result of Takeichi's robust and powerful wheel-throwing technique, which is his true signature. From the lower body down to the foot ring, the glaze pools in heavy droplets to form a dramatic landscape, while the unglazed raw clay (rotai) around the foot exposes the rustic, iron-rich texture of the earthenware clay. The interior bowl bottom (mikomi) also holds a deep pool of opalescent blue glaze, conferring rich texture and profound depth to the entire vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eMeasuring an impressive approx. 12.4 cm in height and approx. 19.5 to 20.0 cm in width with substantial depth, our shop proposes this vessel as a dignified large ice bowl for enjoying aged spirits or premium whisky, or as an elegant fruit basket or centerpiece bowl for the table, tailored to modern lifestyles. The contrast between the deep blue-white sea-cucumber glaze and the dark brown base beautifully highlights the ice or colorful fruits placed inside, bringing a refined Japanese craft aesthetic to luxurious evening drinks or dining occasions. An authentic piece uniting Mingei philosophy and the techniques of the Kawai workshop, this masterpiece allows one to savor the true essence of traditional Japanese ceramic art through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKawai Takeichi (河井武一, 1908–1989)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003eStudied under his uncle Kawai Kanjiro from 1927, supporting the Shokei Kiln as senior disciple. Served as assistant to Bernard Leach in 1935. Worked independently following Kanjiro's passing, presenting works primarily through solo exhibitions.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eAsahi Group Oyamazaki Villa Museum of Art, Adachi Museum of Art, Izumo Museum of Folk Crafts, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s–early 1980s (Late 1940s–1950s, Showa era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako) included (with calligraphy \"Kaiki Glaze Bowl, Takeichi\" and seal on inner lid)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Sea-cucumber glaze, Kaiki glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.4 cm, Width approx. 19.5–20.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758791355,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3620_result.jpg?v=1790495411"},{"product_id":"279","title":"Recipient of the Kyoto Prefecture Order of Cultural Merit, Sodeisha Co-Founder Yamada Hikaru (山田光), Kohiki Iron-Painted Dotted Line Pattern Coffee Cup and Saucer, A White Sake Vessel Where the Amber Color of Whisky Beautifully Reflects #279","description":"\u003cp data-path-to-node=\"17\"\u003eThis is a Kohiki iron-painted coffee cup and saucer crafted by Yamada Hikaru (1923–2001), a titan of modern ceramic art who co-founded the avant-garde ceramic art group \"Sodeisha\" in 1948 alongside \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and consistently led the group until its dissolution in 1998. The artist, Yamada Hikaru, grew up immersed in pottery making from an early age under his father, the ceramic artist Yamada Tetsu, and acquired professional expertise in the Ceramics Department of the Kyoto Higher School of Crafts (currently Kyoto Institute of Technology). He is one of the most vital artists who liberated ceramics from the conventional \"beauty of utility\" and established the genre of objet ceramics as pure artistic creation in Japan. Throughout his life, he was awarded the Japan Ceramic Society Award (and later its Gold Prize), recognized as a Kyoto City Person of Cultural Merit, and received the Kyoto Art and Culture Award. His works are extensively housed in major museums both within Japan and internationally.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eOur shop proposes this precious coffee cup and saucer, left behind by this leading figure of avant-garde ceramics, not merely as a coffee cup, but as a special Japanese Kogei sake vessel tailored for slowly savoring the highest quality Japanese whisky or aged sake that has deepened with time. The mug-shaped design, featuring a slightly smaller size, possesses an ample presence to thoroughly enjoy the rich aroma of aged sake right in your hand. Furthermore, the soft white tone of the Kohiki glaze that envelops the entire vessel vividly highlights the beautiful amber gradation of whisky, maximizing its visual allure. The entire surface of the vessel exhibits a fine, beautiful crazing that is evenly distributed without being overly assertive, forming a profound expression nurtured by time. In addition, the authentic pottery mark of the character \"Hikaru\" is clearly discernible at the base of the cup's handle and on the reverse side of the saucer.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe greatest highlight of this work lies in the exceptional integration of Yamada Hikaru's signature avant-garde objet-making philosophy into a practical vessel. While Yamada Hikaru focused primarily on the production of one-of-a-kind objets, he also possessed a profound passion for craft design, establishing \"Mon Kobo\" in the 1960s to pursue modern design in everyday vessels. In contrast to the cup body, which features an organic, soft distortion born of hand-molding, the handle is joined with a linear, architectural geometric structure, demonstrating an intellectual form that controls the properties of clay with peak technical mastery. The dark brown iron-painted dotted line pattern running vertically on the front elevates the design into a sophisticated graphic statement reminiscent of Mid-Century Modernism and abstract painting. Furthermore, the circular exposed clay area at the base of the cup can be analyzed as a uniquely conceptual expression by the artist, visually translating the philosophy of holes and windows that permeate spaces—as seen in his representative \"Screen Series\"—into a practical vessel where physical holes cannot be made. The lid of the original wooden box bears the artist's handwritten title \"Kohiki,\" his signature \"Hikaru Zo,\" and a genuine seal verifying its authenticity, completely confirming its reliability as a historical collection. All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamada Hikaru (山田光, 1923–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"34\"\u003eArtist's Representative Activities:\u003c\/b\u003e [1948] Co-founded the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Suzuki Osamu, [1962] Established \"Mon Kobo\" to pursue modern design in living spaces, [1970s] Received the Japan Ceramic Society Award (and later the Gold Prize), [1990s] Received the Kyoto Art and Culture Award and recognized as a Kyoto City Person of Cultural Merit\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"421\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Shigaraki Ceramic Cultural Park; Kyoto City KYOCERA Museum of Art, and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e Early 1960s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"665\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"708\"\u003eAccessories:\u003c\/b\u003e Original wooden box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"750\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kohiki, Iron Paint)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"789\"\u003eDimensions:\u003c\/b\u003e Cup: Height approx. 7.5 cm, mouth diameter approx. 6.5 cm \/ Saucer: Height approx. 1.0 cm, diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"917\"\u003eNote:\u003c\/b\u003e All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191923387,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7995_result.jpg?v=1781794764"},{"product_id":"284","title":"Minister of Education Award Winner, Councilor of Nitten, and Artist Permanently Housed in the Museum of Fine Arts, Boston: Kano Mitsuo (叶光夫). Masterpiece: Hariyu-yusai Large Flower Vase, Large Bowl, Ice Bowl #284","description":"\u003cp data-path-to-node=\"26\"\u003eThis is a large-sized vase featuring the finest techniques and designs of Kano Mitsuo (1903-1970), a legendary master who reigned at the pinnacle of glaze research based on scientific analysis in the history of modern Japanese ceramics, yet held only six solo exhibitions throughout his lifetime. Born into the prestigious Kano family of Kiyomizu ware and a graduate of the Kyoto Ceramic Testing Institute, Kano Mitsuo studied under \u003ca href=\"\/en\/search?q=%22%E5%B0%8F%E6%A3%AE%E5%BF%8D%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKomori Shinobu\u003c\/a\u003e, a renowned pioneer of scientific ceramics in Japan. In 1920, he joined the Chinese Ceramics Research Institute in Dalian, where he thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, he was commissioned by the Manchukuo government to select sites for official kilns, and his overwhelming knowledge and astonishing technical skill would shock the Japanese art world shortly after the war. Beginning with a Special Selection Award at the Nitten Exhibition in 1949, his works were permanently acquired by authoritative museums and national institutions worldwide, including the National Museum of Modern Art, Kyoto (purchased by the Ministry of Education), the Paroris Museum (purchased at the Contemporary Ceramic Exhibition in Paris), donated to the Museo Internazionale delle Ceramiche in Faenza, and acquired by the Museum of Fine Arts, Boston, the Museu de Arte de São Paulo, and the Japan Art Academy. In 1967, he received the Minister of Education Award at the Nitten Exhibition, and in 1968, he became a Nitten councilor. Highly praised for his refined aesthetic spirit, he produced a white porcelain vase for the Imperial Household at the time of the new palace construction in 1969, leaving behind an unparalleled legacy and honor as a master craftsman.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eKano Mitsuo's ceramic philosophy was rooted in the modernization of Eastern traditions based on thorough scientific evidence, and the pursuit of functional beauty that maximizes the potential of clay and glaze within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of his nephew and direct disciple, Kano Tetsuo (Kano Shokoku II), a founding member of the Sodeisha group. In the early Sodeisha, which was spearheaded by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and aimed at establishing purely three-dimensional objects completely devoid of practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that his master, Kano Mitsuo, had built through arduous research. As a result, he left the group at a very early stage around 1951 and embarked on the orthodox succession of practical vessels that fused tradition and modernism. Kano Mitsuo's global and outstanding modern aesthetic sense was also evident in the numerous cutting-edge Western tableware he created at the request of Noémi Raymond, wife of the renowned architect Antonin Raymond and herself a prominent designer. He embodied a universal modernism that harmonized with contemporary living spaces, rather than merely recreating classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eThe Hariyu-yusai (glass glaze with variegated colors) technique employed in this work is an extremely important representative technique, with a similar masterpiece published in Kano Mitsuo's collection of works. It is rooted in his unique glass glaze technology, which he perfected in July 1942, before the war, by deriving a precise blending ratio of 75 parts Nango feldspar and 25 parts lead-free white jade. A professional analysis of the inside of the piece reveals a thickly melted, precisely calculated glass glaze, with ice crackle crazing, finely and densely spread like jewels from the bottom to the rim. This layer of transparent, delicate crazing reflects light in a beautiful, kaleidoscopic manner depending on the angle of incidence, lending immeasurable depth to the interior of the vessel. In contrast, the exterior of the vessel is uniformly covered with a deep black glaze, creating a vivid contrast with the serene world within. Furthermore, the lower part of the body features a sophisticated interlocking pattern in a continuous band, created by intricate stamping (indented patterning). In these textured patterned areas, the Yusai technique, where iron content and complex colors blend intricately, is fully utilized, precisely revealing changes in the crystallization, such as reddish-brown and slight bluish hues, as if floating from the jet-black background. The contrast between the hard black luster and the organic crystallization residing within the regular patterns is the epitome of extremely difficult glaze control that only Kano Mitsuo could achieve.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eFurthermore, what determines the artistic value of this work is the presence of a highly special potter's mark applied within the foot rim at the base of the vessel. In contrast to the simple incised marks seen on the bottom of ordinary vases and practical vessels, fine white slip clay is applied within the foot rim, and Kano's painted signature is inscribed beautifully over it in a vivid blue cobalt pigment. This blue potter's mark serves as a vibrant accent that jumps out at the viewer when the bottom is revealed, transitioning from the jet-black exterior. It possesses extremely high precision and visual impact, as if a blue design has been embedded using meticulous inlay techniques. Kano Mitsuo's uncompromising dedication to perfectly controlling his artistic signature down to the invisible details is condensed in the uniqueness of this single potter's mark, eloquently testifying that this work is an undeniable authentic masterpiece from his own hand. The lid of the accompanying wooden box features a dynamic inscription of the title \"Hariyu-yusai Kaki\" (Glass Glaze Variegated Vase) and Kano's signature, complete with a clear red seal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThe production period of this work is identified as the mature period of the mid-Showa era (circa 1955–1962). This logically supports that it was produced over approximately 28 years, from July 1942, when Kano Mitsuo completed his unique glass glaze blending ratio, through his journey to Manchuria in 1943, the period from 1946 when he began exhibiting extensively at the Nitten exhibition and his overwhelming technique of functional beauty entered its golden age, the 1940s and 1950s when he drew his direct disciple Kano Tetsuo back to the succession of tradition, until the artist's passing in August 1970. The historical background of this work being a genuine piece from the master's mature period, produced directly by his hands and transcending the turbulent wartime and postwar periods, further solidifies its artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWith dimensions of approximately 15 cm in height, 30 cm in body diameter, and 26.5 cm in mouth diameter, it boasts a commanding, impressive extra-large size. While its sculptural beauty can, of course, be enjoyed as a large vase that creates an elegant indoor atmosphere, it also offers rich practicality as a special accent in modern, sophisticated table settings. When enjoying fine aged sake or vintage wine, it can be placed in a space as a large ice bowl filled with ice or an exquisite wine cooler to chill bottles. The beautiful ice crackle of the glass glaze on the inside will resonate with the ice and condensation, creating breathtakingly luxurious and executive moments. This is a museum-quality, one-of-a-kind piece that embodies the essence of Kano Mitsuo's functional beauty, which has been highly praised and permanently collected by leading museums around the world, allowing you to directly experience its luxury in your daily life. It is something you will never encounter again, whether domestically or internationally.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kano Mitsuo (叶光夫, 1903-1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"32\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1920] Joined the Chinese Ceramics Research Institute in Dalian and engaged in research on ancient Chinese ceramics; [1943] Traveled to Manchuria as a Manchukuo government consultant to select sites for official kilns; [1946] First exhibited at the Japan Fine Arts Exhibition (Nitten); [1949] Received a Special Selection Award at Nitten; [1953] Received the Hokuto Award at Nitten; [1957] Appointed as a Nitten judge; [1958] Became a member of the Nitten Association; [1967] Appointed as a Nitten judge and received the Minister of Education Award; [1968] Appointed as a Nitten councilor; [1969] Produced a white porcelain vase for the new palace construction.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"728\"\u003eWorks in Collections:\u003c\/b\u003e National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museu de Arte de São Paulo (Brazil); Japan Art Academy; Musée Paroris (France); Museo Internazionale delle Ceramiche, Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955–1962 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1067\"\u003eProduct Condition:\u003c\/b\u003e Very good (no chips, no cracks, box has age-related cracks and dirt).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1156\"\u003eAccessories:\u003c\/b\u003e Comes with original wooden box (note age-related deterioration).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1234\"\u003eMaterial:\u003c\/b\u003e Pottery (glass glaze, variegated glaze).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1285\"\u003eDimensions:\u003c\/b\u003e Height approx. 15.0 cm, body diameter approx. 30.0 cm, mouth diameter approx. 26.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1384\"\u003eNote:\u003c\/b\u003e Even if the products we offer are new and unused, they are from a very old production period and are all listed as used items. Products may have age-related damage, so please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974192283835,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8291_result.jpg?v=1782049469"},{"product_id":"286","title":"Recipient of the Medal with Yellow Ribbon by the Emperor of Japan, Kuroki Kuniaki (黒木国昭), Aya Kiriko Green \u0026 Amber Overlay Cased Glass Ba-jou-hai Stemmed Tasting Glass #286","description":"\u003cp data-path-to-node=\"23\"\u003eThis exceptionally elegant Ba-jou-hai (traditional horseback stemmed cup) is crafted by Mr. Kuroki Kuniaki (born 1945), a paramount master of contemporary Japanese glass art who, based in Miyazaki Prefecture, sublimates Japan's fading traditional aesthetics into the cutting-edge medium of glass, earning the highest acclaim both domestically and internationally. Born in Kobayashi City, Miyazaki Prefecture in 1945, Mr. Kuroki Kuniaki continues to be a living legend in the Japanese glass art world, presiding over his own atelier and maintaining a profound global influence as a leading figure even today in 2026. Since entering the glass manufacturing industry on the factory floor in 1963, he has remained entirely unbound by the rigid apprenticeship systems of traditional schools, mastering every facet of the craft—from the high-temperature hot forming of molten raw glass to intricate cold cutting—entirely through self-study and rigorous practical experience. After establishing Glass Art Kuroki in his ancestral hometown of Ayacho, Miyazaki Prefecture, and becoming independent in 1984, he achieved a singular artistic universe that seamlessly fuses Western glass techniques with classical Japanese sensibilities. In 1989, he was honored with the \"Contemporary Master Craftsman\" national award for outstanding skills, becoming the youngest recipient in the glass art history at the time. Furthermore, in 2006, he was bestowed with the prestigious Medal with Yellow Ribbon by the Japanese government, reaching the absolute pinnacle of domestic honor as both a master craftsman and a fine artist.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eThis masterpiece flawlessly embodies the spirit of \"Aya Kiriko,\" a proprietary cut glass technique developed by Mr. Kuroki through exhaustive research and modern reinterpretation of the legendary Satsuma Kiriko craft, which had once vanished from the historical stage. While at first glance it may evoke the aura of avant-garde Western studio glass, its profound essence lies in Mr. Kuroki's uncompromising cultural identity: reincarnating the pristine natural grandeur of Ayacho, Miyazaki Prefecture—celebrated for hosting one of the world's largest evergreen broadleaf forests and crystal-clear mountain springs—directly into the soul of the vessel. The heavy, hand-blown cased glass features a rich amber foundation layered with a deep green glass overlay, over which flawless geometric cuts are meticulously applied without a fraction of error. By deeply carving away this thick, colored glass layer at a sophisticated angle, a spectacular refraction of light is achieved, creating \"bokashi\"—the breathtaking, subtle color gradation that shifts fantastically from vivid green to warm amber. This intricate layering of colors conjures a painterly landscape, capturing the mystical light filtering through Ayacho's ancient woods and the shimmering face of its pure streams. The silhouette of the vessel proudly adopts the noble form of the historic Ba-jou-hai, where the substantial weightiness inherent to hand-formed pieces and the organic, slightly unique contours exude an overwhelming sculptural presence that completely distances it from mass-produced wares. The artist's signature is proudly engraved on the base of the piece, certifying its true authenticity, and a carefully preserved, dedicated Tomobako (the original wooden box signed and sealed by the artist) is included as a vital historical document proving its impeccable provenance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eWe propose this exceptional vessel, imbued with undisputed art-historical authority and world-class superlative craftsmanship, as the ultimate Japanese KOGEI masterpiece for savoring refined sake and spirits within the palm of your hand, perfectly tailored to a sophisticated contemporary lifestyle. Standing at approximately 8.5 cm in height with a mouth diameter ranging from a minimum of 8.0 cm to a maximum of 8.5 cm, its precise proportions fit beautifully in the hand while concentration and encompassing rich aromas. It performs at its absolute zenith when used to sample aged sake (Koshu) or mature spirits that have developed deep complexity and noble bouquets over many decades. The structure, featuring the tall stem characteristic of the traditional horseback cup, flawlessly prevents the natural body heat of the hand from transferring to the delicate liquid inside, making it functionally and scientifically rational for tasting matured spirits where strict temperature control is paramount. The surreal green and amber landscape extending across the front and sides resonates marvelously with the natural amber hue of poured aged sake, elevating an everyday evening drink into a luxurious moment of contemplating top-tier three-dimensional art. Original creations and museum-tier masterpieces executed entirely by Mr. Kuroki Kuniaki himself are actively acquired by passionate collectors and public institutions worldwide, leaving the civilian market with extremely scarce opportunities to encounter them, thereby endowing this piece with immense rarity and archival value. This Ba-jou-hai stemmed cup, a miraculous crystallization that has successfully evolved the fierce, powerful spirit of Japanese tradition into contemporary fine art, harmonizes flawlessly with sophisticated modern interiors, whether Eastern or Western, bringing undeniable dignity and an incomparable presence to any setting.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kuroki Kuniaki (黒木国昭, 1945-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003e[1963] Joined Yamaya Glass Industrial Co., Ltd. in Miyazaki Prefecture, commencing his rigorous foundation as a glass craftsman; [1974] Relocated to a prominent glass manufacturing company in Tokyo to absorb advanced modern techniques and scientific knowledge; [1984] Founded \"Glass Art Kuroki\" in his hometown of Ayacho, Miyazaki Prefecture, establishing his independence; [1989] Received the national award for outstanding skills \"Contemporary Master Craftsman\" as the youngest recipient in the glass discipline at the time; [1991] Certified as an official Miyazaki Prefecture Traditional Craftsman; [2006] Bestowed with the \"Medal with Yellow Ribbon\" (Huangshubaozhang) by the Japanese government\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eWorks Collected and Presented:\u003c\/strong\u003e National Crafts Museum, Miyazaki Prefectural Art Museum, Miyakonojo City Museum of Art, Ebeltoft Glass Museum (Denmark), China National Museum of Art (Beijing), Japanese Embassies and Consulates-General worldwide (Diplomatic Missions), Imperial Household Presentations (officially presented to Their Majesties the Emperor and Empress, His Imperial Highness Crown Prince Naruhito, Their Imperial Highnesses Prince and Princess Akishino, etc.), The Vatican City, and numerous prestigious presentations and donations to overseas Royal Families\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eCirca 2010 (Estimated, the peak mature period following his national decoration of the Medal with Yellow Ribbon)\u0026nbsp;\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=\"24\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (original wooden box signed and sealed by the artist), Shiori included (original brochure detailing the artist's profile and lineage)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlass (Aya Kiriko, cased overlay glass)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.5 cm, Mouth diameter approx. 8.0 cm (min) - 8.5 cm (max) (Single piece)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that while the items we offer may be in pristine, unused condition, they originate from a historic production period and are strictly listed as antique\/used fine art pieces. Vintage items may exhibit subtle age-related characteristics; we kindly ask that you review all details and purchase upon full understanding.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193889467,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8472_result.jpg?v=1783239174"},{"product_id":"289","title":"Minister of Education Award Recipient, Boston Museum of Fine Arts Permanent Collection Artist, Kano Mitsuo (叶光夫). Representative Works: Glass Glaze Sumi-yaki Vases, Flower Bowls, Large Plates #289","description":"\u003cdiv class=\"markdown markdown-main-panel enable-luminous-fast-follows stronger enable-updated-hr-color\" id=\"model-response-message-contentr_d26872c670014ad4\" aria-live=\"off\" aria-busy=\"false\" dir=\"ltr\"\u003e\n\u003cp data-path-to-node=\"24\"\u003eThis is an extra-large rectangular flower bowl, approximately 50.5 cm in width, boasting an overwhelming scale and adorned with the highest level of technique and design by Kano Mitsuo (1903-1970), a legendary master who, despite reigning supreme in the scientific analysis of glazes in the history of modern Japanese ceramics, held only six solo exhibitions in his lifetime. Born into the Kano family, a distinguished name in Kiyomizu ware, Kano Mitsuo graduated from the Kyoto Ceramic Testing Institute and studied under the renowned \u003ca href=\"\/en\/search?q=%22%E5%B0%8F%E6%A3%AE%E5%BF%8D%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShinobu Komori\u003c\/a\u003e, a pioneer of scientific ceramics in Japan. Later, in 1920, he joined the Chinese Ceramic Research Institute in Dalian, where he thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, he was commissioned by Manchukuo to select sites for official kilns, and his overwhelming knowledge and astonishing technical prowess sent shockwaves through the Japanese art world immediately after the war. Beginning with his special selection award at the Nitten Exhibition in 1949, his works were acquired by the Ministry of Education for the National Museum of Modern Art, Kyoto, purchased by the Musée Palissy at the Contemporary Ceramics Paris Exhibition, donated to the International Museum of Ceramics in Faenza, Italy, and permanently housed in prestigious museums and national institutions around the world, including the Museum of Fine Arts, Boston, the Museum of Art, São Paulo, Brazil, and the Japan Art Academy. In 1967, he received the Minister of Education Award at the Nitten Exhibition, and in 1968, he became a councilor of the Nitten Exhibition. His dignified sculptural spirit was highly acclaimed, and in 1969, he was commissioned to create a white porcelain vase for the construction of the new Imperial Palace, which he humbly presented to the Imperial Household, leaving behind an unparalleled legacy of honor and achievement.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eAt the root of Kano Mitsuo's ceramic philosophy was the modern updating of Eastern tradition based on thorough scientific evidence, and the pursuit of functional beauty that brings out the potential of clay and glaze to their limits within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of his real nephew and direct disciple, Kano Tetsuo (the second generation Kano Matsutani), a founding member of the Sodeisha group. In the early Sodeisha, which was centered on \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and others and was pushing toward the establishment of pure three-dimensional objects that completely eliminated practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that his master, Kano Mitsuo, had built through painstaking research. As a result, he left the group at the very early stage around 1951 and turned to the legitimate inheritance of practical vessels that fused tradition and modernity. Furthermore, Kano Mitsuo's global and outstanding modern aesthetic sense is also evident in the numerous cutting-edge Western tableware he created at the request of Noémi Raymond, the wife of the famous architect Antonin Raymond and a renowned designer. He embodied a universal modernism that harmonized with contemporary living spaces, going beyond merely reproducing classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eThis work is a museum-quality large rectangular bowl where Kano's decorative beauty and unique glaze theory are synchronized to the utmost. Looking into the inside of the work, one finds a bold, flowing, and geometric concentric ripple pattern (swirl pattern) drawn with a sharp contrast of black and white, which is the essence of \"Sumiyaki\" (ink-fired). This pattern radiates regularly and with organic undulations from a tiny central circle towards the outer edge, displaying an astonishing graphic sense reminiscent of the raked sand patterns in Japanese Zen rock gardens or the serene ripples spreading across a water surface. Furthermore, covering this monochrome world, a unique glass glaze (hariyū), derived from a precise blending ratio of Nangō feldspar and lead-free glass flux, is melted extraordinarily thick, forming a layer of incredibly fine and dense ice crackle crazing like jewels across the entire surface of the vessel. Depending on the angle of incoming light, a kaleidoscopic diffused reflection emanates from the depths of this transparent glass layer, giving immeasurable three-dimensional depth and an absorbing spirituality to the flat vessel. In contrast, from the rim of the vessel to the outer wall, a rich and warm ochre to deep amber iron glaze (ash glaze) gradient is applied uniformly, creating a vivid chromatic and visual contrast with the cool monochrome worldview of the interior, and serving as a supreme frame that powerfully tightens the overall sculptural beauty of the work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eWhat further determines the artistic value of this work is the presence of a handwritten signature on the flat base, where the footrim is intentionally omitted. In the center of the perfectly flat, carved-out base, the inscription \"光夫\" (Mitsuo) is clearly marked with black pigment, either iron or cobalt, in a fluid and masterful brushstroke free of hesitation. Kano Mitsuo's uncompromising commitment to perfectly controlling his artistic signature, even in invisible details, is condensed in this single signature, eloquently testifying that this work is an undeniable authentic masterpiece from his own hand. The exposed clay body around the inscribed signature reveals the meticulous yet well-fired, slightly reddish, high-quality ceramic clay, carefully selected by a prestigious Kiyomizu ware family. The contrast between this rustic charm of the clay and the refined hariyū (glass glaze) covering the surface is also superb. The production period of this work is logically identified as his mature period in the mid-Showa era (circa 1942-1970), when his unique hariyū technique was established, and his overwhelming technical prowess reached its golden age, exemplified by his appointment as a Nitten judge and recipient of the Minister of Education Award. The historical background of this work, being an authentic piece created directly by the master's hand, having transcended the turbulent periods of war and postwar, further solidifies its value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eWe propose this magnificent extra-large bowl, a legacy of the grand master at the origin of avant-garde ceramic history, as a special accent in modern, sophisticated table settings, and as a supreme example of Japanese Kōgei (craftsmanship) to enjoy rich practicality. In addition to appreciating its sculptural beauty as a large vase to adorn a refined interior, if placed in a space as an extra-large ice platter or a luxurious wine cooler, filled with ice to display multiple bottles when savoring premium aged whisky, vintage wine, or champagne, the beautiful ice crackle of the hariyū and the sumiyaki ripples on the interior will beautifully resonate with the ice and condensation, creating a breathtakingly luxurious executive experience. This is a supreme, one-of-a-kind item that you will never encounter again, domestically or internationally, allowing you to directly experience the essence of Kano Mitsuo's functional beauty, whose high technical skill has been praised and permanently housed in leading museums around the world, in your daily life.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kano Mitsuo (叶光夫, 1903-1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"32\"\u003eArtist's Major Activities:\u003c\/b\u003e [1920] Joined the Chinese Ceramic Research Institute in Dalian and engaged in research on ancient Chinese ceramics, [1943] Traveled to Manchuria as a commissioned expert for Manchukuo to select sites for official kilns, [1946] First exhibited at the Japan Art Exhibition (Nitten), [1949] [Received special selection award at the Japan Art Exhibition, [1953] Received Hokuto Prize at the Japan Art Exhibition, [1957] Appointed as a judge for the Japan Art Exhibition, [1958] Appointed as a member of the Nitten corporate body, [1967] Appointed as a Nitten judge and received the Minister of Education Award, [1968] Appointed as a Nitten councilor, [1969] Humbly created a white porcelain vase for the construction of the new Imperial Palace.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"799\"\u003eWorks Housed In:\u003c\/b\u003e The National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museum of Art, São Paulo (Brazil); Japan Art Academy; Musée Palissy (France); International Museum of Ceramics in Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eCirca: \u003c\/strong\u003eA work created in 1947\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1133\"\u003eCondition:\u003c\/b\u003e With defects (\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eone chip on the inner rim\u003c\/span\u003e, no cracks or breaks, minor scratches and kiln flaws due to age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1249\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1300\"\u003eMaterial:\u003c\/b\u003e Pottery (hariyū \/ glass glaze, sumiyaki \/ ink-fired, glazed color)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1377\"\u003eDimensions:\u003c\/b\u003e Height approx. 9.0 cm, Width (long side) approx. 50.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1446\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if new and unused, are from a very old production period and are listed as used. Items may have age-related damage, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193987771,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8382_result.jpg?v=1782451035"},{"product_id":"295","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #295","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by Kumakura Junkichi (1920-1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, he pursued his artistic career in ceramics. He apprenticed under \u003ca href=\"\/en\/search?q=%22%E7%A6%8F%E7%94%B0%E5%8A%9B%E4%B8%89%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFukuda Rikisaburo\u003c\/a\u003e at the Shosai Toen atelier in Kyoto, and further had his creative spirit rigorously instilled by \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, a giant of modern ceramics and a Living National Treasure. His style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with his own industrial design and architectural background, shone with a unique brilliance in the ceramic world of his era. In 1957, he joined the legendary avant-garde ceramic artist group \"Sodeisha,\" formed by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. His artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. His works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in his youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued his unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. His spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to his relatively short active period of ceramic creation and the fact that many of his major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kumakura Junkichi (熊倉順吉, 1920-1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194315451,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8558_result.jpg?v=1783258162"},{"product_id":"308","title":"Kutani Ware Kaga Daishoji Akae Saibyou Master Tani Shukei (谷秋渓) - Akae Saibyou Kinsai Dragon Sake Cup Pair - The True Essence of Takeuchi Ginshu's Lineage, Microscopic One-Stroke Painting, Cloud Dragon Motif, A Treasure of Japanese Ceramic History #308","description":"\u003cp data-path-to-node=\"21\"\u003eThis is an exceptionally rare and highly dignified pair of Kutani Akae Saibyou Kinsai (microscopic red painting with gold highlights) sake cups (Sake-nomi), complete with their original signed wooden box (Tomobako), meticulously crafted by Shukei Tani (1888-1959, Birth name: Masaki), an eminent artisan native to Daishoji, Kaga City, Ishikawa Prefecture. Shukei Tani studied directly under the two historic titans of ceramic art: \u003ca href=\"\/en\/search?q=%22%E7%AB%B9%E5%86%85%E5%90%9F%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakeuchi Ginshu\u003c\/a\u003e, a legendary Meiji-era master of Kutani red painting, and his third son, \u003ca href=\"\/en\/search?q=%22%E5%BA%83%E6%B2%A2%E8%8A%A6%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eRoshu Hirosawa\u003c\/a\u003e, who was widely acclaimed as the absolute historical pinnacle of Daishoji fine red painting. Tani’s works purely inherit the legitimate and orthodox lineage of this fine red style. Conveying the true essence of Daishoji artistry to the modern era, Shukei Tani’s creations are incredibly rare masterpieces with virtually no historical documentation available in Western art markets or general antique venues. Shukei consistently maintained an uncompromising creative ethos that thoroughly rejected the facile imitation of historical classics, instead refining manual artistry to the absolute limit. Consequently, his work is profoundly revered within the fine art community as a monumental presence that conclusively certifies the authenticity of the Daishoji Akae Saibyou lineage.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eThe paramount achievement and definitive hallmark of Shukei Tani’s ceramic art lies in his absolute mastery of the Kutani aka-e saibyou technique of \"Sogaki\" (comprehensive full-surface drawing), a method of total surface embellishment where the entirety of the porcelain is completely covered in microscopic red lines, deliberately leaving no negative space or blank areas. Utilizing an incredibly fine liner brush dipped in a specialized iron silicate pigment termed \"Bankou,\" his brushwork proceeds with mathematical precision, achieving an astonishing level of structural uniformity that exhibits no tremor or variation in line thickness even when examined under high magnification. On the outer walls of this matching pair of sake cups, this superlative technique is fully realized. Dynamic, undulating cloud dragons and swirling auspicious vapours seamlessly wrap around the gentle, three-dimensional curves of the porcelain vessel with mesmerizing density. Furthermore, opulent gold leaf (Kinsai) is strategically and beautifully layered over the dragon’s whiskers, dorsal fins, and the contours of the clouds, imparting an overwhelming splendor and a rich, tactile three-dimensional texture to the monochrome red base linework. The foot of each cup is similarly encircled by a dense geometric band rendered in pure gold leaf, reflecting an absolute refusal to compromise on decorative perfection down to the smallest millimeter.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eAn additional, extraordinary highlight of this work is that the absolute aesthetic discipline of Daishoji Akae is rigorously applied not only to the exterior but thoroughly into the innermost depths of the vessel. At the center bottom of the interior (Mikomi) lies a delicately bordered circular window, within which a regal phoenix (Ho-o) gracefully spreading its sprawling tail feathers in full flight is vividly and dynamically rendered in red enamel and brilliant gold leaf. Furthermore, a fine comb pattern (Kushime-mon)—consisting of perfectly parallel, hair-thin vertical red lines—encircles the inner rim of the mouth, ensuring that a flawless decorative universe unfolds from every conceivable viewing angle. Inside the foot ring, the four characters reading \"Kutani Shukei\" are cleanly hand-painted in red enamel by the master’s own hand, standing as definitive proof of authenticity. The lid of the accompanying dedicated wooden box (Tomobako) bears the elegant ink inscription \"Kutani Aka-e Sakazuki Ni\" (Two Kutani Aka-e Sake Cups), while the reverse side of the lid features the formal signature \"Shukei-zo\" accompanied by his authentic red vermilion seal, unequivocally establishing that this set was born from Shukei Tani's direct hand and has been reverently preserved as a pristine heirloom.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe specialized process required to merge traditional microscopic red linework with multiple layers of gold leaf represents one of the most technologically daunting undertakings in the history of Japanese traditional crafts. If the volume of enamel held by the brush, the exact structural pressure of the hand, and a perfectly steady, uniform drawing speed—akin to holding one's breath—are not continuously maintained, the interlocking, microscopic patterns will instantly collapse. Moreover, because the red iron enamel and the gold leaf require vastly different optimal temperatures inside the kiln to develop their ideal color radiance, the porcelain must undergo a treacherous multi-stage firing regimen within the overglaze kiln after the initial bisque and main glaze firings. This ultra-high-difficulty discipline carries an immense failure rate, where a single moment of temperature deviation can cause the red pigment to vaporize or the porcelain core to fracture. Because it is physically impossible to mass-produce or streamline this structural creation, each cup represents a unique, one-of-a-kind universe requiring weeks of absolute concentration. Surviving the turbulent eras of the late Meiji, Taisho, and Showa periods to remain intact as a flawless, undamaged pair complete with its original inscribed Tomobako box is a true miracle of historical preservation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eOur gallery proudly proposes this pair, steeped in profound art-historical authority and unmatched manual skill, as the ultimate Japanese Kōgei sake vessels (shot glasses) designed to bring peerless elegance to a sophisticated modern lifestyle. Perfectly proportioned to rest naturally within the palm, these vessels are ideally suited to concentrate the complex aromas and deep, rich flavors of vintage sakes, aged spirits, or fine whiskies that have acquired a beautiful amber hue over decades of maturation. Accompanied by the moving poem transcribed upon the vintage wrapping paper, which captures the transient beauty of dew and the impermanence of existence, the vivid red linework and majestic gold ornamentation glisten brilliantly when filled with a fine spirit. This transforms a quiet evening drink into a luxurious immersion into a three-dimensional masterpiece of classic Japanese art—an unparalleled modern heirloom.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTani Shukei (谷秋渓, Birth Name: Masaki Tani, 1888-1959)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003eActive primarily in Daishoji, Kaga City, Ishikawa Prefecture from the late Meiji to the mid-Showa period, mastering and perfecting the legitimate, orthodox techniques of Daishoji Aka-e Saibyou under the renowned red-painting masters Takeuchi Ginshu and Roshu Hirosawa\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Taisho to early Showa era (Pre-war period, approx. 1920s–early 1930s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (original signed and sealed wooden box), original historic wrapping paper (with transcription and translations included)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (fine red painting, gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 4.8 cm, Mouth diameter approx. 5.0 cm (Internal dimension)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if brand new and unused, originate from a historic production period and are strictly listed as antique\/used fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055748133051,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8774_result.jpg?v=1783738886"},{"product_id":"315","title":"Co-founder of the Toto-kai with Itaya Hazan, Pioneer of Natural Gas Firing, Yaguchi Kiln, Tanaka Hozan (田中穂山), Historically Significant Masterpiece of Korean Karatsu Ware, Cylindrical Tea Bowl Rock Glass #315","description":"\u003cp data-path-to-node=\"19\"\u003eIn the history of modern Japanese ceramics, this is an extremely rare work from the Yaguchi Kiln period by Tanaka Hozan, a master craftsman who was a member during the dawn of the Toto-kai, which he helped establish alongside the modern ceramics master \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e, and who later pioneered Japan's first firing technology utilizing natural gas fuel. Tanaka Hozan (born Tanaka Sakutaro, October 21, 1884 – June 13, 1964) was born in Gojozaka, Higashiyama, Kyoto, and received rigorous instruction in the craft of Kiyomizu ware vessels from his father, Heian Kozan, a highly renowned ceramist. In 1913, he was invited by Mitsui Gomei Kaisha to Singapore, embarking on a unique career path manufacturing ceramic collection cups for rubber trees to support local industry. Following his return to Japan in 1925, he built the Yaguchi Kiln near the Yaguchi-no-watashi ferry point in Kamata, Tokyo, immersing himself in the creation of tea utensils. In 1938, he traveled to China to study the regional clay characteristics in Shandong and Henan provinces. During the war in 1944, he dedicated his efforts to reviving the legendary Otowa ware in Takashima Town, Shiga Prefecture, along the western coast of Lake Biwa. In the postwar era of 1947, he relocated to Mobara, Chiba Prefecture, at the invitation of Hidezaburo Kurushima, president of Otaki Natural Gas Company, where he established the Chosei Kiln and founded Mobara ware fired by natural gas. His wave-tossed life journey and superb artistic achievements, continuing until his passing at the age of 79, are historically authenticated by the fact that the Tanaka Hozan Ceramic Collection is permanently preserved and exhibited at the Wayo Women's University Cultural Materials Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThis work is a historically significant masterpiece of Korean Karatsu ware produced during the golden age of the Tokyo Yaguchi Kiln period, which Tanaka Hozan operated for only a fleeting window between his return to Japan in 1925 and his departure for China in 1938. The surface of the lid of the accompanying dedicated wooden box (Tomobako) bears the artist's own fluid calligraphic title inscription of \"Tsutsu Chawan\" (Cylindrical Tea Bowl) in ink, with his authentic signature \"Yaguchi Kiln, made by Hozan\" and his vermilion seal (rakkan) clearly impressed on the lower left, providing objective documentation that this is a genuine piece from the celebrated kiln built from the late Taisho period to the early Showa 1930s. The surface of the vessel, displaying a thick and powerful form characteristic of hand-thrown pottery on a wheel, features a dark brown iron glaze as its base, over which a milky-white straw ash glaze is boldly ladled, rendering a dynamic, cascading contrast. Due to the natural phenomena of the flames inside the coal-fired kilns of that era, where temperature control was exceedingly difficult, a brilliant coloration of yellowish-green and bluish hues forms a beautiful Yohen (kiln transmutation) gradation at the boundaries of the glazes, while the base unmasks a robust, reddish-brown clay body and glaze crawling. Furthermore, peering into the interior of the vessel, a glassy, lustrous bluish glaze pool (yutamari) has gathered at the bottom of the basin, offering a profound sense of depth that stands in exquisite juxtaposition to the audacious scenery of the exterior.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eWe propose this historically valuable cylindrical tea bowl as a supreme Japanese Kogei sake vessel (rock glass) for appreciating aged sake, matured liquors, or your favorite whisky accompanied by large ice cubes, elegantly adapting it to a refined modern lifestyle. The precise techniques of Kiyomizu ware inherited from his father, Heian Kozan, combined with Hozan’s unique insights from studying soils around the world, culminate in a substantial form that settles comfortably within the hand, gently cradling the aromatic bouquet of the spirit. The amber liquid poured within resonates in perfect harmony with the mysterious glaze pool inside and the grand color visual on the exterior. Tanaka Hozan relocated his creative base across Tokyo, Shiga, and Chiba during different eras, making the absolute volume of extant authentic works exceptionally scarce due to the tightly restricted production timeframes in each region. It is particularly rare for a cylindrical tea bowl from the Yaguchi Kiln period, fully intact with its original Tomobako, to enter the private trade. This is a singular, irreplaceable treasure by a phantom master about whom virtually no records exist overseas, sublimating your daily evening drink into an hour of contemplating peak three-dimensional art.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTanaka Hozan (田中穂山, Birth name: Tanaka Sakutaro, born October 21, 1884 – passed away June 13, 1964, aged 79)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1884] Born in Gojozaka, Higashiyama, Kyoto; from his childhood, studied Kiyomizu ware under his father, the ceramist Heian Kozan,\u0026nbsp;[1913] Invited by Mitsui Gomei Kaisha to Singapore, [1925] Returned to Japan and opened the Yaguchi Kiln in Kamata, Tokyo, [1927] Became a member of the Toto-kai, [1938] Researched ceramics in Shandong and Henan provinces, China, [1944] Devoted efforts to revive Otowa ware in Takashima Town, Shiga Prefecture, [1947] Relocated to Mobara City, Chiba Prefecture, and established the Chosei Kiln, Japan's first kiln utilizing natural gas firing, at the invitation of Hidezaburo Kurushima, president of Otaki Natural Gas Company (founded Mobara ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eWorks in Collection: \u003c\/strong\u003eWayo Women's University Cultural Materials Museum (permanently stored and exhibited as the Tanaka Hozan Ceramic Collection)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1925–1938 (Taisho 14 – Showa 13, Tokyo Yaguchi Kiln Period)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eProduct Condition: \u003c\/strong\u003eGood (no chips, no cracks, excluding age-related changes typical of antique art; one missing leg on the box)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Tsutsu Chawan\" inscribed on the lid and \"Yaguchi Kiln, made by Hozan\" in ink with a seal (rakkan) on the lower left; one missing leg on the box\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Korean Karatsu style, iron glaze, straw ash glaze, kiln variations \/ Yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 10.5 cm, Mouth diameter approx. 9.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if unused, are historical crafts from a very old production period and are listed as antique art. As items may have unique firing flaws or subtle age-related changes, please understand and acknowledge the nature of antique art before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48093148643515,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9135_result.jpg?v=1784358836"},{"product_id":"329","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Hidasuki Tea Bowl, Crafted Under Two Important Intangible Cultural Properties, Western Liquor Vessel, Rocks Glass #329","description":"\u003cp data-path-to-node=\"17\"\u003eThis extremely rare Bizen ware tea bowl is crafted by Takahara Shoji (1941–2000), a master of Bizen ceramics born in Okayama Prefecture in 1941. He achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having his work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of his creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, to the global market not only as tea ceremony pottery for enjoying matcha, but also as a vintage premium sake vessel (Japanese rocks glass) designed for slowly savoring aged amber sake or neat premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe core artistic value of Takahara Shoji lies in his prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, he studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e, Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, he studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e, also a Holder of Okayama Prefectural Important Intangible Cultural Property, thoroughly mastering the superb potter’s wheel forming techniques that served as Ishii's trademark. Examining the details of this work reveals that the transcendent techniques inherited from both masters, along with the drama of noborigama (climbing kiln) firing, are clearly manifested across its entire surface. The vessel's form retains beautiful and powerful wheel marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm. Without the use of any glaze, the external appearance coexists in extraordinary density with traditional Bizen firing effects—yohen (natural kiln transformation), hai-kaburi (ash deposit), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood. One side displays magnificent natural glaze (goma) that melted and settled like heavy tree bark or molten lava under intense falling wood ash from the noborigama kiln, while contrastingly, vibrant red hidasuki patterns born from rice straw wrapping powerfully encircle the area from the foot ring to its underside. Within the interior base (mikomi), melted natural glaze deposits and deep unglazed firing expressions spread out, while the outer surface exhibits minor natural fissures along the clay boundaries typical of noborigama firing (ishihaze and fine clay expressions), boasting the ultimate unglazed beauty unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, this work is identified as an authentic masterpiece created during his peak period between 1981 and 1984, grounded directly in the fact that his form and yohen techniques reached their zenith following his research trip to the United States in 1981, as well as the artist's biography leaflet included with the piece detailing his solo exhibition history up to 1984 (Showa 59). The artist's unique seal is clearly stamped inside the foot ring, and the piece remains in very good condition with no chips or cracks. It arrives as a complete set, accompanied by a matching wooden box for safe protection, a dedicated wrapping cloth stamped with a red seal, and a biography leaflet printed with the artist's mark.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Takahara Shoji (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1958] Studied under Isezaki Yozan, Holder of Okayama Prefectural Important Intangible Cultural Property; [1962] Studied under Ishii Furo, Holder of Okayama Prefectural Important Intangible Cultural Property, selected for the Japan Kougei Association Higashi-Chugoku Branch Exhibition for the first time; [1965] Built his own noborigama (climbing kiln) and established his independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Museum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 1981–1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks, natural ash glaze melted deposits inside the interior, minor natural clay boundary fissures on the surface as inherent character of the work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories： \u003c\/strong\u003eMatching wooden box, wrapping cloth with seal, leaflet printed with artist's seal included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed firing, natural ash glaze, goma ash spots, hai-kaburi ash deposit, sangiri, hidasuki, yohen kiln transformation, tado clay, potter's wheel marks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions： \u003c\/strong\u003eHeight approx. 7.9 cm, Mouth diameter approx. 12.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731235003,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0047_result.jpg?v=1785504621"},{"product_id":"334","title":"Winner of the Gold Prizes at the Prague and Vallauris International Ceramics Exhibitions, Founder of Sodeisha, Suzuki Osamu (鈴木治), \"Return to Primitive Art,\" Bakushu-nomi Beer Mug Ceramic Whisky Tumbler #334","description":"\u003cp data-path-to-node=\"9\"\u003eThis is a handled sake vessel directly crafted by Suzuki Osamu (1926-2001), a master who reigns at the pinnacle of Japan's contemporary ceramic art world, whose works are permanently housed in major modern art museums both in Japan and abroad. The dedicated wooden box (kyobako) bears the artist's own inscription, \"Bakushu-nomi,\" written in elegant, powerful cursive script. The vessel itself has a substantial cylindrical form that sits weightily in the hand, and a thick, powerfully drawn handle. While the artist created it as a vessel for savoring beer at its finest, in today's luxurious lifestyle, it also possesses an overwhelming presence as a supreme on-the-rocks Ceramic Whisky Tumbler for slowly enjoying rare aged spirits that have transformed into a beautiful amber color over many years, or premium single malt whiskies with large ice cubes. The extremely precise skeletal structure born from the bloodline of master potters, the carefully studied thickness, and the direct texture of the rough clay surface, which immediately conveys itself to the touch and sets it apart from blown glass or ordinary hand-formed vessels, elevates the time spent enjoying alcohol into an exceptional artistic experience. This is an avant-garde craft piece from Japan that is extremely difficult to obtain in overseas art markets and possesses the highest asset value to satisfy the discerning eye of an avid collector.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe artist, Suzuki Osamu, was born in 1926 as the third son of \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E5%AE%87%E6%BA%90%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Ugenji\u003c\/a\u003e, a renowned potter in Kyoto. Until his sudden passing in 2001, he relentlessly pursued avant-garde expressions that rewrote the history of Japanese craft. In 1948 (Showa 23), he formed the avant-garde ceramic art group \"Sodeisha\" with \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E7%94%B0%E5%85%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, Matsui Bisuke, and Kano Tetsuo, initiating a movement that fundamentally broke the spell of practicality (\"beauty of utility\") – the absolute norm in the Japanese ceramic world, where ceramics were primarily for serving food or pouring water. They redefined clay not merely as a material for vessels but as a medium for pure self-expression, giving birth to a completely new genre of art: objet ceramics, the first of its kind in Japan. Sodeisha subsequently led the forefront of Japan's contemporary art scene for half a century, and with its 50th exhibition in 1998, it dissolved amicably, having fully fulfilled its historic mission of elevating ceramics to contemporary art within the art world. Amidst this tumultuous movement, Suzuki preferred to use the term \"deisho\" (mud-form) for his works, meaning to manifest the form of the world through clay (mud), rather than simply calling them \"objects.\" He continued to pursue unique, poetic forms by deforming and deconstructing his superb potting wheel techniques. By 1999, his global status was firmly established, as evidenced by a large-scale retrospective exhibition held at the National Museum of Modern Art, Tokyo.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe distinctive face-shaped motif that dominates the front of this work perfectly embodies Suzuki's lifelong pursuit of reverence for nature and a return to primitive art. The eyes and nose carved into this circular bas-relief, along with the continuous spiral patterns arranged at the bottom, personify the life force of great nature, such as the sun and wind, with his unique poetic humor, imbuing the modern vessel with the pure magical energy of Jomon clay figurines and ancient masks. The surface of the vessel intentionally exposes a powerful, clay texture like Mikage clay containing coarse particles, over which a thin layer of feldspar glaze with a pale greenish-gray tint is applied. This masterfully merges the organic warmth of the clay with the sparkling beauty of the finely appearing crazing (fine crack patterns) on the surface. Furthermore, at the bottom edge of the vessel, a vibrant reddish \"hi-iro\" (fire color) has emerged, a result of the chemical reaction between the edge of the glaze and the unglazed body caused by the intense flames of the climbing kiln, thus encapsulating the dramatic moment when fire and earth became one within the vessel. At the base of the handle, Suzuki's circular \"治\" (Osamu) seal is clearly impressed, confirming its authenticity. The handwritten signature and seal on the lid of the wooden box, along with the official ceramic history (bookmark) from Yodo Gallery in Osaka, which conveys the atmosphere of his solo exhibitions at the time, are perfectly preserved. This is a supreme piece in excellent condition, condensing the artist's lifelong artistry, where Suzuki's object philosophy (Deisho) admirably returns to its origin as a functional vessel.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: Suzuki Osamu (鈴木治, 1926-2001)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career History\u003c\/b\u003e: [1926] Born in Kyoto as the third son of master potter Suzuki Ugenji, [1948] Formed the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Yamada Hikaru, holding their first exhibition, [1961] Received the Japan Ceramic Society Award, [1962] Won a Gold Medal at the Prague International Ceramics Exhibition, [1968] Appointed Assistant Professor of Ceramics at Osaka University of Arts, [1970] Won a Gold Medal at the Vallauris International Ceramics Biennale and invited to exhibit at \"Contemporary Ceramics - Europe and Japan\" organized by the National Museum of Modern Art, Kyoto, [1971] Won the Minister of International Trade and Industry Award at the Faenza International Ceramics Exhibition and invited to exhibit at the Japan Ceramics Exhibition (subsequently exhibiting every time), invited to exhibit at \"Contemporary Ceramics - America, Canada, Mexico and Japan\" exhibition organized by the National Museums of Modern Art, Kyoto and Tokyo, [1975] Exhibited at \"International Ceramics Exhibition '75\", [1979] Exhibited at \"Art Now '79\", [1999] A large-scale retrospective exhibition \"Poetic Objects: Suzuki Osamu's Ceramics\" was held at the National Museum of Modern Art, Tokyo, [2001] Passed away at the age of 73\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,2,0\" data-index-in-node=\"0\"\u003eMuseum Collections\u003c\/b\u003e: Permanently housed in public collections of major modern art museums around the world, including The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955 (Presumed identical or same-series works are currently in the collection of institutions such as The National Museum of Modern Art, Kyoto)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Original wooden box, wrapping cloth, official ceramic history (bookmark) issued by Yodo Gallery.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (feldspar glaze)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Approx. 9.0 cm diameter, approx. 9.5 cm height\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products offered by our shop are new and unused, they are from a very old production period and are all listed as used items. The products may have damage due to age, so 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":48133573312699,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0147_result.jpg?v=1785638661"},{"product_id":"342","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Society Award Winner Matsui Koyo (松井康陽): Mukunoki Ash Glaze Neriage Teacups (Pair), Japanese Rocks Glass #342","description":"\u003cp data-path-to-node=\"17\"\u003eStudying under his father \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E4%BA%95%E5%BA%B7%E6%88%90%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Kosei\u003c\/a\u003e—a holder of Important Intangible Cultural Property (\"Neriage\" Marbled Ware \/ Living National Treasure)—Matsui Koyo (born 1962) elevated marbled ceramics into a new artistic realm through modern compositional perspectives and precise physical calculations cultivated at the School of Art and Design, University of Tsukuba. After graduating in 1985, he mastered the Matsui family’s secret clay formulation and sophisticated assembly techniques under his father's tutelage, establishing a solid position in modern Japanese ceramics by receiving the Encouragement Award at the 38th Japan Traditional Art Crafts Exhibition in 1991 and the Japan Ceramic Society Award in 2002. His works are officially housed in public institutions such as The Metropolitan Museum of Art (USA), the Victoria and Albert Museum (UK), and The National Museum of Modern Art, Tokyo. Our shop presents this supreme handcrafted masterpiece—a crystallization of human passion and scientific insight—to the global market not only as traditional tea vessels for enjoying sencha, but also as vintage rocks glasses (a Japanese pair of free cups) designed for quietly savoring amber-colored aged sake or premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the details of this work reveals that the fusion beauty of Matsui Koyo's proud, advanced \"layered neriage\" (marbling) and \"mukunoki ash glaze\" (using natural plant ash) is clearly manifested across the vessel. Clay sheets of different colors—blue, light blue, dark green, black, and refreshing white—are stacked layer upon layer in millimeter precision, reorganized, and assembled to create abstract yet structured patterns that seem to encapsulate flowing atmosphere, blue drift ice, or the dynamic layers of the Earth. Unlike surface painting, the neriage technique builds the clay itself three-dimensionally, so the patterns continuously penetrate from the interior base (mikomi) through to the bottom foot ring. Matching the differing shrinkage rates of each color with mathematical precision to prevent cracking or peeling during high-temperature firing is truly a physical miracle. Applied over this, the mukunoki ash glaze softly envelops the vivid marbled layers, conferring deep dimensionality and a serene matte texture alongside the refraction of light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is identified as an authentic work created in the 2000s (circa 2000–2010), a mature era when his unique expressive style combining geometric layered neriage composition and mukunoki ash glaze reached fulfillment following his 1991 Japan Traditional Art Crafts Exhibition Encouragement Award and 2002 Japan Ceramic Society Award. The vessel itself has no chips or cracks, maintaining an exceptionally beautiful condition. It arrives as an item in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Mukunoki-yu Neriage Yunomi Ittsui\" with a seal stamped, an artist-stamped Tomonuno (wrapping cloth), and a biography leaflet.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist： \u003c\/strong\u003eMatsui Koyo (松井康陽, 1962–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities： \u003c\/strong\u003e[1985] Graduated from the School of Art and Design, University of Tsukuba, and studied under his father Matsui Kosei (Living National Treasure); [1991] Received the Encouragement Award at the 38th Japan Traditional Art Crafts Exhibition; [2002] Received the Japan Ceramic Society Award; [2005] Received the Encouragement Award at the 33rd Traditional Art Crafts New Works Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, The National Museum of Modern Art, Tokyo, Ibaraki Ceramic Art Museum, Smith College Museum of Art, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 2000s (circa 2000–2010)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako, Tomonuno included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial： \u003c\/strong\u003eCeramic (Neriage marbled clay, mukunoki ash glaze, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 8.2 cm, Mouth diameter approx. 8.0 cm (Pair)\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":48145421271227,"sku":null,"price":150000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0445_result.jpg?v=1786022223"},{"product_id":"406","title":"Omotesenke 13th Sokuchusai Inscription, Mino Ware National Treasure \"Uhanagaki\" Replica, E-Shino Chawan, Titled \"Yuki no Hi\" (Snowy Day), E-Shino Lattice Pattern Chawan, With Collector's Tag, Matcha Bowl, Sake Vessel, Japanese Rocks Glass #406","description":"\u003cp data-path-to-node=\"19\"\u003eThis Mino ware E-Shino Chawan is endowed with a precious inscription and titled \"Yuki no Hi\" (Snowy Day) by Grand Master Sokuchusai (Sen Sosa, 1901–1979), the 13th Headmaster of Omotesenke, who preserved the traditions of Omotesenke through the turbulent Showa period and laid the foundations of modern tea ceremony. Taking the National Treasure \"Shino Chawan Titled Uhanagaki\"—one of only two domestic tea bowls designated as National Treasures in Japan—as its Honka (the original reference model), this masterpiece replicates its dignified form and possesses the highest-ranking official authentication (Kiwame) in the Japanese tea ceremony world. It is presented to our global clientele not only as a Matcha bowl for enjoying traditional tea, but also as a luxury Japanese rocks glass (sake vessel)—taking advantage of its heavy, dignified semi-cylindrical form and warm white glaze reminiscent of fallen snow—for floating large ice cubes and quietly pouring amber aged sake, matured whisky, or authentic shochu.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eBorn as the second son of the 12th Headmaster Seisai, Master Sokuchusai succeeded as the 13th Headmaster in 1937 under the foundation of a high classical education in history at Keio University and Kyoto Imperial University. During the chaotic period during and after the war, he established the nationwide organization \"Senke Domonkai\" to gather scattered disciples and established the non-profit corporation Fushin'an to protect the symbolic tea room of the Sen family, earning acclaim as the founder of modern tea ceremony organizations. An inscription (Kakitsuke or Hakogaki) brushed in ink on the reverse side of the paulownia box lid by the Headmaster—the supreme authority in the tea world—is not a mere assertion of ownership, but an official authentication (Kiwame) certifying that the Headmaster personally handled, examined, and appreciated the vessel, deeming it to possess exquisite craftsmanship and nobility suitable for use as the primary bowl (Shu-chawan) in a formal tea gathering. In this work as well, Master Sokuchusai inscribed \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\", breathing life and narrative into the vessel and endowing it with the orthodox prestige of Omotesenke.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eAs a strict convention in the world of tea utensils, when a work is crafted by the Headmaster's own hands through shaping or carving (a self-made work), the inscription on the Tomobako inevitably includes the words \"Jisaku\" (self-made) or \"Tezo\" (hand-crafted). On the other hand, works such as this piece, which lack self-made designations on the box inscription and are recorded simply as \"Shino Chawan, Titled Yuki no Hi\", indicate an appreciated work—a replica masterpiece fired by a top-tier Mino master potter using the pinnacle of technique, which Master Sokuchusai deeply cherished and granted authentication (Kiwame). Furthermore, a Dogufuda (inventory tag) inscribed with \"Shino Sokuchu \/ No. 28 \/ No. 43\" is affixed to the side of the box, proving a verified provenance carefully managed in the inventory ledgers of prominent tea masters, major collectors, or prestigious art dealers. In particular, this piece, adorned with the character \"Sa\" (the hereditary signature character of Omotesenke headmasters) and a flowing Kaō (stylized mark), boasts perfect provenance as a primary tea bowl for tea gatherings, establishing extremely high credibility and rarity in the antique art market.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eShino ware, which flourished in Mino (Gifu Prefecture) during the Momoyama period, is the traditional Japanese ceramic art that first applied a translucent white glaze (feldspar glaze), and this work embodies the traditional style of \"E-Shino,\" in which motifs are painted with iron oxide (Oni-ita). As a replica of the National Treasure \"Uhanagaki,\" this work faithfully inherits the aesthetic characteristics of its original model: a powerful semi-cylindrical shape with sharp spatula carving, a lattice pattern (Igeta grid pattern) seeping from under the thick feldspar glaze, and subtle fire marks (Hiiro) generated by the kiln flames. Examining the details of the piece, the feldspar glaze covering the entire vessel exhibits a moist milk-white hue, showing a rich texture reminiscent of a fresh layer of soft snow through fine \"Yuzu-hada\" (citrus peel texture) and crackles (Crazing) formed as the glaze melted and contracted during firing. From beside the foot to the base, the raw clay body containing coarse sand remains exposed with rough carving marks, while the interior bottom (mikomi) features a deep glaze pool and soft crackles, creating a pure and powerful scenery.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eGiven the history of the National Treasure \"Uhanagaki\" being named after snow piling on a hedge, likened to the feeling of \"stepping through the snow\" expressed in a classical waka poem, the title \"Yuki no Hi\" (Snowy Day) bestowed by Master Sokuchusai is an elegant naming that brilliantly echoes the scene and poetic taste of the National Treasure through Honkadori (poetic allusion). The greatest pleasure in enjoying this Shino tea bowl as a sake vessel lies in the substantial tactile feel provided by its thick semi-cylindrical form and the beautiful contrast between the white glaze and reddish fire marks when liquid is poured inside. Unlike typical black Tenmoku that absorbs light, the warm white glaze surface of Shino gently reflects light and poured liquids. When floating large rocks of ice and quietly pouring amber aged sake, matured whisky, or authentic shochu, the moist white glaze, net-like crackles in the interior, and delicate reddish fire marks on the vessel surface emerge fantastically through the amber liquid, generating a beautiful, radiant coloration as if warm sunlight were shining upon a snowy plain. Regarding the period of production, based on the calligraphic style of \"Sa\" in Master Sokuchusai's handwriting, his fluidly looping Kaō style, and alignment with his peak period from the mid-to-late Showa era when he granted inscriptions to famous kilns across Japan to expand Omotesenke tea ceremony, it is identified as a work created and inscribed around the 1950s to 1970s (Showa 30s to Showa 50s). The vessel itself suffers no damage such as chips or cracks, maintaining outstanding condition in both Shino glaze coloration and iron painting texture. It is a highly dignified masterpiece accompanied by its dedicated paulownia box bearing the authentic ink inscription \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\" on the underside of the lid by Master Sokuchusai, a wrapping cloth, and an inventory tag detailing its provenance.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMino Master Kiln Potter (Vessel) \/ Omotesenke 13th Sokuchusai Soshu (Calligraphy, 1901–1979)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1937] Succeeded as 13th Headmaster of Omotesenke; [1942] Founded Senke Domonkai (now Public Interest Incorporated Association Omotesenke Domonkai); [1949] Established Fushin'an Foundation\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Fushin'an, Omotesenke Kaikan, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eVessel production date unknown; Calligraphy estimated circa 1950s–1970s\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia box (with Sokuchusai lid-back inscription and Kaō), wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, E-Shino, feldspar glaze, iron oxide painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313810190523,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2349_result.jpg?v=1788488087"},{"product_id":"409","title":"Kyoto Prefecture Cultural Merit Award Winner, Sodeisha Member, Miyanaga Tozan III (三代 宮永東山・宮永理吉, Miyanaga Rikichi), Yatou Colored Glazed Incised Bowl, Fruit Bowl, Ice Bowl #409","description":"\u003cp data-path-to-node=\"1\"\u003eThis \"Yatou Colored Glazed Incised Bowl\" (Yatou Saiyu Koku-no-Hachi) is created by Miyanaga Tozan III (real name: Miyanaga Rikichi, b. 1935), the third-generation master of the renowned Tozan Kiln of Kyo-ware ceramics, who left a monumental legacy in modern Japanese ceramic history as a member of the avant-garde ceramic group \"Sodeisha.\" After studying sculpture under Shindo Tsuji and others at the Kyoto City College of Fine Arts (now Kyoto City University of Arts), Miyanaga Rikichi traveled to the United States in 1959 to study at the Art Students League of New York. Upon returning to Japan, through the formation of the sculpture group \"Zero\" and activities at the Kodo Bijutsu Association, he became a member (Dojin) of the avant-garde ceramic artist group \"Sodeisha\" in 1970, developing intellectual structural expressions that overturned traditional ceramic frameworks. The original leaflet accompanying this piece includes an essay by art critic Yoshida Kozo stating, \"This solo exhibition is an attempt by him to create everyday items by applying his innovative sculptural sensibility,\" along with his career history up to 1966 (Showa 41). The description in this leaflet serves as direct, objective evidence specifically identifying this piece as a precious early work from the 1966 solo exhibition that attempted the fusion of utility and sculpture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eTitled \"Yatou Saiyu Koku-no-Hachi\" on the original wooden box (Tomobako), this work bears a stamped signature \"Ri\" (理) in gosu (underglaze cobalt blue) on the bottom surface. The greatest charm of this piece lies in its overwhelming structural beauty, where intellectual structural expression as a sculptor and traditional techniques of Tozan Kiln fuse at a high level. On the solid vessel body reminiscent of bedrock carved from a rocky mountain, geometric and powerful incised motifs (sculptural cutout lines) are deeply carved into the sides, creating heavy shadows depending on the angle of light. The \"Yatou colored glaze\" covering the surface exhibits a matte, rustic glaze quality based on feldspar and wood ash, highlighting the rough texture of sand grains and minute feldspar particles mixed into the clay body. The thick construction and stable form of the vessel dissolve the traditional concept of a bowl, perfectly harmonizing sculptural three-dimensionality with functional utility—a true crystallization of structural thinking unique to a Sodeisha member.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing a commanding scale and overwhelming weight with a height of approximately 12.0 cm and a diameter of approximately 26.5 cm, our shop proposes this bowl tailored to modern lifestyles as a supreme Japanese Kogei piece where traditional Japanese beauty intersects with modernism. In particular, in refined spaces for savoring aged spirits and whisky that have acquired rich depth and aroma over time, it exudes a distinctive presence as a fruit basket for vibrant seasonal fruits or an ice bowl filled with rock ice. The contrast between the rough yet serene rock-like texture and the colors of ice or fruit placed within brings a definite dignity and modern art sophistication to dining tables and living spaces. Created on the eve of his transition to thin celadon and white porcelain works in later years, this is an extremely rare authentic masterpiece created in the mid-1960s that challenged everyday items with a sculptural approach, serving as a supreme craft piece to be savored with all five senses.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Comment from an Art Critic Who Knew Miyanaga Tozan III (Miyanaga Rikichi)\u0026gt;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u0026nbsp;\"Miyanaga Rikichi is currently creating unique sculptures using ceramics as his medium, presenting his work as a member of Kodo-kai and the 'Zero' group. While he is undoubtedly a sculptor, he also has a career working as a potter in the workshop of his father, Miyanaga Tozan. This solo exhibition represents an attempt by him to apply his innovative sculptural sensibility to the creation of everyday goods, which I am greatly looking forward to. I hope that through efforts like this, a new frontier will open up in the domestic ceramics around us.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\" style=\"text-align: right;\"\u003eYoshida Kozo (1915-2013, Art Critic and Ceramic Researcher)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyanaga Tozan III (三代 宮永東山・宮永理吉) \/ Miyanaga Rikichi (1935-)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1958] Graduated from Kyoto City College of Fine Arts, Department of Sculpture, [1959] Traveled to the U.S. and studied at the Art Students League of New York, [1961] Formed the sculpture group \"Zero\", [1970] Joined the avant-garde ceramic group \"Sodeisha\" as a member, [1998] Received the Kyoto Prefecture Cultural Merit Award, [1999] Succeeded to the name Miyanaga Tozan III, [2008] Received the Kyoto City Arts Merit Award, [2024] Received the Special Cultural Merit Award at the 42nd Kyoto Prefecture Cultural Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Museum of Modern Ceramic Art, Shigaraki (Shigaraki Ceramic Cultural Park); Kyoto City KYOCERA Museum of Art; etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1966 (Showa 41, work presented at solo exhibition)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), original leaflet included (featuring essay by Yoshida Kozo)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Yatou colored glaze, incised decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.0 cm, Width (Diameter) approx. 26.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313814810811,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3302_result.jpg?v=1790256838"},{"product_id":"464","title":"Artisan Supplying the Imperial Household Agency's Togu Palace, Kimura Ichiro (木村一郎), Black Persimmon Glaze Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #464","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a black persimmon glaze (kuro-kaki-yu) tea bowl created by Kimura Ichiro, a master artisan who studied modern glaze chemistry and firing theory at the National Ceramic Experimental Station under the Ministry of Commerce and Industry and built the modern ceramic art history of Mashiko ware alongside Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e. Having established his kiln in Mashiko after graduating from the National Ceramic Experimental Station, Mr. Kimura received high acclaim both domestically and internationally: he won special prizes at the Kokuten and Modern Japanese Ceramic Art Exhibitions, received the honor of crafting items for the Imperial Household Agency's Togu Palace (the Crown Prince's Residence), and was invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France. This piece can be estimated as an authentic work created between the late 1960s and early 1970s (Showa 40s), a period when his technique and artistic dignity reached their peak following his production of Imperial Household items.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe greatest highlight of this work lies in the fluid expression of the black persimmon glaze—boldly combining Mashiko's traditional persimmon glaze with black glaze—and the creative, sculptural beauty of the exterior bottom of the bowl (inside the foot ring) rising powerfully into a conical shape. On the surface of the vessel, through precise glaze control cultivated at the experimental station, deep dark brown persimmon glaze and lustrous black glaze overlap like crackle patterns, drawing a pictorial and dynamic contrast. Turning the bowl upside down reveals that the interior of the foot ring rises sharply toward the center into a conical shape (a technique known as Tokin-kodai, or helmet-crest foot), featuring an extraordinarily rare and powerful carved sculpting technique. The area around the contact surface of the foot ring is intentionally left unglazed, exposing Mashiko's characteristic rough and rustic unglazed clay body (rotai), where the circular stamp \"Ki\" (木), proof of Mr. Kimura's craftsmanship, is clearly impressed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith its substantial form that rests comfortably in the hand, our shop proposes this work, tailored to modern refined lifestyles, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or spirits over a large ice cube. Floating a large ice cube inside the grand tea bowl and watching the poured amber liquor reflect against the heavy brown and black glaze tones of the black persimmon glaze creates a visual effect that dramatically elevates a special evening drink. The conical rise at the bottom and the rough clay texture that touch your fingertips every time you lift the glass are hidden sculptural marvels secretly savored by the user. A masterpiece in which the technique and aesthetic sensibilities of a master who established the pinnacle of modern Mashiko ceramic art coalesce, this piece allows one to relish Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eKimura Ichiro (木村一郎, 1915–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e [1938] Completed the 20th class of the National Ceramic Experimental Station under the Ministry of Commerce and Industry, [1945] Established a kiln in Mashiko-machi, Tochigi Prefecture, [1949] Special Prize at the 2nd Tokyo Craft Exhibition, [1955] Special Prize at the 4th Modern Japanese Ceramic Art Exhibition, [1965] Crafted items for the Imperial Household Agency's Togu Palace, invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; Tochigi Prefectural Museum of Fine Arts; Mashiko Museum of Ceramic Art\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1960s–early 1970s (Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Black Persimmon Glaze Tea Bowl\", signature seal, and seal stamp on the inside of the lid), explanatory pamphlet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic \/ Pottery (Mashiko clay, Black persimmon glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.6 cm, Diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm that the item may have age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598482440379,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4041_result.jpg?v=1791082190"},{"product_id":"467","title":"Imperial Household Artist, Makuzu Kiln, Miyagawa Kozan I (初代 宮川香山), Posthumous Work, Unkaku Celadon Sake Cup with Small Floral Design, Makuzu Kiln Mark, Box Inscribed by Miyagawa Kozan II, Japanese-Style Shot Glass #467","description":"\u003cp dir=\"ltr\"\u003eThis is an Unkaku celadon sake cup believed to be a posthumous work by Miyagawa Kozan I, the potter who founded Makuzu ware in Yokohama during the Meiji and Taisho eras. The mark of the Makuzu kiln is impressed inside the foot ring. The accompanying box bears an inscription by Miyagawa Kozan II, successor to the first generation, reading “Kozan isaku” (a posthumous work of Kozan). Measuring approximately 3.0 cm in height and 6.1 cm in rim diameter, this petite cup is offered as a Japanese-style shot glass for savoring vintage spirits one sip at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMiyagawa Kozan I was born in 1842 into a family of potters in Makuzugahara, Kyoto, and succeeded as head of the family in 1860. He moved to Yokohama in 1870 and founded the Makuzu kiln in Ota Village, Yokohama, the following year. Through takaukibori, a high-relief technique in which realistic sculptural decoration is built up on the surface of the vessel, he won wide acclaim at expositions in Japan and abroad, beginning with the 1876 Philadelphia Centennial Exposition. His work came to be known overseas as “Makuzu Ware.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFrom around the mid-Meiji 10s (the early 1880s), he devoted himself to the study of glazes and underglaze decoration. Adopting techniques modeled on classical Chinese ceramics, he gradually shifted the main focus of his production from pottery to porcelain. He was awarded gold medals at the 1889 Exposition Universelle in Paris and the 1893 World’s Columbian Exposition in Chicago, and in 1896 he was appointed an Imperial Household Artist (Teishitsu Gigei-in), only the second ceramic artist to receive this honor. He continued to produce celadon until his final years, and a celadon vase he made in 1912 is in the collection of the Tokyo National Museum, donated by Kozan I himself.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnkaku, meaning “clouds and cranes,” is the name used in Japanese tea culture for inlaid celadon from the late Goryeo to the early Joseon period. It is characterized by motifs such as clouds and cranes rendered in white and black on a celadon ground. Among the Korean tea bowls (Korai chawan) handed down in Japan, it has long been treasured as one of the few types dating back to the Goryeo period.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exterior of the cup is divided into upper and lower registers by stepped carving. The upper register is decorated at regular intervals with small flowers, each with a yellow center encircled by fine white petals, paired with leaves ranging from deep indigo to black. Around the lower register runs a white swirling line pattern evoking clouds, among which appear white motifs resembling birds with outstretched wings. Read together with the title “Unkaku seiji” (Unkaku celadon) on the box, these motifs may be understood as clouds and cranes. The arrangement of white and black motifs beneath the celadon glaze faithfully conveys the character of the unkaku style. At the center of the interior well, a white circular line encloses a white motif resembling a written character. Fine crackle characteristic of celadon glaze appears both inside and out. The base of the foot ring is unglazed, revealing the reddish-brown clay body, while the recess within the foot ring is covered in a lustrous brown glaze. At its center is an oval kiln mark with the two characters “Makuzu” impressed in relief.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe attribution of this piece to Miyagawa Kozan I rests on the following two points.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first is the accompanying shikibako, a box bearing an inscription by a later hand attesting to the work. The outside of the lid is titled “Shuhai” (sake cup), and the inside of the lid bears the title “Unkaku seiji” and “Hai” (cup), the words “Kozan isaku” (a posthumous work of Kozan), and the signature “Nidai Makuzu Kozan” (Makuzu Kozan II) with a red seal. Miyagawa Kozan II (given name Hannosuke, 1859–1940) was born the son of Miyagawa Chohei and was adopted by his uncle, Kozan I. He worked in the family enterprise under Kozan I for many years and, before succeeding to the name, also produced work under the name “Miyagawa Hanzan.” After Kozan I died in 1916, he succeeded to the name Kozan in 1917. That this successor, who worked at Kozan I’s kiln and witnessed his work firsthand, explicitly identified the piece as a posthumous work of his predecessor rather than as his own is the most direct evidence of its authorship. It is known that at the Makuzu kiln, works made by Kozan I were released after his death as posthumous works by the second and third generations, and the inscription on this box is entirely consistent with that practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe second is the kiln mark on the piece itself. The “Makuzu” mark inside the foot ring confirms, from the object itself, that this is a product of the Makuzu kiln. Moreover, celadon belongs to the body of work Kozan I pursued from the later phase of his career, after he turned to glaze research, until his final years, so the piece is consistent with his production in terms of style as well.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the same time, certain points stop short of a definitive attribution. First, the mark on the piece identifies the kiln, not the individual artist. Public museum records confirm that the oval “Makuzu” mark was also used on works from the time of \u003c\/span\u003e\u003cspan\u003eMiyagawa Kozan II, \u003c\/span\u003e\u003cspan\u003eand no published \u003c\/span\u003e\u003cspan\u003esource sets out \u003c\/span\u003e\u003cspan\u003ecriteria for \u003c\/span\u003e\u003cspan\u003edistinguishing the \u003c\/span\u003e\u003cspan\u003efirst-generation mark \u003c\/span\u003e\u003cspan\u003efrom that of the \u003c\/span\u003e\u003cspan\u003esecond. Second, \u003c\/span\u003e\u003cspan\u003eceladon and \u003c\/span\u003e\u003cspan\u003einterpretations of \u003c\/span\u003e\u003cspan\u003eclassical ceramics \u003c\/span\u003e\u003cspan\u003ewere also specialties \u003c\/span\u003e\u003cspan\u003eof Miyagawa Kozan II. \u003c\/span\u003e\u003cspan\u003eFrom the Taisho era \u003c\/span\u003e\u003cspan\u003eonward, he developed \u003c\/span\u003e\u003cspan\u003ea style grounded in \u003c\/span\u003e\u003cspan\u003ethe traditions of \u003c\/span\u003e\u003cspan\u003eEast Asian ceramics, \u003c\/span\u003e\u003cspan\u003eincluding Chinese \u003c\/span\u003e\u003cspan\u003ewares and the work of \u003c\/span\u003e\u003cspan\u003eNinsei and Kenzan, \u003c\/span\u003e\u003cspan\u003eand he also left \u003c\/span\u003e\u003cspan\u003eworks in the manner \u003c\/span\u003e\u003cspan\u003eof Goryeo celadon. \u003c\/span\u003e\u003cspan\u003eStyle alone therefore \u003c\/span\u003e\u003cspan\u003ecannot distinguish \u003c\/span\u003e\u003cspan\u003ethe first generation \u003c\/span\u003e\u003cspan\u003efrom the second. \u003c\/span\u003e\u003cspan\u003eFurthermore, the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln operated \u003c\/span\u003e\u003cspan\u003eas a workshop in \u003c\/span\u003e\u003cspan\u003ewhich skilled \u003c\/span\u003e\u003cspan\u003eartisans carried out \u003c\/span\u003e\u003cspan\u003eeach stage of \u003c\/span\u003e\u003cspan\u003eproduction, including \u003c\/span\u003e\u003cspan\u003ethrowing, sculpting, \u003c\/span\u003e\u003cspan\u003eand painting, so the \u003c\/span\u003e\u003cspan\u003eextent of Kozan I’s \u003c\/span\u003e\u003cspan\u003epersonal involvement \u003c\/span\u003e\u003cspan\u003ein this piece cannot \u003c\/span\u003e\u003cspan\u003ebe determined from \u003c\/span\u003e\u003cspan\u003ethe object. \u003c\/span\u003e\u003cspan\u003eDefinitive \u003c\/span\u003e\u003cspan\u003econfirmation would \u003c\/span\u003e\u003cspan\u003erequire further \u003c\/span\u003e\u003cspan\u003estudy, such as \u003c\/span\u003e\u003cspan\u003edetailed comparison \u003c\/span\u003e\u003cspan\u003ewith marks on works \u003c\/span\u003e\u003cspan\u003esecurely attributed \u003c\/span\u003e\u003cspan\u003eto Kozan I. Having \u003c\/span\u003e\u003cspan\u003eweighed these points, \u003c\/span\u003e\u003cspan\u003ewe attribute this \u003c\/span\u003e\u003cspan\u003epiece to Miyagawa \u003c\/span\u003e\u003cspan\u003eKozan I on the \u003c\/span\u003e\u003cspan\u003estrength of two \u003c\/span\u003e\u003cspan\u003esupporting elements: \u003c\/span\u003e\u003cspan\u003ethe “posthumous work” \u003c\/span\u003e\u003cspan\u003einscription on the \u003c\/span\u003e\u003cspan\u003ebox by the successor \u003c\/span\u003e\u003cspan\u003ehimself, and the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln mark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe differences between the first and second generations are evident in both style and official recognition. After achieving international renown for takaukibori, Kozan I substantially transformed his style, turning to underglaze decoration, crystalline glazes, and glazes modeled on Qing dynasty porcelain. Following numerous awards at international expositions and his appointment as an Imperial Household Artist, two of his works, “Large Vase with Plum Tree Design in Rust-Brown on Yellow Glaze” and “Footed Bowl with Applied Crabs in Brown Glaze,” have been designated Important Cultural Properties of Japan (both in the collection of the Tokyo National Museum). Kozan II carried forward the style of the first generation while creating refined works rooted in tea ceremony wares and the traditions of East Asian ceramics. He exhibited at the 12th Imperial Art Exhibition (Teiten) in 1931 and took part in founding the Totokai ceramic society with \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e and others in 1927.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBased on the attribution to Kozan I, this piece is considered to date from between the mid-Meiji 10s, when Miyagawa Kozan I shifted his focus to glaze research, and May 1916, when he died. Several celadon works by Kozan I in public collections are dated between 1912 and 1916. As the shikibako bears the signature of Miyagawa Kozan II, the inscription was written after his succession to the name in 1917.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyagawa Kozan I (初代 宮川香山、1842–1916) *Attribution based on the box inscribed by Miyagawa Kozan II\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eBiographical Highlights:\u003c\/strong\u003e [1842] Born into a family of potters in Makuzugahara, Kyoto; [1860] Succeeds as head of the family; [1870] Moves to Yokohama; [1871] Founds the Makuzu kiln in Ota Village, Yokohama; [1876] Exhibits at the Philadelphia Centennial Exposition; [1889] Gold medal, Exposition Universelle, Paris; [1893] Gold medal, World’s Columbian Exposition, Chicago; [1896] Appointed Imperial Household Artist; [1904] Grand Prize, Louisiana Purchase Exposition, St. Louis; [1910] Grand Prix of Honour, Japan-British Exhibition, London; [1916] Dies\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTokyo National Museum (including two Important Cultural Properties), National Crafts Museum, Yokohama Museum of Art, Ishikawa Prefectural Museum of Art, The Nelson-Atkins Museum of Art (USA)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod: \u003c\/strong\u003eMeiji–Taisho period, c. early 1880s to May 1916, during the lifetime of Miyagawa Kozan I (attributed)\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\u003eAccompanied by: \u003c\/strong\u003eShikibako (box inscribed by Miyagawa Kozan II)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eCeramic with celadon glaze, decorated in white and black; oval Makuzu kiln mark impressed in relief inside the foot ring\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eH. approx. 3.0 cm, rim diameter approx. 6.1 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \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 show signs of age; please understand this and examine the listing carefully before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615310282939,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5179_result_dd29f401-8882-41a8-a6c5-9debf3cc6cc6.jpg?v=1792210094"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/over-100000-yen.oembed?page=2","provider":"Antique Liquor","version":"1.0","type":"link"}