{"title":"Master Craftsmen's Vessels on Video","description":"\u003cp\u003eA list of our YouTube and Instagram videos, each introducing one piece by a master craftsman.\u003c\/p\u003e","products":[{"product_id":"16","title":"Miyanaga Rikichi (宮永理吉), Yanagihara Mutsuo (柳原睦夫), Morino Taimei (森野泰明) - Sodeisha Special Selection No. 1 \"Sanpai\": Avant-Garde Ceramic Masters Take On the Miniature Vessel, 3-Piece Set Including a Rare Hand-Blown Glass Sake Cup #16","description":"\u003cp data-path-to-node=\"15\"\u003eThis masterpiece was released as a special selection of \"Sanpai\" (Three Sake Cups) by three contemporary ceramic artists representing Japan. It brings together the works of \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e, Yanagihara Mutsuo, and Morino Taimei—masters who led the golden age of \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e,\" the legendary avant-garde art group that rejected the concept of practical vessels and elevated ceramics into the realm of pure contemporary art known as \"Objets-yaki\" (sculptural ceramics). Among these three pieces, the work by Morino Taimei, a Person of Cultural Merit and a member of the Japan Art Academy, is crafted from hand-blown glass, which is extremely unusual for a ceramic artist. This highly rare and precious piece symbolizes Sodeisha's core philosophy of \"liberating art from the preconceived notions of materials.\" You can fully appreciate the wondrous paradox where the avant-garde aesthetic of dismantling and reconstructing tradition is confined within the miniature frame of a palm-sized sake cup. When savoring a precious Japanese whisky, why not enjoy it from a glass born of the same homeland where their passion still breathes?\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"0\"\u003eArtists:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e (宮永理吉), \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eYanagihara Mutsuo\u003c\/a\u003e (柳原睦夫), \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eMorino Taimei\u003c\/a\u003e (森野泰明)\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"60\"\u003eEra of Production:\u003c\/b\u003e 1980s–1990s\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"91\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"134\"\u003eAccessories:\u003c\/b\u003e Original box included\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"169\"\u003eMaterial:\u003c\/b\u003e Ceramic, hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"205\"\u003eDimensions:\u003c\/b\u003e Height approx. 6.5 cm, diameter approx. 5.5 cm each\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"269\"\u003eNote:\u003c\/b\u003e Even if the products we offer are new and unused, they are all listed as second-hand products because they were produced very long ago. Please note that the products may have damage due to aging, so please understand and check before considering purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"533\"\u003eAbout the Artists:\u003c\/b\u003e As follows\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"17\"\u003e\u003cb data-path-to-node=\"17\" data-index-in-node=\"0\"\u003eMiyanaga Rikichi (宮永理吉, 1935–)\u003c\/b\u003e Miyanaga Rikichi began studying sculpture at the Kyoto City University of Arts in 1954 under Shindo Tsuji and Masakazu Horiuchi, before dropping out of the postgraduate course in 1960 to travel to the United States. There, the artist engaged with Peter Voulkos and others. After returning to Japan, Miyanaga Rikichi garnered attention as a sculptor through exhibitions such as the \"Trends in Contemporary Art\" exhibition and became a member of the Sodeisha group in 1971. While possessing a background in the highest traditions of celadon techniques from the prestigious \"Miyanaga Tozan\" lineage, the artist developed organic and sculptural avant-garde forms that eliminated utility. By expressing the inherent vitality and tension of clay as a raw material, Miyanaga Rikichi powerfully embodied Sodeisha's vision of \"breaking away from the beauty of utility.\" The artist received the Kyoto Prefecture Order of Cultural Merit in 1998 and inherited the title of Miyanaga Tozan III in 1999.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eYanagihara Mutsuo (柳原睦夫, 1934–)\u003c\/b\u003e A ceramic artist from Kochi Prefecture, Yanagihara studied at the Kyoto City University of Arts and studied under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e. Yanagihara joined Sodeisha in 1958. In contrast to the avant-garde ceramics of the time, which tended to favor stoic, monochrome tones, the artist injected brilliant color expressions using gold and silver luster glazes and vivid primary colors. Through Yanagihara's experience living in the United States, the artist pursued a sculptural beauty endowed with an international sensibility, opening up a new horizon of the \"liberation of color\" for Sodeisha's avant-garde objects. The artist is one of the leading figures representing contemporary ceramics. Professor Emeritus at Osaka University of Arts.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003e\u003cb data-path-to-node=\"19\" data-index-in-node=\"0\"\u003eMorino Taimei (森野泰明, 1934–)\u003c\/b\u003e A ceramic artist born in Kyoto. Born to the master craftsman Yoshimitsu Morino, Morino Taimei graduated from the Kyoto City University of Arts and subsequently released numerous works that fused tradition with modernity. Morino Taimei joined Sodeisha in 1957. Since the 1980s, the artist has participated in both domestic and international exhibitions, receiving high acclaim for avant-garde forms and glaze expressions. Excelling in sharp, architectural geometric compositions—as symbolized by this hand-blown glass piece—the artist transcended the very boundaries of clay as a material. Through a supreme conceptual expression that controlled the fluidity of fire and material, as well as the transmission of light and space, Miyanaga Rikichi embodied the pinnacle of the unique sculptural philosophy that Sodeisha aspired to achieve. The artist is a Person of Cultural Merit, a member of the Japan Art Academy, and one of the supreme titans of contemporary Japanese ceramics.\u003c\/p\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":46647482515643,"sku":"","price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8214_result.jpg?v=1781791862"},{"product_id":"43","title":"Living National Treasure Nakada Kazuo (中田一於)'s Kutani Ware Silver-Glazed Shochu Drinking Glass #43","description":"\u003cp data-path-to-node=\"3\"\u003e\u003ca href=\"\/en\/collections\/maker-nakada-kazuo\" target=\"_blank\" rel=\"noopener\"\u003eNakada Kazuo\u003c\/a\u003e has been designated as a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e (Preserver of Important Intangible Cultural Property) for the ceramic technique known as Yukasai (underglaze coloring), the first designation ever made for this technique. This designation serves as public proof that the unique world of Yuri-ginsai (underglaze silver foil), which the artist has refined over many years, represents one of the highest peaks of Japanese traditional beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eThe reason Nakada Kazuo, who has established a new milestone in the history of \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani ware\u003c\/a\u003e, is held in such high esteem lies in the almost obsessive precision condensed into this work. The essence of Yuri-ginsai lies in the nearly impossible technical harmony of sealing the brilliance of silver deep beneath a lapis lazuli glaze. While ordinary silver decoration typically oxidizes and turns black when exposed to air, Nakada arranges paper-thin pieces of silver foil one by one like a puzzle based on meticulous calculations. Nakada perfectly controls the risk of the silver foil melting away due to the intense heat during firing, maintaining an eternal sparkle within the glaze. This process is a divine skill that only the artist can achieve. This specific expression of silver shining with dignity beneath the glaze was the decisive reason for Nakada's selection as the first Living National Treasure in the field of Yukasai.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThis work was created around 2009, a period when Nakada had completely mastered the technique and was receiving intense attention from museums worldwide; it is a representative piece that embodies Nakada's true essence. The silver foil hidden beneath the lapis lazuli glaze changes its expression like a kaleidoscope depending on the angle of the light, sometimes shimmering sharply like a gemstone and at other times swaying softly like morning mist. The geometric patterns reminiscent of lotus petals covering the entire vessel are Nakada's signature design. The contrast of blue and silver reflecting on the inside when sake is poured can be described as a supreme view that only the owner can enjoy.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eFurthermore, this work is exceptionally outstanding in terms of its form. The footed style exudes the dignity of a fine art craft, yet it maintains excellent center-of-gravity balance when actually held, fusing practicality and aesthetics at a high level. As a testament to its global value, the artist's works are part of the permanent collections of institutions such as the Smithsonian's Arthur M. Sackler Gallery in the United States. Following Nakada's designation as a Living National Treasure in 2025, there is no doubt that the rarity of such fulfilling works from the artist's mature period will increase further in the art market. Holding the crystal of light of a master who has carved a name in history while enjoying a supreme drink is nothing less than a luxurious cultural privilege that transcends a mere evening glass.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-nakada-kazuo\" target=\"_blank\" rel=\"noopener\"\u003eNakada Kazuo\u003c\/a\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements include:\u003c\/strong\u003e [ \u003cspan class=\"line\"\u003e\u003cspan class=\"year\"\u003e1990]\u003c\/span\u003e \u003cspan class=\"title\"\u003eMinister of Education Award at the Japan Traditional Crafts Exhibition; [\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"line\"\u003e\u003cspan class=\"year\"\u003e1993]\u003c\/span\u003e \u003cspan class=\"title\"\u003eUnderglaze Silver Vase selected for permanent collection at the Smithsonian Institution's Mackler Gallery in Washington; [\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cspan class=\"line\"\u003e2001] Grand Prize at the Traditional Kutani Ware Crafts Exhibition; [ \u003cspan class=\"year\"\u003e2011]\u003c\/span\u003e \u003cspan class=\"title\"\u003eMedal with Purple Ribbon; [ \u003cspan class=\"year\"\u003e2019]\u003c\/span\u003e Order of the Rising Sun, Gold Rays with Rosette; [2025] Designated Living National Treasure for Nakada's underglaze enamel technique.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e circa 2009\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, wrapping cloth, artist biography\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic (Kutani ware, pottery)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 10.8cm, diameter approx. 8.1cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCharacteristics of Nakada Kazuo's works:\u003c\/strong\u003e The artist's greatest feature is the \"underglaze silver color\" technique, which involves applying a pattern with silver foil under the glaze. This technique allows the shine of the silver to show through the glaze, and the soft, pale colors and shading of light create a delicate expression with depth. Many of Nakada's works feature plants and geometric patterns applied with silver color, and are characterized by a cool, modern style.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47058962448571,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1090_result.jpg?v=1784445616"},{"product_id":"74","title":"Iwata Toshichi (岩田藤七)'s `Gen (Black)` hand-blown crystal wine cooler, ice bowl, masterpiece from his later years, large-scale work #74","description":"\u003cp\u003eThis is a rare hand-blown glass piece by \u003ca href=\"\/en\/collections\/maker-iwata-toshichi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e (岩田藤七, 1893–1980), a master who laid the foundation for modern Japanese glass art. Created in 1972, towards the end of the artist's life, this piece is one of Iwata's greatest masterpieces, and its crystal clear transparency and dynamic form give it a particularly striking presence among Toshichi's works.\u003c\/p\u003e\n\u003cp\u003eThis piece's graceful curves resemble the waters of a powerful mountain stream instantly transformed into solid crystal. Despite its imposing dimensions, approximately 27cm high and 21.5cm wide, maintaining its exceptional clarity, free of air bubbles and impurities, requires exceptional skill and delicate temperature control. The hand-blown molding of large, pure crystal glass is prone to cracks and distortions during the cooling process, making it extremely difficult to produce a successful piece, further underscoring its rarity and value. The highly transparent glass creates a deep curve within, evoking a sense of spaciousness. While originally intended as a flower vase, we suggest placing a large block of ice inside to create a fantastical ice bowl, where the ice and glass appear to blend seamlessly. The graceful flow of light and shadows reflect in this captivating piece, drawing you in the moment.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003e:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-iwata-toshichi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Toshichi\u003c\/a\u003e (岩田藤七, 1893–1980)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements:\u003c\/strong\u003e [1943] Certified as a Class A Art Preservation Qualification, [1951] Awarded the Japan Art Academy Prize, [1970] Awarded the Person of Cultural Merit, [1980] Awarded the Order of the Treasure, Second Class\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eWork name:\u003c\/strong\u003e Gen\u0026nbsp;(Black)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e 1972 (Showa 47)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, dedicated wrapping cloth\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 27cm, width approx. 21.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial Notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to the manufacturing process, but no chips or cracks after production. Please note that \u003cspan style=\"color: rgb(255, 42, 0);\"\u003ethe wooden box has dried out and cracked due to aging\u003c\/span\u003e .\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-end=\"151\" data-start=\"0\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47125266858171,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2308.jpg?v=1761739788"},{"product_id":"79","title":"Yoshida Takeo (吉田丈夫): `Kousho (Light Dress)` Hand-blown Crystal Ice Bowl, Large-scale Work #79","description":"\u003cp data-path-to-node=\"3\"\u003e\u003ca href=\"\/en\/collections\/maker-yoshida-takeo\" target=\"_blank\" rel=\"noopener\"\u003eYoshida Takeo\u003c\/a\u003e (吉田丈夫, 1916–2002) was an artist who made a significant contribution to the development of glass art in postwar Japan. Yoshida's pen name was \"Okibito\" (fireman), and the artist created a world of work that embodied warmth and tranquility. The artist studied at the lacquerware department of the Department of Crafts at the Tokyo School of Fine Arts (now Tokyo University of the Arts), specializing in lacquerware. After Yoshida's postwar pursuit of new materials, the artist switched to the field of glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eYoshida joined \u003ca href=\"\/en\/collections\/maker-kagami-crystal\" target=\"_blank\" rel=\"noopener\"\u003eKagami Crystal\u003c\/a\u003e Manufacturing (now Kagami Crystal), Japan's first factory specializing in crystal glass, in 1935 (Showa 10), as a student of the company's founder, \u003ca href=\"\/en\/search?q=%22%E5%90%84%E5%8B%99%E9%91%9B%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKagami Kozo\u003c\/a\u003e. Throughout the turbulent times of war and postwar Japan, the artist remained at the company's headquarters in Nishirokugo, Ota Ward, from 1949 onwards, holding key positions such as Director of the Crafts Department and Managing Director. Through Yoshida's many years of experience in production here, particularly the highly demanding work of creating items for the Imperial Household and gifts for state guests, Yoshida developed a unique style of expression that combined the creative sensibility of traditional crafts with the modern material of crystal glass.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eWhile Yoshida's works are based on the \"beauty of utility\" found in tea ceremony utensils, flower vases, and sake cups, they also display a tranquil and refined beauty through the transparency of the materials and the refraction of light. After retiring from Kagami Crystal in 1978 (Showa 53) and going independent, the artist established Yoshida's own studio, \"Yoshida Takeo Crystal Crafts,\" in Ibaraki Prefecture. Devoted to highly artistic creative endeavors that transcend organizational boundaries, the artist has produced numerous masterpieces that harmonize smooth textures with organic forms, as exemplified by Yoshida's signature work, \"Date Gourd\" (1988, National Crafts Museum). The artist's natural-themed sculptures, such as gourds and buds, are imbued with a sense of vitality and inner light, exuding the delicate sensibility and warmth of handwork that come from a background in lacquerware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThis work, `Kousho (Light Dress)` is believed to have been specially commissioned by Sumitomo Trust Bank while Yoshida was employed at Kagami Crystal. It was created during a time when Yoshida was at a career peak as a businessman, having been selected as a \"Contemporary Master Craftsman\" in 1974. Unlike the artist's later independent works, it displays the refined and refined aesthetic unique to Yoshida's time as a corporate workshop. This beautiful piece features light flowing like a trailing hem across the crystal's transparent white space. True to its name, this vessel, adorned as if wrapped in light, also excels as an ice bowl, adding a touch of elegance to everyday moments. The thick crystal holds the ice, and the soft, swaying shadows of light envelop the vessel like the hem of a garment. The harmony of the ice and glass, along with the tranquil beauty of the light, creates a rich and unforgettable experience.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003e:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-yoshida-takeo\" target=\"_blank\" rel=\"noopener\"\u003eYoshida Takeo\u003c\/a\u003e (吉田丈夫, 1916–2002)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eThe artist's notable achievements include:\u003c\/strong\u003e [\u003c\/span\u003e 1974] \u003cstrong\u003eAwarded the Minister of Labor's Commendation as a Contemporary Master Craftsman\u003c\/strong\u003e ; [1977] Selected for the 24th Japan Traditional Art Crafts Exhibition for the first time; [1981] Awarded the Tokyo Governor's Award at the 28th Japan Traditional Art Crafts Exhibition; [1986] Awarded the Medal with Yellow Ribbon; \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e[1988] Yoshida's representative work, \"Date Gourd,\" is in the collection of the National Crafts Museum;\u003c\/span\u003e \u003cstrong\u003e[1990] Awarded the Minister of International Trade and Industry's Award (Traditional Craft Industry Outstanding Technician Award)\u003c\/strong\u003e ; [1992]\u003cspan data-path-to-node=\"4,5,0\" data-index-in-node=\"0\"\u003e \u003c\/span\u003eYoshida was awarded the Order of the Sacred Treasure, Fifth Class, and in 1995 received the Japan Crafts Association Holder's Award at the 42nd Japan Traditional Crafts Exhibition. \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Kousho (Light Dress)\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction year:\u003c\/strong\u003e 1970s (estimated)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass, crystal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approx. 23cm, width approx. 20cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial notes:\u003c\/strong\u003e There are small internal bubbles, cloudiness, and scratches due to manufacturing, but no chips or cracks after manufacturing.\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47134669177019,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2470.jpg?v=1762763500"},{"product_id":"87","title":"Living National Treasure Kitamura Shinichi (北村眞一)'s masterpiece: The Silver Arbor, Lost-wax casting (Rōgata) silver and blown glass sake cup #87","description":"\u003cp data-path-to-node=\"6\"\u003eThis sake vessel, titled Wax-mold Cast Silver and Blown Glass Sakazuki, is a masterpiece that distills the exceptional techniques of \u003ca href=\"\/en\/collections\/maker-kitamura-shinichi\" target=\"_blank\" rel=\"noopener\"\u003eKitamura Shinichi\u003c\/a\u003e (北村眞一, 1952–), a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e. It is an extremely rare piece that demonstrates the depth of the artist's exploration, beautifully fusing the disparate materials and techniques of metalwork and glass craftsmanship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eBorn in 1952, Kitamura Shinichi is a metal artist who was certified in 2019 as a Preserver of the Important Intangible Cultural Property of Wax-mold Casting. This vessel is an exquisite creation utilizing those traditional techniques. Because silver, which is a metal, and glass have vastly different melting points and thermal expansion coefficients, the task of completely integrating the two requires extremely advanced skill to overcome the risk of bursting or cracking from thermal shock. This work features an ingenious structure that overcomes this challenge by blowing glass into a silver framework shaped like a tree. The silver ornamentation is characterized by an organic texture with numerous perforations and a form resembling a powerful, undulating tree trunk, creating a fantastical beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis piece is presumed to be an ambitious work from around the year 2000 (Heisei 12), a period of maturity in Kitamura's creative career during which the artist pursued the ultimate in technical fusion and decorativeness. The silver portion features a delicate design reminiscent of extending branches and leaves, evoking both the vitality of nature and a sense of tranquil beauty. When a drink is poured, light reflects through the intricate gaps in the silver, emitting a quiet radiance unlike any other. The expression of this light changes over time and projects various shadows depending on the viewing angle. The ability to appreciate the sophisticated craftsmanship of a Living National Treasure through an everyday vessel is one of this work's greatest charms. Fusions of glass with such complex silver motifs are rare even within Kitamura's body of work, making this a precious collector's item worthy of high acclaim for both its artistic and technical merit.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-kitamura-shinichi\" target=\"_blank\" rel=\"noopener\"\u003eKitamura Shinichi\u003c\/a\u003e (北村眞一, 1952–)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eArtist's major activities:\u003c\/strong\u003e [2019] Certified as a holder of the Important Intangible Cultural Property \"Lost-wax casting (Rōgata)\" (Living National Treasure)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eProduction date:\u003c\/strong\u003e circa 2000\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips or cracks)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated box included\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Silver, glass\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 7.5cm, diameter 5.5cm\u003c\/span\u003e \u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"color: rgb(255, 42, 0);\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\" class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003eSpecial note:\u003c\/strong\u003e As this is a silver product, discoloration due to oxidation of silver may occur.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"0\" data-end=\"151\"\u003e\u003cspan class=\"relative -mx-px my-[-0.2rem] rounded px-px py-[0.2rem] transition-colors duration-100 ease-in-out\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the products we offer are brand new and unused, they are very old and are listed as second-hand items. Please note that the products may have damage due to aging, so please understand and check before purchasing.\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47170608365755,"sku":null,"price":550000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2601.jpg?v=1763175269"},{"product_id":"156","title":"Hiroshima Prefectural Important Intangible Cultural Property, Uchida Yasuhide (内田泰秀), Late Mature Period, 1980 Masterpiece of Pottery, Lost and Visionary Technique \"Hyori Kantsu Nishiki Neriage\" Ceramic Whisky Tumbler #156","description":"\u003cdiv dir=\"ltr\" aria-busy=\"false\" aria-live=\"polite\" id=\"model-response-message-contentr_460f7b4b0b04bce1\" class=\"markdown markdown-main-panel stronger enable-updated-hr-color\"\u003e\n\u003cp data-path-to-node=\"6\"\u003e\u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e is a ceramic artist hailed as a solitary legend in the history of Showa era ceramics. Following immense acclaim at the 1970 Osaka Expo and Uchida's subsequent research at the Manufacture nationale de Sèvres, the prestigious national porcelain manufactory of France, the artist reached a unique artistic pinnacle that harmoniously fused Japanese and French aesthetics. This piece is a miraculous masterpiece created by Uchida at age 87, in the final years of a long life, a work of such dedication that it took five full months to bring just a single cup to completion.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eAt first glance, the intricate patterns might appear to be beautiful designs painted with a brush. However, the true marvel of this work lies in the fact that these colors and motifs are not created using any pigments or surface painting at all. Instead, they are the result of the lost, phantom technique known as Hyori Kantsu Nishiki Neriagede (Surface-to-Reverse Penetration Brocade Marbling). Clays colored with various metal oxides are assembled like a complex puzzle based on precise calculations, forming the pattern itself as the very structure of the clay body.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe fantastical flowers appearing at the center of the work, set against a blue mosaic background reminiscent of pond ripples, evoke Claude Monet's Water Lilies. In works like this, which utilize different colored clays, the risk of cracking at the joints is extremely high due to varying shrinkage rates during firing, and any flaws cannot be hidden with glaze. Uchida utilized the advanced techniques the artist honed at Sèvres to overcome these grueling conditions, achieving vivid, clear colors without turbidity and a robust, flawless finish.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe most defining characteristic is the surface-to-reverse penetration. When peering into the glass, one will be breathless to find that the complex patterns on the exterior extend perfectly through to the interior and even the base without the slightest deviation. This is evidence of the flawless layering of the clay strata and represents a supreme structural beauty imbued with a wish for peace without a back side (sincerity without duplicity) by Uchida, who was a native of the atomic-bombed city of Hiroshima.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eWhen amber whisky is poured into the glass, the intricate patterns shimmer like a kaleidoscope within the liquid, revealing a new, breathtaking landscape. This is the world of Nishiki (Brocade) where five months of passion and technique are encapsulated. To savor fine spirits in this ultimate Ceramic Whisky Tumbler is a luxurious cultural privilege that transcends a mere evening drink.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e (内田泰秀, 1893–1997)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotable Career Highlights:\u003c\/strong\u003e [1952] Solo exhibition at Mitsukoshi Nihonbashi Main Store; [1960s] Studied color and porcelain techniques at the Manufacture nationale de Sèvres in France; [1965] Designated as an Intangible Cultural Property of Miyoshi City; [1970] Exhibited at the Osaka Expo (EXPO'70); [1973] Recognized as a Holder of an Important Intangible Cultural Property of Hiroshima Prefecture.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDate of Production:\u003c\/strong\u003e April 1980 (Showa 55). Inscribed on the back of the box: Produced over five months, April 1980.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original wooden box, wrapping cloth (with signature and seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Nishiki Neriage-de (Ceramic, Through-and-Through technique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 6.5 cm, Diameter approx. 7.4 cm (approximate)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Although the products we offer may be unused, they were produced many years ago and are listed as vintage\/pre-owned items. Please be aware that products may show signs of aging. We appreciate your understanding and careful review before purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47416312070331,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4124.jpg?v=1770887564"},{"product_id":"158","title":"Hiroshima Prefectural Important Intangible Cultural Property, Uchida Yasuhide (内田泰秀), Late Mature Period, 1977 Masterpiece, Lost and Visionary Technique \"Hyori Kantsu Nishiki Neriage\" Ceramic Rock Glasses (2-Piece Set) #158","description":"\u003cdiv dir=\"ltr\" aria-busy=\"false\" aria-live=\"polite\" id=\"model-response-message-contentr_460f7b4b0b04bce1\" class=\"markdown markdown-main-panel stronger enable-updated-hr-color\"\u003e\n\u003cp data-path-to-node=\"7\"\u003e\u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e is a ceramic artist hailed as a solitary legend in the history of Showa era ceramics. Following immense acclaim at the 1970 Osaka Expo and Uchida's subsequent research at the prestigious Manufacture nationale de Sèvres in France, the artist reached a unique artistic pinnacle that harmoniously fused Japanese and French aesthetics. This specific work, Hyori Kantsu Nishiki Neriage (Surface-to-Reverse Penetration Brocade Marbling), was created in July 1977 (Showa 52), a time when Uchida's technique had reached its full maturity and was approaching its absolute peak. On the reverse side of the accompanying original wooden box (tomobako), there is an ink inscription that reads July 24, Showa 52, Intangible Cultural Property, making this a pair of historical significance where years of dedicated study are kneaded into every single grain of clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eAt first glance, the intricate patterns might appear to be beautiful designs painted with a brush. However, the true marvel of this work lies in the fact that these colors and motifs are not created using any pigments or surface painting at all. They are the result of the lost, phantom technique known as Hyori Kantsu Nishiki Neriage. Clays colored with various metal oxides are assembled like a complex puzzle based on precise calculations, forming the pattern itself as the very structure of the clay body. Because different colored clays shrink at different rates during firing, the risk of cracking at the joints is extremely high, and any flaws cannot be hidden with glaze. While most works with such multi-colored and complex patterns would crack during firing, Uchida utilized the exceptional skills the artist honed at Sèvres to achieve vivid, clear colors without turbidity and a robust, flawless finish.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eUnique discolorations caused during firing can be seen on the surface, but in Uchida's work, these are by no means defects. They are the traces of a battle in which different clays fiercely pulled against one another under grueling heat, eventually merging and sublimating into a single entity. This expression, which looks as if the flickering of the flames themselves has been captured, is the scenery (keshiki) unique to fine kōgei (craft) and absent in industrial products; it is the steadfast proof that this work is a one-of-a-kind piece that survived the harsh kiln fire. Furthermore, the most defining characteristic, surface-to-reverse penetration, means that the complex patterns on the exterior extend perfectly through to the interior and even the base without the slightest deviation. This is evidence of the flawless layering of the clay strata and represents a supreme structural beauty imbued with a wish for peace without a back side (sincerity without duplicity) by Uchida, who was a native of the atomic-bombed city of Hiroshima.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eWe propose this historical Japanese masterpiece not merely as a teacup, but as a supreme whisky rock glass worthy of its esteemed status. When held in the hand, one can feel the profound weight of the kneaded clay and the intricate textures of the patterns beneath the fingertips. The moment amber whisky is poured in, the geometric motifs that penetrate through to the interior shimmer like a kaleidoscope within the liquid, revealing a new, breathtaking landscape at the bottom of the glass. This time spent where fine spirits meld with passion that has not faded after nearly fifty years will be a luxurious cultural privilege that transcends a mere evening drink.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e (内田泰秀, 1893–1997)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotable Career Highlights:\u003c\/strong\u003e [1952] Solo exhibition at Mitsukoshi Nihonbashi Main Store; [1960s] Studied color and porcelain techniques at the Manufacture nationale de Sèvres in France; [1965] Designated as an Intangible Cultural Property of Miyoshi City; [1970] Exhibited at the Osaka Expo (EXPO'70); [1973] Recognized as a Holder of an Important Intangible Cultural Property of Hiroshima Prefecture.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDate of Production:\u003c\/strong\u003e July 1977 (Showa 52). *Note: The back of the original wooden box (tomobako) bears an ink inscription that reads: July 24, Showa 52, Intangible Cultural Property.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original wooden box, wrapping cloth (with signature and seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Nishiki Neriage-de (Ceramic, Through-and-Through technique)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e [Large] Height: Approx. 7.5cm, Diameter: Approx. 7.4cm \/ [Small] Height: Approx. 7cm, Diameter: Approx. 6cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Although the products we offer may be unused, they were produced many years ago and are listed as vintage\/pre-owned items. Please be aware that products may show signs of aging. We appreciate your understanding and careful review before purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47454026793147,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4188.jpg?v=1771241582"},{"product_id":"164","title":"Iwata Hisatoshi (岩田久利) – Vibrant Scarlet Pulse: Hand-Blown Glass Masterpiece, Aka-Yahazu \"Scarlet Flame\" Ice Bowl #164","description":"\u003cp data-path-to-node=\"7\"\u003e\u003ca href=\"\/en\/collections\/maker-iwata-hisatoshi\" target=\"_blank\" rel=\"noopener\"\u003eIwata Hisatoshi\u003c\/a\u003e (岩田久利, 1925–1994), born in Tokyo, was a rare master who elevated contemporary Japanese glass art from mere decoration to the status of fine art. Iwata's works are held in the permanent collections of world-renowned institutions, including the Metropolitan Museum of Art and the Museum of Modern Art (MoMA) in New York, the Musée des Arts Décoratifs in Paris, and The Corning Museum of Glass, the world's preeminent glass museum. The artist has established an immovable position as an international artist of whom Japan is justly proud. As the inscription \"September 1981\" on the base of this work indicates, this monumental masterpiece was created during Iwata’s most prolific period, just before the artist received the Japan Art Academy Award in 1982.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThe core of this work, the Yahazu (arrow-notch) pattern, is a technique that represents the very essence of Iwata’s artistry. It is created by physically stretching and rotating layers of molten glass of different colors. To control the brilliant, flame-like red and pure white glass layers without distortion on such a large vessel—measuring approximately 23 cm in diameter and 25 cm in height—requires highly sophisticated heat management and master-level hotworking skills. The opaque white and transparent red glass, which possess different thermal expansion coefficients, are fused at the molecular level in a molten state exceeding 1,000 degrees Celsius. The precise physical calculations required to avoid breakage during the cooling process represent the pinnacle of the \"dialogue between fire and matter.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eVisually, the passionate scarlet energy appears to well up from the bottom of the vessel, brimming with vitality, while the white lines at the rim and base tighten the overall impression, lending a modern sense of tension. We propose this masterpiece with its overwhelming presence as an \"ice bowl\" for the finest whiskies. The cool brilliance reflected from the ice inside the vessel resonates with Iwata’s \"fire\" pattern, creating the ultimate stage to adorn the amber liquid. Iwata Hisatoshi's aesthetic, recognized by museums worldwide, will elevate the tranquil ritual of a special evening to an unprecedented moment of luxury.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eProduced by:\u003c\/strong\u003e Iwata Glass Studio\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Iwata Hisatoshi (岩田久利, 1925–1994)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eArtist's Notable Achievements:\u003c\/strong\u003e [1976] Minister of Education Award at the Nitten Exhibition; [1982] Japan Art Academy Award Date of Creation: September 1981 (inscribed on the base)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (No chips or cracks)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original signed wooden box (with \"Beni-Yahazu\" calligraphy)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-blown glass\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 23 cm, Height approx. 25 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice①:\u003c\/strong\u003e The black spots visible in this area are 'iron spots' (iron mottling), caused by the natural iron minerals within the clay reacting during the firing process. Rather than artificial stains, these are an integral part of the vessel's unique 'Keshiki' (scenery), born within the 1,200°C flames. We invite you to appreciate this as a singular, organic characteristic of the piece.\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eNotice②:\u003c\/strong\u003e While this item is in unused condition, it is a vintage piece produced many years ago and is therefore listed as second-hand. Please be aware that vintage items may show minor signs of age. We invite you to examine the provided images carefully before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47473125621947,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4335.jpg?v=1784941337"},{"product_id":"170","title":"Living National Treasure Shimaoka Tatsuzo (島岡達三)'s Masterpiece: Jomon Inlaid Salt Glaze Couple's Teacup and Rocks Glass Set (2 Pieces) #170","description":"\u003cp data-path-to-node=\"8\"\u003e\u003ca href=\"\/en\/collections\/maker-shimaoka-tatsuzo\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (島岡達三, 1919–2007), a designated \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e, was born in the heart of old Tokyo as the eldest son of a master Kumihimo (traditional braided cord) artist. After completing Shimaoka's specialized education at the Department of Ceramics at the Tokyo Institute of Technology, the artist became a disciple of \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e, the giant of the Mingei (Folk Crafts) movement, in 1946. For over 20 years in Mashiko, the artist refined Shimaoka's craft. Hamada described Shimaoka as possessing profound inner confidence yet remaining consciously modest in public presentations, highly praising Shimaoka's unwavering dedication to a personal aesthetic and technical focus.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe primary reason for Shimaoka's global acclaim is the original Jomon Inlay technique. This process involves rolling braided cords into semi-dry clay to impress rope patterns, then meticulously inlaying the depressions with contrasting colored slips before scraping away the excess to reveal the design. Remarkably, the cords used to create these patterns were silk heritage pieces belonging to Shimaoka's father, a renowned Kumihimo master. The exceptionally fine texture of these silk cords imbues the vessels with a refined rhythm and elegance that stands in stark contrast to the ruggedness of ancient Jomon pottery. Although inlaying is an ancient technique, flawlessly controlling the shrinkage of the clay and preventing the delicate patterns from blurring during the carving process requires extraordinary mastery. The impeccable beauty of the patterns in Shimaoka’s work is a testament to the artist's immense concentration and precise engineering.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThis set of inlaid cups is a masterpiece that lavishly incorporates both Jomon Inlay and the salt glaze (or soda glaze) technique that Shimaoka perfected late in life. Salt glazing is an exceptional method where rock salt or soda ash is introduced directly into the kiln when temperatures peak at 1250 to 1300 degrees Celsius. The volatilized sodium reacts chemically with the silica in the clay, creating a signature orange-peel texture with a subtle, glassy luster. This process severely erodes the kiln itself, requiring a dedicated structure and the intuitive mastery of an expert to control the volatile color development.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe defining brilliance of this work lies in its band-like composition, which allows two difficult techniques to coexist harmoniously in a single vessel. The upper section evokes the ancient stillness of Jomon Inlay, while the lower section showcases a vibrant, modern emerald green born from the soda glaze reaction. While Shimaoka’s work is often characterized by the soft, hazy textures the artist's mentor Hamada likened to tsumugi or kasuri textiles, this high-contrast design reflects the sophisticated, modern aesthetic Shimaoka reached through extensive international exhibitions.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eWhile originally crafted as Yunomi (teacups), we propose a new way to experience this masterpiece: as the ultimate stage for savoring rare, discontinued vintage whiskies that have captured decades of time. Aged whisky is often described as drinkable perfume, and the slightly tapered rim of these cups is perfectly designed to concentrate the rising aromatic particles, directing them straight to the senses. Picking up the vessel and drawing it near creates a luxurious sanctuary for appreciating the rich bouquet of the spirit.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003eThe intricate texture of the Jomon Inlay at your fingertips and the smooth, salt-glazed surface against your lips provide a tactile pleasure that elevates the profound depth of aged spirits. This is the meeting of two arts: the art of earth perfected by Shimaoka Tatsuzo and the art of amber honed by the passage of time. When these two timelines converge, you are not merely drinking; you are engaging in a silent dialogue with the memories of a bygone era. Watching the colors born from the caprice of the flames while savoring a supreme vintage spirit is the ultimate luxury, reserved for those who truly appreciate the authentic.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"3\"\u003e*Comments from Hamada Shoji, Shimaoka's mentor\u003cbr\u003e\u003c\/h3\u003e\n\u003cp data-path-to-node=\"3\"\u003eShimaoka, typical of someone raised in downtown Tokyo, possesses strong inner confidence but consciously remains modest in presenting the work. Having graduated from the Ceramics Department of Tokyo Institute of Technology more than twenty years ago, and having become accustomed to the Mashiko clay, the artist has the skill to master most techniques, yet Shimaoka deliberately focuses Shimaoka's work, restraining it to Shimaoka's preferences.\u003cbr\u003eShimaoka has adopted a unique inlay pattern, drawing inspiration from Jomon pottery techniques. The main braided cords used in this work are relics from Shimaoka's father, who was a master kumihimo craftsman. The cleverness with which the artist entrusts the pattern to the cord to establish Shimaoka's own style is truly characteristic of Shimaoka. Shimaoka's work is generally subdued; if it were a kimono, one might say the thread is tsumugi silk and the pattern is kasuri.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003e\u003cstrong\u003eHamada Shoji (浜田庄司, 1894–1978)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-shimaoka-tatsuzo\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (島岡達三, 1919–2007)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eNotable Achievements:\u003c\/strong\u003e 1962 Japan Folk Crafts Museum Award, 1980 Tochigi Prefecture Cultural Merit Award, 1994 Japan Ceramic Association Gold Prize, 1996 Designated as a Holder of Important Intangible Cultural Property Jomon Inlay (Living National Treasure), 1999 Received the Order of the Rising Sun, Gold Rays with Rosette.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Victoria and Albert Museum (London), British Museum (London), Metropolitan Museum of Art (New York), Brooklyn Museum (New York), Museum of Fine Arts, Boston, National Museum of Modern Art, Tokyo, The Japan Folk Crafts Museum (the spiritual home of Hamada Shoji and Soetsu Yanagi), Mashiko Museum of Ceramic Art, Tochigi Prefectural Museum of Fine Arts, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Circa 1980s to 1990s (estimated)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips or cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box, artist's pamphlet\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e (Large) Height approx. 8.8 cm, diameter approx. 8.4 cm. (Small) Height approx. 7.8 cm, diameter approx. 7.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cstrong\u003ePlease note:\u003c\/strong\u003e Even if the items are in unused condition, they are vintage pieces and are listed as second-hand. Please understand that items may show characteristics of aging, and we encourage you to review all details before purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47478150234299,"sku":null,"price":200000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4410.jpg?v=1772272087"},{"product_id":"174","title":"Matsui Koyo (松井康陽) Masterpiece: The Zenith of Neriage - Structural Beauty of Layered Construction #174","description":"\u003cp data-path-to-node=\"19\"\u003eWe are proud to introduce a masterpiece by \u003ca href=\"\/en\/collections\/maker-matsui-koyo\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Koyo\u003c\/a\u003e (松井康陽, 1962–), who has established a unique and intellectual compositional beauty in modern Neriage (marbling) techniques. This work legitimately inherits the Neriage techniques scientifically and artistically systematized by Matsui Koyo's father, Matsui Yasunari, a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e (Holder of Important Intangible Cultural Property) for the Neriagede technique. Koyo has elevated these techniques in a new generation to a level of further precision and modern geometric patterning, creating a piece that truly deserves to be called the art of lamination.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThe Core of the Technique: Fractal Structure of Assembly and Layering The most prominent feature of this work lies in the transcendental technique known as Kumiage (assembly) or Layered Neriage, which far exceeds the general concept of marbling. Rather than simply mixing different colors of clay, this technique involves first pressing dozens of thin clay sheets—each only a few tenths of a millimeter thick—into a single pattern block. These blocks are then precisely sliced, and the resulting fragments are reconfigured with other clay based on a different color scheme to redefine a larger and more complex pattern block. This mind-bogglingly repetitive process creates micro-architectures of clay, appearing on the surface as meticulous grids and gradations that challenge the limits of the naked eye.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eTechnical Difficulty: A Struggle with the Laws of Physics The reason this Kumiage technique is considered the pinnacle of ceramic art is its extraordinarily low survival rate. In ceramics, joining clays with different properties means that even a slight difference in shrinkage rates during drying or firing will cause catastrophic cracking or delamination at the interfaces. In a laminated structure like this, thousands to tens of thousands of interfaces exist within a single vessel. To unite them in a kiln exceeding 1,200 degrees Celsius, advanced scientific knowledge is essential to match the thermal expansion coefficients of each colored clay with mathematical precision. Based on the secret clay formulas inherited from Matsui Koyo's father Yasunari—which maintain constant shrinkage regardless of color change—Koyo's meticulous calculations allow this physical miracle to take shape.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eUniqueness of Form: Static Beauty Without Distortion The dignified presence of this work is also supported by the total elimination of distortion during the forming process. If the clay were pulled up on a potter's wheel like ordinary ceramics, the internal laminated patterns would be brutally stretched by the pressure of the fingers. Therefore, Koyo employs extremely specialized and time-consuming forming methods, such as hammering the clay from the outside or lavishly carving it out, to ensure the patterns are not distorted at all. This perfect coexistence of three-dimensional structural beauty and mathematical pattern accuracy is the unique aesthetic of the Matsui family.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eInheritance and Innovation from Living National Treasure \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E4%BA%95%E5%BA%B7%E6%88%90%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Kosei\u003c\/a\u003e: Matsui Koyo has reconstructed the world of Neriage—often called a kaleidoscope of clay—through a compositional perspective cultivated during studies at the School of Art and Design, University of Tsukuba. While the works of Matsui Koyo's father, Yasunari, sometimes evoke a sense of wild vitality through techniques like Hahyo (surface cracking), Koyo's works exude a more refined and tranquil order. This is the result of sublimating the supreme techniques received from the artist's great pioneer father into an art of logic that harmonizes with modern spaces.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe Ultimate Tool for Savoring Aged Spirits We recommend this piece because its overwhelming lamination resonates with the layers of time carved into whisky through the aging process. When amber liquid is poured, the fine Neriage lines on the interior refract through the liquid, creating a moment of deep contemplation visually symbolizing the accumulation of time. Beyond simply owning a craft, it is about cherishing in one's hand the product of a human obsession that defied the laws of physics to transform clay into a jewel through fire. It will be a sublime tasting experience that echoes the profound flavors of aged spirits.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Matsui Koyo (1962–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eRepresentative Career History:\u003c\/strong\u003e [1985] Graduated from the School of Art and Design, University of Tsukuba, and studied under the artist's father, Matsui Yasunari (Living National Treasure). [1991] Won the Encouragement Award at the 38th Japan Traditional Crafts Exhibition. [2002] Received the Japan Ceramic Society Award. [2005] Won the Encouragement Award at the 33rd Traditional Crafts New Works Exhibition. [Later years] Served as a regular member of the Japan Kogei Association and a committee member of the Ibaraki Ceramic Art Museum. Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eCollections:\u003c\/strong\u003e Metropolitan Museum of Art (New York, USA), Victoria and Albert Museum (London, UK), National Museum of Modern Art, Tokyo, Ibaraki Ceramic Art Museum, Smith College Museum of Art (USA), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eProduction Date:\u003c\/strong\u003e 2000s (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks) \u003cbr\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original box (tomobako), wrapping cloth, and descriptive leaflet included.\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (Neriage)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 8.0 cm, Base Diameter approx. 4.0 cm, Height approx. 8.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47517110239419,"sku":null,"price":85000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4652.jpg?v=1772964629"},{"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":"\u003cp\u003eThis is a Sometsuke Kinsai (blue-and-white with gold) water ewer with a dragonfly and flower design by Maki Yukichi (牧勇吉), a potter whose studio, Tōbō Yūteirō (陶房游騁楼), stood in Tonda, Takatsuki, Osaka Prefecture. At about 7.5 cm tall, the little ewer fits in the palm of the hand. The lid of its original box (tomobako) is inscribed “染付金彩” (sometsuke and gold) and “水注” (water ewer), with the signature “牧” and a red seal. We propose it as a Japanese water dropper for adding just a few drops of water to whisky to open up its aroma.\u003c\/p\u003e\n\u003cp\u003eAccording to the leaflet in the box, headed “牧勇吉略歴” (Career of Maki Yukichi), Maki studied under \u003ca href=\"\/en\/search?q=%22%E8%BF%91%E8%97%A4%E6%82%A0%E4%B8%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKondo Yuzo\u003c\/a\u003e in Kyoto from 1935 (Shōwa 10), and in 1938 (Shōwa 13) moved to Tokyo to study under \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e. Maki's work was accepted at the Kokugakai exhibition from 1936 to 1942, and at the 11th Japan Traditional Art Crafts Exhibition in 1964, then every year after that. Maki also won a prize at the Shinshōkai exhibition, received its Tomimoto Prize in 1965, was invited to the 10th Mainichi Selected Art Exhibition in 1966, and won a prize at the 1st Japan Kōgei Association Exhibition in 1972. The leaflet gives the title “Full Member of the Japan Kōgei Association”.\u003c\/p\u003e\n\u003cp\u003eThe leaflet also carries a recommendation written by Tomimoto Kenkichi “at my lodging in Marutamachi, Kyoto”. In it, Tomimoto recalls that after training at a kiln in Kyoto, Maki came to Tomimoto's kiln in Tokyo as an assistant, worked on throwing, kiln building and firing, and made earthenware, porcelain, sometsuke (underglaze blue) and iron-painted wares. After Maki opened a kiln in Tonda, Settsu, Tomimoto went there too and had Maki study thoroughly the art of design and overglaze enamel (iro-e), which Tomimoto calls the most difficult and complex of the porcelain techniques. Tomimoto Kenkichi was a potter recognised as a Living National Treasure for iro-e porcelain.\u003c\/p\u003e\n\u003cp\u003eOn the white porcelain body, flowers are painted in gosu (cobalt blue), and the dragonflies flying above them are touched with gold, as is the tip of the spout. Since ancient times the dragonfly has been called “katsumushi” (the victory insect) and loved as an auspicious motif, because it flies forward and never retreats. The blue of the sometsuke and the shine of the gold answer each other neatly on this small vessel.\u003c\/p\u003e\n\u003cp\u003eA few drops of water can open up the aroma of whisky and change the impression of its taste. A palm-sized ewer like this one makes it easy to add water drop by drop, and when not in use it still graces the table as a small blue-and-white piece.\u003c\/p\u003e\n\u003cp\u003eThe ewer dates from 1972 or later, since the career in the enclosed leaflet runs up to an award in 1972 (Shōwa 47).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eMaki Yukichi\u003c\/a\u003e (牧勇吉); studio Tōbō Yūteirō (Takatsuki, Osaka Prefecture). The artist's years of birth and death could not be confirmed from public sources\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1935] studied under Kondo Yuzo in Kyoto; [1938] moved to Tokyo and studied under Tomimoto Kenkichi; [1936–1942] accepted at the Kokugakai exhibition; [1964] accepted at the 11th Japan Traditional Art Crafts Exhibition (every year thereafter); prize at the Shinshōkai exhibition; [1965] Tomimoto Prize, Shinshōkai exhibition; [1966] invited to the 10th Mainichi Selected Art Exhibition; [1972] prize at the 1st Japan Kōgei Association Exhibition. Full Member of the Japan Kōgei Association (all according to the enclosed leaflet)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e No public collection records in museums could be confirmed\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1972 or later (the career in the enclosed leaflet runs up to an award in 1972)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks). Please regard the crazing that forms in firing, other characteristics of ceramics and the patina of age as part of the pleasure of an antique piece.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original box (tomobako; lid inscribed “染付金彩” and “水注”, with the signature “牧” and a red seal), wrapping cloth, leaflet (career and Tomimoto Kenkichi's recommendation)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (sometsuke and gold)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.5 cm; width approx. 9.4 cm × 7.0 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e\n","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47518425710779,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4732.jpg?v=1772964550"},{"product_id":"191","title":"Prime Minister's Award-Winning Artist, Heian Sokyu (三代 平安宋丘, Kubo Yoshizo) Tenmoku Yo-hen Water Dropper \/ Whisky Dropper #191","description":"\u003cp data-path-to-node=\"23\"\u003eKubo Yoshizo (久保義蔵, 1913–1989), known as \u003ca href=\"\/en\/collections\/maker-heian-sokyu-iii\" target=\"_blank\" rel=\"noopener\"\u003eHeian Sokyu\u003c\/a\u003e, is one of the most distinguished master craftsmen who connected the tradition of \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKyo ware\u003c\/a\u003e to modern times. Having inherited the family business in 1933 and continuing the authentic techniques of the first and second generations of Sokyu, Sokyu III reigned as a leading figure in Kyo-yaki and Kiyomizu-yaki from the Showa to Heisei periods. The artist's achievements are highly acclaimed; Sokyu III received the Prime Minister's Award, the highest honor for Japanese artisans, at the 25th Japan Traditional Art Crafts Exhibition in 1978, and the Order of the Sacred Treasure, Gold and Silver Rays, in 1984. Sokyu III's works are housed in major public museums in Japan, such as The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto, officially establishing their artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThis piece is a Tenmoku Yo-hen (Kiln Transformation) water dropper created by Kubo Yoshizo's masterful technique. Tenmoku Yo-hen is an advanced technique where the glaze transforms into unique crystals and colors due to the complex action of flames within the kiln, possessing a one-of-a-kind beauty resulting from the intersection of the artist's calculations and the natural serendipity of the flames. As the artist passed away in 1989, Sokyu III's works are now highly rare posthumous pieces by a deceased master that can no longer be newly produced.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis tool, originally conceived as a calligraphy instrument for dripping water drop by drop, is redefined by our shop as a \"Water Dropper\" for enjoying Western spirits or rare aged spirits that have matured for decades. High-purity alcohol and aged spirits that have been bottled for decades experience a moment of \"blooming\" when a very small amount of water is added, changing the surface tension and dramatically opening up the complex layers of aroma and flavor that were trapped. To control this extremely delicate change, the shape of this water dropper, which can precisely control water drop by drop, is ideal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eIts use is surprisingly intuitive and elegant. By lightly pressing a small air hole on the top of the main body with your fingertip and slightly adjusting the pressure, you can control the airflow into the interior in millimeter increments. This allows you to quietly guide the intended \"single drop\" into the amber liquid.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThe supreme form created by the Prime Minister's Award-winning artist is not only a functional tool for bringing out the true charm of aged spirits but also a proposal for the luxury of enjoying traditional Japanese beauty in daily life. This rare Japanese craft, with limited information available globally, is a unique existence for collectors seeking the finest sake ware and spirit accessories.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003e*Artist's comment: Works applied with black-based glazes are commonly called Tenmoku. Tenmoku is the oldest glazed pottery in the East, and its origin is said to have been discovered in the ancient kilns of Yuezhou in Deqing County during the Wu-Pu period (3rd-4th century) in China. Its colors range widely from black to brown, and the variations are infinite—including those with mottled crystal patterns, those partially discolored, and those transformed by layering glazes of other colors. Ancient Chinese Tenmoku calligraphy tools often featured not just a single black color but also partially discolored areas. Referring to various historical materials, I created this piece with a composition of Tenmoku black and other colors.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-heian-sokyu-iii\" target=\"_blank\" rel=\"noopener\"\u003eHeian Sokyu\u003c\/a\u003e (三代 平安宋丘, 1913–1989; Kubo Yoshizo)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on Kyo-yaki and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"584\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Kyoto Prefecture; and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"718\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (Mature period after receiving the Prime Minister's Award). This \"Tenmoku Yo-hen\" piece features complex crystals and deep colors created by the accidental interplay of fire and glaze. It is a masterpiece from Sokyu III's \"Golden Age,\" representing the culmination of refined form and technique pursued by the artist until the final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1079\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1122\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako, signed and sealed by the artist), introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1221\"\u003eMaterial:\u003c\/b\u003e Pottery (Kyo-yaki \/ Tenmoku Yo-hen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1267\"\u003eDimensions:\u003c\/b\u003e Width approx. 5.0 cm, Height approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1323\"\u003eNote:\u003c\/b\u003e Please note that all products offered by our shop, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47540057407675,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5186_result.jpg?v=1774159664"},{"product_id":"199","title":"Living National Treasure, Ito Sekisui V (五代 伊藤赤水), Mumyoi-yaki, Elegant \"Manyo\" Cursive Line Engraving, Yunomi \/ Ceramic Whisky Tumbler \"Bush Clover in Autumn Field\" #199","description":"\u003cp data-path-to-node=\"18\"\u003eThis is an extremely rare masterpiece of \"Manyo Renmen Senkoku\" (Cursive Line Engraving of Manyo Poetry) by \u003ca href=\"\/en\/collections\/maker-ito-sekisui-v\" target=\"_blank\" rel=\"noopener\"\u003eIto Sekisui\u003c\/a\u003e V, who elevated \u003ca href=\"\/en\/collections\/mumyoi-ware\" target=\"_blank\" rel=\"noopener\"\u003eMumyoi-yaki\u003c\/a\u003e—a traditional craft of Sado City, Niigata Prefecture—to the realm of fine art and was designated a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e in 2003. Mumyoi-yaki is defined by its use of red clay rich in iron oxide, sourced from the vicinity of the Sado Gold Mine. Fired at high temperatures, it becomes as hard as stone despite being pottery and possesses a distinctive metallic resonance. Ito Sekisui is a preeminent Japanese ceramic artist whose works are permanently housed in the world's most prestigious institutions, including the Metropolitan Museum of Art and the Victoria and Albert Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThis piece is a rare gem among Ito Sekisui's works, featuring \"calligraphy\" as its central motif. On the surface of the vessel, five characters—\"Aki (Autumn), No (of), No (Field), Ni (in), Hagi (Bush Clover)\"—symbolizing a scene from the Man'yoshu (Japan's oldest poetry anthology), are engraved with breathtaking precision using a needle-like tool. This is not merely a sequence of characters, but a recreation in line engraving of \"Renmen-tai\" calligraphy—the style of connecting characters in a single, flowing stroke. The graceful red lines winding around the vessel visualize the wind blowing through the autumn fields of Sado and the passage of time. This expression, carving the soul of words into red clay with a level of concentration where no correction is possible, represents the pinnacle of delicate, stoic artistry, achievable only through the uniquely fine-grained clay of Mumyoi-yaki.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThese five characters encapsulate a universal primordial landscape cherished by the Japanese for over a millennium. Setting itself apart from Sekisui V's more common floral or fruit motifs, the method of connecting a few symbolic characters with a continuous line—rather than engraving the entire text—conveys the artist's minimalist aesthetic and intellectual message. The original wooden box bears the inscriptions \"Mumyoi\" on the right, \"Manyo\" in the center, and \"Yunomi\" (teacup) on the left, proving that the artist personally sealed these fragments of ancient poetry within the vessel. Although originally crafted as a teacup, given the deep red texture and the tactile sensation of the engraved characters on the fingertips, we propose this as a special spirits vessel for enjoying aged koshu or whisky. Savoring the amber liquid while contemplating the Manyo scene in the palm of your hand offers a blissful moment embodying the Zen and tranquility of traditional Japanese aesthetics.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-ito-sekisui-v\" target=\"_blank\" rel=\"noopener\"\u003eIto Sekisui\u003c\/a\u003e V (五代 伊藤赤水, 1941–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"34\"\u003eRepresentative Career:\u003c\/b\u003e Elevated the \"Mumyoi-yaki\" tradition of Sado Island to an international art form, and was designated a Living National Treasure (Holder of Important Intangible Cultural Property for Mumyoi-yaki) in 2003. [1973] Recipient of the Prince Takamatsu Memorial Award at the Japan Traditional Craft Exhibition; [2005] Awarded the Medal with Purple Ribbon; [2011] Awarded the Order of the Rising Sun, Gold Rays with Rosette.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"473\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Metropolitan Museum of Art (New York); Victoria and Albert Museum (London); Smithsonian Institution; and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"694\"\u003ePeriod of Creation:\u003c\/b\u003e 2000s–2010s (The mature period following Sekisui V's designation as a Living National Treasure). While Sekisui V is famously known for the artist's \"Yohen\" (kiln transformation) designs, this line-engraving series represents the absolute height of Sekisui V's refined technique in Sekisui V's later years, showcasing a resonance of natural power and silence that transcends human intent.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1069\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1112\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako), rice straw packing\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1183\"\u003eMaterial:\u003c\/b\u003e Pottery (Mumyoi-yaki \/ Sado red clay rich in iron oxide)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1250\"\u003eDimensions:\u003c\/b\u003e Height approx. 7.1 cm, Mouth diameter approx. 6.7 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1315\"\u003eNote:\u003c\/b\u003e Please note that all products provided by our store, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47553125384379,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5435_result.jpg?v=1774142551"},{"product_id":"204","title":"Yohen Tenmoku Tripod Incense Burner by Heian Sokyu III (三代 平安宋丘, Kubo Yoshizo), a recipient of the Prime Minister's Award. Museum-grade Yohen Tenmoku. #204","description":"\u003cp data-path-to-node=\"7\"\u003eThis is a Yohen Tenmoku three-legged incense burner by third-generation \u003ca href=\"\/en\/collections\/maker-heian-sokyu-iii\" target=\"_blank\" rel=\"noopener\"\u003eHeian Sokyu\u003c\/a\u003e, Birth name Kubo Yoshizo (久保義蔵, 1913–1989), a master craftsman who connected the tradition of Kyoyaki to the present day and inscribed Sokyu III's name in the history of pottery, bringing the aesthetics of national treasures back to life in the modern era. Kubo Yoshizo was born in Kyoto in 1913 as the eldest son of a potter family. Building on the legitimate Kyoyaki techniques inherited from the first and second Sokyu generations, the artist dedicated a lifetime to reproducing Yohen Tenmoku, a lost legendary technique whose production method was thought to have been completely lost since it was first fired in China's Jian ware kilns during the Southern Song Dynasty in the 12th century. There are only three complete Yohen Tenmoku pieces in the world, all designated as National Treasures of Japan (owned by Seikado Bunko Art Museum, Fujita Museum, and Ryoko-in Temple). The iridescent glow on the jet-black glaze is said to capture the abyss of the universe, making it the Holy Grail of the pottery world, coveted by warlords throughout history. Challenging this divine realm that was deemed impossible to reproduce, Sokyu III achieved the remarkable feat of winning the Prime Minister's Award, the highest honor for all artisans, for a Yohen Tenmoku work at the 25th Japan Traditional Crafts Exhibition in 1978. This award was not merely an artistic evaluation; it signified the nation's official recognition of the historical fact that the lost light of Yohen, after 800 years, had been scientifically and artistically reproduced through modern wisdom and perseverance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis piece is a three-legged incense burner housing a Yohen of national treasure quality, truly demonstrating the technical pinnacle of the third generation's ceramic career. Yohen, where iridescent or rainbow-colored crystals emerge like stars on the glaze due to accidental effects of the flame within the tenmoku glaze (black glaze), is considered the ultimate gem in pottery. The artist strictly classified Sokyu III's own works: those with fluid blue or white crystals were called Tenmoku Yohen and cherished as beauty found in everyday use. In contrast, only Sokyu III's confident masterpieces, which represented the artist's technical peak with perfect crystals and iridescent glow appearing vividly like stars in the night sky, were given the designation of Yohen Tenmoku. The tomobako (storage box) for this piece is inscribed with Yohen Tenmoku by the third generation personally, with unwavering pride, eloquently attesting that this is an authentic piece of the highest caliber among Sokyu III's existing works. Sokyu III's skill was officially established, as evidenced by receiving the Order of the Sacred Treasure, Gold and Silver Rays (Fifth Class), in 1984. The fact that the artist's works are housed in major museums such as the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto, suggests that this piece will acquire even greater historical value in the future.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eIn terms of design, it adopts the three-legged (hakama-goshi) shape, which has been considered the highest grade for ritual vessels since ancient times, and features an intricately openwork-carved hoya (lid). The glaze covering the entire ultimate body, approximately 13 cm in height—a dimension where precise control of Yohen crystals is considered most difficult—emits a brilliant glow reminiscent of galaxy stars from the profound jet black. The visual effect, changing moment by moment with the angle of light, is truly worthy of being called a microcosm in hand. The bottom clearly bears the square seal of Sokyu, the authentic mark of the third generation. It has been carefully preserved as a flawless, perfect piece with its original box, maintaining the utmost excellent condition. Since Sokyu III's passing in 1989, no new Yohen Tenmoku works of this caliber have been created, making this piece an important legacy in the history of modern ceramics that inherits the soul of national treasures—a museum-quality treasure coveted by enthusiasts and investors worldwide. Savoring fine sake from a bygone era or rich Japanese whisky while gazing at this star-like shimmering iridescent kiln effect will be an exceptionally luxurious lifestyle, allowing one to fully enjoy the supreme tranquility achieved by traditional Japanese crafts.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-heian-sokyu-iii\" target=\"_blank\" rel=\"noopener\"\u003eHeian Sokyu\u003c\/a\u003e III (三代 平安宋丘), Birth name: Kubo Yoshizo (1913–1989)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKyo-yaki\u003c\/a\u003e and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"12\" data-index-in-node=\"0\"\u003eWorks in Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo (houses the artist's Prime Minister's Award-winning work Yohen Tenmoku Bowl), The National Museum of Modern Art, Kyoto (houses Aka-e Kin-sai Bowl and others), Kyoto Prefecture, Kyoto City, The Museum of Kyoto, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cb data-path-to-node=\"13\" data-index-in-node=\"0\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (Sokyu III's very late period and golden age, after receiving the Prime Minister's Award and being recognized as an intangible cultural asset). *The Yohen Tenmoku of this piece is characterized by complex crystals and deep colors created by the accidental interplay of fire and glaze. This is a masterpiece symbolizing the golden age where the refined forms and techniques pursued by the artist, who stood at the pinnacle of Japan both in name and reality after winning the highest award, culminated in Sokyu III's final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, no scratches), [Authenticity Guaranteed]\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"0\"\u003eDate of Production:\u003c\/b\u003e Circa 1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"0\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box with artist's handwritten signature, Yohen Tenmoku inscription, and seal), Wrapping cloth (with seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cb data-path-to-node=\"17\" data-index-in-node=\"0\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kyoyaki, Yohen Tenmoku)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eDimensions:\u003c\/b\u003e Diameter approx. 10.3 cm, Height approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cb data-path-to-node=\"19\" data-index-in-node=\"0\"\u003eNote:\u003c\/b\u003e All items we offer, even if new and unused, are from a very old production period and are listed as used. Please understand that items may have age-related damage and consider this before purchasing.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47581461905595,"sku":null,"price":2000000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5520_result.jpg?v=1774857314"},{"product_id":"208","title":"Imperial Household Agency Purveyor, 14th Generation Tsuji Hitachi (十四代 辻常陸): Blue and White Fukizumi Phoenix Motif Sculptural Water Dropper \/ Whisky Dropper #208","description":"\u003cp data-path-to-node=\"6\"\u003eThis artistic water dropper is the work of 14th Generation Tsuji Hitachi (十四代辻常陸, 1909–2007; Birth name Tsuneshige Tsuji), the head of the prestigious Tsuji Hitachi family. This lineage inherited the unique official title of Hitachi-no-suke in the history of \u003ca href=\"\/en\/collections\/arita-imari-ware\" target=\"_blank\" rel=\"noopener\"\u003eArita ware\u003c\/a\u003e 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). Tsuji's masterful modeling skills brought a three-dimensional sculptural beauty to the artist's works that transcends the boundaries of mere vessels. The artist 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 Tsuji's achievements, Tsuji was awarded the Order of the Sacred Treasure, Gold Rays with Rosette (Fourth Class). Tsuji's 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 \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eTsuji Hitachi\u003c\/a\u003e (十四代 辻常陸, 1909–2007; Birth name: Tsuneshige Tsuji)\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 the artist's 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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47695919775931,"sku":null,"price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5807_result.jpg?v=1776176312"},{"product_id":"232","title":"Sakata Jinnai (坂田甚内, Jin) Handmade Blown Glass Red Gold Painted Gold Leaf Gold Painted Shinjinmon Glass Wine Glasses Set of 2 #232","description":"\u003cp data-path-to-node=\"6\"\u003eIntroducing an extremely rare set of two large wine glasses by \u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e (坂田甚内, 1943–), a master based in Mashiko who continues to pursue original expressions that transcend the boundaries of pottery. This work is a masterpiece where Sakata's theme of the fusion of pottery and glass, which the artist pursued energetically in the 1990s, is beautifully realized through its sculptural beauty and superb technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe most astonishing feature of this work lies in the structure of its vivid red stem, which immediately captures the eye. This is not merely a solid block of red glass, but rather employs an advanced technique similar to filigrana—a traditional Venetian glass art form—where numerous extremely thin red glass rods are bundled together and twisted into shape. The texture created by this aggregation of countless lines is Sakata's expression in glass of the powerful, rhythmic Shinjinmon (Deeply Subtle Pattern) that the artist established in Sakata's black pottery works. When illuminated, the red lines intersect in multiple layers, emitting a complex and profound brilliance impossible with a single color.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eIn contrast, the transparent bowl features the ice glass technique, with beautiful cracks spreading across its entire surface. This technique involves momentarily dipping hot blown glass into cold water to create fine cracks on the surface, then reheating and shaping it to produce a unique, ice-like texture. This serendipitous texture causes the irregularly placed gold leaf, known as Haku-ha-hari (foil-leaf glass), to diffusely reflect light, creating a fantastical prism when liquid is poured into it.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eFurthermore, the overwhelming scale of approximately 21 cm in height and 12 cm in rim diameter is exceptionally large for a hand-blown glass wine glass. To fire a work of this size with perfect control over cracks and distortions while maintaining a refined symmetry requires masterful control of fire and a profound understanding of gravity, truly demonstrating the artist's extraordinary skill. The handwritten signatures of Jin and Sakata Jinnai on only one of the two pieces serve as a testament to the artist's pride, indicating that these two pieces constitute a complete set.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eStarting from orthodox pottery under the tutelage of the legendary potter \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, Sakata boldly incorporated diverse materials such as glass and gold leaf, establishing craft as contemporary art. Sakata's glass works from the 1990s, in particular, document an important transitional period that led to the artist's later dedications to Ise Jingu (Ise Grand Shrine) and Izumo Taisha (Izumo Grand Shrine). Glass works created by potters possess a unique blend of earthy strength and decorative beauty not found in works by dedicated glass artists, and their presence in the market is extremely limited. These are supreme art pieces that not only brightly adorn everyday moments but also offer the joy of owning a fragment of Japan's modern craft history.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e (坂田甚内, 1943–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"37\"\u003eArtist's Representative Activities:\u003c\/b\u003e [2009] Invited artist at the 1st Shanghai International Ceramic Art Exhibition; [2013] Donated Shinjinmon Haku-ha-hari Magatama Large Plate \"Brilliance of Life\" for the Great Heisei Relocation of Izumo Taisha; [2013] Donated Black Pottery Shinjinmon Foil-Pressed Large Plate \"Homage to the Sun\" for the Shikinen Sengu of Ise Jingu; [2014] Donated Shinjinmon Foil-Glass Object \"Waannei\" to Atsuta Jingu; [2014] Donated a pair of Black Pottery Engraved Shinjinmon Foil-Pressed Ceramic Boxes \"Longevity\" to Kameoka Hachimangu (Mashiko Town).\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"612\"\u003eProduction Period:\u003c\/b\u003e 1990s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"649\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"692\"\u003eAccessories:\u003c\/b\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"710\"\u003eMaterials:\u003c\/b\u003e Glass, Gold Leaf\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"738\"\u003eDimensions:\u003c\/b\u003e Height approx. 21 cm, Rim Diameter approx. 12 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"11\" data-index-in-node=\"799\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if unused, are from very old production periods and are listed as used items. Products may have age-related damage, so please understand and confirm before considering a purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47754503749819,"sku":null,"price":135000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5943_result.jpg?v=1778344905"},{"product_id":"253","title":"Shimaoka Tatsuzo (島岡達三, Living National Treasure) 1961 15th Anniversary Work \"Roar of a New Star\" Jomon Inlay Pair of Teacups, Sake Set, Rock Glasses (2-piece set) #253","description":"\u003cp data-path-to-node=\"18\"\u003eWe are pleased to introduce a highly significant cup by \u003ca href=\"\/en\/collections\/maker-shimaoka-tatsuzo\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (島岡達三, 1919–2007), a living national treasure in contemporary pottery, renowned for the \"Jomon Zogan\" (Jomon inlay) technique. This piece marks a pivotal moment when Shimaoka re-evaluated personal artistic roots and declared independence as an artist. This monumental work was created in 1961, fifteen years after Shimaoka became an apprentice to the great master \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e in 1946. The year 1961 was a historical turning point that could be called the \"eve of a leap,\" as Shimaoka built a personal climbing kiln in Mashiko, and the following year, 1962, Shimaoka received the Japan Folk Crafts Museum Award, rapidly emerging as a rising star in the pottery world.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe design applied to this piece features Shimaoka's signature Jomon inlay technique, with the braided cords at the core of the pattern utilizing relics from the artist's father, a master kumihimo (braiding) craftsman. Shimaoka's mentor, Hamada Shoji, described Shimaoka's style as possessing the skill to master most techniques but deliberately focusing the work to suit personal preferences, praising Shimaoka's subdued work by likening it to the pattern of tsumugi silk. This aesthetic of restraint is alive in this piece as well, with a bold ridge applied midway through the vessel, giving the form an architectural stability and a profound presence. The Jomon pattern running diagonally from this ridge is pressed more deeply and powerfully compared to the refined expressions of the artist's later \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e era, inscribing the raw yet pure passion of the young Shimaoka as Shimaoka sought to establish Shimaoka's own style on the surface of the clay.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eAnalyzing this work from a technical perspective, the contrast of the white clay (inlay) embedded in the Jomon grooves is remarkably vivid, indicating the high level of perfection in the inlay technique that unifies different clays at temperatures exceeding 1200 degrees Celsius. The masterful skill with which Shimaoka established a unique style, entrusting the Jomon pattern to the tool of a cord, is precisely the manifestation of originality that Shimaoka's mentor Hamada acknowledged, saying, \"Indeed, this is exactly what one would expect from Shimaoka.\" This piece embodies Shimaoka's characteristic sincere personality, which, while harboring strong inner confidence, consciously maintains a humble presentation, culminating in the form of a pair of teacups, an everyday item closely tied to life.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eWe propose this historic teacup, created at the milestone of Shimaoka's 15th year of pottery, as a rock glass for enjoying amber-colored aged sake or Japanese whisky. When clear aged spirits are poured into it, the inlay lines that penetrate the interior of the vessel and the powerful Jomon irregularities refract through the liquid, creating a moment of deep contemplation that visually symbolizes the accumulation of time. On the inside of the lid of the accompanying wooden box, the inscription \"Commemorating 15 Years of Pottery\" is clearly written in the artist’s own hand. Among Shimaoka's many works, its documentary value, allowing for the specific dating of its production, is extremely high, making it a benchmark piece closely watched by curators and collectors worldwide.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"3\"\u003e*Comments from Hamada Shoji, Shimaoka's mentor\u003cbr\u003e\u003c\/h3\u003e\n\u003cp data-path-to-node=\"3\"\u003eShimaoka, typical of someone raised in downtown Tokyo, possesses strong inner confidence but consciously remains modest in presenting the work. Having graduated from the Ceramics Department of Tokyo Institute of Technology more than twenty years ago, and having become accustomed to the Mashiko clay, the artist has the skill to master most techniques, yet Shimaoka deliberately focuses Shimaoka's work, restraining it to Shimaoka's preferences.\u003cbr\u003eShimaoka has adopted a unique inlay pattern, drawing inspiration from Jomon pottery techniques. The main braided cords used in this work are relics from Shimaoka's father, who was a master kumihimo craftsman. The cleverness with which the artist entrusts the pattern to the cord to establish Shimaoka's own style is truly characteristic of Shimaoka. Shimaoka's work is generally subdued; if it were a kimono, one might say the thread is tsumugi silk and the pattern is kasuri.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003e\u003cstrong\u003eHamada Shoji (浜田庄司, 1894–1978)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-shimaoka-tatsuzo\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e (島岡達三, 1919–2007)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Major Achievements:\u003c\/strong\u003e [1962] Awarded the Japan Folk Crafts Museum Award, [1980] Awarded the Tochigi Prefecture Cultural Merit Award, [1994] Awarded the Japan Ceramic Society Gold Award, [1996] Designated as a Holder of Important Intangible Cultural Property \"Jomon Zogan\" (Living National Treasure), [1999] Awarded the Order of the Rising Sun, Gold Rays with Rosette\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eVictoria and Albert Museum (London), British Museum (London), Metropolitan Museum of Art (New York), Brooklyn Museum (New York), Museum of Fine Arts, Boston, National Museum of Modern Art, Tokyo, Japan Folk Crafts Museum (a sacred site carrying on the legacy of the artist's mentor Hamada Shoji and Soetsu Yanagi), Mashiko Museum of Ceramic Art, Tochigi Prefectural Museum of Fine Arts, etc.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eDate of Production: \u003c\/strong\u003e1961 (15th anniversary of Shimaoka Tatsuzo's pottery career)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (original wooden box)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Jomon Inlay)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e [Large] Height approx. 9.2cm, Mouth diameter approx. 9.0cm, [Small] Height approx. 8.2cm, Mouth diameter approx. 8.0cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll products offered by our store, even if unused, are very old productions and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming this.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47835534786747,"sku":null,"price":180000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6517_result.jpg?v=1778943846"},{"product_id":"258","title":"Hiroshima Prefecture Important Intangible Cultural Property Holder, Uchida Yasuhide (内田泰秀), Mature Later Period, 1984 Masterpiece, Lost Legendary Technique \"Hyori-Kantsu Nishiki-Neriage-de\", White Camellia Design Tall-Footed Dish #258","description":"\u003cp data-path-to-node=\"26\"\u003e\u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e (内田泰秀, 1893–1997), a holder of Hiroshima Prefecture's Important Intangible Cultural Property and referred to as a solitary legend in the history of Showa pottery. After exhibiting at the 1970 Osaka Expo and training at the prestigious Manufacture nationale de Sèvres in France, Uchida reached a unique realm by fusing Japanese and French aesthetics. We present the artist's supreme masterpiece, a ceramic confectionary dish (tall-footed dish) crafted on July 14, 1984, during Uchida's mature later years, utilizing the lost and legendary technique of Hyori-Kantsu-Nishiki-Neriage-de (double-sided penetrating brocade marbled clay).\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThis piece, created in 1984, is a special item that was carefully preserved by the Uchida family as an unmarketable work for the artist's own collection, representing the pinnacle of Uchida's mature techniques during Uchida's prime. Later, at the funeral of Uchida, who lived an astonishingly long life of over a hundred years and attained Buddhist transition (Sen-ge), it was presented as a token of appreciation to a select few close relatives who attended. The full extent of its valuable history can be meticulously confirmed by deciphering the accompanying memorial thank-you letter from the bereaved family dated March 20, 1997, from Hitoshi Sayo, Uchida's third son. This letter provides invaluable historical evidence proving that this work is an authentic and paramount heirloom of the Uchida family. We propose this elegant, tall-footed dish, approximately 19\u0026nbsp;cm in diameter, to the world as the ultimate premium plate for beautifully serving exquisite delicacies when enjoying aged amber sake or premium Japanese whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eThe Hyori-Kantsu-Nishiki-Neriage-de technique represents the pinnacle of Uchida Yasuhide's artistic value. The beautiful patterns on the vessel might appear to be hand-painted at first glance, but they are not superficial colors applied with pigments. This is a masterful technique where various types of clay, colored by blending different metal oxides, are intricately assembled like a puzzle with meticulous calculation, creating the pattern itself as the organizational structure of the clay. Furthermore, as indicated by its most significant characteristic, \"Hyori-Kantsu\" (penetrating front and back), these patterns perfectly penetrate and appear as beautiful, distinct compositions on both the front and back surfaces of the dish, set against a cobalt blue background, without any deviation. This is irrefutable evidence that the layers of clay are perfectly superimposed even in the interior, and within this ultimate structural beauty is completely encased Uchida's lifelong ardent wish for pure peace without front or back, a desire born from the artist's experience as a native of Hiroshima, a city affected by atomic bombing.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eObserving the design of the dish closely, a beautiful floral pattern of white camellias, quietly blooming from winter to early spring, around March when Uchida's funeral was held, vibrantly emerges against a striking cobalt blue background. The dignified appearance of white camellias blooming in the crisp air, signaling the end of harsh winter, beautifully overlaps with the lyrical scenery of the season when Uchida passed away and was seen off by family and close acquaintances, bringing spiritual depth and endless romance to the work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThe surface of the dish is intentionally not formed into an even flatness; instead, it features rich, varied undulations characteristic of handcrafted work. As can be seen in the accompanying photographs, the surface exhibits diffuse white reflection depending on the angle of light. We have photographed and presented the piece in its unaltered state to convey the overwhelming depth of design, unique warmth, and the inherent charm as pottery that arise precisely because of this uneven thickness. Furthermore, it is particularly noteworthy that the back of the dish clearly bears Uchida's signature (engraving), deeply carved by the artist's own hand. This powerful hand-carved signature is not only irrefutable proof that this piece was created directly by the hand of Uchida Yasuhide, but it also exudes an overwhelming presence as an important part of the design that strengthens the overall sculptural unity and functional beauty of the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eDue to the nature of the Hyori-Kantsu-Nishiki-Neriage-de technique, where different colored clays with varying properties and shrinkage rates are joined and fired, it is extremely difficult to achieve a perfect firing, as small cracks or openings are prone to occur at the clay boundaries. In this particular piece, one small opening where the clay boundary is slightly separated is observed in the central part of the brown leaf pattern on the surface, but this does not completely penetrate to the back as a hole. Additionally, two small bubbles formed during the pottery creation process can be seen in the glaze on the surface. Both of these are undeniable evidence of the handcrafted process produced by Uchida Yasuhide at a moment of peak concentration, and they in no way detract from the perfection or dignity of the work. Please enjoy this supreme masterpiece, where the essence of color technology cultivated in Sèvres, France, the quintessence of Japanese spiritual culture, and a letter narrating the history of the family are united, in a prime spot during your special everyday dining occasions.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"32\"\u003e[Content of the letter of condolences from the bereaved family below]\u003c\/h3\u003e\n\u003cp data-path-to-node=\"32\"\u003eGassho As the spring sunshine begins to shine brightly, I sincerely hope that your esteemed family is in excellent health. Thank you very much for traveling a long distance in the cold to attend the funeral of my late father, Uchida Yasuhide, and for your kind and heartfelt condolences. I deeply appreciate the profound grief and fond memories expressed by all those who had a particularly close relationship with my father during his continental period, his Misumi period, and finally in this place, and who provided such a warm funeral. I am sure he would have been deeply moved to tears. Recently, the forty-ninth-day memorial service was concluded at Gokoku-ji Temple in Shimabara, his hometown, and Honju-in Nisshu Shonin (the late Uchida Yasuhide's Buddhist title) returned to the Okutsuki (sacred tomb) overlooking the Ariake Sea. Although it was a tumultuous life of over a hundred years, I believe he earnestly lived the spirit of the founder in each moment. In his later years, he was content with his pottery life, living in accordance with Jinen-Honi (natural spontaneity\/as-it-isness) in his small mountain hermitage. I am truly grateful from the bottom of my heart to everyone for their long-standing kindness and patronage. On the occasion of the forty-ninth day after his passing, I humbly send this token of my appreciation (and kindly ask for your compassionate acceptance). Thank you very much for such a long time. March 20, 1997 Respectfully yours, Hitoshi Sayo (Third son of the deceased)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-uchida-yasuhide\" target=\"_blank\" rel=\"noopener\"\u003eUchida Yasuhide\u003c\/a\u003e (内田泰秀, 1893–1997)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eArtist's notable career highlights:\u003c\/strong\u003e [1952] Held the \"Uchida Yasuhide Nishiki-Neriage Pottery Exhibition\" at Mitsukoshi Nihonbashi Main Store, [1960s] Acquired color and porcelain techniques at Manufacture nationale de Sèvres, France, [1965] Designated as a Miyoshi City Intangible Cultural Property, [1970] Exhibited works at Osaka Expo (EXPO'70), [1973] Recognized as a holder of Hiroshima Prefecture's Important Intangible Cultural Property.\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eDate of Creation:\u003c\/strong\u003e July 14, 1984 (Showa 59)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks, some surface cracking characteristic of the work)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eCustom wooden box, wrapping cloth (signed and sealed), letter \u003cstrong\u003eof condolences from the bereaved family\u003c\/strong\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eNishiki-Neriage-de (pottery, Hyori-Kantsu technique)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 4.0 cm, diameter approx. 19.0 cm (approximate)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products offered by our store are new and unused, they are from a very old production period and are all listed as used items. Products may have age-related damage, so please consider purchasing after understanding and confirming this.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47849214181563,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6799.jpg?v=1779286318"},{"product_id":"260","title":"Kutani Master with Imperial Presentation Record Yamamoto Hogaku (山本芳岳) Special Top-Tier Work Kutani Ware Red Ground Gold Brocade Cloud Dragon Motif Sake Cup (Bajohai) Tasting Glass #260","description":"\u003cp data-path-to-node=\"3\"\u003eThis is an akaji kinran unryu-mon bajohai (red-ground gold brocade cloud dragon stem cup) by \u003ca href=\"\/en\/collections\/maker-yamamoto-hogaku\" target=\"_blank\" rel=\"noopener\"\u003eYamamoto Hogaku\u003c\/a\u003e, a master of modern \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani ware\u003c\/a\u003e based in Kaga City, Ishikawa Prefecture. With its elegant proportions of approximately 10.0 cm in height and 6.0 cm in mouth diameter, we propose this stem cup as a special tasting glass for enjoying the profound aromas of aged sake and long-aged sake, which have matured into a beautiful amber color over time. The shape of the stem cup, with its slender stem, prevents body temperature from the hand from affecting the sake, allowing the complex aromatic changes of aged sake, from chilled to room temperature, to be captured in perfect condition. Furthermore, the white porcelain on the inside of the vessel clearly reflects the deep and beautiful gradation of aged sake, creating a supremely luxurious bar time that satisfies all five senses. This vessel, which elevates the highest level of Japanese traditional craftsmanship into practical art for modern lifestyles, promises a moment of supreme hospitality for overseas collectors and special guests.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eYamamoto Hogaku, the artist, was born in 1960 and is a genius potter who elevated the technique of Akae Saibyo, which flourished during the Meiji period but then saw a drastic decrease in successors and was becoming a phantom technique, to the highest level in modern times. As the greatest historical fact symbolizing Yamamoto's outstanding technical skill and artistry, in 1985 the artist was honored with the unparalleled privilege of humbly crafting and presenting an Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan (fine-line chrysanthemum, paulownia, and phoenix design sencha bowl) to His Imperial Highness the Crown Prince, who is now the Emperor Emeritus. Thereafter, the artist solidified Yamamoto's position as the pinnacle of akae in modern Kutani, receiving an honorable mention at the 54th Issuikai Pottery Exhibition in 1992 and being nationally certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry in 1996. Yamamoto's works are deeply housed in prestigious public institutions in Japan, such as the Ishikawa Prefectural Museum of Art, the Ishikawa Kutani-yaki Art Museum, and the Kutani Ware Kiln Ruins Exhibition Hall, and are extremely highly valued collector's items that are rarely available overseas.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWhat is most highly regarded in Yamamoto Hogaku's art is the Akae Saibyo technique, which uses ultra-fine lines of 0.1 mm or less, described as micro-drawing lines beyond human vision. This work is a special top-tier piece estimated to have been produced during Yamamoto's mature period from the 2000s to 2010s, when the artist's technique was most stable after Yamamoto's certification as a traditional craftsman. It represents the artist's characteristic style, in which Yamamoto's ultimate Akae Saibyo and dazzlingly brilliant gold decoration achieve a miraculous harmony.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eA detailed examination of this work reveals that these superlative techniques are clearly and perfectly expressed across the entire surface of this small stem cup. The intricate background pattern covering the surface of the vessel is meticulously drawn with breathtakingly fine and uniform red ultra-fine lines, upon which the powerfully depicted cloud dragon motif emerges with overwhelming dynamism. The exquisitely rendered dragon scales and flowing clouds in gold decoration emit a luxurious shimmer like a kaleidoscope depending on the angle of the light, directly conveying the supreme dignity of modern Kutani ware to the beholder. At the bottom, Hogaku's signature, indicating its authenticity, is beautifully inscribed. The dedicated tomobako (wooden box) with the artist's own inscription and seal, a wrapping cloth, and a booklet showing Yamamoto's detailed pottery chronology are all included. This is a complete piece in very good condition with no chips or cracks, an exceptional item with unwavering asset value as the ultimate Japanese craft art, extremely difficult to encounter overseas.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-yamamoto-hogaku\" target=\"_blank\" rel=\"noopener\"\u003eYamamoto Hogaku\u003c\/a\u003e (山本芳岳, 1960–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"32\"\u003eArtist's significant career highlights:\u003c\/b\u003e Inherited the \"Akae Saibyo\" technique, which flourished during the Meiji period but saw a drastic decrease in successors, to the highest modern level. [1985] Humbly crafted and presented an \"Akae Saibyo Kiku-Kiri-Ho-o-mon Sencha-wan\" to His Imperial Highness the Crown Prince (now Emperor Emeritus), [1992] Received an Honorable Mention at the 54th Issuikai Pottery Exhibition, [1996] Certified as a Kutani ware traditional craftsman by the Minister of International Trade and Industry (now Minister of Economy, Trade and Industry). The artist's extremely precise technique is regarded as the pinnacle of Akae in modern Kutani.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"691\"\u003eWorks housed:\u003c\/b\u003e Ishikawa Prefectural Museum of Art, Ishikawa Kutani-yaki Art Museum, Kutani Ware Kiln Ruins Exhibition Hall, among others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"828\"\u003eProduction period:\u003c\/b\u003e 2000s to 2010s (estimated to be a work from Yamamoto's mature period after being certified as a traditional craftsman). *The \"Akaji Kinran Unryu-mon\" of this work is a representative style of Hogaku's mature period, where the artist's exceptional technique and artistry reached their peak, showcasing a perfect harmony between intricate fine-line drawing with ultra-fine lines of 0.1 mm or less and brilliant gold decoration.\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1257\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1300\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box), wrapping cloth, artist's profile insert\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1376\"\u003eMaterial:\u003c\/b\u003e Pottery (Kutani ware - Akaji Kinrande - Gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1443\"\u003eDimensions:\u003c\/b\u003e Height approx. 10.0 cm, Mouth diameter approx. 6.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"3\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"1509\"\u003eNote:\u003c\/b\u003e All products offered by our store, even if new and unused, are from a very old production period and are listed as used items. Products may have damage due to age, so please consider purchasing after understanding and confirming their condition.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47849214312635,"sku":null,"price":160000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7039_result.jpg?v=1780155395"},{"product_id":"265","title":"Kawai Kanjiro Orthodox Lineage, Untitled and Uncrowned Folk Craft Master: Kawai Toru (河井透), ceramic beer mugs, Set of Two, Rock Glass #265","description":"\u003cp data-path-to-node=\"18\"\u003eThis is a set of two faceted ceramic beer mugs by Kawai Toru (河井透, 1941–), a master craftsman who inherited the authentic artistic spirit of \u003ca href=\"\/en\/search?q=%22%E6%B2%B3%E4%BA%95%E5%AF%9B%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKawai Kanjiro\u003c\/a\u003e, the brilliant potter who led Japan's Mingei (folk craft) movement. It is characterized by its dignified style, which brings a comfortable weight to the palm of the hand. We propose this work as premium ceramic rock cups for enjoying Japan's excellent traditional crafts in a modern luxurious lifestyle. It is of the highest value as a vessel for slowly savoring rare aged sake that has transformed into a deep amber color over many years, exuding a rich aroma and mellow depth, or carefully selected whisky with ice. The time spent enjoying the finest sake in these vessels, which possess an overwhelming dignity as works of art, will be a luxurious experience for entertaining international collectors and special guests with the highest Japanese hospitality.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe artist, Kawai Toru, was born in Kyoto City in 1941 and is a master of contemporary Mingei pottery who continues to create vigorously today. Kawai Toru was born into the pure lineage of Mingei, as the nephew of Kawai Kanjiro, who established unique aesthetics from the Taisho to Showa eras, and the eldest son of \u003ca href=\"\/en\/products\/273\" target=\"_blank\" rel=\"noopener\"\u003eKawai Takeichi\u003c\/a\u003e, who supported Kanjiro's pottery production as a right-hand man for approximately 40 years. After studying pottery in the art department of Kyoto City Hiyoshigaoka High School, the artist began a full-fledged pottery career in 1962 under the guidance of Kawai Toru's father, Takeichi, and at the same time received direct instruction in technique and spirit from the late Kawai Kanjiro in Kanjiro's final years. As a noteworthy fact in the art market, Kawai Toru has no record of receiving any public awards or national titles from exhibitions such as the Nitten or the Japan Traditional Crafts Exhibition. This unique stance, independent of authority, is because Kawai Toru has completely inherited, along with Toru's father Takeichi, the noble spirit of Kawai Toru's great-uncle Kawai Kanjiro, who declined all public honors, including \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e and the Order of Culture, and upheld the beauty of anonymity—the beauty of nameless artisans—as a master without rank. This stance independent of authority is the ultimate proof of the artist's genuine Mingei lineage, and Kawai Toru's noble pedigree is highly sought after by museums and enthusiastic Mingei connoisseurs both domestically and internationally, and is included in the collections of prestigious museums such as the Asahi Group Oyamazaki Villa Museum of Art and the ZENBI -Kagizen Art Museum-. We proudly offer this rare work by a top-class Japanese artist, about whom there is almost no information overseas.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eWhat makes Kawai Toru's pottery highly specialized is the artist's thorough commitment to traditional techniques. The artist never uses an electric potter's wheel, instead forming Kawai Toru's pieces using a traditional kick wheel, which allows the rhythm of the human body to be directly transmitted to the clay. This imbues the vessels with a non-mechanical warmth, subtle undulations, and a strong skeletal structure. Furthermore, they are fired rapidly by the intense flames of firewood in the Nantan kiln, a traditional climbing kiln Kawai Toru built in Kameoka City, Kyoto Prefecture, in 1976. The artist has authentically inherited the vast glaze recipes left by Kawai Toru's great-uncle Kanjiro and possesses exceptional skill in freely controlling traditional Mingei glazes such as deep blue Gosu, vibrant red Shinsha, iron glaze, amber glaze, and ash glaze.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eA detailed examination of this work reveals that these exceptional techniques and the artist's raw sensibility are expressed with overwhelming power down to the smallest details of the two beer mugs. The true essence of this work, the faceted design, is created when the thick clay body, formed on the potter's wheel, is in an extremely delicate semi-dry state, and the artist swiftly and roughly shaves it vertically with an unwavering stroke of the knife. The sharpness of the edges of the shaved surfaces and the bold undulations that appear when the clay is removed create a dramatic contrast of sculptural shadows when illuminated, while also providing an excellent grip for the fingertips when holding the large mugs. The color contrast between the two mugs is also very dramatic; one mug is coated with a deep, lustrous black-brown iron glaze or amber glaze, almost like jet black, on which iron-rust colored kiln changes and crystalline spots, brought about by the intense flames of the climbing kiln, are powerfully baked as if they were splashes of Earth's magma. The other mug features a warm, rustic clay surface as its base, with bold iron paintings drawn with an unwavering brushstroke, and the delicate, bluish, glassy pooling of flowing ash glaze lends a fresh moisture to the rugged expression of the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eFurthermore, the texture of the robust handle, condensed with the power of handcraftsmanship, also exudes a special presence. Regarding this handle portion, there is a linear pattern on one of the mugs, extending from the inside to the surface of the handle, which at first glance may appear to be a crack. However, this is a crackle pattern in the glaze called kannyu (natural glaze crazing), unique to ceramics. There are no snags or steps on the surface, and since it is formed within the glassy glaze layer, the surface texture is extremely smooth, just like other areas, and has absolutely no impact on its strength or practicality during use. This is a natural testament to the clay and glaze breathing together at the moment of rapid cooling in the climbing kiln, and as a unique landscape inherent in handcrafted works, it is a point to be cherished deeply and for a long time, including this part, while pouring the finest aged sake. The bottom of the vessel is engraved with the workshop mark indicating that it is an authentic work from the Kawai studio, and it comes complete with its dedicated tomobako (original wooden box signed by the artist), wrapping cloth, and an official brochure. It is in excellent condition without any chips or cracks, and is a valuable item as a supreme Japanese craft piece that is extremely difficult to obtain overseas.\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 \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKawai Toru\u003c\/a\u003e (河井透, 1941–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"34\"\u003eArtist's Notable Career:\u003c\/b\u003e [1962] Began a pottery career under Kawai Toru's father, Kawai Takeichi, and received direct instruction from the late Kawai Kanjiro; [1970] Moved Kawai Toru's studio to Higashiyama Ward, Kyoto City; [1976] Built Nantan Kiln, a traditional climbing kiln, in Kameoka City, Kyoto Prefecture.\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"333\"\u003eWorks in Collection:\u003c\/b\u003e Asahi Group Oyamazaki Villa Museum of Art, ZENBI - Kagizen Art Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"430\"\u003eProduction Period:\u003c\/b\u003e 2000s-2010s (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"473\"\u003eProduct Condition:\u003c\/b\u003e Very Good (no chips, no cracks, no surface cracks, \u003cspan style=\"color: rgb(255, 42, 0);\"\u003eplease note the characteristic crackle glaze\u003c\/span\u003e)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"564\"\u003eBox:\u003c\/b\u003e Dedicated tomobako (wooden box) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"610\"\u003eMaterial:\u003c\/b\u003e Ceramic (Iron glaze, Ash glaze, Iron painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"667\"\u003eDimensions:\u003c\/b\u003e Height approx. 11.8 cm, Mouth diameter approx. 8.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cb data-path-to-node=\"20\" data-index-in-node=\"733\"\u003eNote:\u003c\/b\u003e Even if the products offered by our store are new and unused, they are from a very old production period and are all 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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47881782067387,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7184_result.jpg?v=1780240394"},{"product_id":"271","title":"Winner of the Gold Prizes at the Prague and Vallauris International Ceramics Exhibitions, Founder of Sodeisha, Suzuki Osamu (鈴木治), \"Return to Primitive Art,\" Bakushu-nomi Beer Mug Ceramic Whisky Tumbler #271","description":"\u003cp data-path-to-node=\"9\"\u003eThis is a handled sake vessel directly crafted by \u003ca href=\"\/en\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e (鈴木治, 1926–2001), a master who reigns at the pinnacle of Japan's contemporary ceramic art world, whose works are permanently housed in major modern art museums both in Japan and abroad. The dedicated wooden box (kyobako) bears the artist's own inscription, \"Bakushu-nomi,\" written in elegant, powerful cursive script. The vessel itself has a substantial cylindrical form that sits weightily in the hand, and a thick, powerfully drawn handle. While the artist created it as a vessel for savoring beer at its finest, in today's luxurious lifestyle, it also possesses an overwhelming presence as a supreme on-the-rocks Ceramic Whisky Tumbler for slowly enjoying rare aged spirits that have transformed into a beautiful amber color over many years, or premium single malt whiskies with large ice cubes. The extremely precise skeletal structure born from the bloodline of master potters, the carefully studied thickness, and the direct texture of the rough clay surface, which immediately conveys itself to the touch and sets it apart from blown glass or ordinary hand-formed vessels, elevates the time spent enjoying alcohol into an exceptional artistic experience. This is an avant-garde craft piece from Japan that is extremely difficult to obtain in overseas art markets and possesses the highest asset value to satisfy the discerning eye of an avid collector.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eThe artist, Suzuki Osamu, was born in 1926 as the third son of \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E5%AE%87%E6%BA%90%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Ugenji\u003c\/a\u003e, a renowned potter in Kyoto. Until Suzuki's sudden passing in 2001, the artist relentlessly pursued avant-garde expressions that rewrote the history of Japanese craft. In 1948 (Showa 23), the artist formed the avant-garde ceramic art group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e\" with \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e, \u003ca href=\"\/en\/collections\/maker-yamada-hikaru\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e, Matsui Bisuke, and Kano Tetsuo, initiating a movement that fundamentally broke the spell of practicality (\"beauty of utility\") – the absolute norm in the Japanese ceramic world, where ceramics were primarily for serving food or pouring water. They redefined clay not merely as a material for vessels but as a medium for pure self-expression, giving birth to a completely new genre of art: objet ceramics, the first of its kind in Japan. Sodeisha subsequently led the forefront of Japan's contemporary art scene for half a century, and with its 50th exhibition in 1998, it dissolved amicably, having fully fulfilled its historic mission of elevating ceramics to contemporary art within the art world. Amidst this tumultuous movement, Suzuki preferred to use the term \"deisho\" (mud-form) for Suzuki's own works, meaning to manifest the form of the world through clay (mud), rather than simply calling them \"objects.\" Suzuki continued to pursue unique, poetic forms by deforming and deconstructing Suzuki's superb potting wheel techniques. By 1999, the artist's global status was firmly established, as evidenced by a large-scale retrospective exhibition held at the National Museum of Modern Art, Tokyo.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe distinctive face-shaped motif that dominates the front of this work perfectly embodies Suzuki's lifelong pursuit of reverence for nature and a return to primitive art. The eyes and nose carved into this circular bas-relief, along with the continuous spiral patterns arranged at the bottom, personify the life force of great nature, such as the sun and wind, with Suzuki's unique poetic humor, imbuing the modern vessel with the pure magical energy of Jomon clay figurines and ancient masks. The surface of the vessel intentionally exposes a powerful, clay texture like Mikage clay containing coarse particles, over which a thin layer of feldspar glaze with a pale greenish-gray tint is applied. This masterfully merges the organic warmth of the clay with the sparkling beauty of the finely appearing crazing (fine crack patterns) on the surface. Furthermore, at the bottom edge of the vessel, a vibrant reddish \"hi-iro\" (fire color) has emerged, a result of the chemical reaction between the edge of the glaze and the unglazed body caused by the intense flames of the climbing kiln, thus encapsulating the dramatic moment when fire and earth became one within the vessel. At the base of the handle, Suzuki's circular \"治\" (Osamu) seal is clearly impressed, confirming its authenticity. The handwritten signature and seal on the lid of the wooden box, along with the official ceramic history (bookmark) from Yodo Gallery in Osaka, which conveys the atmosphere of the artist's solo exhibitions at the time, are perfectly preserved. This is a supreme piece in excellent condition, condensing the artist's lifelong artistry, where Suzuki's object philosophy (Deisho) admirably returns to its origin as a functional vessel.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,0,0\" data-index-in-node=\"0\"\u003eArtist\u003c\/b\u003e: \u003ca href=\"\/en\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e (鈴木治, 1926–2001)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,1,0\" data-index-in-node=\"0\"\u003eArtist's Major Career History\u003c\/b\u003e: [1926] Born in Kyoto as the third son of master potter Suzuki Ugenji, [1948] Formed the avant-garde ceramic art group \"Sodeisha\" with Yagi Kazuo and Yamada Hikaru, holding their first exhibition, [1961] Received the Japan Ceramic Society Award, [1962] Won a Gold Medal at the Prague International Ceramics Exhibition, [1968] Appointed Assistant Professor of Ceramics at Osaka University of Arts, [1970] Won a Gold Medal at the Vallauris International Ceramics Biennale and invited to exhibit at \"Contemporary Ceramics - Europe and Japan\" organized by the National Museum of Modern Art, Kyoto, [1971] Won the Minister of International Trade and Industry Award at the Faenza International Ceramics Exhibition and invited to exhibit at the Japan Ceramics Exhibition (subsequently exhibiting every time), invited to exhibit at \"Contemporary Ceramics - America, Canada, Mexico and Japan\" exhibition organized by the National Museums of Modern Art, Kyoto and Tokyo, [1975] Exhibited at \"International Ceramics Exhibition '75\", [1979] Exhibited at \"Art Now '79\", [1999] A large-scale retrospective exhibition \"Poetic Objects: Suzuki Osamu's Ceramics\" was held at the National Museum of Modern Art, Tokyo, [2001] Passed away at the age of 73\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,2,0\" data-index-in-node=\"0\"\u003eMuseum Collections\u003c\/b\u003e: Permanently housed in public collections of major modern art museums around the world, including The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955 (Presumed identical or same-series works are currently in the collection of institutions such as The National Museum of Modern Art, Kyoto)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,5,0\" data-index-in-node=\"0\"\u003eAccessories\u003c\/b\u003e: Original wooden box, wrapping cloth, official ceramic history (bookmark) issued by Yodo Gallery.\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,6,0\" data-index-in-node=\"0\"\u003eMaterial\u003c\/b\u003e: Pottery (feldspar glaze)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,7,0\" data-index-in-node=\"0\"\u003eDimensions\u003c\/b\u003e: Approx. 9.0 cm diameter, approx. 9.5 cm height\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"12,8,0\" data-index-in-node=\"0\"\u003eNote\u003c\/b\u003e: Even if the products offered by our shop are new and unused, they are from a very old production period and are all listed as used items. The products may have damage due to age, so please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758725819,"sku":null,"price":260000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7923_result.jpg?v=1781230271"},{"product_id":"273","title":"Senior Disciple of Mingei Master Kawai Kanjiro, Kyoto Gojozaka Shokei Kiln, Kawai Takeichi (河井武一), Kaiki Glaze Bowl, Flambé Sea-Cucumber Glaze Large Bowl, Ice Bowl, Fruit Basket #273","description":"\u003cp data-path-to-node=\"1\"\u003eCreated by Kawai Takeichi (河井武一, 1908–1989), a ceramic artist who was the nephew of Mingei Movement master \u003ca href=\"\/en\/search?q=%22%E6%B2%B3%E4%BA%95%E5%AF%9B%E6%AC%A1%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKawai Kanjiro\u003c\/a\u003e and served as Kanjiro's senior disciple and right-hand man at the Shokei Kiln in Gojozaka, Kyoto, for nearly forty years from 1927 to 1966, supporting the workshop's throwing and shaping techniques. In 1935, Kawai Takeichi served as an assistant to British potter Bernard Leach during Leach's visit to Japan, and after Kanjiro's passing, the artist worked independently, presenting Kawai Takeichi's works primarily through solo exhibitions at Takashimaya department stores nationwide and other venues. Dating from the artist's mature period between the 1970s and early 1980s (the late 1940s to 1950s of the Showa era), when Kawai Takeichi fully pursued independent creation following Kanjiro's death and began signing and sealing the inner lid of dedicated wooden boxes (tomobako) as \"Kaiki Glaze Bowl, Takeichi,\" this piece is identified as an authentic work. Pursuing the functional beauty (\"Yo no Bi\") of folk crafts without seeking official exhibition awards or official honors, Takeichi's works are held in public collections such as the Asahi Group Oyamazaki Villa Museum of Art, the Adachi Museum of Art, and the Izumo Museum of Folk Crafts.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAs inscribed on the dedicated wooden box as \"Kaiki Glaze\" (Kaiki-yu), this vessel richly incorporates the traditional sea-cucumber glaze (Namako glaze, an opalescent blue-white glaze using cobalt and straw ash) for which the Kawai workshop is renowned. Over a heavy, dark-brown base glaze, a foamy, wave-like blue-white glaze is poured, creating fine crystals and mottling during the melting and flowing process of the viscous glaze in the kiln, drawing a beautiful gradient reminiscent of the mysterious deep sea. The large, voluptuous form rounded and swelling from the lower body to the waist is the result of Takeichi's robust and powerful wheel-throwing technique, which is Kawai Takeichi's true signature. From the lower body down to the foot ring, the glaze pools in heavy droplets to form a dramatic landscape, while the unglazed raw clay (rotai) around the foot exposes the rustic, iron-rich texture of the earthenware clay. The interior bowl bottom (mikomi) also holds a deep pool of opalescent blue glaze, conferring rich texture and profound depth to the entire vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eMeasuring an impressive approx. 12.4 cm in height and approx. 19.5 to 20.0 cm in width with substantial depth, our shop proposes this vessel as a dignified large ice bowl for enjoying aged spirits or premium whisky, or as an elegant fruit basket or centerpiece bowl for the table, tailored to modern lifestyles. The contrast between the deep blue-white sea-cucumber glaze and the dark brown base beautifully highlights the ice or colorful fruits placed inside, bringing a refined Japanese craft aesthetic to luxurious evening drinks or dining occasions. An authentic piece uniting Mingei philosophy and the techniques of the Kawai workshop, this masterpiece allows one to savor the true essence of traditional Japanese ceramic art through both sight and touch.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKawai Takeichi\u003c\/a\u003e (河井武一, 1908–1989)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003eStudied under the artist's uncle Kawai Kanjiro from 1927, supporting the Shokei Kiln as senior disciple. Served as assistant to Bernard Leach in 1935. Worked independently following Kanjiro's passing, presenting works primarily through solo exhibitions.\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eAsahi Group Oyamazaki Villa Museum of Art, Adachi Museum of Art, Izumo Museum of Folk Crafts, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s–early 1980s (late Showa 40s to Showa 50s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako) included (with calligraphy \"Kaiki Glaze Bowl, Takeichi\" and seal on inner lid)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Sea-cucumber glaze, Kaiki glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.4 cm, Width approx. 19.5–20.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47930758791355,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3620_result.jpg?v=1790495411"},{"product_id":"275","title":"Kyoto City Cultural Merit Award Winner, Master of Nakagawa Joeki Workshop Tradition, Tanaka Hideaki (田中秀明) Forged Copper Chrysanthemum Motif Kensui, Hammered Craft Ice Bowl #275","description":"\u003cp data-path-to-node=\"31\"\u003eThis is a forged copper chrysanthemum-motif Kensui (slop bowl) by Tanaka Hideaki (田中秀明, b. 1916; real name Tanaka Shigeo, full member of the Japan Art Crafts Association), a Kyoto metal artist who contributed to the production of tea utensils at the renowned workshop of Nakagawa Jōeki—one of the Senke Jisshoku (Ten Artisans to the Sen Houses of Tea)—and later trained prominent figures including Masatoyo Miyoshi (designated a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e for Forged Metalwork) and Gorosaburo Kanaya XV. Having learned traditional techniques under Tanaka Hideaki's father, the metalworker \u003ca href=\"\/en\/search?q=%22%E7%94%B0%E4%B8%AD%E8%8B%B1%E8%94%B5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTanaka Eizo\u003c\/a\u003e, Tanaka Hideaki supported the pinnacle of Kyoto's tea-ceremony metalwork behind the scenes and earned immense acclaim in the field of traditional hammered metalwork (tsuiki), including receiving the Kyoto City Cultural Merit Award in fiscal 1985. In the art of forging metal, which involves hammering and shaping metal plates with incredible precision, Tanaka possessed supreme craftsmanship, creating many works that merged traditional tea-utensil dignity with modern sculptural elegance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"32\"\u003eThis piece is a forged copper masterpiece that perfectly embodies Tanaka's signature \"Mole\" (repoussé\/hammered relief) technique. By meticulously hammering a single sheet of copper, the entire vessel is raised into a three-dimensional form resembling a large, blooming chrysanthemum blossom. From the outer body to the inner basin, uniform and rich petal undulations create beautiful contrasts of light and shadow. Along the raised band of the rim, elegant auspicious cloud motifs (ruyi cloud patterns) are delicately carved in relief, and the central bottom bears a clear square stamp reading \"Hideaki.\" The innate warmth of the copper, combined with a quiet, antique bronze patina that has deepened over time and the geometric chrysanthemum repoussé, radiates a dignified beauty that conveys the essence of Kyoto metal craftsmanship.\u003c\/p\u003e\n\u003cp data-path-to-node=\"33\"\u003eWe propose this Kensui, possessing historical metalworking technique and noble sculptural beauty, as an individual ice bowl for chilling aged spirits, premium whisky, or wine, or as a tabletop craft vessel to adorn special spaces in modern lifestyles. The superior thermal conductivity of metal and the heavy presence of forged copper exude commanding prestige on the tabletop when filled with ice and cold water, elevating sophisticated evening drink moments alongside peak art. Individual forged metal vessels by Tanaka Hideaki—embodying the tradition of the Nakagawa Jōeki workshop and the mastery that trained a Living National Treasure—are extremely rare on the market. This masterpiece comes in flawless condition, complete with its original wooden box (Tomobako) bearing the handwritten inscription \"Made by Tanaka Hideaki\" and artist seal on the lid.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#metal\" target=\"_blank\" rel=\"noopener\"\u003eTanaka Hideaki\u003c\/a\u003e (田中秀明, b. 1916; Birth name Tanaka Shigeo)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eArtist's Representative Activity：\u003c\/strong\u003eStudied under Tanaka Hideaki's father Tanaka Eizo; Engaged in tea utensil crafting at the Senke Jisshoku \"Nakagawa Jōeki\" workshop; Selected for the Kyoto Prefectural Craft Exhibition (1958); First selected for Nitten (1962); Exhibited at the 21st Japan Traditional Crafts Exhibition (1974); Awarded the Kyoto City Cultural Merit Award in FY1985 (as Tanaka Shigeo); Full Member of the Japan Art Crafts Association. Trained pupils including Masatoyo Miyoshi (Living National Treasure in Forged Metalwork) and Gorosaburo Kanaya XV.\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003eMid-to-Late Showa Period (1970s–1980s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003eGood (no dents, no deformation, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Made by Tanaka Hideaki\" calligraphic inscription and seal on the lid\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eCopper (Forged metal \/ Tsuiki, chrysanthemum repoussé mole technique, cloud motif relief)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eHeight approx. 12.5 cm, Mouth diameter (maximum width) approx. 17.0 cm,\u0026nbsp;Weight Approx. 249 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47931190706363,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9222_result.jpg?v=1784445795"},{"product_id":"278","title":"Japan Ceramic Society Award Winner, Visiting Fellow at Harvard University, Kozuru Hajime (高鶴元), Black Glazed Platinum Painted Bellows-Structure Pitcher with Twisted Handle, Mizusashi Water Vessel #278","description":"\u003cp data-path-to-node=\"1\"\u003eBorn as the eldest son of \u003ca href=\"\/en\/search?q=%22%E9%AB%98%E9%B6%B4%E5%A4%8F%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Kazan\u003c\/a\u003e, a prestigious kiln master of Agano ware with approximately 400 years of history in Fukuoka Prefecture, \u003ca href=\"\/en\/collections\/maker-kozuru-hajime\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Hajime\u003c\/a\u003e (高鶴元, 1938–) is a master who was active at the pinnacle of Japanese traditional ceramic art, winning the Japan Art Crafts Association Chairman's Award at the Japan Traditional Art Crafts Exhibition for two consecutive years and receiving the 22nd Japan Ceramic Society Award. This highly original pitcher (mizutsugi \/ water vessel) is a work by Kozuru Hajime. In 1980, recognized for research achievements in Old Agano ware and exceptional modeling prowess, Kozuru Hajime was invited to the United States as a Visiting Fellow at Harvard University, where Kozuru Hajime built a kiln in the suburbs of Boston. After moving to the U.S., Kozuru Hajime transcended the boundaries of traditional tea ceramics, developing international contemporary art that fused Western aesthetic forms, geometric shapes, and metallic glazes such as platinum and gold luster. The Roman alphabet mark \"HK\" incised into the bottom of the piece symbolizing the artist's style, the inscription \"Black Glazed Platinum Painted Pitcher\" on the original wooden box (Tomobako), along with the expression of the twisted handle and platinum luster, clearly tell that this is an authentic work created around 1985 to 1995 (mid-1980s to early 1990s), coinciding with the period of international exhibitions following Kozuru Hajime's move to Harvard University in 1980.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThis work possesses a powerful and commanding presence with dimensions of approximately 18.5 cm in height, 20.0 cm in overall width including the handle, and 16.0 cm in body diameter. The body features the bellows structure (stepped horizontal ridges)—an architectural geometric modeling technique in which Kozuru Hajime excels—creating vivid sculptural light and shadow. The handle extending from the spout adopts a twisted (spiral) structure formed by tightly twisting two clay strands together, splendidly combining Western traditional pouring vessel designs with dynamic clay expression of Japanese ceramics. Over the matte black glaze covering the entire vessel, platinum painting (platinum luster) emitting a dull, heavy silver luster is applied, radiating an overwhelming presence through the chic, deep gradient created by the black and silver tones. Furthermore, the bottom features an octagonal carved base, clearly retaining the incised \"HK\" mark alongside shell-stacking marks (three spur marks) from high-temperature firing, bearing testimony to the artist's technical mastery and authenticity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing heavy form and metallic beauty reminiscent of antique silver, our shop proposes this pitcher (mizutsugi) tailored to modern lifestyles as a supreme Japanese Kogei sake vessel (water dispenser \/ decanter) for enjoying rich aged spirits, whisky, or shochu. The deep texture woven by the black glaze and platinum luster further enhances the beauty of amber-colored aged spirits and matured liquors, bringing the sophistication of dignified modern art to high-end bar counters and dining tables. With works collected in public museums such as the Peabody Museum at Harvard University and the Fukuoka Prefectural Museum of Art, this rare masterpiece by Kozuru Hajime represents a high-level realization where traditional craft and modern art intersect, serving as a luxurious craft piece that graces special spaces.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Artist's Message\u0026gt; \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eBorn out of ceramics, Not merely because of the circumstance of my birth, Just as a white flower blooms naturally from a white flower seed, And a red flower from a red flower seed, Before I realized it, I was sitting in the very heart of ceramic art. And now, I reflect. I want to create something true, To take the beautiful spirit and form created by our ancestors, Make it my own, and live in the present era... Wishing for nothing more than this, I sit amidst the clay again today.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\" style=\"text-align: right;\"\u003eKozuru Hajime\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-kozuru-hajime\" target=\"_blank\" rel=\"noopener\"\u003eKozuru Hajime\u003c\/a\u003e (高鶴元, 1938–)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1968, 1969] Received the Japan Art Crafts Association Chairman's Award at the 15th and 16th Japan Traditional Art Crafts Exhibitions (won 2 consecutive years), [1975] Received the 22nd Japan Ceramic Society Award, [1980] Traveled to the U.S. as a Visiting Fellow at Harvard University, [1997] Received the 9th Fukuoka Prefecture Cultural Award\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eFukuoka Prefectural Museum of Art, Tagawa City Museum of Art, Peabody Museum of Archaeology and Ethnology at Harvard University, Forest Hills Park (Boston), etc.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e c. 1985–1995 (Period as Visiting Fellow at Harvard University to international expansion period)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), original leaflet included (\"Moto-gama\")\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Black glaze, platinum painted)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eWidth (including handle) approx. 20.0 cm, Depth (body diameter) approx. 16.0 cm, Height approx. 18.5 cm\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191890619,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3230_result.jpg?v=1790256615"},{"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 \u003ca href=\"\/en\/collections\/maker-yamada-hikaru\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e (山田光, 1923–2001), a titan of modern ceramic art who co-founded the avant-garde ceramic art group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e\" in 1948 alongside \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, 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 Yamada Hikaru's 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). The artist 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 Yamada Hikaru's life, the artist 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. The artist's 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, the artist 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 Yamada Hikaru's 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,\" Yamada Hikaru's 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 \u003ca href=\"\/en\/collections\/maker-yamada-hikaru\" target=\"_blank\" rel=\"noopener\"\u003eYamada Hikaru\u003c\/a\u003e (山田光, 1923–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974191923387,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_7995_result.jpg?v=1781794764"},{"product_id":"284","title":"Minister of Education Award Winner, Councilor of Nitten, and Artist Permanently Housed in the Museum of Fine Arts, Boston: Kano Mitsuo (叶光夫). Masterpiece: Hariyu-yusai Large Flower Vase, Large Bowl, Ice Bowl #284","description":"\u003cp data-path-to-node=\"26\"\u003eThis is a large-sized vase featuring the finest techniques and designs of \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970), a legendary master who reigned at the pinnacle of glaze research based on scientific analysis in the history of modern Japanese ceramics, yet held only six solo exhibitions in a lifetime. Born into the prestigious Kano family of \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e and a graduate of the Kyoto Ceramic Testing Institute, Kano Mitsuo studied under \u003ca href=\"\/en\/search?q=%22%E5%B0%8F%E6%A3%AE%E5%BF%8D%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKomori Shinobu\u003c\/a\u003e, a renowned pioneer of scientific ceramics in Japan. In 1920, the artist joined the Chinese Ceramics Research Institute in Dalian, where Kano Mitsuo thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, Kano Mitsuo was commissioned by the Manchukuo government to select sites for official kilns, and that overwhelming knowledge and astonishing technical skill would shock the Japanese art world shortly after the war. Beginning with a Special Selection Award at the Nitten Exhibition in 1949, the artist's works were permanently acquired by authoritative museums and national institutions worldwide, including the National Museum of Modern Art, Kyoto (purchased by the Ministry of Education), the Paroris Museum (purchased at the Contemporary Ceramic Exhibition in Paris), donated to the Museo Internazionale delle Ceramiche in Faenza, and acquired by the Museum of Fine Arts, Boston, the Museu de Arte de São Paulo, and the Japan Art Academy. In 1967, Kano Mitsuo received the Minister of Education Award at the Nitten Exhibition, and in 1968, the artist became a Nitten councilor. Highly praised for a refined aesthetic spirit, Kano Mitsuo produced a white porcelain vase for the Imperial Household at the time of the new palace construction in 1969, leaving behind an unparalleled legacy and honor as a master craftsman.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eKano Mitsuo's ceramic philosophy was rooted in the modernization of Eastern traditions based on thorough scientific evidence, and the pursuit of functional beauty that maximizes the potential of clay and glaze within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of Kano Mitsuo's nephew and direct disciple, Kano Tetsuo (Kano Shokoku II), a founding member of the \u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e group. In the early Sodeisha, which was spearheaded by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and aimed at establishing purely three-dimensional objects completely devoid of practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that Tetsuo's master, Kano Mitsuo, had built through arduous research. As a result, Kano Mitsuo left the group at a very early stage around 1951 and embarked on the orthodox succession of practical vessels that fused tradition and modernism. Kano Mitsuo's global and outstanding modern aesthetic sense was also evident in the numerous cutting-edge Western tableware the artist created at the request of Noémi Raymond, wife of the renowned architect Antonin Raymond and a prominent designer. Kano Mitsuo embodied a universal modernism that harmonized with contemporary living spaces, rather than merely recreating classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eThe Hariyu-yusai (glass glaze with variegated colors) technique employed in this work is an extremely important representative technique, with a similar masterpiece published in Kano Mitsuo's collection of works. It is rooted in the artist's unique glass glaze technology, which Kano Mitsuo perfected in July 1942, before the war, by deriving a precise blending ratio of 75 parts Nango feldspar and 25 parts lead-free white jade. A professional analysis of the inside of the piece reveals a thickly melted, precisely calculated glass glaze, with ice crackle crazing, finely and densely spread like jewels from the bottom to the rim. This layer of transparent, delicate crazing reflects light in a beautiful, kaleidoscopic manner depending on the angle of incidence, lending immeasurable depth to the interior of the vessel. In contrast, the exterior of the vessel is uniformly covered with a deep black glaze, creating a vivid contrast with the serene world within. Furthermore, the lower part of the body features a sophisticated interlocking pattern in a continuous band, created by intricate stamping (indented patterning). In these textured patterned areas, the Yusai technique, where iron content and complex colors blend intricately, is fully utilized, precisely revealing changes in the crystallization, such as reddish-brown and slight bluish hues, as if floating from the jet-black background. The contrast between the hard black luster and the organic crystallization residing within the regular patterns is the epitome of extremely difficult glaze control that only Kano Mitsuo could achieve.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eFurthermore, what determines the artistic value of this work is the presence of a highly special potter's mark applied within the foot rim at the base of the vessel. In contrast to the simple incised marks seen on the bottom of ordinary vases and practical vessels, fine white slip clay is applied within the foot rim, and Kano's painted signature is inscribed beautifully over it in a vivid blue cobalt pigment. This blue potter's mark serves as a vibrant accent that jumps out at the viewer when the bottom is revealed, transitioning from the jet-black exterior. It possesses extremely high precision and visual impact, as if a blue design has been embedded using meticulous inlay techniques. Kano Mitsuo's uncompromising dedication to perfectly controlling an artistic signature down to the invisible details is condensed in the uniqueness of this single potter's mark, eloquently testifying that this work is an undeniable authentic masterpiece from Kano Mitsuo's own hand. The lid of the accompanying wooden box features a dynamic inscription of the title \"Hariyu-yusai Kaki\" (Glass Glaze Variegated Vase) and Kano's signature, complete with a clear red seal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThe production period of this work is identified as the mature period of the mid-Showa era (circa 1955–1962). This logically supports that it was produced over approximately 28 years, from July 1942, when Kano Mitsuo completed a unique glass glaze blending ratio, through Kano Mitsuo's journey to Manchuria in 1943, the period from 1946 when Kano Mitsuo began exhibiting extensively at the Nitten exhibition and Kano Mitsuo's overwhelming technique of functional beauty entered its golden age, the 1940s and 1950s when Kano Mitsuo drew Kano Mitsuo's direct disciple Kano Tetsuo back to the succession of tradition, until the artist's passing in August 1970. The historical background of this work being a genuine piece from the master's mature period, produced directly by Kano Mitsuo's hands and transcending the turbulent wartime and postwar periods, further solidifies its artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWith dimensions of approximately 15 cm in height, 30 cm in body diameter, and 26.5 cm in mouth diameter, it boasts a commanding, impressive extra-large size. While its sculptural beauty can, of course, be enjoyed as a large vase that creates an elegant indoor atmosphere, it also offers rich practicality as a special accent in modern, sophisticated table settings. When enjoying fine aged sake or vintage wine, it can be placed in a space as a large ice bowl filled with ice or an exquisite wine cooler to chill bottles. The beautiful ice crackle of the glass glaze on the inside will resonate with the ice and condensation, creating breathtakingly luxurious and executive moments. This is a museum-quality, one-of-a-kind piece that embodies the essence of Kano Mitsuo's functional beauty, which has been highly praised and permanently collected by leading museums around the world, allowing you to directly experience its luxury in your daily life. It is something you will never encounter again, whether domestically or internationally.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"32\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1920] Joined the Chinese Ceramics Research Institute in Dalian and engaged in research on ancient Chinese ceramics; [1943] Traveled to Manchuria as a Manchukuo government consultant to select sites for official kilns; [1946] First exhibited at the Japan Fine Arts Exhibition (Nitten); [1949] Received a Special Selection Award at Nitten; [1953] Received the Hokuto Award at Nitten; [1957] Appointed as a Nitten judge; [1958] Became a member of the Nitten Association; [1967] Appointed as a Nitten judge and received the Minister of Education Award; [1968] Appointed as a Nitten councilor; [1969] Produced a white porcelain vase for the new palace construction.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"728\"\u003eWorks in Collections:\u003c\/b\u003e National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museu de Arte de São Paulo (Brazil); Japan Art Academy; Musée Paroris (France); Museo Internazionale delle Ceramiche, Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eCirca:\u003c\/b\u003e c. 1955–1962 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1067\"\u003eProduct Condition:\u003c\/b\u003e Very good (no chips, no cracks, box has age-related cracks and dirt).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1156\"\u003eAccessories:\u003c\/b\u003e Comes with original wooden box (note age-related deterioration).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1234\"\u003eMaterial:\u003c\/b\u003e Pottery (glass glaze, variegated glaze).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1285\"\u003eDimensions:\u003c\/b\u003e Height approx. 15.0 cm, body diameter approx. 30.0 cm, mouth diameter approx. 26.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1384\"\u003eNote:\u003c\/b\u003e Even if the products we offer are new and unused, they are from a very old production period and are all listed as used items. Products may have age-related damage, so please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974192283835,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8291_result.jpg?v=1782049469"},{"product_id":"286","title":"Recipient of the Medal with Yellow Ribbon by the Emperor of Japan, Kuroki Kuniaki (黒木国昭), Aya Kiriko Green \u0026 Amber Overlay Cased Glass Ba-jou-hai Stemmed Tasting Glass #286","description":"\u003cp data-path-to-node=\"23\"\u003eThis exceptionally elegant Ba-jou-hai (traditional horseback stemmed cup) is crafted by Kuroki Kuniaki (黒木国昭, 1945–), a paramount master of contemporary Japanese glass art who, based in Miyazaki Prefecture, sublimates Japan's fading traditional aesthetics into the cutting-edge medium of glass, earning the highest acclaim both domestically and internationally. Born in Kobayashi City, Miyazaki Prefecture in 1945, Kuroki Kuniaki continues to be a living legend in the Japanese glass art world, presiding over a personal atelier and maintaining a profound global influence as a leading figure even today in 2026. Since entering the glass manufacturing industry on the factory floor in 1963, the artist has remained entirely unbound by the rigid apprenticeship systems of traditional schools, mastering every facet of the craft—from the high-temperature hot forming of molten raw glass to intricate cold cutting—entirely through self-study and rigorous practical experience. After establishing Glass Art Kuroki in the family's ancestral hometown of Ayacho, Miyazaki Prefecture, and becoming independent in 1984, Kuroki achieved a singular artistic universe that seamlessly fuses Western glass techniques with classical Japanese sensibilities. In 1989, the artist was honored with the \"Contemporary Master Craftsman\" national award for outstanding skills, becoming the youngest recipient in the glass art history at the time. Furthermore, in 2006, Kuroki was bestowed with the prestigious Medal with Yellow Ribbon by the Japanese government, reaching the absolute pinnacle of domestic honor as both a master craftsman and a fine artist.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eThis masterpiece flawlessly embodies the spirit of \"Aya Kiriko,\" a proprietary cut glass technique developed by Kuroki through exhaustive research and modern reinterpretation of the legendary Satsuma Kiriko craft, which had once vanished from the historical stage. While at first glance it may evoke the aura of avant-garde Western studio glass, its profound essence lies in Kuroki's uncompromising cultural identity: reincarnating the pristine natural grandeur of Ayacho, Miyazaki Prefecture—celebrated for hosting one of the world's largest evergreen broadleaf forests and crystal-clear mountain springs—directly into the soul of the vessel. The heavy, hand-blown cased glass features a rich amber foundation layered with a deep green glass overlay, over which flawless geometric cuts are meticulously applied without a fraction of error. By deeply carving away this thick, colored glass layer at a sophisticated angle, a spectacular refraction of light is achieved, creating \"bokashi\"—the breathtaking, subtle color gradation that shifts fantastically from vivid green to warm amber. This intricate layering of colors conjures a painterly landscape, capturing the mystical light filtering through Ayacho's ancient woods and the shimmering face of its pure streams. The silhouette of the vessel proudly adopts the noble form of the historic Ba-jou-hai, where the substantial weightiness inherent to hand-formed pieces and the organic, slightly unique contours exude an overwhelming sculptural presence that completely distances it from mass-produced wares. The artist's signature is proudly engraved on the base of the piece, certifying its true authenticity, and a carefully preserved, dedicated Tomobako (the original wooden box signed and sealed by the artist) is included as a vital historical document proving its impeccable provenance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eWe propose this exceptional vessel, imbued with undisputed art-historical authority and world-class superlative craftsmanship, as the ultimate Japanese KOGEI masterpiece for savoring refined sake and spirits within the palm of your hand, perfectly tailored to a sophisticated contemporary lifestyle. Standing at approximately 8.5 cm in height with a mouth diameter ranging from a minimum of 8.0 cm to a maximum of 8.5 cm, its precise proportions fit beautifully in the hand while concentration and encompassing rich aromas. It performs at its absolute zenith when used to sample aged sake (Koshu) or mature spirits that have developed deep complexity and noble bouquets over many decades. The structure, featuring the tall stem characteristic of the traditional horseback cup, flawlessly prevents the natural body heat of the hand from transferring to the delicate liquid inside, making it functionally and scientifically rational for tasting matured spirits where strict temperature control is paramount. The surreal green and amber landscape extending across the front and sides resonates marvelously with the natural amber hue of poured aged sake, elevating an everyday evening drink into a luxurious moment of contemplating top-tier three-dimensional art. Original creations and museum-tier masterpieces executed entirely by the hand of Kuroki Kuniaki are actively acquired by passionate collectors and public institutions worldwide, leaving the civilian market with extremely scarce opportunities to encounter them, thereby endowing this piece with immense rarity and archival value. This Ba-jou-hai stemmed cup, a miraculous crystallization that has successfully evolved the fierce, powerful spirit of Japanese tradition into contemporary fine art, harmonizes flawlessly with sophisticated modern interiors, whether Eastern or Western, bringing undeniable dignity and an incomparable presence to any setting.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#glass\" target=\"_blank\" rel=\"noopener\"\u003eKuroki Kuniaki\u003c\/a\u003e (黒木国昭, 1945–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003e[1963] Joined Yamaya Glass Industrial Co., Ltd. in Miyazaki Prefecture, commencing Kuroki's rigorous foundation as a glass craftsman; [1974] Relocated to a prominent glass manufacturing company in Tokyo to absorb advanced modern techniques and scientific knowledge; [1984] Founded \"Glass Art Kuroki\" in the artist's hometown of Ayacho, Miyazaki Prefecture, establishing Kuroki's independence; [1989] Received the national award for outstanding skills \"Contemporary Master Craftsman\" as the youngest recipient in the glass discipline at the time; [1991] Certified as an official Miyazaki Prefecture Traditional Craftsman; [2006] Bestowed with the \"Medal with Yellow Ribbon\" (Huangshubaozhang) by the Japanese government\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eWorks Collected and Presented:\u003c\/strong\u003e National Crafts Museum, Miyazaki Prefectural Art Museum, Miyakonojo City Museum of Art, Ebeltoft Glass Museum (Denmark), China National Museum of Art (Beijing), Japanese Embassies and Consulates-General worldwide (Diplomatic Missions), Imperial Household Presentations (officially presented to Their Majesties the Emperor and Empress, His Imperial Highness Crown Prince Naruhito, Their Imperial Highnesses Prince and Princess Akishino, etc.), The Vatican City, and numerous prestigious presentations and donations to overseas Royal Families\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eCirca 2010 (Estimated, the peak mature period following Kuroki's national decoration of the Medal with Yellow Ribbon)\u0026nbsp;\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (original wooden box signed and sealed by the artist), Shiori included (original brochure detailing the artist's profile and lineage)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eGlass (Aya Kiriko, cased overlay glass)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.5 cm, Mouth diameter approx. 8.0 cm (min) - 8.5 cm (max) (Single piece)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that while the items we offer may be in pristine, unused condition, they originate from a historic production period and are strictly listed as antique\/used fine art pieces. Vintage items may exhibit subtle age-related characteristics; we kindly ask that you review all details and purchase upon full understanding.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193889467,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8472_result.jpg?v=1783239174"},{"product_id":"289","title":"Minister of Education Award Recipient, Boston Museum of Fine Arts Permanent Collection Artist, Kano Mitsuo (叶光夫). Representative Works: Glass Glaze Sumi-yaki Vases, Flower Bowls, Large Plates #289","description":"\u003cdiv class=\"markdown markdown-main-panel enable-luminous-fast-follows stronger enable-updated-hr-color\" id=\"model-response-message-contentr_d26872c670014ad4\" aria-live=\"off\" aria-busy=\"false\" dir=\"ltr\"\u003e\n\u003cp data-path-to-node=\"24\"\u003eThis is an extra-large rectangular flower bowl, approximately 50.5 cm in width, boasting an overwhelming scale and adorned with the highest level of technique and design by \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970), a legendary master who, despite reigning supreme in the scientific analysis of glazes in the history of modern Japanese ceramics, held only six solo exhibitions in a lifetime. Born into the Kano family, a distinguished name in \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e, Kano Mitsuo graduated from the Kyoto Ceramic Testing Institute and studied under the renowned \u003ca href=\"\/en\/search?q=%22%E5%B0%8F%E6%A3%AE%E5%BF%8D%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShinobu Komori\u003c\/a\u003e, a pioneer of scientific ceramics in Japan. Later, in 1920, the artist joined the Chinese Ceramic Research Institute in Dalian, where Kano Mitsuo thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, Kano Mitsuo was commissioned by Manchukuo to select sites for official kilns, and that overwhelming knowledge and astonishing technical prowess sent shockwaves through the Japanese art world immediately after the war. Beginning with a special selection award at the Nitten Exhibition in 1949, Kano Mitsuo's works were acquired by the Ministry of Education for the National Museum of Modern Art, Kyoto, purchased by the Musée Palissy at the Contemporary Ceramics Paris Exhibition, donated to the International Museum of Ceramics in Faenza, Italy, and permanently housed in prestigious museums and national institutions around the world, including the Museum of Fine Arts, Boston, the Museum of Art, São Paulo, Brazil, and the Japan Art Academy. In 1967, Kano Mitsuo received the Minister of Education Award at the Nitten Exhibition, and in 1968, the artist became a councilor of the Nitten Exhibition. The artist's dignified sculptural spirit was highly acclaimed, and in 1969, Kano Mitsuo was commissioned to create a white porcelain vase for the construction of the new Imperial Palace, which Kano Mitsuo humbly presented to the Imperial Household, leaving behind an unparalleled legacy of honor and achievement.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eAt the root of Kano Mitsuo's ceramic philosophy was the modern updating of Eastern tradition based on thorough scientific evidence, and the pursuit of functional beauty that brings out the potential of clay and glaze to their limits within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of Kano Mitsuo's real nephew and direct disciple, Kano Tetsuo (the second generation Kano Matsutani), a founding member of the \u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e group. In the early Sodeisha, which was centered on \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and others and was pushing toward the establishment of pure three-dimensional objects that completely eliminated practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that Tetsuo's master, Kano Mitsuo, had built through painstaking research. As a result, Kano Mitsuo left the group at the very early stage around 1951 and turned to the legitimate inheritance of practical vessels that fused tradition and modernity. Furthermore, Kano Mitsuo's global and outstanding modern aesthetic sense is also evident in the numerous cutting-edge Western tableware the artist created at the request of Noémi Raymond, the wife of the famous architect Antonin Raymond and a renowned designer. Kano Mitsuo embodied a universal modernism that harmonized with contemporary living spaces, going beyond merely reproducing classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eThis work is a museum-quality large rectangular bowl where Kano's decorative beauty and unique glaze theory are synchronized to the utmost. Looking into the inside of the work, one finds a bold, flowing, and geometric concentric ripple pattern (swirl pattern) drawn with a sharp contrast of black and white, which is the essence of \"Sumiyaki\" (ink-fired). This pattern radiates regularly and with organic undulations from a tiny central circle towards the outer edge, displaying an astonishing graphic sense reminiscent of the raked sand patterns in Japanese Zen rock gardens or the serene ripples spreading across a water surface. Furthermore, covering this monochrome world, a unique glass glaze (hariyū), derived from a precise blending ratio of Nangō feldspar and lead-free glass flux, is melted extraordinarily thick, forming a layer of incredibly fine and dense ice crackle crazing like jewels across the entire surface of the vessel. Depending on the angle of incoming light, a kaleidoscopic diffused reflection emanates from the depths of this transparent glass layer, giving immeasurable three-dimensional depth and an absorbing spirituality to the flat vessel. In contrast, from the rim of the vessel to the outer wall, a rich and warm ochre to deep amber iron glaze (ash glaze) gradient is applied uniformly, creating a vivid chromatic and visual contrast with the cool monochrome worldview of the interior, and serving as a supreme frame that powerfully tightens the overall sculptural beauty of the work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eWhat further determines the artistic value of this work is the presence of a handwritten signature on the flat base, where the footrim is intentionally omitted. In the center of the perfectly flat, carved-out base, the inscription \"光夫\" (Mitsuo) is clearly marked with black pigment, either iron or cobalt, in a fluid and masterful brushstroke free of hesitation. Kano Mitsuo's uncompromising commitment to perfectly controlling an artistic signature, even in invisible details, is condensed in this single signature, eloquently testifying that this work is an undeniable authentic masterpiece from Kano Mitsuo's own hand. The exposed clay body around the inscribed signature reveals the meticulous yet well-fired, slightly reddish, high-quality ceramic clay, carefully selected by a prestigious Kiyomizu ware family. The contrast between this rustic charm of the clay and the refined hariyū (glass glaze) covering the surface is also superb. The production period of this work is logically identified as Kano Mitsuo's mature period in the mid-Showa era (circa 1942-1970), when the artist's unique hariyū technique was established, and Kano Mitsuo's overwhelming technical prowess reached its golden age, exemplified by Kano Mitsuo's appointment as a Nitten judge and recipient of the Minister of Education Award. The historical background of this work, being an authentic piece created directly by the master's hand, having transcended the turbulent periods of war and postwar, further solidifies its value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eWe propose this magnificent extra-large bowl, a legacy of the grand master at the origin of avant-garde ceramic history, as a special accent in modern, sophisticated table settings, and as a supreme example of Japanese Kōgei (craftsmanship) to enjoy rich practicality. In addition to appreciating its sculptural beauty as a large vase to adorn a refined interior, if placed in a space as an extra-large ice platter or a luxurious wine cooler, filled with ice to display multiple bottles when savoring premium aged whisky, vintage wine, or champagne, the beautiful ice crackle of the hariyū and the sumiyaki ripples on the interior will beautifully resonate with the ice and condensation, creating a breathtakingly luxurious executive experience. This is a supreme, one-of-a-kind item that you will never encounter again, domestically or internationally, allowing you to directly experience the essence of Kano Mitsuo's functional beauty, whose high technical skill has been praised and permanently housed in leading museums around the world, in your daily life.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e \u003ca href=\"\/en\/collections\/maker-kano-mitsuo\" target=\"_blank\" rel=\"noopener\"\u003eKano Mitsuo\u003c\/a\u003e (叶光夫, 1903–1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"32\"\u003eArtist's Major Activities:\u003c\/b\u003e [1920] Joined the Chinese Ceramic Research Institute in Dalian and engaged in research on ancient Chinese ceramics, [1943] Traveled to Manchuria as a commissioned expert for Manchukuo to select sites for official kilns, [1946] First exhibited at the Japan Art Exhibition (Nitten), [1949] [Received special selection award at the Japan Art Exhibition, [1953] Received Hokuto Prize at the Japan Art Exhibition, [1957] Appointed as a judge for the Japan Art Exhibition, [1958] Appointed as a member of the Nitten corporate body, [1967] Appointed as a Nitten judge and received the Minister of Education Award, [1968] Appointed as a Nitten councilor, [1969] Humbly created a white porcelain vase for the construction of the new Imperial Palace.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"799\"\u003eWorks Housed In:\u003c\/b\u003e The National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museum of Art, São Paulo (Brazil); Japan Art Academy; Musée Palissy (France); International Museum of Ceramics in Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eCirca: \u003c\/strong\u003eA work created in 1947\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1133\"\u003eCondition:\u003c\/b\u003e With defects (\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eone chip on the inner rim\u003c\/span\u003e, no cracks or breaks, minor scratches and kiln flaws due to age)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1249\"\u003eAccessories:\u003c\/b\u003e Original signed wooden box (Tomobako)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1300\"\u003eMaterial:\u003c\/b\u003e Pottery (hariyū \/ glass glaze, sumiyaki \/ ink-fired, glazed color)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1377\"\u003eDimensions:\u003c\/b\u003e Height approx. 9.0 cm, Width (long side) approx. 50.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1446\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if new and unused, are from a very old production period and are listed as used. Items may have age-related damage, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974193987771,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8382_result.jpg?v=1782451035"},{"product_id":"293","title":"Masterpiece Kutani Ware Guinomi Sake Cup \"Red Plum Blossoms\" by Master Shiohara Bunji (塩原文二), Realm-Transcending Artist Mastering Both Oil Painting and Ceramics, Final Years' Legacy #293","description":"\u003cp data-path-to-node=\"20\"\u003eThis is a \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani ware\u003c\/a\u003e Guinomi (sake cup) created by Bunji Shiohara, an extraordinary realm-transcending artist who was elected a member of both the Western Painting and Ceramics divisions of Itsui-kai, pursuing peak aesthetic expression in both oil painting and Kutani ceramics. Bunji Shiohara (塩原文二, 1907–1978) was born in Komatsu City, Ishikawa Prefecture, and studied overglaze decoration on porcelain and stoneware at the workshop of first-generation \u003ca href=\"\/en\/search?q=%22%E5%BE%B3%E7%94%B0%E5%85%AB%E5%8D%81%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTokuda Yasokichi\u003c\/a\u003e (Kaisei), a giant of Kutani ware. From 1950 onward, Shiohara accomplished the extraordinary feat of simultaneous selection in both Western painting and ceramics divisions at the Nitten and Itsui-kai exhibitions. Building upon the prestigious traditional Kutani overglaze techniques stemming from the first-generation Yasokichi, the artist fused them with the skilled brushwork and refined color sensibility of an oil painter, establishing a uniquely evaluated stance in modern Japanese craft history.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eThis work features a refined red plum blossom design painted on a gently textured vessel surface beautifully covered with fine crackles (kannyu). The crowning highlight of the piece lies in its depiction of red plum blossoms: while utilizing traditional Kutani Japanese mineral pigments, it renders them with three-dimensional depth and gradation reminiscent of oil paint layered on canvas. Shading and depth are imparted to the vivid vermilion-red petals, while white, yellow, and striking blue and purple are delicately applied to the stamens and calyxes, expressing the vibrant vitality of the petals through the painter's keen eye and solid draftsmanship. Beside the foot ring, the artist’s own seal \"Bunji\" is carved, creating a contrast between the robust clay texture and the delicate overglaze enamel that enhances the dignity of the piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eWe propose this historically valuable work as a supreme Japanese Kogei sake vessel for savoring aged sake or premium whisky matured through the years, gracefully adapting it to a refined modern lifestyle. The substantial form that rests comfortably in the hand and the colors of the red plum blossoms reflecting beautifully against the amber liquid elevate a daily evening drink into a special hour of engaging with peak art. Because Bunji Shiohara created at an exceptionally high level in both Western painting and ceramics, the absolute number of the artist's ceramic works is extremely scarce. It is remarkably rare for a piece to appear on the market complete with its original wooden box (Tomobako)—bearing the calligraphic title \"Red Plum Blossoms,\" the artist's ink signature, and seal—along with the explanatory leaflet from that era. This is a one-of-a-kind craft piece embodying the lifelong passion of a master who endlessly pursued beauty.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e\u003cstrong\u003e* Bunji Shiohara (1907–1978)\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,0,0\"\u003e:\u0026nbsp;Born in 1907 and passing away in 1978, Bunji Shiohara was a rare artist who was elected to membership by top-tier art associations in both completely distinct fields of expression—Western oil painting and ceramics—fully blooming the artist's talent in both simultaneously. Shiohara was an unrepeatable realm-transcending artist embodying the \"two-sword style\" in the art world, whose footprint was forged by two passionate \"paths.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e\u003cstrong\u003e* The Path of Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,1,0\"\u003e:\u0026nbsp;Awareness of Oil Painting and Rise in Itsui-kai The beginning of Shiohara's art was the path of oil painting, which the artist resumed \"as if remembering what had been forgotten\" after once stepping away. Encouraged by those around the artist, Shiohara submitted an oil painting to the Itsui-kai Exhibition in the autumn of 1950 and gained Shiohara's first selection, followed by consecutive selections in Nitten starting in 1951. Since then, Shiohara maintained uninterrupted annual selections in both exhibitions, deeply savoring a self-awareness toward painting under the enthusiastic guidance of seniors and mentors in Itsui-kai. Recognized for solid expression and a firm painterly spirit, Shiohara was elected an Itsui-kai member in 1957. Taking the change in Nitten sponsorship in 1958 as an occasion for reflection, Shiohara subsequently ceased submitting to Nitten, pouring full energy solely into the stage of the Itsui-kai Exhibition to pursue a unique beauty of oil painting.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e\u003cstrong\u003e* The Path of Ceramics\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"23,2,0\"\u003e:\u0026nbsp;Encounter with Tokuda Yasokichi (Kaisei) and Full-Fledged Pursuit What awakened Shiohara's other outstanding talent was a fortunate interaction with the renowned ceramic artist Tokuda Yasokichi during the time Tokuda went by the name \"Kaisei,\" casually enjoying painting overglaze enamels at Tokuda's studio out of easy friendship. In August 1950, receiving a sudden proposal from Kaisei, \"Shall we try submitting your work to Nitten?\", Shiohara unexpectedly felt inclined and crafted \"Vase with Butterfly Design,\" making a brilliant first selection at Nitten. Taking this as a turning point, the artist crafted Nitten submission pieces at the studio for three years, making a sensational debut as a ceramic artist with three consecutive years of Nitten selections. In the autumn of 1953, after consulting with Kaisei and aspiring to undertake full-fledged research in ceramics, Shiohara became immersed in thorough production research starting from forming (clay body making). Whenever a piece was completed, the artist eagerly submitted it to exhibitions such as the Ceramic Art Exhibition sponsored by Osaka Asahi, gaining recognition for Shiohara's overwhelming skill and color sense. In the autumn of 1960, Shiohara accomplished the extraordinary feat of being elected an \"Itsui-kai Ceramics Division Member\" in addition to an existing Western Painting Division membership. Furthermore, in 1975, the artist joined the Ceramics Division of the Sozo Bijutsu Exhibition and was elected a member, establishing Shiohara's position at the pinnacle of the ceramic world in both name and reality. The \"Path of Painting\" facing the canvas, and the \"Path of Ceramics\" challenging clay and fire. The works of Bunji Shiohara, a genius who spent a lifetime mastering two specialized fields without compromise, are miraculous crystals harboring a unique aesthetic transcending genres and a firm passion.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003e\u003cstrong\u003e* Information from the Work's Leaflet:\u0026nbsp;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe Path of Painting Resumed painting as if remembering what had been forgotten, and encouraged by someone, submitted an oil painting to the Itsui-kai Exhibition in autumn 1950 and gained first selection. From 1951, submitted and was selected for Nitten, continuing annual submissions and selections for both exhibitions thereafter. Savoring self-awareness toward painting under the guidance of Itsui-kai seniors and mentors, elected an Itsui-kai member in 1957. In 1958, taking the change in Nitten sponsorship as an occasion for reflection, ceased Nitten submissions and submitted exclusively to Itsui-kai Exhibitions up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThe Path of Ceramics When Mr. Tokuda Yasokichi called himself Kaisei, enjoyed painting overglaze enamels at his studio out of easy friendship. In August 1950, Mr. Kaisei suddenly said, \"Shall we try submitting your work to Nitten?\" Unexpectedly inclined, crafted a vase with butterfly design and gained first selection upon submission. Created Nitten pieces at his studio for three years thereafter with three consecutive selections. In autumn 1953, after consulting with him, aspired to full-fledged research in ceramics, starting production research from the clay body itself. Submitted completed works to Ceramic Art Exhibitions sponsored by Osaka Asahi, and in autumn 1960 was elected member of Itsui-kai Ceramics Division in addition to Western Painting. In 1975 joined Sozo Bijutsu Exhibition Ceramics Division and was elected member up to the present.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\" style=\"text-align: right;\"\u003eBunji Shiohara\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eShiohara Bunji\u003c\/a\u003e (塩原文二, 1907–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eArtist's Representative Activity:\u003c\/strong\u003e [1950] First selected for the Itsui-kai Exhibition (Oil Painting) and Nitten (Ceramics, \"Vase with Butterfly Design\"), [1951–1952] Simultaneously selected in both Western Painting and Ceramics divisions at Nitten, [1957] Elected member of Itsui-kai (Western Painting Division), [1960] Awarded the Itsui-kai Prize at the 22nd Itsui-kai Exhibition and elected member of the Itsui-kai Ceramics Division, [1975] Elected member of the Sozo Bijutsu Exhibition Ceramics Division\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eWorks in Collection: \u003c\/strong\u003eIshikawa Prefectural Museum of Art, Komatsu City Nishikigama Exhibition Hall, Komatsu City Museum, Wayo Women's University Cultural Materials Museum\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e1976–1978 (Leaflet history recorded up to 1976, Final Period of Life)\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks, excluding age-related character typical of antique art)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated wooden box (Tomobako) with \"Guinomi Red Plum Blossoms\" inscribed on the lid and \"Bunji Shiohara\" in ink with a seal on the lower left; explanatory leaflet (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eStoneware (Kutani ware, overglaze enamels, crackle glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 5.5 cm, Mouth diameter approx. 5.5 cm, Base diameter approx. 3.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194217147,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9438_result.jpg?v=1784547479"},{"product_id":"295","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #295","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, Kumakura pursued an artistic career in ceramics. The artist apprenticed under Fukuda Rikisaburo at the Shosai Toen atelier in Kyoto, and further had Kumakura's creative spirit rigorously instilled by \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, a giant of modern ceramics and a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e. Kumakura's style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with Kumakura's own industrial design and architectural background, shone with a unique brilliance in the ceramic world of Kumakura's era. In 1957, the artist joined the legendary avant-garde ceramic artist group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e,\" formed by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/collections\/maker-suzuki-osamu\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. Kumakura's artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. The artist's works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in Kumakura's youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued a unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. Kumakura's spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to a relatively short active period of ceramic creation and the fact that many of Kumakura's major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-kumakura-junkichi\" target=\"_blank\" rel=\"noopener\"\u003eKumakura Junkichi\u003c\/a\u003e (熊倉順吉, 1920–1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194315451,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8558_result.jpg?v=1783258162"},{"product_id":"304","title":"Kitade Tojiro (北出塔次郎), Councillor of the Nitten Exhibition and First Professor at Kanazawa College of Art: Polychrome Enamel and Gold Geometric Pattern Butterfly Design, A Pinnacle of Contemporary Kutani Ware Two-Piece Set #304","description":"\u003cp data-path-to-node=\"36\"\u003eThis is a highly dignified pair of sake cups by Kitade Tojiro (北出塔次郎, 1898–1968), a pioneering ceramic artist who significantly reshaped the history of \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani ware\u003c\/a\u003e from modern to contemporary times, and a magnificent leader who supported the development of art education in Japan. Born in Hyogo Prefecture in 1898 and passing away in 1968, Kitade Tojiro was a supreme master representing the contemporary Kutani ceramic world of the Showa era. After dropping out of Kansai University's Faculty of Law in 1916, Kitade Tojiro studied under the master \u003ca href=\"\/en\/search?q=%22%E7%9F%A2%E9%87%8E%E6%A9%8B%E6%9D%91%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKyoson Yano\u003c\/a\u003e at the Osaka School of Fine Arts, where the artist learned the essence of Japanese painting and honed Kitade Tojiro's unique, exceptional artistic sensibilities.\u003c\/p\u003e\n\u003cp data-path-to-node=\"37\"\u003eThe most decisive turning point in the artist's ceramic career came in the autumn of 1936. Kitade Tojiro invited \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e (富本憲吉, 1886–1963), a master of modern ceramics who later became a \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e for overglaze enamel porcelain, to the Kitade Kiln, and together they devoted themselves to thorough ceramic research, living and working side-by-side. Tomimoto deeply resonated with Tojiro's uncompromising artistic spirit and named Kitade Tojiro's kiln \"Seisen-gama.\" Tomimoto's strict modernist philosophy, which rejected easy imitation of classical patterns and sought to create new modern designs from nature—to \"never create patterns from existing patterns\"—became a powerful identity for Seisen-gama thereafter. Following this historic event, the works the artist left behind were proudly inscribed on their accompanying boxes and catalogs as \"Seisen-gama works,\" testifying to a noble artistry directly inherited from Tomimoto and advanced techniques, circulating in the art world with special authority, even more than Kitade Tojiro's personal name.\u003c\/p\u003e\n\u003cp data-path-to-node=\"38\"\u003eThis pair of sake cups is a masterpiece that clearly exhibits Kitade Tojiro's most highly regarded sophisticated fusion of overglaze enamel, colored slip (saidei), and gold leaf, along with the artist's unique exotic abstract geometric designs. On the front of the vessel, a powerful butterfly motif is depicted in noble gold leaf layered over deep black. On the sides, vivid geometric patterns, skillfully arranged with gold, red, and green, are intricately woven with extreme precision. The method of completely departing from traditional Kutani ware decorations like landscapes and birds-and-flowers, and instead developing modern and exotic abstract geometric patterns inspired by classical designs from Persia and Central Asia, is Tojiro's true forte. Furthermore, the artist did not treat the smooth surface of the porcelain merely as a canvas, but perfectly harmonized the thickness of the paints, the unique texture of the colored slip, and the elegant shimmer of the gold leaf within a single vessel. Determining the optimal firing temperatures for each paint and slip, and undergoing multiple firing processes—bisque firing, main firing, and numerous overglaze firings—this small sake cup encapsulates a meticulously calculated, ultra-high-difficulty technique that could never be achieved with mediocre ceramic skills.\u003c\/p\u003e\n\u003cp data-path-to-node=\"39\"\u003eKitade Tojiro devoted a tremendous amount of time to duties as an educator and in public service, becoming a professor in the Ceramics Department at the Kanazawa Specialized School of Arts and Crafts (present-day Kanazawa College of Art) upon its establishment in 1946, and later serving in important positions in the art world such as a councillor for the Nitten exhibition. As a result, the artist's lifetime production of pure creative works is very limited. Furthermore, since many of Kitade Tojiro's major and representative works are housed in public museums such as the National Museum of Modern Art, Tokyo, and the Ishikawa Prefectural Museum of Art, genuine masterpieces circulating in the private market are extremely rare, possessing an overwhelming scarcity value that serves as historical documentation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"40\"\u003eWe propose these vessels, imbued with undeniable art-historical authority and superlative skill, as supreme sake vessels (shot glasses) of Japanese Kōgei, allowing you to enjoy the traditional beauty of Japan in the palm of your hand, tailored to a sophisticated modern lifestyle. They are especially suitable for savoring aged sake and vintage sake that have developed deep richness and mellow aromas over many years. The dignified presence of the black and gold butterfly on the front, and the vibrant geometric patterns on the sides, resonate beautifully with the exquisite amber color of aged sake poured into them, elevating your daily evening drink to a luxurious experience of appreciating a pinnacle of three-dimensional art.\u003c\/p\u003e\n\u003cp data-path-to-node=\"41\"\u003eThe advanced modernism and technical genes of Seisen-gama, built by Kitade Tojiro, were perfectly transmitted to the renowned masters the artist nurtured. Kitade Tojiro's lineage continues with successive generations of geniuses: Tojiro's second son, \u003ca href=\"\/en\/collections\/maker-kitade-fujio\" target=\"_blank\" rel=\"noopener\"\u003eKitade Fujio\u003c\/a\u003e (北出不二雄, 1919–2014), who faithfully inherited the father's color sense and modernism and served as a professor and president of Kanazawa College of Art; Kitade Tojiro's third son, \u003ca href=\"\/en\/collections\/maker-kitade-seiko\" target=\"_blank\" rel=\"noopener\"\u003eKitade Seiko\u003c\/a\u003e (北出星光, 1928–2011; Birth name: \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%87%BA%E5%8B%87%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKitade Isamu\u003c\/a\u003e), who inherited unique traditional techniques and was active primarily in the Nitten exhibition; and \u003ca href=\"\/en\/collections\/maker-takegoshi-toshiaki\" target=\"_blank\" rel=\"noopener\"\u003eTakegoshi Toshiaki\u003c\/a\u003e (武腰敏昭, 1940–2021), a great master of contemporary Kutani ware, who, strongly encouraged by Professor Tojiro, switched from industrial design to ceramics and later won the Japan Art Academy Prize and became a member of the Japan Art Academy. This supreme sake vessel, a crystallization of a historical miracle that evolved tradition into art, is a preeminent modern piece that brings undeniable elegance and a unique presence to the daily dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKitade Tojiro\u003c\/a\u003e (北出塔次郎, 1898–1968)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eArtist's Notable Career History:\u003c\/strong\u003e [1928] First accepted into the 9th Teiten Exhibition, [1946] Appointed Professor of Ceramics Department at Kanazawa Specialized School of Arts and Crafts (present-day Kanazawa College of Art), [1959] Appointed Council Member (Councillor) of the Nitten Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eWorks Housed At: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; Ishikawa Prefectural Museum of Art; Kanazawa College of Art, Art \u0026amp; Craft Research Institute; etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"45\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1950s to mid-1960s (Mature period after receiving the Hokkoku Culture Award)\u003c\/li\u003e\n\u003cli data-path-to-node=\"46\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"47\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (original wooden box signed and sealed by the artist), wrapping cloth, Shiori profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"48\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain (colored slip, gold leaf)\u003c\/li\u003e\n\u003cli data-path-to-node=\"49\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 4.3 cm, Diameter approx. 5.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"50\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if brand new and unused, originate from a historic production period and are strictly listed as antique\/used fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055747182779,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8640_result.jpg?v=1783739319"},{"product_id":"306","title":"Councillor of Nitten \u0026 Vice Chairman of Japan Contemporary Arts and Crafts Association, Kato Sho (加藤釥) - A Masterpiece of Contemporary Ceramic Art: Deisai-kashoku Line Engraving and Inlay Tea Bowl \/ Rock Glass #306","description":"\u003cp data-path-to-node=\"24\"\u003eThis is an exceptionally modern and sophisticated tea bowl by the grand master \u003ca href=\"\/en\/collections\/maker-kato-sho\" target=\"_blank\" rel=\"noopener\"\u003eKato Sho\u003c\/a\u003e, who broke away from the traditional framework of Akazu ware and took the art world by storm as a leading figure in the post-war contemporary craft movement. Kato Sho (加藤釥, 1927–2001) was a master who represented the Seto ceramic world in post-war contemporary ceramics. After graduating from the prestigious Aichi Prefectural Seto Ceramic School in 1944, Kato Sho thoroughly mastered Seto's advanced traditional techniques and scientific glaze theory. While deeply immersed in the long history of \u003ca href=\"\/en\/collections\/seto-ware\" target=\"_blank\" rel=\"noopener\"\u003eSeto ware\u003c\/a\u003e, Kato Sho continuously sought a unique form that embodied earthiness and strength, without being content with the framework of traditional tea ceremony ceramics or overly refined classical styles. Kato Sho served successively as a Councillor and Consultant of the Nitten Exhibition, and as Vice Chairman of the Japan Contemporary Arts and Crafts Association, leading the craft world at its absolute pinnacle. The artist's great achievements in elevating post-war contemporary craft to a world-class sculptural art are deeply etched into the history of modern Japanese ceramics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis tea bowl is a masterpiece that perfectly expresses Kato Sho's signature and most highly regarded unique \"Oribe-sai\" aesthetic. At first glance, it appears to be a traditional nerikomi technique of layering different colored clays, but its essence lies in Kato Sho's greatest technical characteristic: organic shaping using hand-building, coil building, and slab building (tatara) without using a potter's wheel, and the intricate mud-colored decoration (Deisai) and incised inlay applied to the surface. Completely departing from the mass production style of traditional Seto ware, Kato Sho constructed a thick body with a slight undulation unique to hand-building, which cannot be created by the rotating motion of a potter's wheel, and deeply carved sharp, linear geometric lines into its surface.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eThe technique of mud-colored inlay, where different colored clays (slip) are embedded in these incised lines, and the bold approach of arranging Oribe glaze, which presents a vibrant green glass-like quality, and mud colors such as black, brown, and white, as geometric stripes, gives the vessel an intellectual and hard beauty reminiscent of an architectural monument. The intense presence that dominates space, characteristic of an artist who created numerous massive ceramic walls that blend with modern architecture, not just tabletop crafts, is condensed within this tea bowl. The character \"釥\" is proudly carved on the bottom of the vessel, certifying it as a genuine work by Kato Sho, and the artist's handwritten calligraphy and seal are vividly preserved on the inside of the lid of the accompanying wooden box (Tomobako).\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eWe propose this vessel, imbued with artistic historical authority and exceptional skill, as the ultimate Japanese kogei sake vessel (rock glass) for enjoying traditional Japanese beauty in the palm of your hand, in line with modern refined lifestyles. The comfortable weight unique to hand-building and the rich form that fits snugly in the palm of your hand make it the perfect vessel for savoring aged sake or mature spirits with large ice cubes. The profound Oribe and mud-colored geometric stripes on the front and sides resonate beautifully with the elegant amber color of aged sake and the sparkle of ice, elevating your daily evening drink to a luxurious time of appreciating modern art.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eKato Sho passed away in 2001 at the age of 74, so the total number of the artist's works is very limited, and many major works from Kato Sho's prime are housed in public museums such as the Aichi Prefectural Ceramic Museum and the Seto City Museum. Therefore, very few authentic masterpieces circulate in the private market, giving them overwhelming historical rarity. The genes of this advanced artistic spirit and technique have been legitimately passed down to the artist's eldest son, \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E8%97%A4%E4%BB%A4%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKato Reikichi\u003c\/a\u003e (加藤令吉, 1955–), who currently serves as a top runner in the ceramic world as a Nitten member and director of the Japan Contemporary Arts and Crafts Association. This vessel, a crystallization of historical miracles that confined the essence of tradition within the framework of a vessel, perfectly harmonizes with modern refined spaces, both Japanese and Western, and is a supreme modern piece that brings undeniable dignity and a unique presence to the daily dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-kato-sho\" target=\"_blank\" rel=\"noopener\"\u003eKato Sho\u003c\/a\u003e (加藤釥, 1927–2001)\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eArtist's Notable Activities:\u003c\/strong\u003e [1960] Awarded Special Selection at the 3rd Nitten Exhibition; [1964] Awarded Special Selection again at the 7th Nitten Exhibition; [1980s-1990s] Served as Nitten Councillor, Nitten Consultant, and Vice Chairman of the Japan Contemporary Arts and Crafts Association\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eWorks Housed in: \u003c\/strong\u003eAichi Prefectural Ceramic Museum, Seto City Museum, Seto Kura Museum, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s-1980s (Peak mature period during Kato Sho's tenure as Nitten Councillor and Vice Chairman of the Japan Contemporary Arts and Crafts Association)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eProduct Condition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (Original wooden box signed and sealed by the artist)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Oribe glaze and colored mud slip decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.5 cm, Mouth diameter approx. 12.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e All products offered by our store, even if unused, are very old productions and are strictly listed as antique\/pre-owned items. Products may have age-related characteristics, so please consider your purchase after understanding and confirming the nature of historic Japanese ceramics.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055748067515,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8931_result.jpg?v=1784010825"},{"product_id":"308","title":"Kutani Ware Kaga Daishoji Akae Saibyou Master Tani Shukei (谷秋渓) - Akae Saibyou Kinsai Dragon Sake Cup Pair - The True Essence of Takeuchi Ginshu's Lineage, Microscopic One-Stroke Painting, Cloud Dragon Motif, A Treasure of Japanese Ceramic History #308","description":"\u003cp data-path-to-node=\"21\"\u003eThis is an exceptionally rare and highly dignified pair of \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani\u003c\/a\u003e Akae Saibyou Kinsai (microscopic red painting with gold highlights) sake cups (Sake-nomi), complete with their original signed wooden box (Tomobako), meticulously crafted by \u003ca href=\"\/en\/collections\/maker-tani-shukei\" target=\"_blank\" rel=\"noopener\"\u003eShukei Tani\u003c\/a\u003e (谷秋渓, 1888–1959; Birth name: Masaki), an eminent artisan native to Daishoji, Kaga City, Ishikawa Prefecture. Shukei Tani studied directly under the two historic titans of ceramic art: \u003ca href=\"\/en\/search?q=%22%E7%AB%B9%E5%86%85%E5%90%9F%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakeuchi Ginshu\u003c\/a\u003e, a legendary Meiji-era master of Kutani red painting, and Takeuchi’s third son, \u003ca href=\"\/en\/search?q=%22%E5%BA%83%E6%B2%A2%E8%8A%A6%E7%A7%8B%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eRoshu Hirosawa\u003c\/a\u003e, who was widely acclaimed as the absolute historical pinnacle of Daishoji fine red painting. Tani’s works purely inherit the legitimate and orthodox lineage of this fine red style. Conveying the true essence of Daishoji artistry to the modern era, Shukei Tani’s creations are incredibly rare masterpieces with virtually no historical documentation available in Western art markets or general antique venues. Shukei consistently maintained an uncompromising creative ethos that thoroughly rejected the facile imitation of historical classics, instead refining manual artistry to the absolute limit. Consequently, the artist’s work is profoundly revered within the fine art community as a monumental presence that conclusively certifies the authenticity of the Daishoji Akae Saibyou lineage.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eThe paramount achievement and definitive hallmark of Shukei Tani’s ceramic art lies in an absolute mastery of the Kutani aka-e saibyou technique of \"Sogaki\" (comprehensive full-surface drawing), a method of total surface embellishment where the entirety of the porcelain is completely covered in microscopic red lines, deliberately leaving no negative space or blank areas. Utilizing an incredibly fine liner brush dipped in a specialized iron silicate pigment termed \"Bankou,\" the artist’s brushwork proceeds with mathematical precision, achieving an astonishing level of structural uniformity that exhibits no tremor or variation in line thickness even when examined under high magnification. On the outer walls of this matching pair of sake cups, this superlative technique is fully realized. Dynamic, undulating cloud dragons and swirling auspicious vapours seamlessly wrap around the gentle, three-dimensional curves of the porcelain vessel with mesmerizing density. Furthermore, opulent gold leaf (Kinsai) is strategically and beautifully layered over the dragon’s whiskers, dorsal fins, and the contours of the clouds, imparting an overwhelming splendor and a rich, tactile three-dimensional texture to the monochrome red base linework. The foot of each cup is similarly encircled by a dense geometric band rendered in pure gold leaf, reflecting an absolute refusal to compromise on decorative perfection down to the smallest millimeter.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eAn additional, extraordinary highlight of this work is that the absolute aesthetic discipline of Daishoji Akae is rigorously applied not only to the exterior but thoroughly into the innermost depths of the vessel. At the center bottom of the interior (Mikomi) lies a delicately bordered circular window, within which a regal phoenix (Ho-o) gracefully spreading its sprawling tail feathers in full flight is vividly and dynamically rendered in red enamel and brilliant gold leaf. Furthermore, a fine comb pattern (Kushime-mon)—consisting of perfectly parallel, hair-thin vertical red lines—encircles the inner rim of the mouth, ensuring that a flawless decorative universe unfolds from every conceivable viewing angle. Inside the foot ring, the four characters reading \"Kutani Shukei\" are cleanly hand-painted in red enamel by the master’s own hand, standing as definitive proof of authenticity. The lid of the accompanying dedicated wooden box (Tomobako) bears the elegant ink inscription \"Kutani Aka-e Sakazuki Ni\" (Two Kutani Aka-e Sake Cups), while the reverse side of the lid features the formal signature \"Shukei-zo\" accompanied by Tani’s authentic red vermilion seal, unequivocally establishing that this set was born from Shukei Tani's direct hand and has been reverently preserved as a pristine heirloom.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThe specialized process required to merge traditional microscopic red linework with multiple layers of gold leaf represents one of the most technologically daunting undertakings in the history of Japanese traditional crafts. If the volume of enamel held by the brush, the exact structural pressure of the hand, and a perfectly steady, uniform drawing speed—akin to holding one's breath—are not continuously maintained, the interlocking, microscopic patterns will instantly collapse. Moreover, because the red iron enamel and the gold leaf require vastly different optimal temperatures inside the kiln to develop their ideal color radiance, the porcelain must undergo a treacherous multi-stage firing regimen within the overglaze kiln after the initial bisque and main glaze firings. This ultra-high-difficulty discipline carries an immense failure rate, where a single moment of temperature deviation can cause the red pigment to vaporize or the porcelain core to fracture. Because it is physically impossible to mass-produce or streamline this structural creation, each cup represents a unique, one-of-a-kind universe requiring weeks of absolute concentration. Surviving the turbulent eras of the late Meiji, Taisho, and Showa periods to remain intact as a flawless, undamaged pair complete with its original inscribed Tomobako box is a true miracle of historical preservation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eOur gallery proudly proposes this pair, steeped in profound art-historical authority and unmatched manual skill, as the ultimate Japanese Kōgei sake vessels (shot glasses) designed to bring peerless elegance to a sophisticated modern lifestyle. Perfectly proportioned to rest naturally within the palm, these vessels are ideally suited to concentrate the complex aromas and deep, rich flavors of vintage sakes, aged spirits, or fine whiskies that have acquired a beautiful amber hue over decades of maturation. Accompanied by the moving poem transcribed upon the vintage wrapping paper, which captures the transient beauty of dew and the impermanence of existence, the vivid red linework and majestic gold ornamentation glisten brilliantly when filled with a fine spirit. This transforms a quiet evening drink into a luxurious immersion into a three-dimensional masterpiece of classic Japanese art—an unparalleled modern heirloom.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-tani-shukei\" target=\"_blank\" rel=\"noopener\"\u003eTani Shukei\u003c\/a\u003e (谷秋渓, 1888–1959; Birth Name: Masaki Tani)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003eActive primarily in Daishoji, Kaga City, Ishikawa Prefecture from the late Meiji to the mid-Showa period, mastering and perfecting the legitimate, orthodox techniques of Daishoji Aka-e Saibyou under the renowned red-painting masters Takeuchi Ginshu and Roshu Hirosawa\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e Taisho to early Showa era (Pre-war period, approx. 1920s–early 1930s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (original signed and sealed wooden box), original historic wrapping paper (with transcription and translations included)\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Porcelain (fine red painting, gold decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 4.8 cm, Mouth diameter approx. 5.0 cm (Internal dimension)\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if brand new and unused, originate from a historic production period and are strictly listed as antique\/used fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055748133051,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8774_result.jpg?v=1783738886"},{"product_id":"309","title":"Member of The Japan Art Academy Takegoshi Toshiaki (武腰敏昭), NHK Chairman's Award Takegoshi Fuyuki (武腰冬樹), Prime Minister's Award Yamachika Takeshi (山近剛), Kutani Ware, Iro-e Sake Cups Set of Three (Iro-e Guinomi San), Japanese-Style Shot Glass Trio Set #309","description":"\u003cp data-path-to-node=\"1\"\u003eMaster \u003ca href=\"\/en\/collections\/maker-takegoshi-toshiaki\" target=\"_blank\" rel=\"noopener\"\u003eTakegoshi Toshiaki\u003c\/a\u003e (武腰敏昭, 1940–2021), a titan of contemporary \u003ca href=\"\/en\/collections\/kutani-ware\" target=\"_blank\" rel=\"noopener\"\u003eKutani ware\u003c\/a\u003e who studied under the third-generation master \u003ca href=\"\/en\/search?q=%22%E6%AD%A6%E8%85%B0%E6%B3%B0%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTakegoshi Taizan\u003c\/a\u003e III of the historic Taizan Kiln dating back to the late Edo period, and served as a Member of The Japan Art Academy and Executive Director of the Nitten. Takegoshi Fuyuki, Takegoshi Toshiaki's eldest son who inherited the fourth generation of the Taizan Kiln and received the prestigious NHK Chairman's Award, the highest accolade at the Japan Contemporary Arts and Crafts Exhibition. And Takeshi Yamachika (山近剛, 1930–2020), who served as President of the Sozo Bijutsu-kai (Creative Art Association) and was awarded the Prime Minister's Award at the 67th Sozo Exhibition. This rare, collaborative sake vessel set, titled \"Iro-e Guinomi San (Three Colored Sake Cups),\" was created through a joint effort by three renowned ceramic artists representing the Kutani pottery world of Nomi, Ishikawa Prefecture. The front of the lid on the accompanying paulownia wooden box (tomobako) bears the handwritten title \"Iro-e Guinomi San,\" while the reverse side of the lid features the individual handwritten signatures and red seal stamps of \"Toshi,\" \"Fuyu,\" and \"Takeshi\" side by side. Based on the period when Takegoshi Toshiaki actively unveiled monumental works as a leading figure in Kutani ware, Fuyuki, as the fourth-generation master, emerged as a new leader of the Taizan Kiln, and Takeshi Yamachika mentored younger generations as President of Sozo Bijutsu-kai, this authentic work is identified as having been created between the early 2000s and c. 2010 (the late 1990s to early 2010s in the Heisei era) through their close friendship and rivalry of technique.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThis set boasts magnificent individuality, encapsulating three completely distinct designs and techniques. The work by Takegoshi Toshiaki (softly colored floral motif) combines the gentle color expression the artist pioneered as a leading researcher of environmentally friendly lead-free overglaze pigments with the refined sketching strength of Japanese painting, allowing a delicate gradient of yellow and light blue to bloom with grace. The work by Takegoshi Fuyuki (black leaf and red berry motif), characteristic of an artist skilled in fusing ceramics with architecture and three-dimensional forms, presents a modern and graphic contemporary craft beauty through the bold contrast between the sharp silhouettes of black-glazed leaves and vivid red berries. The work by Takeshi Yamachika (blue dayflower motif) reflects Yamachika's signature style of affectionately depicting familiar wild flowers; rendered stroke by stroke with meticulous precision using vibrant traditional Kutani five-color overglaze pigments, the dayflowers exude a charming presence filled with vitality.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith comfortable dimensions measuring approx. 7.2 cm in mouth diameter and 4.8 cm in height each, possessing an ideal thickness that fits naturally in the hand, our shop proposes this set as a sophisticated trio of Japanese-style shot glasses for enjoying aged spirits, matured sake, vintage whisky, or liquors in modern living spaces. The striking beauty of the overglaze enamels, highlighting the unique individuality of each artist at a glance, beautifully enhances the amber hue and clarity of poured spirits, creating an elegant and vibrant atmosphere at the table. This supreme collaboration masterpiece harmonizes Kutani tradition with contemporary art, making it an exceptionally valuable addition to any collection.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003eTakegoshi Toshiaki (1940–2021) \u003c\/strong\u003e: The Japan Art Academy Prize (2009), Member of The Japan Art Academy (Appointed 2010), Nitten Prime Minister's Award (2001) ,\u0026nbsp;Studied under the third-generation master of the historic Taizan Kiln, which dates back to the late Edo period. The artist was a master of contemporary Kutani ware who fused the refined descriptive strength of Japanese painting with modernism. As a leading figure in the research of lead-free overglaze pigments (lead-free glazes), Takegoshi Toshiaki vastly expanded the expressive domain of Kutani ware, serving as Executive Director of the Nitten and a Member of The Japan Art Academy. The artist created numerous monumental works, including dedicated pieces for Yakushiji Temple and Ise Grand Shrine, as well as large ceramic murals for public institutions.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003e\u003cstrong\u003eTakegoshi Fuyuki (武腰冬樹, 1965–)\u0026nbsp;\u003c\/strong\u003e: Japan Contemporary Arts and Crafts Exhibition NHK Chairman's Award, Studied under Takegoshi Toshiaki and inherited the fourth generation of the Kutani Taizan Kiln. Advocating the fusion of ceramics with architecture and three-dimensional forms, Takegoshi Toshiaki develops sharp, contemporary sculptural forms combining slab-building and linear shapes with high-fire cobalt blue and black glazes. Winning the NHK Chairman's Award—one of the highest honors at the Japan Contemporary Arts and Crafts Exhibition—the artist leads new possibilities in contemporary Kutani ware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003e\u003cstrong\u003eTakeshi Yamachika (1930–2020)\u0026nbsp;\u003c\/strong\u003e: 67th Sozo Exhibition Prime Minister's Award (2014),\u0026nbsp; Studied under Japanese painter Kazumasa Mori and established a world of Kutani overglaze painting overflowing with vitality, such as Yamachika's \"Nomichi\" (Wild Path) series depicting familiar wild flowers and birds with warm brushwork. Highly praised for a realistic yet emotionally rich style utilizing delicate Kutani five-color enamels, Yamachika served as President of Sozo Bijutsu-kai for many years, contributing to the guidance of younger artists and the promotion of traditional Kutani crafts.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eArtists: \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-takegoshi-toshiaki\" target=\"_blank\" rel=\"noopener\"\u003eTakegoshi Toshiaki\u003c\/a\u003e (武腰敏昭), \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eTakegoshi Fuyuki\u003c\/a\u003e (武腰冬樹), \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eYamachika Takeshi\u003c\/a\u003e (山近剛)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e c. Early 2000s–2010 (Late 1990s–early 2010s, Heisei era)\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 wooden box (Tomobako) included (with signatures and red seals of Toshi, Fuyu, and Takeshi on the inner lid), wrapping cloths included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePorcelain \/ Ceramics (Kutani overglaze enamels, lead-free pigments)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eEach approx. Mouth diameter 7.2 cm, Height 4.8 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 long time ago and are all listed as pre-owned items. Please understand and confirm the age-related changes before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055748165819,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3683_result.jpg?v=1790495613"},{"product_id":"315","title":"Co-founder of the Toto-kai with Itaya Hazan, Pioneer of Natural Gas Firing, Yaguchi Kiln, Tanaka Hozan (田中穂山), Historically Significant Masterpiece of Korean Karatsu Ware, Cylindrical Tea Bowl Rock Glass #315","description":"\u003cp data-path-to-node=\"19\"\u003eIn the history of modern Japanese ceramics, this is an extremely rare work from the Yaguchi Kiln period by Tanaka Hozan (田中穂山, 1884–1964), a master craftsman who was a member during the dawn of the Toto-kai, which the artist helped establish alongside the modern ceramics master \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e, and who later pioneered Japan's first firing technology utilizing natural gas fuel. Tanaka Hozan (born Tanaka Sakutaro, October 21, 1884 – June 13, 1964) was born in Gojozaka, Higashiyama, Kyoto, and received rigorous instruction in the craft of \u003ca href=\"\/en\/collections\/kyo-kiyomizu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKiyomizu ware\u003c\/a\u003e vessels from Hozan's father, Heian Kozan, a highly renowned ceramist. In 1913, Tanaka was invited by Mitsui Gomei Kaisha to Singapore, embarking on a unique career path manufacturing ceramic collection cups for rubber trees to support local industry. Following the artist's return to Japan in 1925, Tanaka built the Yaguchi Kiln near the Yaguchi-no-watashi ferry point in Kamata, Tokyo, immersed in the creation of tea utensils. In 1938, Tanaka traveled to China to study the regional clay characteristics in Shandong and Henan provinces. During the war in 1944, the artist dedicated Tanaka's efforts to reviving the legendary Otowa ware in Takashima Town, Shiga Prefecture, along the western coast of Lake Biwa. In the postwar era of 1947, Tanaka relocated to Mobara, Chiba Prefecture, at the invitation of Hidezaburo Kurushima, president of Otaki Natural Gas Company, where the artist established the Chosei Kiln and founded Mobara ware fired by natural gas. The artist's wave-tossed life journey and superb artistic achievements, continuing until Tanaka's passing at the age of 79, are historically authenticated by the fact that the Tanaka Hozan Ceramic Collection is permanently preserved and exhibited at the Wayo Women's University Cultural Materials Museum.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eThis work is a historically significant masterpiece of Korean \u003ca href=\"\/en\/collections\/karatsu-ware\" target=\"_blank\" rel=\"noopener\"\u003eKaratsu ware\u003c\/a\u003e produced during the golden age of the Tokyo Yaguchi Kiln period, which Tanaka Hozan operated for only a fleeting window between Tanaka's return to Japan in 1925 and departure for China in 1938. The surface of the lid of the accompanying dedicated wooden box (Tomobako) bears the artist's own fluid calligraphic title inscription of \"Tsutsu Chawan\" (Cylindrical Tea Bowl) in ink, with Tanaka's authentic signature \"Yaguchi Kiln, made by Hozan\" and Tanaka's vermilion seal (rakkan) clearly impressed on the lower left, providing objective documentation that this is a genuine piece from the celebrated kiln built from the late Taisho period to the early Showa 1930s. The surface of the vessel, displaying a thick and powerful form characteristic of hand-thrown pottery on a wheel, features a dark brown iron glaze as its base, over which a milky-white straw ash glaze is boldly ladled, rendering a dynamic, cascading contrast. Due to the natural phenomena of the flames inside the coal-fired kilns of that era, where temperature control was exceedingly difficult, a brilliant coloration of yellowish-green and bluish hues forms a beautiful Yohen (kiln transmutation) gradation at the boundaries of the glazes, while the base unmasks a robust, reddish-brown clay body and glaze crawling. Furthermore, peering into the interior of the vessel, a glassy, lustrous bluish glaze pool (yutamari) has gathered at the bottom of the basin, offering a profound sense of depth that stands in exquisite juxtaposition to the audacious scenery of the exterior.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eWe propose this historically valuable cylindrical tea bowl as a supreme Japanese Kogei sake vessel (rock glass) for appreciating aged sake, matured liquors, or your favorite whisky accompanied by large ice cubes, elegantly adapting it to a refined modern lifestyle. The precise techniques of Kiyomizu ware inherited from Tanaka's father, Heian Kozan, combined with Hozan’s unique insights from studying soils around the world, culminate in a substantial form that settles comfortably within the hand, gently cradling the aromatic bouquet of the spirit. The amber liquid poured within resonates in perfect harmony with the mysterious glaze pool inside and the grand color visual on the exterior. Tanaka Hozan relocated a creative base across Tokyo, Shiga, and Chiba during different eras, making the absolute volume of extant authentic works exceptionally scarce due to the tightly restricted production timeframes in each region. It is particularly rare for a cylindrical tea bowl from the Yaguchi Kiln period, fully intact with its original Tomobako, to enter the private trade. This is a singular, irreplaceable treasure by a phantom master about whom virtually no records exist overseas, sublimating your daily evening drink into an hour of contemplating peak three-dimensional art.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eTanaka Hozan\u003c\/a\u003e (田中穂山, Birth name: Tanaka Sakutaro, born October 21, 1884 – passed away June 13, 1964, aged 79)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1884] Born in Gojozaka, Higashiyama, Kyoto; from childhood, studied Kiyomizu ware under Tanaka's father, the ceramist Heian Kozan,\u0026nbsp;[1913] Invited by Mitsui Gomei Kaisha to Singapore, [1925] Returned to Japan and opened the Yaguchi Kiln in Kamata, Tokyo, [1927] Became a member of the Toto-kai, [1938] Researched ceramics in Shandong and Henan provinces, China, [1944] Devoted efforts to revive Otowa ware in Takashima Town, Shiga Prefecture, [1947] Relocated to Mobara City, Chiba Prefecture, and established the Chosei Kiln, Japan's first kiln utilizing natural gas firing, at the invitation of Hidezaburo Kurushima, president of Otaki Natural Gas Company (founded Mobara ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eWorks in Collection: \u003c\/strong\u003eWayo Women's University Cultural Materials Museum (permanently stored and exhibited as the Tanaka Hozan Ceramic Collection)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1925–1938 (Taisho 14 – Showa 13, Tokyo Yaguchi Kiln Period)\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eProduct Condition: \u003c\/strong\u003eGood (no chips, no cracks, excluding age-related changes typical of antique art; one missing leg on the box)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated wooden box (Tomobako) with \"Tsutsu Chawan\" inscribed on the lid and \"Yaguchi Kiln, made by Hozan\" in ink with a seal (rakkan) on the lower left; one missing leg on the box\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Korean Karatsu style, iron glaze, straw ash glaze, kiln variations \/ Yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 10.5 cm, Mouth diameter approx. 9.3 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if unused, are historical crafts from a very old production period and are listed as antique art. As items may have unique firing flaws or subtle age-related changes, please understand and acknowledge the nature of antique art before considering a purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48093148643515,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9135_result.jpg?v=1784358836"},{"product_id":"329","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Hidasuki Tea Bowl, Crafted Under Two Important Intangible Cultural Properties, Western Liquor Vessel, Rocks Glass #329","description":"\u003cp data-path-to-node=\"17\"\u003eThis extremely rare \u003ca href=\"\/en\/collections\/bizen-ware\" target=\"_blank\" rel=\"noopener\"\u003eBizen ware\u003c\/a\u003e tea bowl is crafted by \u003ca href=\"\/en\/collections\/maker-takahara-shoji\" target=\"_blank\" rel=\"noopener\"\u003eTakahara Shoji\u003c\/a\u003e (高原昌治, 1941–2000), a master of Bizen ceramics born in Okayama Prefecture in 1941. Takahara achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having a work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of these creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, to the global market not only as tea ceremony pottery for enjoying matcha, but also as a vintage premium sake vessel (Japanese rocks glass) designed for slowly savoring aged amber sake or neat premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe core artistic value of Takahara Shoji lies in a prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, the artist studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e, Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, Takahara studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e, also a Holder of Okayama Prefectural Important Intangible Cultural Property, thoroughly mastering the superb potter’s wheel forming techniques that served as Ishii's trademark. Examining the details of this work reveals that the transcendent techniques inherited from both masters, along with the drama of noborigama (climbing kiln) firing, are clearly manifested across its entire surface. The vessel's form retains beautiful and powerful wheel marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm. Without the use of any glaze, the external appearance coexists in extraordinary density with traditional Bizen firing effects—yohen (natural kiln transformation), hai-kaburi (ash deposit), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood. One side displays magnificent natural glaze (goma) that melted and settled like heavy tree bark or molten lava under intense falling wood ash from the noborigama kiln, while contrastingly, vibrant red hidasuki patterns born from rice straw wrapping powerfully encircle the area from the foot ring to its underside. Within the interior base (mikomi), melted natural glaze deposits and deep unglazed firing expressions spread out, while the outer surface exhibits minor natural fissures along the clay boundaries typical of noborigama firing (ishihaze and fine clay expressions), boasting the ultimate unglazed beauty unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, this work is identified as an authentic masterpiece created during the artist's peak period between 1981 and 1984, grounded directly in the fact that Takahara's form and yohen techniques reached their zenith following Takahara's research trip to the United States in 1981, as well as the biography leaflet included with the piece detailing Takahara's solo exhibition history up to 1984 (Showa 59). The artist's unique seal is clearly stamped inside the foot ring, and the piece remains in very good condition with no chips or cracks. It arrives as a complete set, accompanied by a matching wooden box for safe protection, a dedicated wrapping cloth stamped with a red seal, and a biography leaflet printed with the artist's mark.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-takahara-shoji\" target=\"_blank\" rel=\"noopener\"\u003eTakahara Shoji\u003c\/a\u003e (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1958] Studied under Isezaki Yozan, Holder of Okayama Prefectural Important Intangible Cultural Property; [1962] Studied under Ishii Furo, Holder of Okayama Prefectural Important Intangible Cultural Property, selected for the Japan Kougei Association Higashi-Chugoku Branch Exhibition for the first time; [1965] Built the artist's own noborigama (climbing kiln) and established Takahara's independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Museum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 1981–1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks, natural ash glaze melted deposits inside the interior, minor natural clay boundary fissures on the surface as inherent character of the work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories： \u003c\/strong\u003eMatching wooden box, wrapping cloth with seal, leaflet printed with artist's seal included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed firing, natural ash glaze, goma ash spots, hai-kaburi ash deposit, sangiri, hidasuki, yohen kiln transformation, tado clay, potter's wheel marks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions： \u003c\/strong\u003eHeight approx. 7.9 cm, Mouth diameter approx. 12.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731235003,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0047_result.jpg?v=1785504621"},{"product_id":"342","title":"Metropolitan Museum of Art Collection Artist, Japan Ceramic Society Award Winner Matsui Koyo (松井康陽): Mukunoki Ash Glaze Neriage Teacups (Pair), Japanese Rocks Glass #342","description":"\u003cp data-path-to-node=\"17\"\u003eStudying under Matsui Koyo's father \u003ca href=\"\/en\/search?q=%22%E6%9D%BE%E4%BA%95%E5%BA%B7%E6%88%90%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Kosei\u003c\/a\u003e—a holder of Important Intangible Cultural Property (\"Neriage\" Marbled Ware \/ \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e)—\u003ca href=\"\/en\/collections\/maker-matsui-koyo\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Koyo\u003c\/a\u003e (松井康陽, 1962–) elevated marbled ceramics into a new artistic realm through modern compositional perspectives and precise physical calculations cultivated at the School of Art and Design, University of Tsukuba. After graduating in 1985, the artist mastered the Matsui family’s secret clay formulation and sophisticated assembly techniques under Matsui Koyo's father's tutelage, establishing a solid position in modern Japanese ceramics by receiving the Encouragement Award at the 38th Japan Traditional Art Crafts Exhibition in 1991 and the Japan Ceramic Society Award in 2002. Matsui Koyo's works are officially housed in public institutions such as The Metropolitan Museum of Art (USA), the Victoria and Albert Museum (UK), and The National Museum of Modern Art, Tokyo. Our shop presents this supreme handcrafted masterpiece—a crystallization of human passion and scientific insight—to the global market not only as traditional tea vessels for enjoying sencha, but also as vintage rocks glasses (a Japanese pair of free cups) designed for quietly savoring amber-colored aged sake or premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the details of this work reveals that the fusion beauty of Matsui Koyo's proud, advanced \"layered neriage\" (marbling) and \"mukunoki ash glaze\" (using natural plant ash) is clearly manifested across the vessel. Clay sheets of different colors—blue, light blue, dark green, black, and refreshing white—are stacked layer upon layer in millimeter precision, reorganized, and assembled to create abstract yet structured patterns that seem to encapsulate flowing atmosphere, blue drift ice, or the dynamic layers of the Earth. Unlike surface painting, the neriage technique builds the clay itself three-dimensionally, so the patterns continuously penetrate from the interior base (mikomi) through to the bottom foot ring. Matching the differing shrinkage rates of each color with mathematical precision to prevent cracking or peeling during high-temperature firing is truly a physical miracle. Applied over this, the mukunoki ash glaze softly envelops the vivid marbled layers, conferring deep dimensionality and a serene matte texture alongside the refraction of light.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is identified as an authentic work created in the 2000s (circa 2000–2010), a mature era when a unique expressive style combining geometric layered neriage composition and mukunoki ash glaze reached fulfillment following Matsui Koyo's 1991 Japan Traditional Art Crafts Exhibition Encouragement Award and 2002 Japan Ceramic Society Award. The vessel itself has no chips or cracks, maintaining an exceptionally beautiful condition. It arrives as an item in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Mukunoki-yu Neriage Yunomi Ittsui\" with a seal stamped, an artist-stamped Tomonuno (wrapping cloth), and a biography leaflet.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist： \u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-matsui-koyo\" target=\"_blank\" rel=\"noopener\"\u003eMatsui Koyo\u003c\/a\u003e (松井康陽, 1962–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities： \u003c\/strong\u003e[1985] Graduated from the School of Art and Design, University of Tsukuba, and studied under the artist's father Matsui Kosei (Living National Treasure); [1991] Received the Encouragement Award at the 38th Japan Traditional Art Crafts Exhibition; [2002] Received the Japan Ceramic Society Award; [2005] Received the Encouragement Award at the 33rd Traditional Art Crafts New Works Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e The Metropolitan Museum of Art, Victoria and Albert Museum, The National Museum of Modern Art, Tokyo, Ibaraki Ceramic Art Museum, Smith College Museum of Art, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 2000s (circa 2000–2010)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako, Tomonuno included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial： \u003c\/strong\u003eCeramic (Neriage marbled clay, mukunoki ash glaze, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 8.2 cm, Mouth diameter approx. 8.0 cm (Pair)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48145421271227,"sku":null,"price":150000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0445_result.jpg?v=1786022223"},{"product_id":"343","title":"Aichi Prefecture Designated Intangible Cultural Property Holder, Oe Bunsho (大江文象), Seto Ware Red Frost-Dappled Glaze Evening Geese Tea Bowl, Rocks Glass, Studied under Kitaoji Rosanjin #343","description":"\u003cp data-path-to-node=\"16\"\u003eCreated by Oe Bunsho (大江文象, 1898–1979), a master of \u003ca href=\"\/en\/collections\/seto-ware\" rel=\"noopener\" target=\"_blank\"\u003eSeto ware\u003c\/a\u003e born in Chita District, Aichi Prefecture in 1898 (Meiji 31) and passed away in 1979 (Showa 54), this is a masterpiece Red Frost-Dappled Glaze Evening Geese Tea Bowl. Oe Bunsho studied Japanese painting under Undo Kotera as a young artist, polishing a delicate eye for sketching and a sense of composition, before studying under \u003ca href=\"\/en\/search?q=%22%E5%8C%97%E5%A4%A7%E8%B7%AF%E9%AD%AF%E5%B1%B1%E4%BA%BA%22\u0026amp;type=product\" rel=\"noopener\" target=\"_blank\"\u003eKitaoji Rosanjin\u003c\/a\u003e—a monumental figure in modern ceramics—to master the essence of ceramic techniques and formal beauty. In addition to being selected nine times in total for the Teiten, Bunten, and Nitten exhibitions, the artist earned numerous selections and awards across various exhibitions, and in 1975, Oe's outstanding skills were recognized when Oe was designated as a Holder of Aichi Prefecture Designated Intangible Cultural Property (Craft Technique: \"Kushimemon\" Combed Pattern). Oe's works are officially housed and specially purchased by public institutions such as the Aichi Prefectural Ceramic Museum and Seto City. Our shop presents this dignified creation, in which tradition and pictorial sophistication fuse to a high degree, to the global market not only as a tea utensil for whisking matcha, but also as a supreme vintage rocks glass (a Japanese free cup) for slowly savoring aged sake or matured Japanese sake with large ice cubes, enveloped in rich depth and amber radiance over time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThis work expresses at an exceptionally high level the chorie (carved pictorial design) motif originating from Japanese painting—Oe Bunsho’s greatest specialty—alongside the expression of benisobora-yu (red frost-dappled glaze), the culmination of the artist's many years of glaze research. On the surface of the vessel, which possesses an excellent tactile grip measuring approximately 9.2 cm in height and 12.0 cm in diameter, Oe's original red frost-dappled glaze is applied, featuring white crystals scattered like frost across a deep reddish-brown base evocative of an evening sky. On the vessel's exterior, a delicate carved drawing of \"YUkari\" (Evening Geese) is rendered, depicting geese flying in flocks across the dusk sky. YUkari is a traditional seasonal motif that has symbolized the deepening of autumn, travel sentiment, and refined nostalgia in Japanese waka poetry and Japanese painting since ancient times, brilliantly showcasing the exquisite line carving unique to Bunsho, who was so adept at animal and bird-and-flower designs that the artist was praised as \"Bunsho of Quails.\" A gentle glaze texture spreads inside the interior base (mikomi), while the artist's own seal is firmly incised into the unglazed clay beside the foot ring, demonstrating a splendid harmony between the bold yet refined form taking advantage of the clay's natural character inherited from Rosanjin and the delicate pictorial expression.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the period of production, taking clues from the inclusion of \"Selected nine times for Teiten, Bunten, Nitten, etc.\" in the accompanying biography leaflet and the absence of any mention of Oe's Aichi Prefecture Designated Intangible Cultural Property designation (1975), it is identified as an authentic work produced between the 1960s and circa 1974, a mature period when the artist repeatedly won selections at Nitten and perfected Oe's unique red frost-dappled glaze and carved pictorial expression styles. The vessel itself has no chips or cracks, maintaining excellent condition in both glaze coloration and carved drawing preservation. It arrives as a complete masterpiece accompanied by its dedicated Tomobako (wooden box) inscribed in ink on the lid \"Red Frost-Dappled Glaze, Evening Geese Tea Cup\" with a red seal stamped, along with a biography leaflet.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"18\"\u003eArtist’s Leaflet (Original Text)\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eNothing is closer to us than clay.\u003cbr\u003eIs it not because of clay that we come to love ceramics?\u003cbr\u003eSimply scraping earth from a mountainside and kneading it is enough to make a pot.\u003cbr\u003eYet when a pot is made with affection and with one’s whole heart, it gives form to a heart that has no form, and seeks to endure forever.\u003cbr\u003eIt is as if it were teaching us to live a life without shame.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eClay is honest and readily yields to the human hand. But a pot cannot become a pot without first undergoing a baptism of fire.\u003cbr\u003eThus even a work into which the potter has poured every ounce of effort can only be hoped for, never assured, in its completion.\u003cbr\u003eHerein lies the meaning of the saying, “Do all that you can, then leave the rest to Heaven.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDo not despise the fragility of ceramics. Fragile and beautiful as flower petals, a pot rejects rough handling and lives only by seeking harmony and love. How endearing it is. Herein lies the virtue of ceramics.\u003cbr\u003ePots are drawn out when the door of the kiln, glowing gold, is opened. There is glaze that pools as still as spring water, and glaze that runs like a sudden shower. Even where a pot looks as soft as newborn skin, it still holds within it the hardness of coral.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCeramics are worthy of love. They are of course fine in a splendid mansion, yet no less fine in a humble hut, and buried in the earth and beaten by rain, they become finer still. Small wonder, then, that we love ceramics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-oe-bunsho\" rel=\"noopener\" target=\"_blank\"\u003eOe Bunsho\u003c\/a\u003e (大江文象, 1898–1979)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1933] First selected for the 14th Teiten Exhibition (subsequently selected 9 times in total for Teiten, Bunten, Nitten, etc.); [1972] Received the CBC Club Cultural Award; [1975] Designated as a Holder of Aichi Prefecture Designated Intangible Cultural Property (Kushimemon Combed Pattern)\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublic Collections：\u003c\/strong\u003e Aichi Prefectural Museum of Art (\"Warizansho Mukozuke,\" c. 1940), Aichi Prefectural Ceramic Museum, Seto City (Specially Purchased for Permanent Preservation), etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 1960s–1974 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e Dedicated Tomobako, biography leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Ceramic (Seto ware, red frost-dappled glaze, carved pictorial design, incised seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 9.2 cm, Mouth diameter approx. 12.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48145422483643,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0367_result.jpg?v=1786022833"},{"product_id":"366","title":"Mashiko Modern Ceramics, Apprentice to Kamoda Shoji (Tono Period), Kojima Shigeo (小島茂夫): Banded Clay Slips Multi-Glazed Matcha Bowl, Japanese Rocks Glass #366","description":"\u003cp data-path-to-node=\"6\"\u003eCrafted by Kojima Shigeo (小島茂夫, 1950–; born in Ashikaga City, Tochigi Prefecture), a ceramic artist who developed a pottery practice based in Mashiko, this is a matcha bowl featuring banded clay slip decoration. After undergoing training at Mashiko Toen and Tsuboya in Okinawa, Kojima Shigeo studied directly under \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e—a legendary giant of 20th-century Japanese ceramics—in Tono, Iwate Prefecture, in 1978. Possessing a fierce creative ethos of \"completely denying his own style every six months and never repeating a past approach,\" Kamoda Shoji pursued meticulous clay slip techniques that admitted no division of labor. Coupled with Kojima's withdrawal from society when the artist relinquished Kojima's status in the Japan Art Crafts Association in 1969 to live in seclusion in the wilderness of Tono, it was inherently impossible for Kojima to teach techniques to disciples as repeatable patterns. Consequently, only a minuscule number of potters throughout ceramic history were ever able to study under Kamoda directly. Studying directly during that arduous Tono era, Kojima Shigeo was one of the few orthodox successors to receive the true essence of Kamoda's almost fanatical sculptural aesthetic and advanced ceramic techniques rather than mere stylistic imitation. As a figure carrying forward the lineage of Kamoda—one of the greatest potters of the 20th century—the artist's style and achievements are deeply recorded and preserved in the ceramic history archives and regional collections of Mashiko Town. After establishing an independent kiln in Mashiko in 1980, Kojima steadfastly maintained the rigorous manual artistry inherited from Kojima's master, refusing any mass production in favor of fully handcrafted, end-to-end creation. As a result, the artist's lifetime output remains exceedingly small, with opportunities for Kojima's works to circulate in the market being exceptionally rare. In particular, works from Kojima's peak period—marked by three selections for the Asahi Ceramic Art Exhibition (1984, 1986, and 1987), a gateway for modern ceramic art—as well as matcha bowls produced in limited numbers, are masterpieces of extraordinarily high rarity that are extremely difficult to acquire. Our shop presents this bowl, endowed with modern sculptural beauty reminiscent of earth-toned geological strata, to the global market not only as a vessel for enjoying traditional tea preparation, but also as a vintage rocks glass (Japanese free cup) for luxuriously savoring aged sake or matured whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eKojima Shigeo's representative artistic style lies in fusing the rustic clay character and dynamic handwork cultivated in Mashiko and Tsuboya, Okinawa, with the essence of Kamoda ceramics: hand-carving, faceting, incised motifs, and advanced clay slip (deisai) techniques layering different colors of colored engobes. Observing the details of this piece highlights the abstract sculptural expressions and specialized coloring techniques that vividly reflect the aesthetic of Kamoda Shoji's \"Tono Period.\" Around the outer circumference of the body, a layered clay slip decoration featuring natural earth tones—such as black slip, beige, and gray—boldly overlaid in multiple bands creates a beautiful, sculptural color composition evocative of geological strata and natural landscapes. On the other hand, the inner well (mikomi) is coated with a deep emerald-green vitreous glaze, creating a whimsical landscape where a web-like black pattern emerges from fine crackles and contraction differences during firing. From the lower body down to the base, the unglazed raw clay exposes a rustic soil texture, while a distinct seal impression unique to Kojima Shigeo is clearly stamped inside the foot ring, certifying it as an authentic work.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eRegarding the period of production, taking the biography in the accompanying brochure—which concludes with the artist's selection for the Asahi Ceramic Art Exhibition in Showa 62 (1987)—as a decisive clue, it is estimated to be a work created between 1987 and circa 1992 (Showa 62 to early Heisei period), Kojima's peak era when Kojima's artistic style matured and Kojima achieved consecutive selections for the Asahi Exhibition. The vessel itself has no cracks or chips, maintaining extremely good condition in its layered slip textures and glaze coloration in the inner well. It arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) boldly inscribed on the lid with \"Chawan\" in ink and signed \"Shigeo\" with a seal stamped on the lower left, alongside a brochure recording Kojima's career up to 1987.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKojima Shigeo\u003c\/a\u003e (小島茂夫, 1950–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1978] Studied under Kamoda Shoji in Tono, Iwate Prefecture; [1980] Established an independent kiln in Mashiko; [1984, 1986, 1987] Selected for the Asahi Ceramic Art Exhibition, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eMashiko Museum of Ceramic Art \/ Regional Cultural Archives, Private Connoisseur Collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1987–1992 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (\u003ca href=\"\/en\/collections\/mashiko-ware\" target=\"_blank\" rel=\"noopener\"\u003eMashiko ware\u003c\/a\u003e, banded clay slip, polychrome glazes, hand-carved, stamped seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.5 cm, Width (mouth diameter) approx. 11.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48241386356923,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1177_result.jpg?v=1787277236"},{"product_id":"378","title":"Studied Under Living National Treasure Shimizu Uichi (Father), Recipient of Matsushita Award, Horai Kiln, Shimizu Yasutaka (清水保孝): White Glaze Crawling Yohen Wave Motif Tea Bowl, Japanese Rocks Glass #378","description":"\u003cp data-path-to-node=\"9\"\u003eStudying under Shimizu Yasutaka's father, \u003ca href=\"\/en\/search?q=%22%E6%B8%85%E6%B0%B4%E5%8D%AF%E4%B8%80%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eShimizu Uichi\u003c\/a\u003e—a holder of Important Intangible Cultural Property for \"Iron Glazed Ceramics\" (\u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e)—and legitimately inheriting the father's paramount ceramic art philosophy, advanced glaze formulation, and firing techniques, this white glaze wave motif tea bowl was created by ceramic artist Shimizu Yasutaka (清水保孝, 1947–2022; Horai Kiln), a Special Member of the Japan Art Crafts Association. After graduating from the Department of History, Faculty of Letters at Ryukoku University in 1970, Shimizu Yasutaka entered full-scale pottery making under Yasutaka's father in 1971. Beginning with a first selection at the 19th Japan Traditional Art Crafts Exhibition in 1972, Shimizu Yasutaka won the Kinki Branch Chairman's Award and the Nikkei Encouragement Award for three consecutive years at the Kinki Branch Japan Art Crafts Association Exhibition, as well as the Matsushita Award (the highest accolade), leading to Shimizu Yasutaka's nomination as a Regular Member and Special Member of the Japan Art Crafts Association. Basing Shimizu Yasutaka's pottery practice at Horai Kiln in Adogawa-cho, Takashima City, Shiga Prefecture, the artist's works are preserved permanently in collections such as the Shiga Museum of Art, Kyoto Prefectural Kyoto Institute Library and Archives, and Ibaraki Ceramic Art Museum. Our shop offers this piece—originally created as a traditional tea bowl—to the global market as a luxurious Japanese-style rocks glass (wide-mouth 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=\"10\"\u003eCarefully examining the details of this work reveals a remarkably specific scenery of \"white glaze crawling yohen wave motif,\" brilliantly bringing together the advanced glaze control techniques inherited from Living National Treasure Shimizu Uichi and Shimizu Yasutaka's unique design aesthetic. Over a warm, semi-matte white glaze covering the entire vessel, band patterns in mountain-range and wave-crest formations are applied in three to four overlapping tiers around the perimeter using a specialized glaze containing iron oxide and composite minerals. Due to high-temperature shifts during firing, these wavy lines transcend flat brushwork; the glaze undergoes three-dimensional shrinkage, crawling (chijire), and crystallization, giving rise to a highly complex yohen texture with depth and shadowing that transitions from dark brown to dark green and grayish white. Furthermore, this crawling yohen wave motif extends around the interior upper rim (mikomi) as well as the exterior, creating a visual harmony where the liquid surface meets the wave patterns when poured. Standing approximately 8.0 cm in height with a mouth diameter of approximately 10.5 cm in a refined, rounded bowl shape, a clear \"Yasu\" (保) seal mark representing Shimizu Yasutaka's design is stamped on the side of the rustic unglazed foot.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eRegarding the period of production, taking the final record on the accompanying ceramic lineage leaflet listing the artist's selection at the 30th Japan Traditional Art Crafts Exhibition in September 1983 (Showa 58), alongside the print date on the lower left reading February 1984 (Showa 59) as solid evidence, it is estimated to be an authentic work crafted at Horai Kiln circa 1983 to 1984 (Showa 58 to Showa 59). With Shimizu Yasutaka's passing in 2022, the production of new works has completely ceased, establishing its value as a master's legacy legitimately inheriting the techniques of a Living National Treasure. The vessel itself has no cracks or chips, maintaining extremely good condition in its white glaze texture, yohen wave coloration, and crawled glaze surface condition. The piece arrives in complete condition, accompanied by its dedicated paper presentation box (keshobako) inscribed on the lid with the artist's signature, alongside the ceramic lineage leaflet from 1984.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eShimizu Yasutaka\u003c\/a\u003e (清水保孝, 1947–2022; Regular Member \u0026amp; Special Member of Japan Art Crafts Association, Horai Kiln)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1970] Graduated from Department of History, Faculty of Letters, Ryukoku University; [1971] Studied under the artist's father, Shimizu Uichi (Living National Treasure \/ Holder of Important Intangible Cultural Property); [1972] Selected for the first time at the 19th Japan Traditional Art Crafts Exhibition; [1973] Won Kinki Branch Chairman's Award at the 2nd Kinki Branch Japan Art Crafts Association Exhibition; [1975] Nominated as Regular Member of Japan Art Crafts Association; [1977–1979] Won Nikkei Encouragement Award for three consecutive years at Kinki Branch Exhibition; [1981] Won the Matsushita Award (highest honor) at the 10th Kinki Branch Exhibition; [1982] Nominated as Special Member of Kinki Branch, Japan Art Crafts Association\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Shiga Museum of Art, Kyoto Prefectural Kyoto Institute Library and Archives (formerly Kyoto Prefectural Comprehensive Library and Archives), Ibaraki Ceramic Art Museum\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1983–1984 (Showa 58–Showa 59, estimated)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated presentation box with artist's handwritten signature, ceramic lineage leaflet included\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (white glaze, crawling yohen, wave motif, with seal mark)\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Mouth diameter approx. 10.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are listed as pre-owned items due to their historical production period, even if unused. Products may exhibit age-related wear, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439150267,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1855_result.jpg?v=1787750951"},{"product_id":"390","title":"Direct Disciple of Kamoda Shoji: Mashiko Ware by Sakata Jinnai (坂田甚内), Salt-Glaze Tomoe-Pattern Vessel, Free Cup, Sake Vessel, Japanese Rocks Glass #390","description":"\u003cp data-path-to-node=\"17\"\u003eCrafted by \u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e, a unique genius of \u003ca href=\"\/en\/collections\/mashiko-ware\" target=\"_blank\" rel=\"noopener\"\u003eMashiko ware\u003c\/a\u003e who studied under \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e—a legendary giant of Showa-era Japanese ceramics—and directly inherited Kamoda's uncompromising sculptural spirit and pursuit of clay, this is a Chawan (tea bowl) work titled \"Enyu Tomoemon Ki\" (Salt-Glaze Vessel with Tomoe Pattern). Following the artist's independence, after being selected for the Japan Ceramic Art Exhibition and the Japan Traditional Art Crafts Exhibition as well as overseas touring exhibitions, Sakata transitioned from public competitions to focus on creating one-of-a-kind masterpieces for solo exhibitions. Sakata is an exceptionally rare master whose works are housed in international institutions such as the British Museum and the Rockefeller Foundation, and who holds distinguished records of dedication to major shrines and temples, including the \"Heisei Grand Rebuilding\" of Izumo Taisha Shrine, Ise Jingu Shrine, and Enryaku-ji Temple on Mount Hiei. Although originally sculpted as a dignified Matcha bowl, our shop presents this piece to the global market not only as a tea vessel for enjoying a bowl of tea, but also as a luxury Japanese rocks glass (sake vessel) for quietly savoring amber aged sake, matured whisky, or authentic shochu over large ice cubes, utilizing its profound interior and heavy, handcrafted texture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eCarefully inspecting the details of this work reveals a magnificent realization of the salt-glaze technique—built by Sakata Jinnai through a dialogue between clay and flame—and the fluid, sculptural beauty of the Tomoe (comma-shaped whorl) pattern. Salt-glazing is an advanced method where rock salt is introduced into the kiln during high-temperature firing, causing the vaporized sodium to chemically react with silica in the clay to instantaneously form a thin, glassy glaze film, resulting in a distinct, dense texture known as \"orange peel\" along with beautiful crazing on the vessel's surface. Upon the deep, clear emerald-green salt-glazed surface, powerful S-shaped Tomoe patterns shifting from jet-black to amber-brown are painted, creating a dynamic visual effect that spirals continuously from the interior bottom that cradles the tea out to the exterior sides. In addition to the cylindrical bowl shape rising with strength and the foot rim crafted to feel natural in the hands, the artist's own hand-carved mark \"Jin\" (甚) is clearly inscribed on the bottom surface inside the foot, with the rough texture of the clay body and the tightly fused vitrification characteristic of salt-glazing testifying to its intentional craftsmanship and authenticity.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is estimated to have been created between circa 1975 and 1985, an era when the artist established Sakata's own artistic world around solo exhibitions after leaving public competitions and vigorously released a series of Sakata's signature works utilizing salt glaze and Tomoe patterns. It prominently exhibits the peak technical brilliance that led to the purchase of Sakata's work by the Japan Foundation and its inclusion in overseas touring exhibitions, possessing extraordinarily high artistic value. The vessel body itself has no damage such as cracks or chips, maintaining extremely good condition in both the coloration of the salt glaze and its surface texture. It arrives in complete condition accompanied by its dedicated paulownia Tomobako inscribed in ink on the lid with \"Enyu Tomoemon Ki\" and on the back with \"Jinnai\" and stamped with a red seal, as well as its dedicated cloth (tomobure) with the artist's seal.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist:\u0026nbsp;\u003c\/strong\u003e\u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e (坂田甚内, 1943–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1964] Studied under Kamoda Shoji; [1966] Became independent and built Sakata's kiln; [1971] Selected for the Japan Ceramic Art Exhibition and chosen for touring exhibitions in the USA and Canada; [1973] Selected for the Japan Ceramic Art Exhibition and chosen for South American touring exhibition; [1987] Work purchased by the Japan Foundation and exhibited in the \"Contemporary Traditional Ceramic Art\" overseas touring exhibition; [1989] Selected for the New Zealand International Ceramics Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In: \u003c\/strong\u003eBritish Museum (London), Rockefeller Foundation, Embassy of the United States, Japan Foundation (purchased), etc. (Dedications: Izumo Taisha Shrine, Ise Jingu Shrine, Mount Hiei Enryaku-ji Temple, Kodai-ji Temple, Takachiho Shrine)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1975–1985 (Late 1970s–early 1980s, estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako (wooden box), Tomobure (cloth), and bookmark included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mashiko ware, salt glaze, Chawan, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 8.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48296549777595,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1995_result.jpg?v=1787978389"},{"product_id":"406","title":"Omotesenke 13th Sokuchusai Inscription, Mino Ware National Treasure \"Uhanagaki\" Replica, E-Shino Chawan, Titled \"Yuki no Hi\" (Snowy Day), E-Shino Lattice Pattern Chawan, With Collector's Tag, Matcha Bowl, Sake Vessel, Japanese Rocks Glass #406","description":"\u003cp data-path-to-node=\"19\"\u003eThis \u003ca href=\"\/en\/collections\/mino-ware\" target=\"_blank\" rel=\"noopener\"\u003eMino ware\u003c\/a\u003e E-Shino Chawan is endowed with a precious inscription and titled \"Yuki no Hi\" (Snowy Day) by Grand Master Sokuchusai (即中斎, 1901–1979; Sen Sosa), the 13th Headmaster of Omotesenke, who preserved the traditions of Omotesenke through the turbulent Showa period and laid the foundations of modern tea ceremony. Taking the National Treasure \"Shino Chawan Titled Uhanagaki\"—one of only two domestic tea bowls designated as National Treasures in Japan—as its Honka (the original reference model), this masterpiece replicates its dignified form and possesses the highest-ranking official authentication (Kiwame) in the Japanese tea ceremony world. It is presented to our global clientele not only as a Matcha bowl for enjoying traditional tea, but also as a luxury Japanese rocks glass (sake vessel)—taking advantage of its heavy, dignified semi-cylindrical form and warm white glaze reminiscent of fallen snow—for floating large ice cubes and quietly pouring amber aged sake, matured whisky, or authentic shochu.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eBorn as the second son of the 12th Headmaster Seisai, Master Sokuchusai succeeded as the 13th Headmaster in 1937 under the foundation of a high classical education in history at Keio University and Kyoto Imperial University. During the chaotic period during and after the war, Sokuchusai established the nationwide organization \"Senke Domonkai\" to gather scattered disciples and established the non-profit corporation Fushin'an to protect the symbolic tea room of the Sen family, earning acclaim as the founder of modern tea ceremony organizations. An inscription (Kakitsuke or Hakogaki) brushed in ink on the reverse side of the paulownia box lid by the Headmaster—the supreme authority in the tea world—is not a mere assertion of ownership, but an official authentication (Kiwame) certifying that the Headmaster personally handled, examined, and appreciated the vessel, deeming it to possess exquisite craftsmanship and nobility suitable for use as the primary bowl (Shu-chawan) in a formal tea gathering. In this work as well, Master Sokuchusai inscribed \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\", breathing life and narrative into the vessel and endowing it with the orthodox prestige of Omotesenke.\u003c\/p\u003e\n\u003cp data-path-to-node=\"21\"\u003eAs a strict convention in the world of tea utensils, when a work is crafted by the Headmaster's own hands through shaping or carving (a self-made work), the inscription on the Tomobako inevitably includes the words \"Jisaku\" (self-made) or \"Tezo\" (hand-crafted). On the other hand, works such as this piece, which lack self-made designations on the box inscription and are recorded simply as \"Shino Chawan, Titled Yuki no Hi\", indicate an appreciated work—a replica masterpiece fired by a top-tier Mino master potter using the pinnacle of technique, which Master Sokuchusai deeply cherished and granted authentication (Kiwame). Furthermore, a Dogufuda (inventory tag) inscribed with \"Shino Sokuchu \/ No. 28 \/ No. 43\" is affixed to the side of the box, proving a verified provenance carefully managed in the inventory ledgers of prominent tea masters, major collectors, or prestigious art dealers. In particular, this piece, adorned with the character \"Sa\" (the hereditary signature character of Omotesenke headmasters) and a flowing Kaō (stylized mark), boasts perfect provenance as a primary tea bowl for tea gatherings, establishing extremely high credibility and rarity in the antique art market.\u003c\/p\u003e\n\u003cp data-path-to-node=\"22\"\u003eShino ware, which flourished in Mino (Gifu Prefecture) during the Momoyama period, is the traditional Japanese ceramic art that first applied a translucent white glaze (feldspar glaze), and this work embodies the traditional style of \"E-Shino,\" in which motifs are painted with iron oxide (Oni-ita). As a replica of the National Treasure \"Uhanagaki,\" this work faithfully inherits the aesthetic characteristics of its original model: a powerful semi-cylindrical shape with sharp spatula carving, a lattice pattern (Igeta grid pattern) seeping from under the thick feldspar glaze, and subtle fire marks (Hiiro) generated by the kiln flames. Examining the details of the piece, the feldspar glaze covering the entire vessel exhibits a moist milk-white hue, showing a rich texture reminiscent of a fresh layer of soft snow through fine \"Yuzu-hada\" (citrus peel texture) and crackles (Crazing) formed as the glaze melted and contracted during firing. From beside the foot to the base, the raw clay body containing coarse sand remains exposed with rough carving marks, while the interior bottom (mikomi) features a deep glaze pool and soft crackles, creating a pure and powerful scenery.\u003c\/p\u003e\n\u003cp data-path-to-node=\"23\"\u003eGiven the history of the National Treasure \"Uhanagaki\" being named after snow piling on a hedge, likened to the feeling of \"stepping through the snow\" expressed in a classical waka poem, the title \"Yuki no Hi\" (Snowy Day) bestowed by Master Sokuchusai is an elegant naming that brilliantly echoes the scene and poetic taste of the National Treasure through Honkadori (poetic allusion). The greatest pleasure in enjoying this Shino tea bowl as a sake vessel lies in the substantial tactile feel provided by its thick semi-cylindrical form and the beautiful contrast between the white glaze and reddish fire marks when liquid is poured inside. Unlike typical black Tenmoku that absorbs light, the warm white glaze surface of Shino gently reflects light and poured liquids. When floating large rocks of ice and quietly pouring amber aged sake, matured whisky, or authentic shochu, the moist white glaze, net-like crackles in the interior, and delicate reddish fire marks on the vessel surface emerge fantastically through the amber liquid, generating a beautiful, radiant coloration as if warm sunlight were shining upon a snowy plain. Regarding the period of production, based on the calligraphic style of \"Sa\" in Master Sokuchusai's handwriting, the fluidly looping Kaō style, and alignment with the master's peak period from the mid-to-late Showa era when the master granted inscriptions to famous kilns across Japan to expand Omotesenke tea ceremony, it is identified as a work created and inscribed around the 1950s to 1970s (Showa 30s to Showa 50s). The vessel itself suffers no damage such as chips or cracks, maintaining outstanding condition in both Shino glaze coloration and iron painting texture. It is a highly dignified masterpiece accompanied by its dedicated paulownia box bearing the authentic ink inscription \"Shino Chawan, Titled Yuki no Hi, Sa (Kaō)\" on the underside of the lid by Master Sokuchusai, a wrapping cloth, and an inventory tag detailing its provenance.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMino Master Kiln Potter (Vessel) \/ Omotesenke 13th Sokuchusai Soshu (Calligraphy, 1901–1979)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eArtist's Key Activities:\u003c\/strong\u003e [1937] Succeeded as 13th Headmaster of Omotesenke; [1942] Founded Senke Domonkai (now Public Interest Incorporated Association Omotesenke Domonkai); [1949] Established Fushin'an Foundation\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Fushin'an, Omotesenke Kaikan, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eVessel production date unknown; Calligraphy estimated circa 1950s–1970s\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia box (with Sokuchusai lid-back inscription and Kaō), wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Mino ware, E-Shino, feldspar glaze, iron oxide painting)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 9.0 cm, Mouth diameter approx. 12.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eCaution:\u003c\/strong\u003e All products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313810190523,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2349_result.jpg?v=1788488087"},{"product_id":"409","title":"Kyoto Prefecture Cultural Merit Award Winner, Sodeisha Member, Miyanaga Tozan III (三代 宮永東山・宮永理吉, Miyanaga Rikichi), Yatou Colored Glazed Incised Bowl, Fruit Bowl, Ice Bowl #409","description":"\u003cp data-path-to-node=\"1\"\u003eThis \"Yatou Colored Glazed Incised Bowl\" (Yatou Saiyu Koku-no-Hachi) is created by Miyanaga Tozan III (三代宮永東山, 1935–; real name: \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e), the third-generation master of the renowned Tozan Kiln of Kyo-ware ceramics, who left a monumental legacy in modern Japanese ceramic history as a member of the avant-garde ceramic group \"\u003ca href=\"\/en\/collections\/sodeisha\" target=\"_blank\" rel=\"noopener\"\u003eSodeisha\u003c\/a\u003e.\" After studying sculpture under Shindo Tsuji and others at the Kyoto City College of Fine Arts (now Kyoto City University of Arts), Miyanaga Rikichi traveled to the United States in 1959 to study at the Art Students League of New York. Upon returning to Japan, through the formation of the sculpture group \"Zero\" and activities at the Kodo Bijutsu Association, Tozan III became a member (Dojin) of the avant-garde ceramic artist group \"Sodeisha\" in 1970, developing intellectual structural expressions that overturned traditional ceramic frameworks. The original leaflet accompanying this piece includes an essay by art critic Yoshida Kozo stating, \"This solo exhibition is an attempt by him to create everyday items by applying his innovative sculptural sensibility,\" along with Tozan III's career history up to 1966 (Showa 41). The description in this leaflet serves as direct, objective evidence specifically identifying this piece as a precious early work from the 1966 solo exhibition that attempted the fusion of utility and sculpture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eTitled \"Yatou Saiyu Koku-no-Hachi\" on the original wooden box (Tomobako), this work bears a stamped signature \"Ri\" (理) in gosu (underglaze cobalt blue) on the bottom surface. The greatest charm of this piece lies in its overwhelming structural beauty, where intellectual structural expression as a sculptor and traditional techniques of Tozan Kiln fuse at a high level. On the solid vessel body reminiscent of bedrock carved from a rocky mountain, geometric and powerful incised motifs (sculptural cutout lines) are deeply carved into the sides, creating heavy shadows depending on the angle of light. The \"Yatou colored glaze\" covering the surface exhibits a matte, rustic glaze quality based on feldspar and wood ash, highlighting the rough texture of sand grains and minute feldspar particles mixed into the clay body. The thick construction and stable form of the vessel dissolve the traditional concept of a bowl, perfectly harmonizing sculptural three-dimensionality with functional utility—a true crystallization of structural thinking unique to a Sodeisha member.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing a commanding scale and overwhelming weight with a height of approximately 12.0 cm and a diameter of approximately 26.5 cm, our shop proposes this bowl tailored to modern lifestyles as a supreme Japanese Kogei piece where traditional Japanese beauty intersects with modernism. In particular, in refined spaces for savoring aged spirits and whisky that have acquired rich depth and aroma over time, it exudes a distinctive presence as a fruit basket for vibrant seasonal fruits or an ice bowl filled with rock ice. The contrast between the rough yet serene rock-like texture and the colors of ice or fruit placed within brings a definite dignity and modern art sophistication to dining tables and living spaces. Created on the eve of Tozan III's transition to thin celadon and white porcelain works in later years, this is an extremely rare authentic masterpiece created in the mid-1960s that challenged everyday items with a sculptural approach, serving as a supreme craft piece to be savored with all five senses.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cstrong\u003e\u0026lt;Comment from an Art Critic Who Knew Miyanaga Tozan III (Miyanaga Rikichi)\u0026gt;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u0026nbsp;\"Miyanaga Rikichi is currently creating unique sculptures using ceramics as his medium, presenting his work as a member of Kodo-kai and the 'Zero' group. While he is undoubtedly a sculptor, he also has a career working as a potter in the workshop of his father, Miyanaga Tozan. This solo exhibition represents an attempt by him to apply his innovative sculptural sensibility to the creation of everyday goods, which I am greatly looking forward to. I hope that through efforts like this, a new frontier will open up in the domestic ceramics around us.\"\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\" style=\"text-align: right;\"\u003eYoshida Kozo (吉田耕三, 1915–2013; Art Critic and Ceramic Researcher)\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMiyanaga Tozan III (三代 宮永東山・宮永理吉) \/ \u003ca href=\"\/en\/collections\/maker-miyanaga-tozan-iii\" target=\"_blank\" rel=\"noopener\"\u003eMiyanaga Rikichi\u003c\/a\u003e (1935–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights: \u003c\/strong\u003e[1958] Graduated from Kyoto City College of Fine Arts, Department of Sculpture, [1959] Traveled to the U.S. and studied at the Art Students League of New York, [1961] Formed the sculpture group \"Zero\", [1970] Joined the avant-garde ceramic group \"Sodeisha\" as a member, [1998] Received the Kyoto Prefecture Cultural Merit Award, [1999] Succeeded to the name Miyanaga Tozan III, [2008] Received the Kyoto City Arts Merit Award, [2024] Received the Special Cultural Merit Award at the 42nd Kyoto Prefecture Cultural Award\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Museum of Modern Ceramic Art, Shigaraki (Shigaraki Ceramic Cultural Park); Kyoto City KYOCERA Museum of Art; etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period:\u003c\/strong\u003e 1966 (Showa 41, work presented at solo exhibition)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated original wooden box (Tomobako) included (with artist's calligraphy and red seal), original leaflet included (featuring essay by Yoshida Kozo)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Yatou colored glaze, incised decoration)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 12.0 cm, Width (Diameter) approx. 26.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48313814810811,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3302_result.jpg?v=1790256838"},{"product_id":"447","title":"Direct Disciple of Kamoda Shoji, Mashiko Ware, Sakata Jinnai (坂田甚内), 1988 Work, Inscribed Ash Glaze Yohen Bowl, Tea Bowl, Japanese Style Rocks Glass #447","description":"\u003cp data-path-to-node=\"1\"\u003eThis is an ash-glazed yohen (kiln-transformation) sake vessel created by \u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e, a ceramic artist who directly inherited the unique modeling spirit of \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, a genius who established a milestone in the Showa period ceramic art world. The top of the lid of the included original wooden box (Tomobako) is inscribed by the artist's own hand with \"Ash Glazed Yohen Bowl\" (灰釉窯変盌). Clear characters reading \"63nd Year\" (六十三年) are carved into a section on the side of the vessel, which indicates Showa 63 (1988), definitively identifying this work as having been created in 1988.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eWhat is most highly acclaimed in Sakata Jinnai's work is the fusion of heavy incised-lettering (carved text) techniques backed by the structural design philosophy of the artist's master, Kamoda Shoji, three-dimensional pattern compositions directly carved into the clay surface with chisels and spatulas, a passionate sculptural beauty, and the ash glaze yohen created through grueling firing in a wood-burning kiln. Examining the design of this piece, the surface of the vessel is systematically divided into regular vertical bands, with extremely deep carving executed within each section. The body utilizes coarse clay with exposed feldspar and sand grains, presenting a complex yohen landscape across the entire surface that transitions from a glass-like vitrified ash glaze formed by wood ash melting at high temperatures to shades of green-brown and scorched textures.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eObserving the group of characters carved into the vessel's surface, in addition to the inscription \"63nd Year\" indicating the production date, one can confirm carvings in the style of ancient scripts reminiscent of primitive forms and brushstrokes of kanji such as \"龍\" (dragon), \"竜\" (dragon), \"辰\" (dragon\/zodiac), \"達\" (reach\/attain), \"立\" (stand), \"絶\" (surpass\/sever), and \"発\" (depart\/emanate). A major characteristic of these characters is that they all share the pronunciation \"Tatsu\" in Japanese. It is inferred that the meanings of ascent, departure, and attainment represented by verbs like \"to stand\" (Tatsu), \"to depart\" (Tatsu), and \"to attain\" (Tatsu) are overlaid with the symbolism of the \"dragon\" (Tatsu\/Shin), a divine beast ascending to the heavens. Rather than mere character recording, this design is considered to express the surging of vitality, auspicious omens, and the artist's own resolve in ceramic creation through the overlapping sounds of \"Tatsu\". The powerful carvings, evocative of ancient bronze and stone inscriptions or oracle bone script, are thought to endow the vessel with ancient mystical and geometric decorative qualities.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eWhile this work was originally created as a tea bowl or small bowl, its sturdy, thick-walled structure, comfortable form in the hands, and the three-dimensional tactile feel of the carved characters transmitted directly to the fingertips provide it with the function of an exceptionally high-quality Japanese-style rocks glass in modern times. Floating ice and pouring thoroughly aged amber-colored vintage sake, vintage whisky, or aged awamori allows the rustic, heavy texture of the ash glaze yohen and the colors of the liquor to show a magnificent harmony. As a precious authentic work of Japanese modern craft (Japanese Kogei) with virtually no information available in overseas markets, we propose this piece not only as a tea vessel, but also as a supreme sake vessel where one can experience deep aesthetic sensibilities through both touch and visual scenery.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-sakata-jinnai\" target=\"_blank\" rel=\"noopener\"\u003eSakata Jinnai\u003c\/a\u003e (坂田甚内, 1943–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1964] Studied under Kamoda Shoji, [1966] Established independent kiln, [1971] Selected for Japan Ceramic Art Exhibition; selected for US and Canada Touring Exhibition, [1973] Selected for Japan Ceramic Art Exhibition; selected for South America Touring Exhibition, [1987] Purchased by The Japan Foundation; exhibited at the \"Modern Traditional Ceramic Art Exhibition\" overseas touring exhibition, [1989] Selected for New Zealand International Ceramic Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections \/ Shrine Dedications: \u003c\/strong\u003eThe British Museum (London), Rockefeller Foundation, Embassy of the United States, The Japan Foundation (purchased), etc. (Dedications: Izumo Taisha, Ise Jingu, Hieizan Enryakuji, Kodaiji, Takachiho Shrine)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1988\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako), cloth (Tomobuke), certificate\/brochure (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (\u003ca href=\"\/en\/collections\/mashiko-ware\" target=\"_blank\" rel=\"noopener\"\u003eMashiko ware\u003c\/a\u003e, salt glaze, tea bowl, stamped\/inscribed)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.6 cm, Rim width approx. 12.5 cm, Weight approx. 340 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48359790215355,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2920_result.jpg?v=1789962297"},{"product_id":"464","title":"Artisan Supplying the Imperial Household Agency's Togu Palace, Kimura Ichiro (木村一郎), Black Persimmon Glaze Tea Bowl, Japanese-Style Rocks Glass, Aged Liquor Vessel #464","description":"\u003cp data-path-to-node=\"1\"\u003eThis is a black persimmon glaze (kuro-kaki-yu) tea bowl created by Kimura Ichiro, a master artisan who studied modern glaze chemistry and firing theory at the National Ceramic Experimental Station under the Ministry of Commerce and Industry and built the modern ceramic art history of \u003ca href=\"\/en\/collections\/mashiko-ware\" target=\"_blank\" rel=\"noopener\"\u003eMashiko ware\u003c\/a\u003e alongside \u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e \u003ca href=\"\/en\/search?q=%22%E6%BF%B1%E7%94%B0%E5%BA%84%E5%8F%B8%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eHamada Shoji\u003c\/a\u003e. Having established Kimura's kiln in Mashiko after graduating from the National Ceramic Experimental Station, Kimura received high acclaim both domestically and internationally: The artist won special prizes at the Kokuten and Modern Japanese Ceramic Art Exhibitions, received the honor of crafting items for the Imperial Household Agency's Togu Palace (the Crown Prince's Residence), and was invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France. This piece can be estimated as an authentic work created between the late 1960s and early 1970s (Showa 40s), a period when Kimura's technique and artistic dignity reached their peak following the production of items for the Imperial Household.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eThe greatest highlight of this work lies in the fluid expression of the black persimmon glaze—boldly combining Mashiko's traditional persimmon glaze with black glaze—and the creative, sculptural beauty of the exterior bottom of the bowl (inside the foot ring) rising powerfully into a conical shape. On the surface of the vessel, through precise glaze control cultivated at the experimental station, deep dark brown persimmon glaze and lustrous black glaze overlap like crackle patterns, drawing a pictorial and dynamic contrast. Turning the bowl upside down reveals that the interior of the foot ring rises sharply toward the center into a conical shape (a technique known as Tokin-kodai, or helmet-crest foot), featuring an extraordinarily rare and powerful carved sculpting technique. The area around the contact surface of the foot ring is intentionally left unglazed, exposing Mashiko's characteristic rough and rustic unglazed clay body (rotai), where the circular stamp \"Ki\" (木), proof of Kimura's craftsmanship, is clearly impressed.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eWith its substantial form that rests comfortably in the hand, our shop proposes this work, tailored to modern refined lifestyles, as a dignified \"Japanese-style rocks glass (Japanese liquor vessel)\" for enjoying vintage whisky, aged sake, matured Japanese liquor, or spirits over a large ice cube. Floating a large ice cube inside the grand tea bowl and watching the poured amber liquor reflect against the heavy brown and black glaze tones of the black persimmon glaze creates a visual effect that dramatically elevates a special evening drink. The conical rise at the bottom and the rough clay texture that touch your fingertips every time you lift the glass are hidden sculptural marvels secretly savored by the user. A masterpiece in which the technique and aesthetic sensibilities of a master who established the pinnacle of modern Mashiko ceramic art coalesce, this piece allows one to relish Japanese craft beauty through both visual appreciation and practical use.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"4\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eKimura Ichiro\u003c\/a\u003e (木村一郎, 1915–1978)\u003c\/li\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist's Representative Career Highlights:\u003c\/strong\u003e [1938] Completed the 20th class of the National Ceramic Experimental Station under the Ministry of Commerce and Industry, [1945] Established a kiln in Mashiko-machi, Tochigi Prefecture, [1949] Special Prize at the 2nd Tokyo Craft Exhibition, [1955] Special Prize at the 4th Modern Japanese Ceramic Art Exhibition, [1965] Crafted items for the Imperial Household Agency's Togu Palace, invited to exhibit at the International Ceramic Exhibition organized by the Marseille Museum of Fine Arts in France\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Tokyo; Tochigi Prefectural Museum of Fine Arts; Mashiko Museum of Ceramic Art\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003eLate 1960s–early 1970s (Showa 40s)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eItem Condition: \u003c\/strong\u003eVery Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated paulownia wooden box (Tomobako with handwritten calligraphy \"Black Persimmon Glaze Tea Bowl\", signature seal, and seal stamp on the inside of the lid), explanatory pamphlet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramic \/ Pottery (Mashiko clay, Black persimmon glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.6 cm, Diameter approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eThe items provided by our shop were produced a very long time ago even if unused, and are all listed as pre-owned items. Please understand and confirm that the item may have age-related changes before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67598482440379,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4041_result.jpg?v=1791082190"},{"product_id":"467","title":"Imperial Household Artist, Makuzu Kiln, Miyagawa Kozan I (初代 宮川香山), Posthumous Work, Unkaku Celadon Sake Cup with Small Floral Design, Makuzu Kiln Mark, Box Inscribed by Miyagawa Kozan II, Japanese-Style Shot Glass #467","description":"\u003cp dir=\"ltr\"\u003eThis is an Unkaku celadon sake cup believed to be a posthumous work by Miyagawa Kozan I, the potter who founded Makuzu ware in Yokohama during the Meiji and Taisho eras. The mark of the Makuzu kiln is impressed inside the foot ring. The accompanying box bears an inscription by Miyagawa Kozan II, successor to the first generation, reading “Kozan isaku” (a posthumous work of Kozan). Measuring approximately 3.0 cm in height and 6.1 cm in rim diameter, this petite cup is offered as a Japanese-style shot glass for savoring vintage spirits one sip at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMiyagawa Kozan I was born in 1842 into a family of potters in Makuzugahara, Kyoto, and succeeded as head of the family in 1860. Kozan I moved to Yokohama in 1870 and founded the Makuzu kiln in Ota Village, Yokohama, the following year. Through takaukibori, a high-relief technique in which realistic sculptural decoration is built up on the surface of the vessel, Kozan I won wide acclaim at expositions in Japan and abroad, beginning with the 1876 Philadelphia Centennial Exposition. Kozan I’s work came to be known overseas as “Makuzu Ware.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFrom around the mid-Meiji 10s (the early 1880s), Kozan I concentrated on the study of glazes and underglaze decoration. Adopting techniques modeled on classical Chinese ceramics, the artist gradually shifted the main focus of Kozan I’s production from pottery to porcelain. Kozan I was awarded gold medals at the 1889 Exposition Universelle in Paris and the 1893 World’s Columbian Exposition in Chicago, and in 1896 Kozan I was appointed an Imperial Household Artist (Teishitsu Gigei-in), only the second ceramic artist to receive this honor. The artist continued to produce celadon until the final years, and a celadon vase made in 1912 is in the collection of the Tokyo National Museum, donated by Kozan I.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUnkaku, meaning “clouds and cranes,” is the name used in Japanese tea culture for inlaid celadon from the late Goryeo to the early Joseon period. It is characterized by motifs such as clouds and cranes rendered in white and black on a celadon ground. Among the Korean tea bowls (Korai chawan) handed down in Japan, it has long been treasured as one of the few types dating back to the Goryeo period.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe exterior of the cup is divided into upper and lower registers by stepped carving. The upper register is decorated at regular intervals with small flowers, each with a yellow center encircled by fine white petals, paired with leaves ranging from deep indigo to black. Around the lower register runs a white swirling line pattern evoking clouds, among which appear white motifs resembling birds with outstretched wings. Read together with the title “Unkaku seiji” (Unkaku celadon) on the box, these motifs may be understood as clouds and cranes. The arrangement of white and black motifs beneath the celadon glaze faithfully conveys the character of the unkaku style. At the center of the interior well, a white circular line encloses a white motif resembling a written character. Fine crackle characteristic of celadon glaze appears both inside and out. The base of the foot ring is unglazed, revealing the reddish-brown clay body, while the recess within the foot ring is covered in a lustrous brown glaze. At its center is an oval kiln mark with the two characters “Makuzu” impressed in relief.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe attribution of this piece to Miyagawa Kozan I rests on the following two points.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe first is the accompanying shikibako, a box bearing an inscription by a later hand attesting to the work. The outside of the lid is titled “Shuhai” (sake cup), and the inside of the lid bears the title “Unkaku seiji” and “Hai” (cup), the words “Kozan isaku” (a posthumous work of Kozan), and the signature “Nidai Makuzu Kozan” (Makuzu Kozan II) with a red seal. Miyagawa Kozan II (二代宮川香山, 1859–1940; given name Hannosuke) was born the son of Miyagawa Chohei and was adopted by an uncle, Kozan I. Kozan II worked in the family enterprise under Kozan I for many years and, before succeeding to the name, also produced work under the name “Miyagawa Hanzan.” After Kozan I died in 1916, Kozan II succeeded to the name Kozan in 1917. That this successor, who worked at Kozan I’s kiln and witnessed that work firsthand, explicitly identified the piece as a posthumous work of the predecessor rather than as the successor’s own is the most direct evidence of its authorship. It is known that at the Makuzu kiln, works made by Kozan I were released posthumously as posthumous works by the second and third generations, and the inscription on this box is entirely consistent with that practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe second is the kiln mark on the piece itself. The “Makuzu” mark inside the foot ring confirms, from the object itself, that this is a product of the Makuzu kiln. Moreover, celadon belongs to the body of work Kozan I pursued from the later phase of that career, after the turn to glaze research, until the final years, so the piece is consistent with Kozan I’s production in terms of style as well.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the same time, certain points stop short of a definitive attribution. First, the mark on the piece identifies the kiln, not the individual artist. Public museum records confirm that the oval “Makuzu” mark was also used on works from the time of \u003c\/span\u003e\u003cspan\u003eMiyagawa Kozan II, \u003c\/span\u003e\u003cspan\u003eand no published \u003c\/span\u003e\u003cspan\u003esource sets out \u003c\/span\u003e\u003cspan\u003ecriteria for \u003c\/span\u003e\u003cspan\u003edistinguishing the \u003c\/span\u003e\u003cspan\u003efirst-generation mark \u003c\/span\u003e\u003cspan\u003efrom that of the \u003c\/span\u003e\u003cspan\u003esecond. Second, \u003c\/span\u003e\u003cspan\u003eceladon and \u003c\/span\u003e\u003cspan\u003einterpretations of \u003c\/span\u003e\u003cspan\u003eclassical ceramics \u003c\/span\u003e\u003cspan\u003ewere also specialties \u003c\/span\u003e\u003cspan\u003eof Miyagawa Kozan II. \u003c\/span\u003e\u003cspan\u003eFrom the Taisho era \u003c\/span\u003e\u003cspan\u003eonward, Kozan II developed \u003c\/span\u003e\u003cspan\u003ea style grounded in \u003c\/span\u003e\u003cspan\u003ethe traditions of \u003c\/span\u003e\u003cspan\u003eEast Asian ceramics, \u003c\/span\u003e\u003cspan\u003eincluding Chinese \u003c\/span\u003e\u003cspan\u003ewares and the work of \u003c\/span\u003e\u003cspan\u003eNinsei and Kenzan, \u003c\/span\u003e\u003cspan\u003eand also left \u003c\/span\u003e\u003cspan\u003eworks in the manner \u003c\/span\u003e\u003cspan\u003eof Goryeo celadon. \u003c\/span\u003e\u003cspan\u003eStyle alone therefore \u003c\/span\u003e\u003cspan\u003ecannot distinguish \u003c\/span\u003e\u003cspan\u003ethe first generation \u003c\/span\u003e\u003cspan\u003efrom the second. \u003c\/span\u003e\u003cspan\u003eFurthermore, the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln operated \u003c\/span\u003e\u003cspan\u003eas a workshop in \u003c\/span\u003e\u003cspan\u003ewhich skilled \u003c\/span\u003e\u003cspan\u003eartisans carried out \u003c\/span\u003e\u003cspan\u003eeach stage of \u003c\/span\u003e\u003cspan\u003eproduction, including \u003c\/span\u003e\u003cspan\u003ethrowing, sculpting, \u003c\/span\u003e\u003cspan\u003eand painting, so the \u003c\/span\u003e\u003cspan\u003eextent of Kozan I’s \u003c\/span\u003e\u003cspan\u003epersonal involvement \u003c\/span\u003e\u003cspan\u003ein this piece cannot \u003c\/span\u003e\u003cspan\u003ebe determined from \u003c\/span\u003e\u003cspan\u003ethe object. \u003c\/span\u003e\u003cspan\u003eDefinitive \u003c\/span\u003e\u003cspan\u003econfirmation would \u003c\/span\u003e\u003cspan\u003erequire further \u003c\/span\u003e\u003cspan\u003estudy, such as \u003c\/span\u003e\u003cspan\u003edetailed comparison \u003c\/span\u003e\u003cspan\u003ewith marks on works \u003c\/span\u003e\u003cspan\u003esecurely attributed \u003c\/span\u003e\u003cspan\u003eto Kozan I. Having \u003c\/span\u003e\u003cspan\u003eweighed these points, \u003c\/span\u003e\u003cspan\u003ewe attribute this \u003c\/span\u003e\u003cspan\u003epiece to Miyagawa \u003c\/span\u003e\u003cspan\u003eKozan I on the \u003c\/span\u003e\u003cspan\u003estrength of two \u003c\/span\u003e\u003cspan\u003esupporting elements: \u003c\/span\u003e\u003cspan\u003ethe “posthumous work” \u003c\/span\u003e\u003cspan\u003einscription on the \u003c\/span\u003e\u003cspan\u003ebox in the successor’s \u003c\/span\u003e\u003cspan\u003eown hand, and the \u003c\/span\u003e\u003cspan\u003eMakuzu kiln mark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe differences between the first and second generations are evident in both style and official recognition. After achieving international renown for takaukibori, Kozan I made a substantial change of style, turning to underglaze decoration, crystalline glazes, and glazes modeled on Qing dynasty porcelain. Following numerous awards at international expositions and appointment as an Imperial Household Artist, two of Kozan I’s works, “Large Vase with Plum Tree Design in Rust-Brown on Yellow Glaze” and “Footed Bowl with Applied Crabs in Brown Glaze,” have been designated Important Cultural Properties of Japan (both in the collection of the Tokyo National Museum). Kozan II carried forward the style of the first generation while creating refined works rooted in tea ceremony wares and the traditions of East Asian ceramics. Kozan II exhibited at the 12th Imperial Art Exhibition (Teiten) in 1931 and took part in founding the Totokai ceramic society with \u003ca href=\"\/en\/search?q=%22%E6%9D%BF%E8%B0%B7%E6%B3%A2%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eItaya Hazan\u003c\/a\u003e and others in 1927.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBased on the attribution to Kozan I, this piece is considered to date from between the mid-Meiji 10s, when Miyagawa Kozan I shifted focus to glaze research, and May 1916, when Kozan I died. Several celadon works by Kozan I in public collections are dated between 1912 and 1916. As the shikibako bears the signature of Miyagawa Kozan II, the inscription was written after Kozan II’s succession to the name in 1917.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eMiyagawa Kozan\u003c\/a\u003e I (初代 宮川香山, 1842–1916) *Attribution based on the box inscribed by Miyagawa Kozan II\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eBiographical Highlights:\u003c\/strong\u003e [1842] Born into a family of potters in Makuzugahara, Kyoto; [1860] Succeeds as head of the family; [1870] Moves to Yokohama; [1871] Founds the Makuzu kiln in Ota Village, Yokohama; [1876] Exhibits at the Philadelphia Centennial Exposition; [1889] Gold medal, Exposition Universelle, Paris; [1893] Gold medal, World’s Columbian Exposition, Chicago; [1896] Appointed Imperial Household Artist; [1904] Grand Prize, Louisiana Purchase Exposition, St. Louis; [1910] Grand Prix of Honour, Japan-British Exhibition, London; [1916] Dies\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTokyo National Museum (including two Important Cultural Properties), National Crafts Museum, Yokohama Museum of Art, Ishikawa Prefectural Museum of Art, The Nelson-Atkins Museum of Art (USA)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod: \u003c\/strong\u003eMeiji–Taisho period, c. early 1880s to May 1916, during the lifetime of Miyagawa Kozan I (attributed)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccompanied by: \u003c\/strong\u003eShikibako (box inscribed by Miyagawa Kozan II)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003eCeramic with celadon glaze, decorated in white and black; oval Makuzu kiln mark impressed in relief inside the foot ring\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eH. approx. 3.0 cm, rim diameter approx. 6.1 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show signs of age; please understand this and examine the listing carefully before considering a purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67615310282939,"sku":null,"price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5179_result_dd29f401-8882-41a8-a6c5-9debf3cc6cc6.jpg?v=1792210094"},{"product_id":"476","title":"Artist Featured in Ippodo Gallery New York's \"Magic of the Tea Bowl\" | Eldest Son of Mashiko Potter Matsuzaki Ken | Matsuzaki Kan (松崎幹) | Irabo Kofuku Chawan (Small Tea Bowl) | Tomobako | Japanese-Style Rocks Glass #476","description":"\u003cp dir=\"ltr\"\u003eThis is an Irabo kofuku chawan, a small tea bowl, by the potter Matsuzaki Kan (松崎幹, 1977–). The tomobako (the wooden box signed by the artist) bears the ink inscription \"Irabo Kofuku Chawan,\" together with the signature, \"Kan,\" and Matsuzaki Kan's red seal. An incised mark cut with a spatula appears beside the foot ring. A shiori (the artist's biographical leaflet) and a wrapping cloth accompany the piece. Our shop proposes this compact tea bowl as a Japanese-style rocks glass for savoring aged spirits and whisky.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMatsuzaki was born in 1977 in Tsukiji, Tokyo, the eldest son of the potter \u003ca href=\"\/en\/collections\/maker-matsuzaki-ken\" target=\"_blank\" rel=\"noopener\"\u003eMatsuzaki Ken\u003c\/a\u003e. The artist's father, Matsuzaki Ken, apprenticed under \u003ca href=\"\/en\/collections\/maker-shimaoka-tatsuzo\" target=\"_blank\" rel=\"noopener\"\u003eShimaoka Tatsuzo\u003c\/a\u003e before establishing a kiln in Mashiko, Tochigi Prefecture, in 1977, and is a member of the Crafts Division of the Kokugakai art association. Matsuzaki Kan moved to the United States in 2000 and graduated from the New England School of Photography in 2006. After returning to Japan, Matsuzaki Kan worked as a freelance photographer, and in 2016 the artist received the Newcomer's Prize in the Photography Division of the 90th Anniversary Kokuten Exhibition for Matsuzaki Kan's work \"Michi\" (Road). The artist began making ceramics in 2015 and continues to work alongside Matsuzaki Kan's father in Mashiko.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs a potter, Matsuzaki Kan held a first solo exhibition at the Nihonbashi Mitsukoshi Main Store in 2020, followed by solo exhibitions at the Keio Department Store Shinjuku (2022), the Hankyu Umeda Main Store (2023), and the Nihonbashi Mitsukoshi Main Store (2023). In 2021, the artist took part in \"Magic of the Tea Bowl,\" an exhibition at Ippodo Gallery in New York that presented tea bowls by eleven contemporary artists. The gallery described Matsuzaki Kan's tea bowls as painterly and richly expressive, and also noted the artist's use of thick, contrasting slip. The works the artist exhibited there included Shino, natural ash glaze, and yohen (kiln-transformed) tea bowls. Matsuzaki Kan's solo exhibitions at the Nihonbashi Mitsukoshi Main Store centered on Shino and Oribe tea bowls, alongside haikaburi (ash-covered) tea bowls, sake vessels, flower vases, and tableware.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis piece is an Irabo tea bowl, a style distinct from those works. Seen from above, the rim forms an irregular shape with rounded corners, and several vertical facets rise along the body to create a polygonal outline. Part of the body is densely incised with fine vertical lines, as if drawn with a comb, while the other facets are smoothed flat. The entire surface has a rough, gritty clay texture with prominent sand grains, and yellowish-green tones run in streaks and patches over the brown ground. Bold, glossy dark brown marks resembling brushstrokes sweep across the body in arcs and hooked shapes. The interior has a rough, dark olive surface scattered with fine grains. The foot ring is carved out, and the area inside the foot ring is also cut away. As the materials used for the decoration, the type of glaze, and the firing method cannot be determined with certainty from external appearance, we refrain from stating them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe period of production has been estimated from the accompanying leaflet. The final entries in the leaflet are the 2023 solo exhibitions at the Hankyu Umeda Main Store and the Nihonbashi Mitsukoshi Main Store, so the leaflet can be judged to have been produced after that time. As this piece has been passed down together with the leaflet, we estimate that it was made in 2023 or later.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#ceramic\" target=\"_blank\" rel=\"noopener\"\u003eMatsuzaki Kan\u003c\/a\u003e (松崎幹, 1977–)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights: \u003c\/strong\u003e[1977] Born in Tsukiji, Tokyo, the eldest son of the potter Matsuzaki Ken; [2000] Moved to the United States; [2006] Graduated from the New England School of Photography (USA) and began working as a freelance photographer after returning to Japan; [2015] Began making ceramics; [2016] Newcomer's Prize, Photography Division, 90th Anniversary Kokuten Exhibition (work: \"Michi\"); [2020] First solo exhibition as a potter, Nihonbashi Mitsukoshi Main Store; [2021] Exhibited in \"Magic of the Tea Bowl,\" Ippodo Gallery, New York; [2022] Solo exhibition, Keio Department Store Shinjuku; [2023] Solo exhibitions, Hankyu Umeda Main Store and Nihonbashi Mitsukoshi Main Store\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMuseum Collections: \u003c\/strong\u003eNo records of acquisition by public institutions have been confirmed\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003e2023 or later (estimated from the contents of the accompanying leaflet)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eTomobako (wooden box signed by the artist), wrapping cloth, and shiori (biographical leaflet) included\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Stoneware (Irabo)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.5–8.0 cm, Rim diameter approx. 8.6–10.2 cm (varies by position due to the irregular form)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eNotice: \u003c\/strong\u003eAll items offered by our shop, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand this and review the details carefully before deciding to purchase.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651884286139,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_4701_result.jpg?v=1791639557"},{"product_id":"500","title":"Sanuki Kiln Bowl \/ Japanese-Style Rocks Glass with Grass Design, Painted by Lacquer Artist Akashi Bokkei (明石朴景), Nitten Member, Winner of the Nitten Special Selection Prize and Nitten Members’ Prize #500","description":"\u003cp dir=\"ltr\"\u003eThis bowl from the Sanuki kiln (Sanuki-gama) bears painted decoration by Akashi Bokkei, a lacquer artist who led Kagawa lacquer art in the postwar era. Akashi received both the Special Selection Prize and the Members’ Prize at the Nitten (Japan Fine Arts Exhibition), and the artist also served as a Nitten juror. The works by Akashi documented in museum collections and other public records are lacquer pieces. This work, in which the artist took up the brush on pottery, therefore reveals another side of an artist known for Akashi's lacquer. The most recent entry in the accompanying career record dates from Showa 47 (1972), and the Nitten Members’ Prize Akashi received in Showa 62 (1987) is not yet listed. It can therefore be inferred that this piece was made between about 1972 and about 1987 (c. Showa 47–62) and offered through Yusentei, a permanent gallery on the summit of Yashima in Takamatsu.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAkashi Bokkei (real name Seiichi) was born in October 1911 (Meiji 44) in Takamatsu, Kagawa Prefecture. At the Kagawa Prefectural School of Crafts the artist studied lacquerwork under Isoi Joshin, who was later designated a Holder of Important Intangible Cultural Property (\u003ca href=\"\/en\/collections\/living-national-treasures\" target=\"_blank\" rel=\"noopener\"\u003eLiving National Treasure\u003c\/a\u003e) for kinma (incised lacquer filled with colored lacquer). In 1934 (Showa 9) Akashi graduated from the Design Department of the Tokyo School of Fine Arts (now Tokyo University of the Arts). After working at the lacquerware testing station in Wakayama Prefecture, Akashi became a teacher at the Takamatsu School of Crafts in 1942 (Showa 17). After the war, the artist's “Box for Shikishi Poem Cards, Floral Design, Kinma” was accepted into the 2nd Nitten in 1946 (Showa 21), Akashi's first acceptance there. The following year, 1947, Akashi formed the Kogei Shichisai-kai with Kashima Nobuo, Kubota Ryoji, Manago Jitsuya and others, and the group was renamed the Urumi-kai in 1949. Also in 1947, the artist formed the crafts group Shojinsha with Otomaru Kodo and others. Seeking to rebuild war-devastated Takamatsu through culture, Akashi worked for the founding of an art museum. When the former Takamatsu Municipal Art Museum opened in Ritsurin Park in 1949, the artist took part in running it as a part-time curator. At the 1st Nitten (New Nitten) in 1958 (Showa 33), Akashi's “Record Cabinet: Listening to the Night” won the Special Selection Prize (Tokusen). The artist went on to become a commissioned exhibitor at the Nitten in 1964, a Nitten juror in 1966 and a Nitten member in 1968. At the 19th Nitten in 1987 (Showa 62), Akashi received the Nitten Members’ Prize for “Kunpu Enzen.” The artist served as an associate professor at Kyoto City University of Fine Arts, and from 1969 Akashi was a professor at Takamatsu Junior College. The artist's style is known for a novel sense of design that boldly stylizes natural forms such as flowers and fish, combines them with geometric patterns, and makes use of black and vermilion lacquer grounds. At the Nitten Akashi created panels and objets, opening a new field of interior decoration in lacquer. The artist died in Takamatsu in February 1992 (Heisei 4), and in March of that year the retrospective “Akashi Bokkei Exhibition” was held at the Takamatsu Municipal Art Museum. The Takamatsu Art Museum holds Akashi's works, among them the following:\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e“Box with Narcissus Floral Design, Kinma” (1947)\u003cbr\u003e“Box with Red Plum Design, Kinma” (1948)\u003cbr\u003e“Box with Iris Floral Design, Carved Lacquer” (1952)\u003cbr\u003e“Folding Screen with Pine Trees, Lacquer” (1954)\u003cbr\u003e“Shelf with Calla Lily Design, Lacquer” (1956)\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn recent years, special displays of the artist's work have been held at that museum and at The Kagawa Museum.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe wooden box is inscribed in ink “Sanuki-gama Wan” (Sanuki Kiln Bowl) on the outside of the lid. The inside of the lid is inscribed in ink “painted by Bokkei” and bears a red seal. Together these show that Akashi painted this bowl, which was made at the Sanuki kiln. The accompanying career record is printed with the artist's titles “Nitten Member (Juror)” and “Councilor, Japan Contemporary Arts and Crafts Artists Association.” It also gives Akashi's career from Akashi's birth in Meiji 44 to Akashi's service as a juror of the Japan Contemporary Arts and Crafts Exhibition in Showa 47. In the margin, “Sanuki-gama, painted decoration” has been added by hand. At the end of the career record is printed the name “Permanent Gallery Yusentei,” apparently the issuer. The record states that the gallery stood on the summit of Yashima within the national park in Takamatsu, Kagawa Prefecture. It also states that the gallery advertised “Showcase and sale of works by fine-art craft artists selected for the Nitten, the Traditional Kogei Exhibition and central exhibitions.” The name of the potter who formed the vessel appears on neither the box nor the career record.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe surface is covered with a pale grayish-green glaze, with fine crazing throughout the exterior. The painted decoration is a grass design in brown to blackish-brown pigment. Several thin lines rise radially from the lower body near the foot. One of them extends almost to the rim, with small dots strung along the stem. On the opposite side, grass rendered as vertically aligned dots is also painted with restraint. The grass is not depicted realistically but translated into lines and dots. This way of distilling natural forms into simple elements accords with the design sensibility of Akashi, who trained in a design department and made the stylization of natural forms central to the work. Blackish-brown granular specks are scattered across the surface, some with a metallic sheen. Glaze has pooled in the interior (mikomi) to form a lustrous surface. Below the waist, the glaze stops in irregular lines. The area around the foot ring is unglazed, revealing coarse light-brown clay containing black grains, and throwing marks remain on the outside. The inside of the foot ring is shallowly trimmed in concentric circles. A round seal is impressed on the unglazed area beside the foot ring.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eWith a rim diameter of approx. 13 cm and a height of approx. 7.7 cm, this piece fits comfortably in the hand. We propose it as a “Japanese-style rocks glass (Japanese-style drinking vessel)” for enjoying vintage whisky, koshu (aged spirits) or matured sake over a large rock of ice. Amber liquid poured over the grayish-green glaze and crazing, together with the pool of glaze in the interior, brings out the character of the bowl. Each time the glass is tilted, the grass design that a lacquer artist painted on pottery comes into view. This is a piece in which the brushwork of an artist who shaped the postwar history of Kagawa lacquer art can be enjoyed both as an object of appreciation and in daily use.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e[Transcription of the Career Record (for Listing)]\u003cbr\u003eCareer Record\u003cbr\u003eNitten Member (Juror)\u003cbr\u003eCouncilor, Japan Contemporary Arts and Crafts Artists Association\u003cbr\u003eSanuki-gama, painted decoration (handwritten)\u003cbr\u003eAkashi Bokkei\u003cbr\u003eOctober, Meiji 44 (1911): Born in Takamatsu.\u003cbr\u003eShowa 9 (1934): Graduated from the Design Department, Tokyo School of Fine Arts (now Tokyo University of the Arts)\u003cbr\u003eShowa 21 (1946): Nitten, first accepted; accepted consecutively thereafter\u003cbr\u003eShowa 33 (1958): Nitten, Special Selection Prize\u003cbr\u003eShowa 34 (1959): Nitten, exempt from jury screening (mukansa)\u003cbr\u003eShowa 39 (1964): Nitten, commissioned exhibitor\u003cbr\u003eShowa 40 (1965): Nitten, commissioned exhibitor\u003cbr\u003eShowa 41 (1966): Nitten, juror\u003cbr\u003eShowa 41 (1966): Juror, Japan Contemporary Arts and Crafts Exhibition\u003cbr\u003eShowa 42 (1967): Nitten Member\u003cbr\u003eShowa 47 (1972): Juror, Japan Contemporary Arts and Crafts Exhibition\u003cbr\u003eSelected for the Nitten, the Traditional Kogei Exhibition and central exhibitions\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003e\u003ca href=\"\/en\/pages\/makers#lacquer\" target=\"_blank\" rel=\"noopener\"\u003eAkashi Bokkei\u003c\/a\u003e (明石 朴景, 1911–1992)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1934] Graduated from the Design Department, Tokyo School of Fine Arts; [1946] First accepted into the 2nd Nitten (“Box for Shikishi Poem Cards, Floral Design, Kinma”); [1947] Formed the Kogei Shichisai-kai (renamed the Urumi-kai in 1949) and the Shojinsha; [1949] Worked toward the opening of the former Takamatsu Municipal Art Museum, part-time curator; [1958] Special Selection Prize, 1st Nitten (“Record Cabinet: Listening to the Night”); [1966] Nitten juror; [1968] Nitten member; [1969] Professor, Takamatsu Junior College; [1987] Nitten Members’ Prize, 19th Nitten (“Kunpu Enzen”)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eTakamatsu Art Museum\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003ec. 1972 – c. 1987 (estimated)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent (no chips, no cracks)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eWooden box (outside of lid inscribed in ink “Sanuki-gama Wan”; inside of lid inscribed in ink “painted by Bokkei” with red seal), career record\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Pottery (glazed, with painted decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 7.7 cm, rim diameter approx. 13.0 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\u003cli\u003e\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404792507,"sku":null,"price":75000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5747_result_93e2cf8a-11b8-4cd3-8e40-6821f2e39535.jpg?v=1792904412"},{"product_id":"523","title":"Direct Disciple of Kamoda Shoji, Mashiko Ware, Sakata Jinnai (坂田甚内), Tea Bowl (Chawan), Matcha Bowl, Sake Vessel, Japanese-Style Rocks Glass, Vessel for Vintage Spirits #523","description":"\u003cp dir=\"ltr\"\u003eThis chawan (tea bowl) is the work of the Mashiko potter Sakata Jinnai. Born in Tokyo in 1943, Sakata studied under Kamoda Shoji from 1964 and became independent in 1966, building a kiln in the town of Mashiko. After exhibiting at the Japan Traditional Art Crafts Exhibition and the Japan Ceramic Art Exhibition, the artist has worked mainly through gallery exhibitions since the late 1970s. In 1994 Sakata held a solo exhibition at the opening of the Takashimaya gallery in New York, and in 2001 a 35th-anniversary exhibition was held at the Aizu Museum of Waseda University. Works have also been dedicated to Izumo Taisha and Ise Jingu, and according to Sakata's biography and other sources, works are held in collections including the British Museum. As the box inscription states, this piece was made as a tea bowl. We offer it as a bowl for enjoying a serving of tea, and also suggest it as a Japanese-style rocks glass (sake vessel): its generous bowl shape, about 11.9 cm across the mouth, takes a large piece of ice for savouring old-bottle spirits, whisky or honkaku shochu.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe appeal of this piece lies in the glaze landscape that shifts across the single bowl. The deep green glaze covering the whole vessel is scattered with fine yellow-green specks, overlaid with a whitish grey-green and a silvery-grey sheen. Near the rim on the outside, a large area of reddish brown appears, a striking contrast with the green surface. The bowl's expression changes greatly with the viewing angle: some sides show the specks vividly, while others are calmer, with fine crazing running over the whole surface. In the centre of the interior (mikomi), glassy glaze has pooled with fine bubbles floating in it, and from there a band of silvery grey stretches toward the rim as if swirling. The lower body has a step, below which the form tightens toward the foot. The unglazed foot ring retains horizontal lines, and inside the foot, on the shrivelled clay surface, the character \"甚\" is brushed in brown.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs for the date of production, the accompanying shiori (leaflet) records the career up to solo exhibitions at Seibu Department Store but makes no mention of the solo exhibitions at Nihonbashi Takashimaya that began in 1987, so we estimate that the piece was made around 1975 to 1985. The bowl itself has no chips or cracks, and the glaze landscape is well preserved. The box bears the ink inscriptions \"茶盌\" (tea bowl) and \"甚内\" (Jinnai) with a red seal, and the piece is complete with its tomobako (signed box), wrapping cloth and shiori.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Sakata Jinnai (坂田甚内, 1943–)\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1964] Studied under Kamoda Shoji; [1966] Built a kiln in Mashiko and became independent; [1970] Selected for the Japan Traditional Art Crafts Exhibition; [1971, 1973] Selected for the Japan Ceramic Art Exhibition; [1994] Opening solo exhibition at Art Gallery Takashimaya, New York; [2001] 35th-anniversary exhibition at the Aizu Museum, Waseda University; [2009] Invited exhibitor at the 1st Shanghai International Ceramic Life Art Expo\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e The British Museum, the Rockefeller Foundation, Waseda University, Enryaku-ji, Takachiho Shrine, Kodai-ji, Yakushi-ji and others (according to the artist's biography and other sources) \/ Dedications: Izumo Taisha, Ise Jingu, Atsuta Jingu, Kameoka Hachimangu\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eProduction Period:\u003c\/strong\u003e c. 1975–1985 (estimated from the shiori)\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks). The piece has crazing that is characteristic of the work. As an old piece, it shows some age-related wear. Please regard the crazing that forms in firing, other characteristics of ceramics and the patina of age as part of the pleasure of an antique piece.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eAccessories:\u003c\/strong\u003e Tomobako (signed box), wrapping cloth, shiori (leaflet)\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (Mashiko ware, tea bowl, brushed mark \"甚\" inside the foot)\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.0 cm, mouth diameter approx. 11.9 cm\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67956332822715,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6314_result.jpg?v=1793772155"},{"product_id":"533","title":"Aichi Prefecture Designated Intangible Cultural Property Holder, Oe Bunsho (大江文象), Seto Ware Irabo Glaze, Taihi Tenmoku Tea Bowl, Japanese-Style Rocks Glass, Studied under Kitaoji Rosanjin #533","description":"\u003cp dir=\"ltr\"\u003eThis irabo-glazed tea bowl is by Oe Bunsho (大江文象, 1898–1979), a potter of \u003ca href=\"\/en\/collections\/seto-ware\" rel=\"noopener\" target=\"_blank\"\u003eSeto\u003c\/a\u003e who was the holder of an Aichi Prefecture Designated Intangible Cultural Property (craft technique: kushime-mon, comb-pattern decoration). The lid of the fitted box (tomobako) bears the inscription \"伊羅保釉 茶盌\" (irabo-glaze tea bowl), the signature \"文象\" (Bunsho) and a red seal, with a small oval ink seal at the upper right. The box is made of wood with a strong reddish grain, which suits the mingled brown and yellow-brown of the glaze. The wrapping cloth and a shiori (leaflet) printed with the artist's essay and career have also come down with it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOe Bunsho was born in 1898 in Chita District, Aichi Prefecture (now Chita City). As a child Oe learned Nihonga painting from Kodera Undo, and later studied under \u003ca href=\"\/en\/search?q=%22Kitaoji%20Rosanjin%22\u0026amp;type=product\" rel=\"noopener\" target=\"_blank\"\u003eKitaoji Rosanjin\u003c\/a\u003e. The leaflet's career summary describes the rest of the training as \"largely self-taught.\" Oe was first selected for the 14th Teiten in 1933 and was selected nine times in all for the Teiten, Bunten and Nitten. According to the leaflet, Oe also won selections and prizes at the Kokuten, the Shoko-ten and other exhibitions. Oe perfected a distinctive comb technique and excelled in patterns of massed wheat and incised quail, earning the name \"Bunsho of the Quail.\" Major works include \"Kiseto-Glaze Vase with Wheat Design\" and \"Comb-Pattern Vase with Flowers and Birds.\" On 26 December 1975 Oe was designated the holder of an Aichi Prefecture Intangible Cultural Property (craft technique: kushime-mon). Oe also served as an adviser to the Seto Ceramic Art Association, and died on 23 January 1979 at the age of 80.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA work is in the Aichi Prefectural Museum of Art: the \"Warizansho Mukozuke\" side dish (c. 1940) in the Fujii Tatsukichi Collection. Records of the National Museum of Modern Art, Tokyo also show that Oe's work appeared in its exhibitions.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOur shop offers this piece, whose neat form holds a rich landscape of glaze, not only as a tea bowl for whisking matcha but also as a Japanese-style rocks glass for slowly enjoying aged spirits, matured liquors and whisky over a large piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe piece has a rounded, deep bowl form, with a rim that rises cleanly and a small, fairly tall foot. It is thinly made, so it feels lighter in the hand than its solid look suggests. Irabo is a type of Korai tea bowl fired on the Korean Peninsula, with a yellow-brown glaze and a rough surface, and the name is said to come from that feel. On the outside of this piece, yellow-brown glaze spreads like a net over a reddish-brown ground, and brown mottling runs down in vertical lines. Near the rim the brown deepens into a band, and several shallow vertical lines run along the body. The glaze stops irregularly above the foot, where dark brown glaze has pooled thickly at the edge, turning bluish in places.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe highlight is the interior. From the centre of the bottom, yellow-brown glaze branches out radially, with small black spots scattered over the reddish-brown ground. A bluish-grey glassy glaze has pooled at the bottom, ringed by a white, frost-like border. This landscape of mingled brown and yellow-brown recalls the taihi tenmoku of China's Jizhou kilns, a tenmoku tea bowl with tortoiseshell-like mottling made by layering another glaze over a black glaze. The essay in the leaflet has the line \"glaze pooling like spring water, glaze running like a sudden shower,\" and the glaze resting quietly at the bottom and streaming down the walls shows exactly that expression. The foot and its surroundings are unglazed, revealing a fine, pale grey-brown clay. Concentric turning marks remain on the foot, and the exposed clay beside the foot bears the mark \"文象\" (Bunsho) incised with a spatula.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eNote that public sources name comb decoration, wheat patterns and incised quail as Oe's specialities. This piece, whose subject is the landscape of the glaze, has no incised pictures or wheat patterns. As for the vertical lines on the body, the box inscription makes no mention of comb decoration, so we refrain from calling them kushime-mon.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe production date can be estimated from the enclosed leaflet. Its career summary includes the Nitten among the exhibitions, so it was printed after the Nitten began in 1946. It also gives the birthplace as \"Chita-machi, Chita District, Aichi Prefecture.\" Chita-machi became Chita City on 1 September 1970, so the leaflet is thought to have been printed before then. It does not mention the 1975 Intangible Cultural Property designation either. Since this piece was kept in its fitted box with this leaflet, we estimate that it dates from 1946 to about 1970, although the leaflet may have continued to be used in later years. It is a complete set with fitted box, wrapping cloth and leaflet.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"18\"\u003eArtist’s Leaflet (Original Text)\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eNothing is closer to us than clay.\u003cbr\u003eIs it not because of clay that we come to love ceramics?\u003cbr\u003eSimply scraping earth from a mountainside and kneading it is enough to make a pot.\u003cbr\u003eYet when a pot is made with affection and with one’s whole heart, it gives form to a heart that has no form, and seeks to endure forever.\u003cbr\u003eIt is as if it were teaching us to live a life without shame.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eClay is honest and readily yields to the human hand. But a pot cannot become a pot without first undergoing a baptism of fire.\u003cbr\u003eThus even a work into which the potter has poured every ounce of effort can only be hoped for, never assured, in its completion.\u003cbr\u003eHerein lies the meaning of the saying, “Do all that you can, then leave the rest to Heaven.”\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDo not despise the fragility of ceramics. Fragile and beautiful as flower petals, a pot rejects rough handling and lives only by seeking harmony and love. How endearing it is. Herein lies the virtue of ceramics.\u003cbr\u003ePots are drawn out when the door of the kiln, glowing gold, is opened. There is glaze that pools as still as spring water, and glaze that runs like a sudden shower. Even where a pot looks as soft as newborn skin, it still holds within it the hardness of coral.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCeramics are worthy of love. They are of course fine in a splendid mansion, yet no less fine in a humble hut, and buried in the earth and beaten by rain, they become finer still. Small wonder, then, that we love ceramics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cul dir=\"ltr\"\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e \u003ca href=\"\/en\/collections\/maker-oe-bunsho\" rel=\"noopener\" target=\"_blank\"\u003eOe Bunsho\u003c\/a\u003e (大江文象, 1898–1979)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1898] Born in Chita District, Aichi Prefecture (now Chita City); [1933] first selected for the 14th Teiten (selected nine times in all for the Teiten, Bunten and Nitten); [1975] designated holder of an Aichi Prefecture Intangible Cultural Property (craft technique: kushime-mon); [1979] died (aged 80)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublic Collections:\u003c\/strong\u003e Aichi Prefectural Museum of Art (\"Warizansho Mukozuke,\" c. 1940, Fujii Tatsukichi Collection)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eProduction Period:\u003c\/strong\u003e c. 1946–1970 (estimated from the enclosed leaflet)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAccessories:\u003c\/strong\u003e Tomobako (fitted, signed box), wrapping cloth, shiori (leaflet)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Pottery (irabo glaze)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 8.5 cm, mouth diameter approx. 11.8 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNote:\u003c\/strong\u003e Even if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePlease check the photos:\u003c\/strong\u003e We prepare every description with great care, but errors may still remain in the text. Please examine the photos carefully before purchasing. Where the photos and the description differ, please take the photos as the basis for the product information.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":68113859313851,"sku":null,"price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_6611_result_9f3f6648-a50b-4c6a-a66c-ee3460af0c58.jpg?v=1794119289"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/videos.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}