{"title":"Tetsue Iron-Painted Sake Cups \u0026 Vessels","description":"\u003cp\u003eTetsue, painted freely in iron pigment: sake cups and vessels where lively brushwork shines on Shino, Oribe and kohiki.\u003c\/p\u003e","products":[{"product_id":"179","title":"Fukuda Rikisaburo (福田力三郎), Iron-Glaze Polychrome Bamboo Design Tea Bowl, The Supreme Whisky Ceramic Whisky Tumbler #179","description":"\u003cp data-path-to-node=\"19\"\u003eFukuda Rikisaburo (1912-1993) was a legendary guardian who, for over half a century alongside the great Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, protected the sacred \"fire\" and \"earth\" of Mashiko pottery. This work, \"Tea Bowl with Iron-Glaze Polychrome Bamboo Design,\" transcends the scope of a mere apprentice's work; it is a masterpiece that represents the culmination of Fukuda's late-career artistry, fully embodying the essence of the Hamada Folk Craft (Mingei) movement. Apprenticing with Hamada Shoji in 1925 at the age of 13, Fukuda served his entire life as the chief workshop manager (Banto), the most trusted pillar of Hamada’s studio. His style, distinct from his teacher’s flamboyant artistry, distills a \"sincerity to the earth\" and \"beauty in utility\" that can only be achieved by a craftsman dedicated to the front lines of production.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe highlight of this piece is the bold yet delicate technique of \"Tetsu-e Kasai\" (iron-glaze with added polychrome) applied to the surface. Painted without hesitation over traditional Mashiko persimmon (Kaki) and rice husk (Nukajiro) glazes, the bamboo leaf design captures a fleeting moment of vitality swaying in the wind. These brushstrokes possess the robust power of a man who touched clay and conversed with fire daily for decades. The profound dark brown of the iron-glaze and the depth of the added colors create a magnificent contrast with the rustic texture of the Mashiko earth, bringing a spiritual depth to the entire vessel. Connoisseurs will be particularly impressed by the substantial \"heft\" and the mastery of the firing. As the manager of the studio’s climbing kiln, Fukuda understood the nature of fire perfectly, allowing him to achieve a degree of glaze melt that feels like a powerful, uncalculated force of nature. The moment you hold it, you feel the substantial weight and warmth of the earth. This texture, combined with the subtle flare of the rim and the depth of the bowl, elevates its functional perfection to the highest degree.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThere is a deliberate reason we propose this masterpiece as the \"Supreme Ceramic Whisky Tumbler.\" Originally, a tea bowl is a \"vessel for fragrance\" designed to maximize the aromatic experience. Its wide interior and calculated diameter allow the complex aromas of aged spirits—especially whisky—to open up more luxuriantly than in a standard glass, delivering the scent directly to the palate. The deep tones of the persimmon glaze and the powerful iron-glaze design resonate with bold single malts, such as a long-aged Macallan from sherry casks or a peaty Lagavulin. The heavy Mashiko earthenware gently embraces the musical sound of amber liquid swirling against ice.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003ePouring a fine Western spirit into a treasure of Japanese Kōgei creates a \"fusion of Eastern and Western cultures\" that defines the essence of modern luxury. Because Fukuda dedicated most of his life to assisting his master, works bearing his own signature—especially tea bowls of this caliber—are exceedingly rare. When the scent of the earth blends with the matured aroma of whisky, a unique time flows where Showa-era craftsmanship and contemporary sensibility intersect. Feeling the history of the Mingei movement at your fingertips while enjoying amber-colored moments—this piece promises an intellectual and elegant lifestyle.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Fukuda Rikisaburo (福田力三郎, 1912-1993)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"38\"\u003eKey Activities:\u003c\/b\u003e The very first apprentice of Living National Treasure Hamada Shoji. From the age of 13, he served as the chief manager (Banto) of the Hamada Workshop, overseeing all aspects of production and firing for his entire career. He embodied the spirit of Hamada Folk Craft on the front lines and was revered as the \"Craftsman among Craftsmen.\"\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"391\"\u003eAwards:\u003c\/b\u003e [1972] Honored as Tochigi Prefecture Cultural Contributor, [1984] Recipient of the Shimotsuke Prefectural Citizen's Award, etc. Recognized for his vast contributions to regional culture and his dedication to teaching younger generations.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"637\"\u003eMuseum Collections:\u003c\/b\u003e Mashiko Museum of Ceramic Art, Japan Folk Crafts Museum (Tokyo), Tochigi Prefectural Museum of Fine Arts, Hamada Shoji Memorial Mashiko Sankokan Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"815\"\u003eProduction Period:\u003c\/b\u003e 1980s (Estimated). Believed to be a masterpiece from his later years, when he transitioned from being the workshop foreman to holding solo exhibitions and perfecting his unique iron-glaze style.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1029\"\u003eCondition:\u003c\/b\u003e Very Good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1072\"\u003eAccessories:\u003c\/b\u003e Comes with original signed wooden box (Tomobako)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1134\"\u003eMaterial:\u003c\/b\u003e Ceramic (Iron-glaze polychrome \/ Mashiko Ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1191\"\u003eDimensions:\u003c\/b\u003e Height approx. 7.8 cm, Diameter approx. 11 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cb data-path-to-node=\"23\" data-index-in-node=\"1249\"\u003eNote:\u003c\/b\u003e Please note that all products, even those in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47518571430075,"sku":null,"price":18000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4938_result.jpg?v=1774140824"},{"product_id":"205","title":"Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\", Regular Member of the Japan Kogei Association, Sentaro Kiln, Ando Hidetake (安藤日出武), Cylindrical Shino Sake Vessel with Iron-Painted Decoration, Japanese-Style Rocks Glass #205","description":"\u003cp data-path-to-node=\"1\"\u003eThis piece is a cylindrical Shino yunomi cup with iron-painted decoration by Ando Hidetake, a ceramic artist who is a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto.\" Although originally crafted as a Shino yunomi, our shop proposes it as a Japanese-style rocks glass (cylindrical sake vessel) for enjoying vintage spirits on the rocks.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAndo Hidetake was born in 1938 (Showa 13) in Tajimi City, Gifu Prefecture. He is the third-generation head of Sentaro Kiln, founded in Ichinokura by Sentaro I in the early Meiji period, and is also introduced under the name \"Sensan Kiln\" in his biographical records. According to the artist profile of Sentaro Kiln, up until his father's generation, it was a kiln firing small porcelain sake cups and small dishes. Around the age of 22, Kato Tokuro visited his father and told him, \"If you are going to make ceramics, you must make ceramics born in Mino.\" This served as a turning point, leading Ando to immerse himself in the study of Momoyama-period Shino, Kiseto, and Oribe wares.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eAndo had no specific master. Walking through the mountains of Mino to excavate kiln sites, he taught himself how to use clay, design, and firing techniques directly from ceramic shards. Furthermore, believing that gas kilns had limitations in recreating Momoyama ceramics, he built a semi-aboveground anagama (cave kiln) utilizing the natural contours of the terrain in the wilderness of Kukuri-Kakishita, Kani City, near the Taihei ancient kiln site. According to records of the Museum of Modern Ceramic Art, Gifu, the firing lasts for six days and nights, burning 1,500 bundles of firewood. Committed to creating both clay and glazes from natural materials by himself, his unique style \"Ko-Mino,\" forged through the clay of Tono and this anagama, is highly praised by the museum as reaching a \"realm of ancient purity.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eRegarding his major career accomplishments, he was selected for the first time for the 1st Asahi Ceramic Art Exhibition in 1963, the 11th Japan Traditional Art Crafts Exhibition in 1964, and the 1st Japan Ceramic Art Exhibition in 1971, continuing to be selected for each repeatedly thereafter. In 1970, he won the Governor's Award at the 8th Asahi Ceramic Art Exhibition and exhibited a large Shino platter at the Living and Industry Pavilion of the Japan World Exposition (Expo '70). He received an Encouragement Award at the 11th Asahi Ceramic Art Exhibition in 1973, became a regular member of the Japan Kogei Association in 1974, and received the 8th Kobei Prize in 1990.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eIn 1993, \"Ko-Mino Large Jar\" was designated as a Mino Ceramic Art Permanent Preservation Work. In 1998, he won the Grand Prix for \"Ko-Mino Tea Bowl\" at the Mino Ceramic Art Shoroku Award Tea Bowl Exhibition, and in the same year was designated a Holder of Tajimi City Intangible Cultural Property. In 2003, he was designated a Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto,\" and received the Gifu Prefecture Cultural Merit Award in 2013 and the Order of the Rising Sun, Silver Rays in 2016.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eIn Gifu Prefecture's official commentary, Ando's Kiseto is described as a unique style possessing a depth and dignity distinct from conventional Kiseto. From 2025 to 2026, the exhibition \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" was held at the Museum of Modern Ceramic Art, Gifu. As an artist who has continued to craft Momoyama-period Kiseto and Shino using clay and firing methods identical to those of the era, his representative works and recent creations were presented in this exhibition.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eShino is a representative ceramic of Mino during the Momoyama period, fired with a thick application of white glaze composed primarily of feldspar. Works drawn with patterns in iron wash under the white glaze are called \"E-Shino\" (picture Shino \/ iron-painted Shino).\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eOn the surface of this piece, minute air bubble marks characteristic of Shino, known as yuzuhada (citrus-skin texture), can be seen. The texture of the thickly applied feldspar glaze conveys dignity alongside warmth. In particular, the orange hi-iro (fire-color) that appears at the rim of the piece and around the iron painting gives warm variation to the white glaze surface as an unforced, natural landscape.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe iron-painted decoration under the white glaze is rendered with rustic and powerful brushwork, evoking the charm of Ko-Shino (ancient Shino) from the Momoyama period. Its moderate thickness and cylindrical shape that rests comfortably in the hand make it an easily usable form for a rocks glass. The deep amber color of vintage spirits reflects beautifully against the white Shino glaze, allowing one to enjoy the time spent savoring Western vintage spirits in a traditional Japanese vessel alongside the sound of ice touching the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThere is no documentation specifying the exact year of production. It can only be confirmed that it was made from the 1960s onward, when the artist began his research into Momoyama ceramics. The body of the piece is free of chips and cracks and remains in very good condition. Dedicated tomobako (original wooden box) and shiori (leaflet) are included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11,0,0\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eAndo Hidetake (安藤日出武, Andō Hidetake, 1938–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1963] First selected for the 1st Asahi Ceramic Art Exhibition; [1964] First selected for the 11th Japan Traditional Art Crafts Exhibition; [1970] Governor's Award at 8th Asahi Ceramic Art Exhibition; exhibited large Shino platter at Living and Industry Pavilion, Expo '70; [1971] First selected for the 1st Japan Ceramic Art Exhibition; [1973] Encouragement Award at 11th Asahi Ceramic Art Exhibition; [1974] Regular member of the Japan Kogei Association; [1975] First selected for the 1st Chunichi International Ceramic Art Exhibition; [1990] 8th Kobei Prize; [1992] Tajimi City Cultural Arts Merit Award; [1993] \"Ko-Mino Large Jar\" designated as Mino Ceramic Art Permanent Preservation Work; [1998] Grand Prix for \"Ko-Mino Tea Bowl\" at Mino Ceramic Art Shoroku Award Tea Bowl Exhibition; designated Holder of Tajimi City Intangible Cultural Property; [2002] Gifu Shimbun Grand Prize Culture Award; [2003] Designated Holder of Gifu Prefecture Important Intangible Cultural Property for \"Kiseto\"; [2011] Gifu Prefecture Educational and Cultural Merit Award; [2013] Gifu Prefecture Cultural Merit Award; [2016] Order of the Rising Sun, Silver Rays; Tokai Television Culture Award; [2017] Published \"Mikannomamani\" (Chubu Keizai Shimbun); [2025] \"Lineage of Mino Ceramic Art: Ando Hidetake Exhibition\" at Museum of Modern Ceramic Art, Gifu (through 2026)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,2,0\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eMuseum of Modern Ceramic Art, Gifu (\"Kiseto Tea Bowl,\" \"Kiseto Large Jar\")\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e From the 1960s onward (no date specified)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,4,0\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (original wooden box), shiori (leaflet) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Mino ware, Shino, iron-painted)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,7,0\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919612091,"sku":null,"price":23500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5664_result.jpg?v=1776175575"},{"product_id":"250","title":"Pitcher \/ Water Jug with Grape Design in Iron Painting and Green Coloring by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #250","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a pitcher (water jug) by Takeda Toshio (b. 1932), a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture. After studying ceramics at Kanazawa College of Art, Takeda honed his craft in Kyoto and Kanazawa, and also studied under \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e, who would later be designated a Living National Treasure. Since 1964 he has continued to make ceramics at the kiln he built in Mashiko, Tochigi Prefecture. His work has been accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Ceramic Art Exhibition and the Japan Traditional Kogei Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and then entered the collection of The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece has the robust, warm presence of a pottery vessel. We propose it as a water jug for pouring a chaser alongside koshu (aged sake) or water for adding to drinks, and also as a serving vessel that graces the table at any gathering over drinks.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to Takeda’s record of his ceramic career, he graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e, then a professor at Kanazawa College of Art. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. In 1969 (Showa 44) his work was accepted into the Japan Traditional Kogei Exhibition. In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. This entry was selected for a touring exhibition in Canada and the United States and was later purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya. Furthermore, in 1990 his “Bowl with Grape Design in Iron and Copper Decoration” was accepted into the 37th Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe work that can be confirmed as a representative piece attesting to Takeda’s standing is this “Bowl with Grape Design in Iron and Copper Decoration.” Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. This piece takes the grape as its subject, with green coloring layered over an iron-painted design to compose the pictorial field. In both subject and composition, it displays a style in common with his representative work accepted into the Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn the grape design that takes center stage in this work, the vines and fruit are drawn in free-flowing, powerful iron-painted brushwork. The green leaves layered over them create a vivid contrast against the white ground. Because the grapevine bears its fruit in abundant clusters, the grape has long been cherished as an auspicious motif symbolizing bountiful harvests and the flourishing of future generations. The lower body, the handle and the inner rim are glazed separately with an iron glaze that fires to tones ranging from deep chocolate brown to black. This clear contrast with the painted areas on the white ground lends the whole work a sense of visual stability. The handle and spout are joined to a wheel-thrown body, making the piece substantial yet comfortable to hold, and it is also practical to use as a pouring vessel.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnlike mass-produced ware, this is a one-of-a-kind piece that has passed through the artist’s own hands. Very little information on Takeda Toshio’s work circulates outside Japan, and opportunities to encounter examples such as pitchers are especially limited. The piece comes with its tomobako (the original box inscribed by the artist) and a shiori, a leaflet recording the artist’s ceramic career.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi in Sano, Tochigi Prefecture, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko, Tochigi Prefecture, and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, entry selected for the touring exhibition in Canada and the United States and added to the collection of The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003e1990s (estimated; the career history in the leaflet runs to the 37th Japan Traditional Art Crafts Exhibition in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (box inscribed by the artist), shiori (leaflet recording the artist’s ceramic career)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Pottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 20 cm, width approx. 22 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47823832580283,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6734_result.jpg?v=1779248775"},{"product_id":"279","title":"Recipient of the Kyoto Prefecture Order of Cultural Merit, Sodeisha Co-Founder Yamada Hikaru (山田光), Kohiki Iron-Painted Dotted Line Pattern Coffee Cup and Saucer, A White Sake Vessel Where the Amber Color of Whisky Beautifully Reflects #279","description":"\u003cp data-path-to-node=\"17\"\u003eThis is a Kohiki iron-painted coffee cup and saucer crafted by Yamada Hikaru (1923–2001), a titan of modern ceramic art who co-founded the avant-garde ceramic art group \"Sodeisha\" in 1948 alongside \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and consistently led the group until its dissolution in 1998. The artist, Yamada Hikaru, grew up immersed in pottery making from an early age under his father, the ceramic artist Yamada Tetsu, and acquired professional expertise in the Ceramics Department of the Kyoto Higher School of Crafts (currently Kyoto Institute of Technology). He is one of the most vital artists who liberated ceramics from the conventional \"beauty of utility\" and established the genre of objet ceramics as pure artistic creation in Japan. Throughout his life, he was awarded the Japan Ceramic Society Award (and later its Gold Prize), recognized as a Kyoto City Person of Cultural Merit, and received the Kyoto Art and Culture Award. His works are extensively housed in major museums both within Japan and internationally.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eOur shop proposes this precious coffee cup and saucer, left behind by this leading figure of avant-garde ceramics, not merely as a coffee cup, but as a special Japanese Kogei sake vessel tailored for slowly savoring the highest quality Japanese whisky or aged sake that has deepened with time. The mug-shaped design, featuring a slightly smaller size, possesses an ample presence to thoroughly enjoy the rich aroma of aged sake right in your hand. Furthermore, the soft white tone of the Kohiki glaze that envelops the entire vessel vividly highlights the beautiful amber gradation of whisky, maximizing its visual allure. The entire surface of the vessel exhibits a fine, beautiful crazing that is evenly distributed without being overly assertive, forming a profound expression nurtured by time. In addition, the authentic pottery mark of the character \"Hikaru\" is clearly discernible at the base of the cup's handle and on the reverse side of the saucer.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe greatest highlight of this work lies in the exceptional integration of Yamada Hikaru's signature avant-garde objet-making philosophy into a practical vessel. While Yamada Hikaru focused primarily on the production of one-of-a-kind objets, he also possessed a profound passion for craft design, establishing \"Mon Kobo\" in the 1960s to pursue modern design in everyday vessels. In contrast to the cup body, which features an organic, soft distortion born of hand-molding, the handle is joined with a linear, architectural geometric structure, demonstrating an intellectual form that controls the properties of clay with peak technical mastery. The dark brown iron-painted dotted line pattern running vertically on the front elevates the design into a sophisticated graphic statement reminiscent of Mid-Century Modernism and abstract painting. Furthermore, the circular exposed clay area at the base of the cup can be analyzed as a uniquely conceptual expression by the artist, visually translating the philosophy of holes and windows that permeate spaces—as seen in his representative \"Screen Series\"—into a practical vessel where physical holes cannot be made. The lid of the original wooden box bears the artist's handwritten title \"Kohiki,\" his signature \"Hikaru Zo,\" and a genuine seal verifying its authenticity, completely confirming its reliability as a historical collection. All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Yamada Hikaru (山田光, 1923–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"34\"\u003eArtist's Representative Activities:\u003c\/b\u003e [1948] Co-founded the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Suzuki Osamu, [1962] Established \"Mon Kobo\" to pursue modern design in living spaces, [1970s] Received the Japan Ceramic Society Award (and later the Gold Prize), [1990s] Received the Kyoto Art and Culture Award and recognized as a Kyoto City Person of Cultural Merit\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"421\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Shigaraki Ceramic Cultural Park; Kyoto City KYOCERA Museum of Art, and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e Early 1960s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"665\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"708\"\u003eAccessories:\u003c\/b\u003e Original wooden box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"750\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kohiki, Iron Paint)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"789\"\u003eDimensions:\u003c\/b\u003e Cup: Height approx. 7.5 cm, mouth diameter approx. 6.5 cm \/ Saucer: Height approx. 1.0 cm, diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"917\"\u003eNote:\u003c\/b\u003e All items offered by our shop, even if new and unused, are from a very old production period and are listed as used. Please be aware that products may have damage due to age, and consider your purchase after understanding and confirming this.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191923387,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7995_result.jpg?v=1781794764"},{"product_id":"287","title":"Restorer of the Legendary Meiji-Era Nishiura Ware: 5th-Generation Hiramasa Kiln Master Takagi Noritoshi (高木典利), Oribe Iron-Painted Wave and Bird Motif Sake Vessel #287","description":"\u003cp\u003eThis Oribe work is crafted by Takagi Noritoshi (born 1949), 5th-generation master of the Hiramasa Kiln in Mino, renowned for reviving the \"Yukasai\" (underglaze color) technique of the legendary Nishiura ware—a fine art ceramic produced in Tajimi during the Meiji period that won international acclaim before being lost to time. Inheriting a distinguished kiln lineage spanning five generations in Ichinokura-cho, Tajimi City, Gifu Prefecture, Takagi Noritoshi deeply pursued traditional Mino techniques and raw clay characteristics such as Shino, Oribe, and Ki-Seto while achieving the extraordinary feat of preserving heritage and restoring historical methods, earning high acclaim as a unique figure in the Mino ceramic art world.\u003c\/p\u003e\n\u003cp\u003eThis work represents a piece of E-Oribe (Narumi-Oribe) bearing the artist's handwritten inscription \"Oribe\" on its dedicated Tomobako. Featuring an elegant stemmed goblet form that opens outward like a morning glory from a dignified base, the entire body is finished in a warm white glaze laced with fine crackles. Expressed through energetic iron-brushwork, graceful wave motifs and soaring birds are painted with abstract graphic sensibility, while vibrant green copper glaze—the hallmark of Oribe ware—flows dynamically from the rim down the side. The interior of the stemmed base is also meticulously glazed with fine crackles and stamped with the artist's signature, resulting in a masterpiece that harmonizes traditional Oribe aesthetics with refined geometric form.\u003c\/p\u003e\n\u003cp\u003eOriginally possessing the dignified sculptural beauty of a futaoki (lid rest) used in tea ceremonies, we propose this vessel as a supreme Japanese Kogei sake vessel (stemmed goblet) for savoring aged sake, premium whisky, or Japanese sake in modern lifestyles. The moist, tactile feel of the raw clay when held, combined with the landscape created by the translucent green glaze and iron brushwork, elevates the act of pouring drinks into an extraordinary artistic experience. Identified as an authentic work created between 1985 and 1995—a period when his creative output as the 5th-generation master of Hiramasa Kiln matured and he actively pursued traditional Mino Oribe works—it arrives in pristine condition, complete with a dedicated Tomobako inscribed in ink and sealed by the artist.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTakagi Noritoshi (高木典利, 5th-Generation Hiramasa Kiln, born 1949)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003eInherited the 5th generation of \"Hiramasa Kiln\" in Ichinokura-cho, Tajimi City, Gifu Prefecture; created traditional Mino ceramics (Shino, Oribe, Ki-Seto); researched and revived the \"Yukasai\" (underglaze color) technique of the lost Meiji-era Nishiura ware over many years; held his first solo exhibition in Tajimi City in 2024\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1985–1995\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated Tomobako (with \"Oribe\" on the lid and \"Nori\" inscribed in ink with red seal on the lower left)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (Mino ware, E-Oribe, iron-painted wave and bird motif, flowing green glaze, crackle glaze, stemmed goblet form)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 5.5 cm, Mouth diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193922235,"sku":null,"price":19000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9735_result.jpg?v=1784864061"},{"product_id":"421","title":"Designated Intangible Cultural Property Artist, Exhibited Artist at The Metropolitan Museum of Art, Mizuno Juzan II (二世 水野寿山), Tessha-yu (Iron-Sand Glaze) Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #421","description":"\u003cp data-path-to-node=\"1\"\u003eThis is an iron-sand glaze (tessha-yu) tea bowl created by Mizuno Juzan II (1908–1978, real name: Mizuno Sakae), a master craftsman who studied under \u003ca href=\"\/en\/search?q=%22%E8%97%A4%E4%BA%95%E9%81%94%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFujii Tatsukichi\u003c\/a\u003e, a giant revered as the father of modern Japanese comprehensive craft art, and who led the Showa-era Seto ceramic art world alongside figures such as Kato Tokuro and Kato Shunji. Born into a multi-generational family of potters in Nishigama-cho, Seto City, Aichi Prefecture, Mr. Mizuno succeeded to the name Juzan II in 1931. He dedicated himself to the revival of traditional Seto tea ceramics, was selected multiple times for the Nitten exhibition, and was recognized as a \"Designated Artist for Cultural Preservation\" for maintaining advanced traditional techniques. He boasts brilliant achievements, including collaborative works with his master Fujii Tatsukichi, works collected by the Aichi Prefectural Museum of Art, and the exhibition and permanent preservation of his work at The Metropolitan Museum of Art in the United States. The lid of the accompanying dedicated paulownia wooden box (tomobako) features the handwritten calligraphy \"Seto-yaki Tessha-yu Chawan\" on the outside, accompanied by the signature seal \"Mizuno Juzan\" and seal stamps \"Juzan\" and \"Seto-gama\". Furthermore, as the included explanatory pamphlet (shiori) introduces his son Mizuno Meiichi as a promising new artist selected for the Nitten, this piece can be identified as an authentic work produced during the 1960s to early 1970s (early Showa 40s), a period when Meiichi began his active career and Juzan II's artistic style reached full maturity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eA detailed analysis of the piece's design reveals a perfect fusion of the heavy coloration of iron-sand glaze—Mr. Mizuno's true hallmark—and the refined modern sculptural beauty inherited from his master, Fujii Tatsukichi. Precise horizontal stepped carvings (comb-like line grooves) are applied around the body, over which the layered iron-sand glaze forms a fluid gradation from dark brown to warm yellowish-brown through firing. From the lower body to the waist, powerful brushstrokes and abstract shadow patterns in dense black iron glaze are fired onto the surface, creating deep contrast and a dignified appearance. Across the entire interior bowl (mikomi), speckles of iron-sand glaze spread beautifully like a nebula, with a deep tea-receptacle (chadamari) formed in the center. The area from the foot ring to the foot-side is intentionally left unglazed, exposing the bright and rustic raw clay body (rotai) characteristic of Seto-Nishigama, where a seal stamp \"Juzan\" proving it to be Mr. Mizuno's work is clearly impressed into the exposed clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting substantial yet comfortable dimensions measuring approx. 8.8 cm in height, approx. 11.5 cm in width, and approx. 11.0 cm in diameter that rest comfortably in the hand, our shop proposes this work, in alignment with modern refined lifestyles and drinking culture, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or premium spirits over a large ice cube. The tactile comfort drawn by the heavy texture of the iron-sand glaze and the three-dimensional stepped carvings touching your fingertips, combined with the visual effect of amber liquor reflecting beautifully against the deep dark brown and yellowish-brown speckles inside the vessel, dramatically deepens a special evening drink. A masterpiece in which international acclaim—represented by his exhibition at The Metropolitan Museum of Art—coalesces with the traditions of Seto-Akatsu and the design aesthetics of modern craft art, this piece allows one to relish the true essence of Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Contents (Shiori) Explanatory Pamphlet of the\u0026gt; \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eSeto Ware Tessha-yu Tea Bowl by Mizuno Juzan During the Kamakura period, Toshiro Kagemasa returned from Song China, discovered fine clay in Shibata (Shibatani), and established a kiln here. Since then, his descendants generation after generation transmitted the ancestral craft, fully demonstrating traditional techniques such as Old Seto, Seto-kuro, Shino, Oribe, and Ofuke. Even today, master craftsmen including Tokuro, Shunji, Shuntei, Shunto, Seisei-hachi, Juzan, and Sakusuke have emerged, making ceramic activity thriving second only to Kyoto. The author, Mizuno Juzan II, is well versed in tea ceremony ceramics and is a Designated Artist for Cultural Preservation selected multiple times for Nitten. His son, Mizuno Meiichi, is also a promising new artist selected for Nitten.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMizuno Juzan II (二世 水野寿山, 1908–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights: \u003c\/strong\u003eSucceeded to the name Juzan II in 1931. Studied under Fujii Tatsukichi, a giant of modern craft art. Designated Artist for Cultural Preservation, selected multiple times for Nitten. Active as a master craftsman representing the Showa Seto ceramic art world alongside Kato Tokuro, Kato Shunji, and others. His son, Mizuno Meiichi, is also a Nitten artist.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eMuseum \u0026amp; Exhibition Records: \u003c\/strong\u003eAichi Prefectural Museum of Art (Fujii Tatsukichi Collection), exhibited and permanently preserved at The Metropolitan Museum of Art (USA), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1960s to early 1970s (Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Seto-yaki Tessha-yu Chawan\", signature seal \"Mizuno Juzan\", and seal stamps \"Juzan\" and \"Seto-gama\" on the lid), explanatory pamphlet (shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Seto-Nishigama clay, tessha-yu \/ iron-sand glaze, stepped carving, iron brushwork)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.8 cm, Width approx. 11.5 cm, Diameter approx. 11.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48332184715451,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4258_result.jpg?v=1791090649"},{"product_id":"462","title":"Artist Represented in Mashiko Museum of Ceramic Art Collection, Matsubara Naoyuki (松原直之), Iron-Glaze Arabesque Tea Bowl, Japanese-Style Old Fashioned Glass, Aged Sake Vessel, Studied Under Yagi Kazuo and Kimura Ichiro #462","description":"\u003cp data-path-to-node=\"1\"\u003eThis tea bowl with an iron-underglaze arabesque pattern is created by Matsubara Naoyuki (1938–2024), a ceramic artist who studied under both \u003ca href=\"\/en\/search?q=%22%E6%9C%A8%E6%9D%91%E4%B8%80%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e, a master of Mashiko ware, and \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, a master of avant-garde ceramics who led Sodeisha, sophisticatedly fusing the rustic folk-art clay texture of Mashiko with the modern craft aesthetics of Kyoto. It is an authentic work by an accomplished artist whose high public acclaim includes winning the Tochigi Prefecture Arts Festival Award in 1967 and an Encouragement Award at the International Ceramic Art Exhibition in 1990, and whose representative works are housed in the Mashiko Museum of Ceramic Art. On the front of the lid of the accompanying dedicated paulownia wooden box (tomobako), the handwritten calligraphy reads \"Iron-Glaze Arabesque Tea Bowl,\" and on the reverse side, \"Naoyuki\" along with his signature seal. It can be deduced as a work produced during his mature period between the 1980s and 1990s (late Showa 50s to early Heisei era), after establishing his atelier in Kitanaka, Mashiko Town following his apprenticeship in Kyoto, when he established his unique arabesque expression combining iron-brush painting rich in tonal gradations with Namishiro glaze (traditional white glaze) and reduction firing unique to Mashiko.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAnalyzing the design details of this piece, the Namishiro glaze applied over the Mashiko clay forms a serene, matte-textured white ground with a subtle bluish tint through reduction firing, which strictly controls oxygen in the kiln. Delicate pinholes and craze marks (kannyu) are gracefully carved into the glazed surface, bringing forth silk-like, moist shadows depending on the light angle. Over this warm ground, iron-brush painting using iron-sand pigment is executed with clean, unhesitating strokes that evoke the true essence of avant-garde ceramics. The powerful brushwork reveals deep scorched blacks caused by pigment accumulation alongside soft tonal variations born from dry-brush strokes, enclosing dynamic energy within the surface. The body is formed into a cylindrical shape with moderate distortion and width that comfortably settles in the hands, while the unglazed area around the foot ring exposes the rustic and robust clay texture containing sand grains unique to Mashiko clay. Beside the foot, the round seal stamp \"Nao\" (直), Mr. Matsubara's mark, is clearly and deeply impressed in the exposed clay, asserting its overwhelming perfection as a handcrafted, one-of-a-kind work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eBoasting generous dimensions with a substantial presence and breadth, measuring approx. 8.4 cm in height and approx. 13.9 cm in width (mouth diameter), our shop proposes this work as a dignified \"Japanese-style old fashioned glass (Japanese-style Western liquor vessel)\" for luxuriously savoring aged spirits, vintage whisky, matured sake, or liquor on the rocks with large ice spheres, tailored to modern refined lifestyles. The moist white ground of the Namishiro glaze, the fluid iron painting, and the deep glaze quality inside the bowl beautifully enhance the amber hues of poured aged liquors and the clear glint of ice. A masterpiece fusing Mashiko folk-art tradition with Kyoto avant-garde ceramic expression, this piece allows one to savor the true essence of traditional Japanese craft through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMatsubara Naoyuki (松原直之, 1938–2024)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e Studied under Kimura Ichiro and Yagi Kazuo. Opened Yatake Kiln in 1961. Won the Tochigi Prefecture Arts Festival Award (Crafts Division) in 1967 and the International Ceramic Art Exhibition Encouragement Award in 1990.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eMashiko Museum of Ceramic Art (Collection includes representative work \"Black Pottery: Crested Kingfisher\", etc.)\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1980s–1990s (Late Showa 50s–early Heisei era)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eNone\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic \/ Pottery (Mashiko clay, Namishiro glaze, iron-underglaze painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.4 cm, Width (mouth diameter) approx. 13.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e The items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598474903739,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3731_result.jpg?v=1790765601"},{"product_id":"503","title":"Iron-Painted Sankirai Tea Bowl \/ Japanese-Style Rocks Glass by Takeda Toshio (武田敏男), Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #503","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a tea bowl by Takeda Toshio (b. 1932). He is a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture, who from 1964 continued to make ceramics at his kiln in Mashiko, Tochigi Prefecture. Takeda’s work was accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Traditional Kogei Exhibition and the Japan Ceramic Art Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and was then purchased by The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association and has also served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. This piece is a matcha tea bowl inscribed “Sankirai Chawan” (Sankirai Tea Bowl) on its tomobako (the original box inscribed by the artist). Drawing on its generous rim and the rounded form that sits comfortably in the hand, we propose it as a Japanese-style rocks glass (drinking vessel) for enjoying old whisky on the rocks over a large piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to the accompanying leaflet, “Takeda Toshio: Ceramic Career,” Takeda graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under \u003ca href=\"\/en\/search?q=%22%E7%B1%B3%E6%B2%A2%E8%98%87%E5%B3%AF%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYonezawa Soho\u003c\/a\u003e, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%A1%94%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e. In 1960 (Showa 35) he sought out \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E6%9D%91%E8%80%95%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTamura Koichi\u003c\/a\u003e in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. His subsequent path continued with acceptance into the Japan Traditional Kogei Exhibition in 1969 (Showa 44). In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. His entry to that exhibition was selected for a touring exhibition in Canada and the United States and was purchased by The National Museum of Modern Art, Kyoto. In 1974 (Showa 49) he became a full member of the Japan Kogei Association, and between 1983 and 1986 he served on the selection and judging committee of the Japan Kogei Association New Works Exhibition. From 1973 (Showa 48) to 1990 (Heisei 2) he held solo exhibitions at Nihombashi Takashimaya in Tokyo, ten in all, and he also held a series of solo exhibitions at Yokohama Takashimaya.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAmong Takeda’s representative techniques is tetsu-dosai, as seen in his “Bowl with Grape Design in Iron and Copper Decoration,” accepted into the 37th Japan Traditional Kogei Exhibition in 1990. Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai belongs to this lineage. In this piece, leaves and vines painted in blackish-brown iron contrast with berries that have fired to a crimson red within a single composition. The composition adds a second color to the deep tones of iron to bring variation to the picture, and in this Takeda’s style is clearly expressed.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSankirai, the subject of this piece, is a name long familiar in Japan for sarutori-ibara, a climbing plant that bears red berries in autumn. Around the body, large rounded leaves, each painted in a single sweep of a broad brush, run in a row along the lower body. Within the leaves remain variations in tone left by the movement of the brush, along with fine lines left unpainted like leaf veins. From between the leaves, vines built up from short, dotted brushstrokes rise smoothly, and small berries are painted in clusters at their tips. The berries carry a pale crimson tint. Their dark outlines and partial metallic sheen convey the texture of ripe fruit. The painting is placed toward one side of the bowl, while the other side leaves the grayish-green ground almost untouched. Because of this contrast between painted area and empty space, turning the bowl shifts the scene from wild plants to a quiet expanse. The iron brush lines sink beneath the glaze, and their outlines blur slightly, creating a soft quality reminiscent of ink painting.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe grayish-green glaze covering the entire bowl has a moist, calm sheen. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) runs in a network from the exterior to the interior (mikomi). Another highlight is the way its expression changes with the light, from bluish gray to pale green. The bowl has a generous, rounded form, and the rim rises almost straight. At the very edge of the rim the glaze is thin, framing it in a lighter tone. The lower body has gentle vertical undulations that give the fingers a comfortable hold. The foot ring is low and compact, and the tatami-tsuki (the part of the base that touches the surface) is unglazed, revealing reddish-brown clay. Near the foot, a potter’s seal is impressed in a square area where the glaze has been scraped away. A little glaze has pooled in the center of the interior, holding a quiet sheen.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe wide mouth, approx. 13.4 cm in diameter, easily accommodates a large piece of ice, and the amber of aged spirits stands out beautifully against the grayish-green interior. This is a one-of-a-kind piece that passed through the artist’s own hands at every stage, from throwing on the wheel to painting, glazing and firing. No other piece has the same brushwork or glaze expression. Very little information on Takeda Toshio’s work circulates outside Japan. Opportunities to acquire an iron-painted vessel that carries on his teacher’s lineage, by an artist whose work is held in a national museum collection, are limited. The tomobako bears the artist’s handwritten inscription “Sankirai Chawan,” his signature “Toshio” and a red seal. A shiori, a leaflet recording the artist’s ceramic career, and a wrapping cloth are also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, selected for the touring exhibition in Canada and the United States, purchased by The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (continuing through the tenth in 1990); [1974] Became a full member of the Japan Kogei Association; [1983] Served on the selection and judging committee of the Japan Kogei Association New Works Exhibition (also in 1984 and 1986); [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1990 (Heisei 2) to early 1990s (estimated, as the career history in the accompanying leaflet ends with the tenth solo exhibition at Nihombashi Takashimaya in 1990)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks; the crazing is an aesthetic feature of the glaze)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (inscribed “Sankirai Chawan,” signed, with red seal), shiori (leaflet recording the artist’s ceramic career), wrapping cloth\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eRim diameter approx. 13.4 cm, height approx. 9.2 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404890811,"sku":null,"price":60000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5676_result.jpg?v=1792903138"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/tetsue.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}