{"title":"Sometsuke Blue-and-White Sake Cups \u0026 Vessels","description":"\u003cp\u003eSometsuke, painted in cobalt gosu blue on white: sake cups and vessels in a clear, graceful contrast of blue and white.\u003c\/p\u003e","products":[{"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":"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":"229","title":"Traditional Craftsman certified by the Minister of International Trade and Industry, Kyoto Prefectural Governor's Award-winning Artist, Taishima Tosho (太嶋陶昌) - Gosu Sometsuke Landscape Pattern Bajouhai (High-footed Cup), Kyo-yaki \/ Kiyomizu-yaki #229","description":"\u003cp data-path-to-node=\"14\"\u003eWe are pleased to introduce a Sometsuke (underglaze blue) landscape-patterned Bajouhai (high-footed cup) by Taishima Tosho (Birth name: Taishima Shigeo, born 1940), a certified Traditional Craftsman of Kyo-yaki and Kiyomizu-yaki known as one of Kyoto’s leading masters in the fields of design and overglaze painting. Mr. Taishima graduated from the Ceramics Department of Kyoto Municipal Fushimi Technical High School in 1959 and completed the Ceramic Design course at the Kyoto Prefectural Ceramic Vocational Training School in 1968. This specialized education as a designer forms the bedrock of his creative work. His receipt of the Kyoto Ceramic Design Protection Association Chairman's Award at the inaugural Kyo-yaki and Kiyomizu-yaki Exhibition in 1977 serves as public recognition that he is a rare artist who possesses the sensibilities of an original designer, not merely a technician.\u003c\/p\u003e\n\u003cp data-path-to-node=\"15\"\u003eThe greatest value in this piece lies in the fusion of Mr. Taishima’s highly developed spatial composition skills and his refined brushwork in manipulating gosu (cobalt blue pigment). The surface depicts a traditional East Asian landscape pattern using classical perspective, encapsulating a vast, expansive natural scenery within the confined space of a small Bajouhai cup. While Mr. Taishima is widely renowned as a master of overglaze gold painting, the lavishness of his work is supported by a solid foundation of technical skills, such as the unwavering lines and the nuanced blue gradations achieved through the dami (shading) technique seen here. The Sometsuke, gleaming under a translucent glaze, exhibits a flawless finish that reflects the pride of a professional designer.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003eIn terms of form, the piece adopts the dignified Bajouhai style, historically used by nobles to enjoy sake on horseback, characterized by the elegant and refined silhouette typical of Kyo-yaki. Distinct from the rustic textures of other regions, the sophisticated porcelain texture and thin-walled form directly convey the temperature and delicate nuances of the sake the moment it touches the lips. Given the perfection of its design and high functionality, we propose this piece as a tasting glass for savoring amber Japanese whisky or long-aged sake with complex layers of aromatic components.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eIn Kyoto’s traditional system of specialized labor, the work of Taishima Tosho—who has reached the pinnacle of both design and finishing—is the quintessence of Kyo-yaki’s precision beauty. In the international market, Sometsuke works by an artist with such a prestigious academic background, official accolades, and technical accuracy are extremely rare. The Tosho mark on the bottom of the vessel represents the pride of an artist celebrated as a symbol of Kyoto’s design protection. We invite you to enjoy a supreme drinking experience with this small work of art, whether during a sophisticated evening drink or a tranquil moment of appreciation.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Taishima Tosho (太嶋陶昌, Birth name: Taishima Shigeo, 1940–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"59\"\u003eNotable Career:\u003c\/b\u003e [1959] Graduated from Kyoto Municipal Fushimi Technical High School, Ceramics Dept. [1968] Completed the Ceramic Design course at Kyoto Prefectural Ceramic Vocational Training School. [1977] Received the Kyoto Ceramic Design Protection Association Chairman's Award at the 1st Kyo-yaki and Kiyomizu-yaki Exhibition. [1985] Received the Kyoto Prefectural Governor's Award. [1993] Certified as a Traditional Craftsman by the Minister of International Trade and Industry.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"538\"\u003eProduction Period:\u003c\/b\u003e Late 1980s – 1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"576\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, minor signs of age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"639\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako), leaflet, wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"708\"\u003eMaterial:\u003c\/b\u003e Porcelain (Kyo-yaki Sometsuke)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"749\"\u003eDimensions:\u003c\/b\u003e Height: approx. 8.5 cm, Rim diameter: approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"814\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if unused, are from an older production period and are listed as used items. Please understand and acknowledge that items may have age-related wear before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47738928332987,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6233_result.jpg?v=1778638942"},{"product_id":"239","title":"Nakamura Teruko (中村照子), President of Hokkaido Ceramics Association, Full Member of Japan Kōgei Association - Sometsuke Flying Dragon-motif Bajouhai (High-footed Cup), Fuji Kiln #239","description":"\u003cp data-path-to-node=\"19\"\u003eNakamura Teruko, based at Fujigama in Ebetsu, Hokkaido, is a preeminent artist in the Hokkaido ceramics scene, serving as president of the Hokkaido Ceramics Association and a full member of the Japan Kōgei Association. This piece, distinct from her signature soil inlay technique, is a sometsuke (underglaze blue) Bajouhai (Horse-riding cup). It features a powerful flying dragon rendered in gosu (cobalt blue pigment) on a pristine white background reminiscent of porcelain. The elegant, thinly-potted form, meticulously crafted on a hand-turned potter's wheel, blends the delicate touch characteristic of a female artist with the solid technical skill expected of a full member of the Japan Kōgei Association, beautifully capturing the serene atmosphere of the northern land.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe flying dragon depicted as the motif is characterized by dynamic brushstrokes that convey the artist's breath in every line. The sometsuke gradation technique, transitioning from pale to deep blue, expresses the dragon's dynamism as it tears through clouds and ascends to the heavens. Its surface is finished smoothly with a transparent glaze. This flying dragon motif is an auspicious design symbolizing ascent and protection, and combined with the elegant shape of the Bajouhai cup, historically used for enjoying sake on horseback, it exudes a dignity that seems to elevate the aspirations of those who hold it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eA remarkable aspect of this work is the extremely clear boundary between the white background and the blue dragon, while the overall texture is moist and feels as if it adheres to the fingers. This is a testament to advanced glazing techniques and firing management, vividly expressing Ms. Nakamura's sensibility in elevating everyday vessels to the realm of art. We propose this dignified Bajouhai cup as a special vessel for savoring amber Japanese whisky or aged sake. The time spent holding the stem between your fingers and admiring the contrast between the cool white and the vibrant blue will undoubtedly be a moment of pure bliss.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eNakamura Teruko continues to receive high acclaim at major domestic and international public exhibitions, including the Japan Traditional Crafts Exhibition, and her works are considered valuable artifacts symbolizing Hokkaido's ceramic culture. A one-of-a-kind sake cup like this, distinguished by its brilliant brushwork, is extremely rare on the market, offering an unparalleled collecting opportunity for those seeking the essence of Japanese Kōgei. Please add this Flying Dragon Bajouhai cup, the culmination of Ebetsu's rich soil and Ms. Nakamura's refined aesthetic, to your special collection.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Nakamura Teruko (中村 照子, 1944–Present)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"46\"\u003eArtist's Major Activities:\u003c\/b\u003e President of the Hokkaido Ceramics Association. Full member of the Japan Kōgei Association. Creates works at Fujigama in Ebetsu, Hokkaido. Highly acclaimed domestically and internationally as a leading potter in Hokkaido, with numerous selections in the Japan Traditional Crafts Exhibition, recipient of the Doten Award (Hokkaido Fine Arts Association), and the NHK Broadcasting Station Award.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"467\"\u003eProduction Period:\u003c\/b\u003e Circa 2008–2014 (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"514\"\u003eCondition:\u003c\/b\u003e Excellent (no chips, no cracks, some signs of age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"576\"\u003eAccessories:\u003c\/b\u003e Custom washi paper box, artist's leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"630\"\u003eMaterial:\u003c\/b\u003e Ceramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"648\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 7.2 cm, Height approx. 9.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"713\"\u003eNote:\u003c\/b\u003e Even if new and unused, all items offered by our shop are very old production pieces and are listed as used. Please understand and acknowledge that items may have age-related damage before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47766438478011,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6189_result.jpg?v=1778493111"},{"product_id":"345","title":"Aichi Inuyama Ware: Gosu Akae Auspicious Character Bowl, Kenzan-Style Autumn Grass Cylindrical Mukozuke, Gosu Landscape Round Small Jar, Sencha Teacup, Sake Vessel, 3-Piece Set #345","description":"\u003cp data-path-to-node=\"17\"\u003eFounded in the mid-Edo period in Inuyama City, Aichi Prefecture, and developed uniquely under the patronage of Naruse, the lord of Inuyama Castle in the Owari Domain, this 3-piece small set condenses rich sculptural beauty and painting techniques centered around works imbued with the traditional skills of Inuyama ware. Inuyama ware is renowned for its gorgeous overglaze painting modeled after Chinese Swatow-style red enamel (Gosu Akae) from the Ming dynasty and elegant painted motifs influenced by Ogata Kenzan; from the Meiji to Taisho eras, it was actively produced as refined vessels to grace sencha tea ceremonies and banquet settings. Combining three pieces, each possessing distinct techniques and charm—a sake cup showcasing traditional Gosu Akae methods to full effect, a cylindrical teacup with a rustic Kenzan-style flavor, and a round small jar adorned with sophisticated Gosu blue painting—our shop presents this set to the global market not only as a tea vessel set for savoring sencha, but also as a luxury Japanese sake vessel and small jar set for enjoying sake or whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully observing the details of each piece clearly reveals the artisan's sophisticated design sensibility and handcrafted skill. The overglaze red sake cup is covered throughout in the technique of Gosu Akae, the true essence of Inuyama ware, using deep, dense red enamel and vivid green glaze to meticulously depict auspicious characters such as \"Longevity\" (寿), floral motifs, and fine lattice patterns without gaps inside round medallions. Red and green dot patterns line the rim of the interior (mikomi), creating a beautiful contrast against the warm feldspar glaze body with crazing, while a circular frame containing the stamped mark \"Inu\" (犬) indicating genuine Inuyama ware is clearly impressed on the bottom of the foot ring. The cylindrical teacup features expansive autumn grass motifs painted in iron glaze and green enamel over a flavorful feldspar glaze body, showing an individualistic and commanding presence with a rectangular ornamental window carved into its side. The round small jar showcases landscape and autumn grass scenes painted with delicate Gosu strokes on a spherical white glaze surface, imparting a refined dignity to any space.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, based on a comprehensive analysis of the circular framed \"Inu\" stamp form on the bottom of the foot, the coloration and texture of the overglaze enamels, and the sculptural styling of Inuyama sencha and sake vessels during their peak from the mid-Meiji to Taisho eras, it is estimated to be a work created between circa 1890s and 1910s (mid-Meiji to early Taisho era). All vessels have no noticeable damage such as cracks or chips, maintaining excellent condition in both the coloration of the Gosu Akae and the texture of the clay body.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eInuyama Ware Potters \/ Artisans (Founded in 1710–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e [1710] Kiln established by order of Naruse Masachika, lord of Inuyama Castle (origins); [1830] Established Gosu Akae and Kenzan-style designs as the official kiln of the Owari Domain; [1890s–1910s] Produced numerous sencha vessels and high-end banquet sakeware during the Meiji and Taisho eras\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Inuyama City Cultural Historical Museum, Aichi Prefectural Ceramic Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1890s–1910s (Mid-Meiji to early Taisho era, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery and semi-porcelain (Inuyama ware, Gosu Akae overglaze red, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Teacup (Height approx. 8.5 cm, Mouth diameter approx. 7.7 cm), Sake cup (Height approx. 5.5 cm, Mouth diameter approx. 7.4 cm), Small jar (Height approx. 7.0 cm, Mouth diameter approx. 2.8 cm)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48199388266683,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2231_result.jpg?v=1788484197"},{"product_id":"359","title":"Antique Earthenware Underglaze Blue Pine, Bamboo and Plum High-Footed Cup, Horseback Cup, Japanese Rocks Glass #359","description":"\u003cp data-path-to-node=\"9\"\u003eExuding a commanding presence with a height of approximately 14.8 cm, width of 11.5 cm, and mouth diameter of 9.2 cm, this is an antique, unsigned ceramic underglaze blue (sometsuke) high-footed cup decorated with pine, bamboo, and plum motifs (horseback cup \/ takatsuki \/ high-footed tea bowl). Following the large-scale form of traditional horseback cups and high-stemmed vessels, its vivid deep blue sometsuke decoration set against a white ground conveys a powerful aesthetic sensibility. Our shop presents this high-footed cup—endowed with the imposing character unique to antique ceramics aged over long years—to the global market not only as a traditional liquor vessel and appreciation ceramic, but also as a supreme vintage rocks glass (a Japanese free cup) for luxuriously savoring amber aged sake or matured whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eObserving the details of this piece reveals the traditional sometsuke (blue and white) technique applied across the entire vessel surface, along with the auspicious motifs of pine, bamboo, and plum (Three Friends of Winter) rendered with magnificent vitality. On the plump, bowl-shaped body, pine extending its needles radially, bamboo stretching upright with sharp leaves, and plum expressed with rounded petals and powerful branches unfold dynamically through brushwork leveraging shades of gosu (cobalt blue pigment). Flowing karakusa (arabesque \/ scroll) patterns are arranged on the upper section of the high foot, while regular vertical-striped lotus petal motifs are band-placed on the flaring lower section, tightening the overall visual poise of the vessel. The bluish ash-white glaze covering the entire ceramic body is densely traversed by fine crackles (kannyu), while the inner base of the foot ring exposes unglazed raw clay, leaving traces of hand-carving and coarse clay texture intact.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eRegarding the period of production, taking clues from the traditional horseback cup construction joining the bowl and high foot, the brushwork style of hand-painted gosu decoration, the age-related transformation of the bluish crackle glaze, and the unglazed raw clay texture and hand-carved feel visible on the foot base, it is identified as an antique piece crafted between 1850 and circa 1910 (late Edo to Meiji period). The vessel itself has no fatal damage such as cracks or chips, maintaining extremely good condition as an antique piece in both the flavor of its crackles and the vibrancy of its gosu coloration.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eUnknown (Antique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eFeatures of the Work: \u003c\/strong\u003eEarthenware underglaze blue, pine, bamboo, and plum motif (Three Friends of Winter), arabesque motif, lotus petal motif, high-footed cup (horseback cup), crackle glaze\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1850–1910 (Estimated late Edo to Meiji period)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (includes age-related crackles, no chips, no cracks) \u003cbr\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None (item only) \u003cbr\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (underglaze blue, crackle glaze)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 14.8 cm, Width approx. 11.5 cm, Mouth diameter approx. 9.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are antique pre-owned items due to their historical production period. Please consider purchasing after understanding the character of age-related crackles and wear.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48222306107579,"sku":null,"price":50000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1001_result.jpg?v=1786498698"},{"product_id":"381","title":"Aoyama Kiln, Mr. Aoyama Norihiro (青山徳弘): White Glaze Crackle Underglaze Cobalt Wheat Ear Motif Cylindrical Free Cup, Japanese Rocks Glass, Sake Vessel #381","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by Mr. Aoyama Norihiro (1954–, Aoyama Kiln), a master of Mino underglaze cobalt painting based at Aoyama Kiln in Mizunami City, Gifu Prefecture, this cylindrical free cup features a white crackle glaze adorned with a fluid wheat ear motif in cobalt blue. Mr. Aoyama Norihiro studied under his father, Mr. \u003ca href=\"\/en\/search?q=%22%E9%9D%92%E5%B1%B1%E7%A6%AE%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eAoyama Reizo\u003c\/a\u003e, a holder of Tajimi City Designated Intangible Cultural Property, and after refining his ceramic techniques at Kusanoto Kiln for approximately 28 years, he established his independent studio, Aoyama Kiln, in 2001. Continuously pursuing \"the importance of line\" taught by his father to its absolute limit, he has earned exceedingly high acclaim for his unyielding, fluid, and powerful linework. Our shop offers this 2012 piece, blending traditional Mino underglaze blue painting techniques with modern sculptural beauty, to the global market as a luxurious Japanese rocks glass (free cup) for quietly savoring the rich aroma and flavor of amber aged sake, matured whisky, or authentic shochu over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully examining the details of this work reveals a brilliant expression of Mr. Aoyama Norihiro's signature masterful linework and highly specialized execution of the traditional \"wheat ear motif\" (mugiho-mon). Symbolizing fertility and vitality in both Western and Eastern cultures, the wheat ear is a motif long cherished in Japanese ceramics. In this piece, through \"dami\" (shading technique) skillfully rendering cobalt pigment (gosu) gradations and sharp \"honegaki\" (outline brushwork), the thick stalks and delicate awns (wheat bristles) are depicted with a magnificent dynamic rhythm. The warm ivory-toned white glaze is covered in a fine, mesh-like crackle glaze (rekkon), creating a vivid visual contrast with the cobalt coloration. The graphic circular composition of swaying wheat ears forming continuous loops requires supreme mastery that tolerates not the slightest variation in brush pressure or speed, expanding three-dimensionally without interruption from the vessel's exterior to the spiral composition on the mikomi (inner bottom). Inside the foot ring, a hand-painted \"A\" mark in cobalt pigment—symbolizing Aoyama Kiln and the artist's initial—is directly rendered, enhancing its dignity as refined contemporary craft while honoring Mino tradition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, taking its style following the establishment of Aoyama Kiln in 2001, the hand-painted \"A\" cobalt signature inside the foot ring, and records of his exhibition works and production period around 2012 as decisive clues, it is identified as an authentic work created circa 2012 (circa Heisei 24). The vessel itself has no cracks or chips, maintaining extremely good condition in its crackle glaze development, cobalt coloration, and the sharpness of the painted lines forming the wheat ears. While it does not include accessories such as a dedicated Tomobako, it is a magnificent piece combining the strong presence of a master's one-of-a-kind handcrafted work with functional beauty.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003eAoyama Norihiro (青山徳弘, 1954–, Aoyama Kiln)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003eStudied under his father, Mr. Aoyama Reizo (Holder of Tajimi City Designated Intangible Cultural Property); [1972] Graduated from Ceramic Art Department of Gifu Prefectural Tajimi High School; [1976] Joined Kusanoto Kiln (crafted ceramics for approx. 28 years); [2001] Established independent \"Aoyama Kiln\" in Mizunami City, Gifu Prefecture, holding solo exhibitions and presenting works at Isetan Shinjuku, Maruei Department Store, Meitetsu Department Store, and \"Utsuwa Hanada\"; [2019] Also active at Dozan Kiln\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e None (Activity centered on solo and group exhibitions)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 2012\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, white glaze, crackle, underglaze cobalt, wheat ear motif, hand-painted \"A\" cobalt signature)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.6 cm, Width approx. 10.5 cm, Mouth diameter approx. 8.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period. Products may have minor age-related changes in texture, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439379643,"sku":null,"price":27000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1565_result.jpg?v=1787562465"},{"product_id":"425","title":"Recipient of the Wakayama Prefecture Cultural Promotion Governor’s Award, Named by Marquis Yorisada Tokugawa, Kishu Ware Aoi Kiln, Samukawa Seiho II (二代 寒川栖豊), Chrysanthemum Arabesque Pattern Underglaze Cobalt and Overglaze Enamel Stem Cup (Bajohai) #425","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a \"Chrysanthemum Arabesque Pattern Stem Cup\" by Samukawa Seiho II, who crafts ceramics at the Kishu Ware Aoi Kiln in Shirahama Town, Wakayama Prefecture. The tomobako (original wooden box) bears the handwritten title \"Chrysanthemum Arabesque Pattern Stem Cup\" and the signature \"Kishu Ware Aoi Kiln Seihou II Zō\" along with a red seal stamp. A shiori (leaflet) detailing the origins of the Aoi Kiln and the artist's career is also included. Featuring a deep cup portion resting on a tall stem, it is a generous cup measuring approximately 11 cm in diameter. Our shop proposes it as a Japanese-style Western liquor vessel for pouring vintage spirits to enjoy their aroma and color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe Kishu Ware Aoi Kiln was founded by Samukawa Seiho I. According to official records of the Aoi Kiln, the first generation was born in Osaka in 1899 (Meiji 32) and soon moved to Kyoto. In 1919 (Taisho 8), he studied under \u003ca href=\"\/en\/search?q=%22%E6%BE%A4%E7%94%B0%E5%AE%97%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSozan Sawada\u003c\/a\u003e, who served as a judge for the Teiten (Imperial Art Exhibition), and in 1927 (Showa 2), at his master's recommendation, he became the head of the Aichi Prefectural Ceramic Research Institute. In 1932 (Showa 7), he established a kiln in Odawara, Koyasan, Ito District, Wakayama Prefecture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eIn 1937 (Showa 12), Marquis Yorisada Tokugawa, the 16th head of the Kishu Tokugawa family, entrusted him with the revival of Kishu ware and bestowed upon him the kiln name \"Kishu Ware Aoi Kiln.\" According to the shiori, this was done out of a desire to revive historic Kishu kilns such as \"Kairakuen,\" \"Zuishi,\" and \"Otokoyama.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThe first generation subsequently focused on Nachi black stone, a specialty of Kishu, and in 1956 (Showa 31) completed a high-fired Nachi black glaze. This Nachi black glaze is described in the shiori as the black of \"kase-kusuri\" (matte\/textured glaze). In 1962, he presented a matcha tea bowl to Their Majesties the Emperor and Empress, and in 1967 he moved to Katada, Shirahama Town, to build a climbing kiln (noborigama). In 1970, he was honored by the Agency for Cultural Affairs as a Person of Cultural Merit for Cultural Properties. In 1972, he held a solo exhibition at Nihombashi Mitsukoshi Main Store, received the Wakayama Prefecture Cultural Encouragement Award in the same year, and was designated as Shirahama Town's Intangible Cultural Property No. 1. In 1975, at the age of 77, he received the Order of the Sacred Treasure, Silver Rays, and passed away in the same year.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eSamukawa Seiho II was born in 1946 (Showa 21) in Koyaguchi Town, Wakayama Prefecture. In 1965, at the age of 19, he studied under his father, the first generation, and in 1976 succeeded to the name Seihou II. In 1995, he relocated the climbing kiln from Katada, Shirahama Town, to Saino in the same town, and fired the first kiln at the new location the following year in 1996. He received the Wakayama Prefecture Cultural Promotion Governor’s Award in 2011 and the Shirahama Town Cultural Merit Mayor's Award in 2012. He serves as a judge for art exhibitions in Wakayama Prefecture, Wakayama City, and Tanabe City.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eAccording to the shiori, the second generation has carried on the tradition of the Aoi Kiln in accordance with the motto, \"There is no path that enlivens me other than this path.\" It is noted that in addition to yakishime (un-glazed stoneware) made with Kishu's unique ceramic clay, he has created works such as \"Beni-shio\" (red tide), \"Celadon,\" \"Persimmon Tenmoku,\" and \"Yōhen\" (kiln-change glaze), earning the attention of masters of various tea schools. The Nachi black glaze inherited from the first generation remains widely recognized today as the synonym for the Aoi Kiln. Among the second generation's Nachi black tea bowls, examples accompanied by inscriptions by Master Hōunsai, the 15th Grand Master of the Urasenke School, have also been confirmed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThis piece is not Nachi black glaze, but a work of underglaze cobalt with overglaze enamel, layering red and green overglaze enamels over underglaze cobalt blue. It can be said to represent another aspect of the Aoi Kiln: devoting effort to the reproduction and revival of defunct Kishu kilns.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe exterior of the cup portion features patterns arranged separately above and below. Below the rim, a spiral arabesque band drawn in gosu (underglaze cobalt blue) circles around, and the main pattern band below it unfolds with chrysanthemum arabesques as described in the box inscription. Radial petals are drawn in red overglaze enamel, with central swirling chrysanthemum blossoms placed at key points. Vines of underglaze cobalt extend lively between them, scattered with small red and green leaves and buds. The lower part of the cup portion features small underglaze cobalt motifs drawn inside panels framed with red lines.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe interior rim is also encircled by a pattern band featuring underglaze cobalt spiral motifs punctuated with red and green dots. In the center of the interior bowl, the single character \"Chō\" (Longevity) is written in underglaze cobalt.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eOn the stem portion, pointed petal-like motifs in red overglaze enamel are drawn layered in two tiers, with fine gosu lines applied inside them. The top and bottom are bound by green bands, and the splayed pedestal area is again encircled by underglaze cobalt arabesques and red lines. The gosu used throughout displays a finely granular coloration, leaving the movement of the brush stroke intact. The red and green overglaze enamels rise vividly and glossy, conveying the warmth unique to hand-painted work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe interior of the stem is hollow and glazed, stamped with an oval seal. The resting edge (tatami-tsuki) of the stem is unglazed, and the raw clay shows a slight orange firing color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eThe production period is estimated based on the tomobako and shiori. Since \"Seihou II\" is inscribed on the tomobako, the work dates from 1976 or later, when he succeeded to the second generation name. Furthermore, the kiln location noted in the shiori is \"Katada, Shirahama Town,\" and the telephone number is \"42-1093,\" which differs from the current location and number in Saino. The climbing kiln was relocated from Katada to Saino in 1995, and the first kiln firing at the new location took place in 1996. Based on these points, this piece is considered to have been made between around 1976 and 1996. However, since the shiori may have continued to be used for a period after the relocation, this remains an estimate.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"13\"\u003eKishu Ware Aoi Kiln\u003c\/h3\u003e\n\u003cp data-path-to-node=\"13\"\u003eThe first generation Seihou worked with clay for over fifty years. In 1937 (Showa 12), receiving the wish to revive historic Kishu kilns such as \"Kairakuen,\" \"Zuishi,\" and \"Otokoyama\" from Marquis Yorisada Tokugawa, the former lord of the Kishu Domain, he was granted the kiln name \"Kishu Ware Aoi Kiln.\" Following diligent research, he focused on \"Nachi Black Stone,\" a specialty of Kishu, completed the high-fired black of \"kase-kusuri,\" and gained the recognition of masters of various tea schools up to the present day. As Seihou II, true to the motto \"There is no path that enlivens me other than this path,\" he inherits the tradition of the Aoi Kiln. In addition to creating \"Yakishime\" works using Kishu's unique ceramic clay that differ from other domestic products, he continues his devoted practice while creating \"Beni-shio,\" \"Celadon,\" \"Persimmon Tenmoku,\" and Yōhen, gaining the attention of masters of various tea schools.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003e\u003cstrong\u003eKishu Ware Aoi Kiln Head Kiln Nanshian (Second Generation) Samukawa Seiho (Shiro)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSamukawa Seiho II (二代 寒川栖豊, Samukawa Seihou, 1946–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1965] Studied under Samukawa Seiho I (father); [1976] Succeeded to the name Seihou II; [1995] Relocated climbing kiln from Katada, Shirahama Town to Saino in the same town; [1996] First kiln firing at the new location; [2011] Wakayama Prefecture Cultural Promotion Governor’s Award; [2012] Shirahama Town Cultural Merit Mayor's Award; [Present] Judge for art exhibitions in Wakayama Prefecture, Wakayama City, and Tanabe City\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e No public institutional collection records have been confirmed\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003ec. 1976 to c. 1996 (estimated from the \"Seihou II\" signature on the tomobako and the kiln location in the shiori)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original tomobako (wooden box), shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Porcelain (Underglaze cobalt, overglaze enamel)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 10.3 cm, Mouth diameter approx. 11.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332210995387,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4797_result.jpg?v=1791639865"},{"product_id":"506","title":"Mashiko Ware – Studied under Hamada Shoji – Sakuma Totaro (佐久間藤太郎): Tokkuri Sake Flask and Pair of Meoto Yunomi Teacups with Floral Design in Gosu Cobalt Blue – Japanese Decanter and Japanese Rocks Glasses #506","description":"\u003cp dir=\"ltr\"\u003eThis is a set of one tokkuri sake flask and a pair of meoto yunomi (matching teacups for a couple) by Sakuma Totaro (1900–1976), a ceramic artist of Mashiko ware. Sakuma Totaro was born in 1900 (Meiji 33) into a family that ran a Mashiko ware kiln in Haga District, Tochigi Prefecture, and in 1918 (Taisho 7) he graduated from the Mashiko Town Ceramics Training Institute. From 1924 (Taisho 13), when \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e moved to Mashiko, Sakuma studied under Hamada. As one of the leading artists of Mashiko ware, second only to Hamada, he contributed to the flourishing of Mashiko ware as mingei (folk craft) pottery. The Mashiko Museum of Ceramic Art describes Sakuma, who was born into a kiln-owning family, as the first person in Mashiko who, after meeting Hamada, set out to become a ceramic artist.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1927 (Showa 2), Sakuma’s work was selected for the craft section of the Kokugakai exhibition, and in 1949 (Showa 24) he became a member of the Kokugakai. He held solo exhibitions frequently throughout Japan, beginning with Takashimaya in Tokyo, and in 1956 (Showa 31) he held an exhibition commemorating thirty years of his ceramic work at Tochigi Kaikan. A three-person exhibition with Hamada Shoji and \u003ca href=\"\/en\/search?q=%22%E5%B3%B6%E5%B2%A1%E9%81%94%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (Daimaru, Kyoto) and a two-person exhibition with Hamada Shoji in 1966 (Showa 41) (Toki, Gifu Prefecture) were also held. In 1953 (Showa 28) he became a director of the Tochigi Prefecture Mingei Association, and he received the Tochigi Prefecture Cultural Merit Award in 1959 (Showa 34) and the Order of the Sacred Treasure, Fifth Class in 1973 (Showa 48).\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 1934 (Showa 9), writing in Kogei (Crafts), the journal of the mingei movement, Hamada Shoji noted that among the young makers of Mashiko, Sakuma was the one of longest standing. He went on to observe that Sakuma’s “way of working that brings Mashiko clay to life,” guided by his own eye and hand, possessed an honesty true to the character of the land. When Bernard Leach visited Japan in 1954, ceramics were made at the Sakuma Totaro Kiln.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHis works are held in the collections of the Mashiko Museum of Ceramic Art (Vase with Plum Design in Tessha Glaze) and the Otaru City Museum of Art. The works in the Otaru City Museum of Art include pieces in a wide range of techniques: inlay (zogan), three-color glaze (sansai), dotted patterns in tessha iron glaze, persimmon (kaki) and black glazes applied in divided sections with resist decoration (nukie), and white glaze with poured amber (ame) and blue glazes. The Mashiko Museum of Ceramic Art explains that Sakuma possessed assured skill on the potter’s wheel and excelled at painted decoration. On the vase in the museum’s collection, the trunk is painted in iron oxide (tetsu-e), and the blossoms are painted in persimmon glaze and gosu cobalt blue.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn this work, slender leaves are painted in gosu cobalt blue over a grayish-white glaze. Each leaf is drawn in a single stroke, thick at the base and tapering to a sharp point. Between the leaves, a stem-like motif whose tip curves and curls inward is painted in thick brown glaze. On the yunomi, the brown motif crosses two parallel lines incised around the upper body, and the glaze breaks off and separates at the grooves. The tone of the brown differs from piece to piece: on the larger yunomi it ranges from reddish brown to pale purplish brown, on the smaller yunomi it is a deep brown close to black, and on the tokkuri it has fired to a subdued, low-gloss brown. On the tokkuri, the brown motif is applied so thickly that its outline stands in relief.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBoth yunomi share the same form: the rim flares slightly outward, and the body narrows at the waist before joining a stepped foot ring. Spiral trimming marks remain inside the foot ring, and the unglazed footrim reveals a coarse, reddish clay body. The glaze surface shows fine crackle (kannyu) throughout, scattered with black specks from the iron in the clay. The tokkuri has a refined form, with a distinct step at the shoulder and a short neck opening into a rim that flares and rolls outward. Throwing marks remain on the inside of the neck. At the middle of the body, the glaze surface divides into a glossy upper section and a lower section with a finely pitted, pear-skin texture. The outer edge of the base is unglazed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOur shop proposes the tokkuri as a Japanese decanter for pouring vintage spirits, and the meoto yunomi as Japanese rocks glasses for enjoying vintage spirits and aged liquors on the rocks. The two yunomi differ slightly in size, and together with the tokkuri bearing the same design, they can be used as a matching set.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe pair of yunomi comes with a tomobako (the artist’s own wooden box) bearing an ink inscription and a red seal. The tokkuri comes with no accessories. There is a small spot on the rim of the tokkuri where the color of the clay body is visible.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuma Totaro (佐久間 藤太郎、1900–1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1924] Studied under Hamada Shoji, who had moved to Mashiko; [1927] Selected for the craft section of the Kokugakai exhibition; [1949] Became a member of the Kokugakai; [1953] Director of the Tochigi Prefecture Mingei Association; [1956] Exhibition commemorating thirty years of ceramic work (Tochigi Kaikan); [1959] Received the Tochigi Prefecture Cultural Merit Award; [1966] Two-person exhibition of Hamada Shoji and Sakuma Totaro (Toki); [1973] Received the Order of the Sacred Treasure, Fifth Class\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Mashiko Museum of Ceramic Art, Otaru City Museum of Art\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e c. 1950 – c. 1975 (estimated; estimated to fall between c. 1950 and c. 1975, the period from when the artist held repeated solo exhibitions throughout Japan after the war until his death in 1976)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks; in good condition with minimal soiling)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako for the pair of yunomi only (with ink inscription and red seal); no accessories for the tokkuri\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery (painted in gosu cobalt blue)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Tokkuri: body diameter approx. 8 cm, height approx. 16 cm \/ Yunomi (large): height approx. 9.0 cm, width approx. 8.6 cm, rim diameter approx. 7.2 cm \/ Yunomi (small): height approx. 8.5 cm, width approx. 8.0 cm, rim diameter approx. 6.7 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show damage from age, so please understand and review this before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67781390106811,"sku":null,"price":55000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6141_result_13fbbce5-c641-4dde-9882-b9efeff16a4c.jpg?v=1793023442"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/sometsuke.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}