{"title":"Kiln-Transformed (Yohen) Sake Cups \u0026 Vessels","description":"\u003cp\u003eYohen, the one-time landscape painted by flame and ash: sake cups and vessels with iridescence, goma ash and fire-red flashing — no two alike.\u003c\/p\u003e","products":[{"product_id":"186","title":"Living National Treasure, Ito Sekisui V (五代 伊藤赤水), Sado Mumyoi-yaki Kiln-Transformation (Yo-hen) Guinomi #186","description":"\u003cp data-path-to-node=\"18\"\u003eIto Sekisui V (born 1941) is a master of Japanese ceramics who was designated as a Living National Treasure in 2003 as the holder of the Important Intangible Cultural Property \"Mumyoi-yaki,\" making him the first from Sado Island to receive this honor. While inheriting the traditions of the prestigious Sekisui Kiln, which dates back to the late Edo period, he established a unique \"Yo-hen\" (kiln transformation) technique, solidifying the international artistic standing of Mumyoi-yaki. His exceptional techniques are permanently housed in major museums worldwide, including the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London, officially recognized as cultural heritage for humanity to preserve.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eThe Mumyoi-yaki utilized in this work is crafted from red clay rich in iron oxide, sourced from the vicinity of the Sado Gold Mine. This clay consists of extremely fine particles and exhibits an exceptionally high shrinkage rate of approximately 30% during firing, making it highly susceptible to cracking and warping. Consequently, achieving a finished piece requires the master craftsman's incredibly precise calculations and masterful skill. Although the design is \"Yakishime\" (unglazed stoneware), by controlling the kiln's flames to the absolute limit, the artist has transformed parts of the red clay into a deep jet black, showcasing the pinnacle of Yo-hen artistry. These traces of flame, which transcend human intention, are often described as reflections of Sado's rugged natural landscapes or the spray of waves crashing against the cliffs, embodying a quiet strength that shuns ostentation.\u003c\/p\u003e\n\u003cp data-path-to-node=\"20\"\u003eOur shop redefines this unique vessel, crafted by a Living National Treasure, as the ultimate vessel for savoring aged sake or Japanese whisky that has acquired complex aromas over decades of maturation. The hard, fine texture unique to Mumyoi-yaki, coupled with the dramatic contrast of red and black, visually enhances the amber hues of fine spirits. It possesses a functional beauty that elevates a quiet moment of reflection into something more spiritual. The dialogue between earth and fire that emerges after stripping away all ornamentation embodies the Japanese aesthetic of wabi-sabi, imparting a sense of serene dignity to the holder.\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\"\u003eAuthor:\u003c\/b\u003e Ito Sekisui V (born 1941)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"34\"\u003eArtist's Notable Activities:\u003c\/b\u003e Elevated the \"Mumyoi-yaki\" tradition of Sado Island to the realm of fine art, 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=\"475\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Metropolitan Museum of Art; Victoria and Albert Museum; 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=\"676\"\u003ePeriod of Creation:\u003c\/b\u003e 2000s–2010s (The mature period after designation as a Living National Treasure). The \"Yo-hen\" (kiln transformation) in this work is Sekisui V's signature design, transforming red clay into jet black solely through flame control to express Sado’s rugged coastline. This represents the peak of his expression—a style where natural power and tranquility resonate beyond human intent, refined around the time of his 2003 designation.\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1126\"\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=\"1169\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako), introductory leaflet \u003cb data-path-to-node=\"21\" data-index-in-node=\"1235\"\u003eMaterial:\u003c\/b\u003e Pottery (Mumyoi-yaki \/ Yo-hen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1276\"\u003eDimensions:\u003c\/b\u003e Height approx. 8.0 cm, Mouth diameter approx. 6.2 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cb data-path-to-node=\"21\" data-index-in-node=\"1341\"\u003eNote:\u003c\/b\u003e Please note that all products, even those in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47537145938107,"sku":null,"price":16000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5115_result.jpg?v=1774141337"},{"product_id":"188","title":"Hagi Ceramic Artists Association Regular Member \/ Genius of Ultra-Robust Oni-Hagi Born from Re-Firing: Kuroda Gaku (黒田岳), Hidasuki (Yohen \/ Kiln-Mutated) Sake Vessel, Hagi Ware Rock Glass for Western Spirits #188","description":"\u003cp data-path-to-node=\"15\"\u003eBorn in Nagano Prefecture in 1946 and having blossomed his unique artistry in Hagi City, Yamaguchi Prefecture—a ceramic capital boasting over 400 years of proud tradition—Kuroda Gaku is a highly talented Hagi ware artist recognized as a prestigious Regular Member of the Hagi Ceramic Artists Association. Currently based at his Nanchi Kobo studio in Yamada, Hagi City, he continues his ceramic creation with a deep reverence and philosophy toward clay and fire, stating, \"These are pieces fired during my days of wandering back and forth between the clay, the fire, and myself. The clay, which had been sleeping for hundreds of millions of years, might look a bit annoyed after facing such intense heat...\" His overwhelming solo exhibition activities and works, which effortlessly leap over the boundaries of tradition, are extremely highly acclaimed as an exceptional presence by vessel collectors and discerning buyers across the country.\u003c\/p\u003e\n\u003cp data-path-to-node=\"16\"\u003e\u0026nbsp;The greatest feature of this piece, and what has become Kuroda Gaku's signature, is the overwhelming texture of Oni-Hagi, which is meticulously controlled through his unique technique. Oni-Hagi is a traditional technique that possesses a highly rugged and dynamic texture, created by boldly mixing coarse sand into the traditional Hagi clay, such as Mishima clay, and then applying a straw ash glaze before firing. What deserves special mention is Kuroda's insatiable commitment to re-firing, a process where the vessel is fired again at a high temperature after its initial regular firing. This triggers a violent chemical reaction (yohen, or kiln mutation) inside the kiln, causing a diverse array of beautiful colors—such as gentle and soft cream, pink, and sometimes mysterious blue—to appear on the surface of the vessel like a painting. Furthermore, this thorough firing process completely overcomes the historical weakness of traditional Hagi ware, which is typically fired at lower temperatures and is somewhat fragile. He has successfully achieved both sufficient strength to withstand use as tableware and modern barware, and a layer of incredibly beautiful penetrations (crazing) in the slip at the same time.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eWe propose this vessel, which possesses both definitive authority and ultra-robust strength, as the ultimate rock glass for savoring Japanese whisky, scotch, or bourbon, allowing you to boldly float a large block of ice. Distinct from rugged unglazed yakishime ware that uses no glaze at all, the texture of the fine crazing on the firmly fired Oni-Hagi fits the palm of your hand with surprising comfort from the moment you hold it, bringing a gentle warmth and a pleasing sense of weight suitable for an executive. The noble amber color of the whisky resonates beautifully with the complex color gradations born from the kiln mutation and the powerful scorch marks visible in places, giving an overwhelming three-dimensional depth inside the glass. Furthermore, through the greatest charm of Hagi ware, known as the Seven Transformations of Hagi (Hagi no Nanabake), the sake slowly seeps into the cracks (crazing) of the vessel over years of use, allowing you to enjoy the moving experience of watching the color and texture of the vessel gradually deepen and evolve as a lifelong companion without worrying about its strength. It is truly a refined, one-of-a-kind, ultimate sake vessel that harmonizes with a contemporary lifestyle.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kuroda Gaku (黒田岳, 1946- )\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"29\"\u003eArtist's Major Activities:\u003c\/b\u003e A Hagi ware artist born in Nagano Prefecture in 1946. Established his Nanchi Kobo studio in Hagi City, Yamaguchi Prefecture. Evolved the traditional Hagi clay blending and established the Oni-Hagi method, which extracts powerful expressions and strength far surpassing regular Hagi ware by repeatedly firing the piece after its initial firing. His high level of technique and unique artistry have been publicly recognized, leading to his designation as a prestigious Regular Member of the Hagi Ceramic Artists Association. He expands his energetic solo exhibition activities centering on department stores and galleries nationwide, establishing a solid position in the contemporary Hagi ware world.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"755\"\u003eProduction Period:\u003c\/b\u003e 1990s to 2000s (The mature period as a Regular Member of the Hagi Ceramic Artists Association) *This piece is a masterpiece symbolizing the golden era of his artistry, where his unique Oni-Hagi technique of repeatedly firing after the initial firing was perfected, beautifully fusing the ultimate yohen kiln mutation beauty where pinks and blues intricately intersect with a dignified structural beauty that powerfully tightens a modern table setting.\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1226\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1269\"\u003eAccessories:\u003c\/b\u003e Tomobako (Original signed wooden box), Ukon-nuno (Wrapping cloth)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1348\"\u003eMaterial:\u003c\/b\u003e Pottery (Hagi ware, Oni-Hagi, Yohen glazed color)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1408\"\u003eDimensions:\u003c\/b\u003e Mouth diameter approx. 7 cm, Height approx. 7 cm (approximate guide)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"1489\"\u003eNote:\u003c\/b\u003e All items offered by our store, even if new and unused, are from a very old production period and are listed as used. Items may have age-related damage, so please consider purchasing after understanding and checking.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47537146396859,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5087_result.jpg?v=1774141573"},{"product_id":"189","title":"Living National Treasure, Ito Sekisui V (五代 伊藤赤水), Sado Mumyoi-yaki, Yohen Guinomi Sake Cups (Set of 2) #189","description":"\u003cp data-path-to-node=\"11\"\u003eIto Sekisui V (born 1941) is a master of contemporary ceramics who was designated a Living National Treasure in 2003 as a holder of the Important Intangible Cultural Property \"Mumyoi-yaki,\" the first person from Sado Island to receive this honor. While inheriting the traditions of the Sekisui kiln, which dates back to the late Edo period, he did not merely follow tradition but elevated Mumyoi-yaki to a global art form by pursuing the chemical reactions of clay and fire to their utmost limit. His reputation extends beyond Japan, as evidenced by the fact that prestigious public museums around the world, such as the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London, have his works in their permanent collections, testifying to the universal nature of his artistry.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eParticularly noteworthy in this work is the culmination of \"Yohen\" (kiln transformation), which was central to his designation as a Living National Treasure. The raw material for Mumyoi-yaki is a red clay rich in iron oxide, produced near the Sado gold mine. This clay has extremely fine particles, leading to an astonishing shrinkage of approximately 30 percent during firing. This exceptionally high shrinkage rate can easily cause cracks and distortions with slight temperature changes or unevenness in the clay, making the meticulous calculations and intuition gained from years of experience by a master craftsman indispensable for producing a perfect piece. This work is a \"Yakishime\" (unglazed, high-fired ware) that, despite having no glaze, uses reduction firing to severely restrict oxygen during firing, causing the iron in the clay to react and transform parts of the red clay into a deep jet black. These traces of fire, beyond human intention, are said to mimic Sado's rugged coastline and the spray of waves crashing against cliffs, or the time etched into the rock by the winds sweeping across the island, encapsulating the harshness and tranquility of nature within a single vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003eStripped of ostentatious decoration and composed solely through the dialogue between earth and fire, the design of this work strongly reflects the Japanese aesthetic of \"wabi-sabi.\" The dramatic contrast between red and black, at first glance, gives a sharp impression, but the hard yet fine texture unique to Mumyoi-yaki, felt the moment it is held, exudes a serene power. The greatness of a Living National Treasure's work lies in its \"quiet dignity\"—the ability to change the atmosphere of a space simply by existing, without excessive assertion. We propose this rare pair as the ultimate sake vessel to enhance the delicate amber hues of aged sake or whisky, matured over decades. This vessel, the culmination of a master craftsman's lifelong quest, will surely become a special presence for sake lovers, transcending mere utility to provide spiritual fulfillment.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Ito Sekisui V (五代 伊藤赤水, born 1941)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"34\"\u003eArtist's notable career highlights:\u003c\/b\u003e Elevated \"Mumyoi-yaki,\" a traditional craft from Sado Island, to the realm of art. Designated a holder of the Important Intangible Cultural Property \"Mumyoi-yaki\" (Living National Treasure) in 2003. [1973] Awarded the Prince Takamatsu Memorial Prize at the Japan Traditional Crafts 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=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"477\"\u003eWorks held in:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Metropolitan Museum of Art; Victoria and Albert Museum; Smithsonian Institution; and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"673\"\u003ePeriod of creation:\u003c\/b\u003e 2000s to 2010s (the mature period after being designated a Living National Treasure). The \"Yohen\" (kiln transformation) in this work, where red clay is transformed into jet black solely through fire control to express Sado's rugged coastline, is a signature design of Sekisui V. This style represents the peak of his expression, showcasing a natural power and tranquility resonating beyond human intention, further refined around the time of his 2003 designation.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"1157\"\u003eCondition:\u003c\/b\u003e Good (No chips, no cracks), some minor surface marks\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"1221\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako), wrapping cloth\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"1281\"\u003eMaterial:\u003c\/b\u003e Pottery (Mumyoi-yaki \/ Yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"1321\"\u003eDimensions:\u003c\/b\u003e Height approx. 7.2 cm - 8.0 cm, Mouth diameter approx. 6.0 cm - 6.8 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"1404\"\u003eNote:\u003c\/b\u003e Please note that all products, even those in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47538821136571,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5129_result.jpg?v=1774160539"},{"product_id":"191","title":"Prime Minister's Award-Winning Artist, Heian Sokyu (三代 平安宋丘, Kubo Yoshizo) Tenmoku Yo-hen Water Dropper \/ Whisky Dropper #191","description":"\u003cp data-path-to-node=\"23\"\u003eKubo Yoshizo (1913-1989), known as Heian Sokyu, is one of the most distinguished master craftsmen who connected the tradition of Kyo ware to modern times. Having inherited the family business in 1933 and continuing the authentic techniques of the first and second generations of Sokyu, he reigned as a leading figure in Kyo-yaki and Kiyomizu-yaki from the Showa to Heisei periods. His achievements are highly acclaimed; he received the Prime Minister's Award, the highest honor for Japanese artisans, at the 25th Japan Traditional Art Crafts Exhibition in 1978, and the Order of the Sacred Treasure, Gold and Silver Rays, in 1984. His works are housed in major public museums in Japan, such as The National Museum of Modern Art, Tokyo, and The National Museum of Modern Art, Kyoto, officially establishing their artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"24\"\u003eThis piece is a Tenmoku Yo-hen (Kiln Transformation) water dropper created by Kubo Yoshizo's masterful technique. Tenmoku Yo-hen is an advanced technique where the glaze transforms into unique crystals and colors due to the complex action of flames within the kiln, possessing a one-of-a-kind beauty resulting from the intersection of the artist's calculations and the natural serendipity of the flames. As he passed away in 1989, his works are now highly rare posthumous pieces by a deceased master that can no longer be newly produced.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis tool, originally conceived as a calligraphy instrument for dripping water drop by drop, is redefined by our shop as a \"Water Dropper\" for enjoying Western spirits or rare aged spirits that have matured for decades. High-purity alcohol and aged spirits that have been bottled for decades experience a moment of \"blooming\" when a very small amount of water is added, changing the surface tension and dramatically opening up the complex layers of aroma and flavor that were trapped. To control this extremely delicate change, the shape of this water dropper, which can precisely control water drop by drop, is ideal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eIts use is surprisingly intuitive and elegant. By lightly pressing a small air hole on the top of the main body with your fingertip and slightly adjusting the pressure, you can control the airflow into the interior in millimeter increments. This allows you to quietly guide the intended \"single drop\" into the amber liquid.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eThe supreme form created by the Prime Minister's Award-winning artist is not only a functional tool for bringing out the true charm of aged spirits but also a proposal for the luxury of enjoying traditional Japanese beauty in daily life. This rare Japanese craft, with limited information available globally, is a unique existence for collectors seeking the finest sake ware and spirit accessories.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003e*Artist's comment: Works applied with black-based glazes are commonly called Tenmoku. Tenmoku is the oldest glazed pottery in the East, and its origin is said to have been discovered in the ancient kilns of Yuezhou in Deqing County during the Wu-Pu period (3rd-4th century) in China. Its colors range widely from black to brown, and the variations are infinite—including those with mottled crystal patterns, those partially discolored, and those transformed by layering glazes of other colors. Ancient Chinese Tenmoku calligraphy tools often featured not just a single black color but also partially discolored areas. Referring to various historical materials, I created this piece with a composition of Tenmoku black and other colors.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Heian Sokyu (三代 平安宋丘, Kubo Yoshizo, 1913-1989)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on Kyo-yaki and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"584\"\u003eMuseum Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; Kyoto Prefecture; and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"718\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (Mature period after receiving the Prime Minister's Award). This \"Tenmoku Yo-hen\" piece features complex crystals and deep colors created by the accidental interplay of fire and glaze. It is a masterpiece from his \"Golden Age,\" representing the culmination of refined form and technique pursued by the artist until his final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1079\"\u003eCondition:\u003c\/b\u003e Very good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1122\"\u003eAccessories:\u003c\/b\u003e Original wooden box (Tomobako, signed and sealed by the artist), introductory leaflet\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1221\"\u003eMaterial:\u003c\/b\u003e Pottery (Kyo-yaki \/ Tenmoku Yo-hen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1267\"\u003eDimensions:\u003c\/b\u003e Width approx. 5.0 cm, Height approx. 7.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"1323\"\u003eNote:\u003c\/b\u003e Please note that all products offered by our shop, even if in unused condition, are from vintage production periods and are listed as used. Items may show minor age-related wear; please confirm the condition before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47540057407675,"sku":null,"price":125000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5186_result.jpg?v=1774159664"},{"product_id":"204","title":"Yohen Tenmoku Tripod Incense Burner by Heian Sokyu III (三代 平安宋丘, Kubo Yoshizo), a recipient of the Prime Minister's Award. Museum-grade Yohen Tenmoku. #204","description":"\u003cp data-path-to-node=\"7\"\u003eThis is a Yohen Tenmoku three-legged incense burner by third-generation Heian Sokyu, Birth name Kubo Yoshizo (1913-1989), a master craftsman who connected the tradition of Kyoyaki to the present day and inscribed his name in the history of pottery, bringing the aesthetics of national treasures back to life in the modern era. Kubo Yoshizo was born in Kyoto in 1913 as the eldest son of a potter family. Building on the legitimate Kyoyaki techniques inherited from the first and second Sokyu generations, he dedicated his entire life to reproducing Yohen Tenmoku, a lost legendary technique whose production method was thought to have been completely lost since it was first fired in China's Jian ware kilns during the Southern Song Dynasty in the 12th century. There are only three complete Yohen Tenmoku pieces in the world, all designated as National Treasures of Japan (owned by Seikado Bunko Art Museum, Fujita Museum, and Ryoko-in Temple). The iridescent glow on the jet-black glaze is said to capture the abyss of the universe, making it the Holy Grail of the pottery world, coveted by warlords throughout history. Challenging this divine realm that was deemed impossible to reproduce, he achieved the remarkable feat of winning the Prime Minister's Award, the highest honor for all artisans, for his Yohen Tenmoku work at the 25th Japan Traditional Crafts Exhibition in 1978. This award was not merely an artistic evaluation; it signified the nation's official recognition of the historical fact that the lost light of Yohen, after 800 years, had been scientifically and artistically reproduced through modern wisdom and perseverance.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis piece is a three-legged incense burner housing a Yohen of national treasure quality, truly demonstrating the technical pinnacle of the third generation's ceramic career. Yohen, where iridescent or rainbow-colored crystals emerge like stars on the glaze due to accidental effects of the flame within the tenmoku glaze (black glaze), is considered the ultimate gem in pottery. He strictly classified his own works: those with fluid blue or white crystals were called Tenmoku Yohen and cherished as beauty found in everyday use. In contrast, only his confident masterpieces, which represented his technical peak with perfect crystals and iridescent glow appearing vividly like stars in the night sky, were given the designation of Yohen Tenmoku. The tomobako (storage box) for this piece is inscribed with Yohen Tenmoku by the third generation himself with unwavering pride, eloquently attesting that this is an authentic piece of the highest caliber among his existing works. His skill was officially established, as evidenced by receiving the Order of the Sacred Treasure, Gold and Silver Rays (Fifth Class), in 1984. The fact that his works are housed in major museums such as the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto, suggests that this piece will acquire even greater historical value in the future.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eIn terms of design, it adopts the three-legged (hakama-goshi) shape, which has been considered the highest grade for ritual vessels since ancient times, and features an intricately openwork-carved hoya (lid). The glaze covering the entire ultimate body, approximately 13 cm in height—a dimension where precise control of Yohen crystals is considered most difficult—emits a brilliant glow reminiscent of galaxy stars from the profound jet black. The visual effect, changing moment by moment with the angle of light, is truly worthy of being called a microcosm in hand. The bottom clearly bears the square seal of Sokyu, the authentic mark of the third generation. It has been carefully preserved as a flawless, perfect piece with its original box, maintaining the utmost excellent condition. Since his passing in 1989, no new Yohen Tenmoku works of this caliber have been created, making this piece an important legacy in the history of modern ceramics that inherits the soul of national treasures—a museum-quality treasure coveted by enthusiasts and investors worldwide. Savoring fine sake from a bygone era or rich Japanese whisky while gazing at this star-like shimmering iridescent kiln effect will be an exceptionally luxurious lifestyle, allowing one to fully enjoy the supreme tranquility achieved by traditional Japanese crafts.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Heian Sokyu III (三代 平安宋丘), Birth name: Kubo Yoshizo (1913-1989)\u003c\/li\u003e\n\u003cli\u003e\u003cb data-path-to-node=\"29\" data-index-in-node=\"46\"\u003eRepresentative Activities:\u003c\/b\u003e Artist's Major Career Highlights: Reigned as the foremost authority on Kyo-yaki and Kiyomizu-yaki ceramics from the 1930s to the 1990s. [1933] Inherited the family business and began activities as Heian Soku III, [1935] spent 17 years as a researcher at the National Ceramic Research Institute, engaging in research on ceramic production techniques and providing technical guidance to pottery factories, [1953] spent 15 years at the Kyoto Institute of Technology, dedicating efforts to ceramic education, mentoring future technicians, and conducting research, [1970] dispatched to the Republic of China for 5 years as a technical assistance officer for developing countries by the Japanese government, providing technical guidance to the country's ceramic industry and training its technicians while simultaneously conducting research on Eastern ceramics, held prestigious positions such as Advisor to the Union Industrial Research Institute, Republic of China, and Lecturer at the Chinese Culture College University, and thereafter concentrated on ceramic creation in Rakunan, Kyoto, [1978] received the Prime Minister's Award, the highest honor for all craft artists, at the 25th Japan Traditional Crafts Exhibition, [1984] awarded the Order of the Sacred Treasure, 5th Class.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePublished Works:\u003c\/strong\u003e [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Overview of Domestic Ceramic Raw Materials, [Around 1935-1952: Era as a Researcher at the National Ceramic Research Institute] Selected Collection of Ceramic Clay Blending, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Technical and Economic Status of the Taiwanese Ceramic Industry, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Ceramic Industry of Taiwan, [Around 1970-1975: Era of Dispatch to the Republic of China (Taiwan)] Current Status and Trends of Architectural Ceramics in Southeast Asian Countries, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cb data-path-to-node=\"12\" data-index-in-node=\"0\"\u003eWorks in Collections:\u003c\/b\u003e The National Museum of Modern Art, Tokyo (houses his Prime Minister's Award-winning work Yohen Tenmoku Bowl), The National Museum of Modern Art, Kyoto (houses Aka-e Kin-sai Bowl and others), Kyoto Prefecture, Kyoto City, The Museum of Kyoto, and others.\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cb data-path-to-node=\"13\" data-index-in-node=\"0\"\u003eProduction Period:\u003c\/b\u003e 1984-1989 (his very late period and golden age, after receiving the Prime Minister's Award and being recognized as an intangible cultural asset). *The Yohen Tenmoku of this piece is characterized by complex crystals and deep colors created by the accidental interplay of fire and glaze. This is a masterpiece symbolizing the golden age where the refined forms and techniques pursued by the artist, who stood at the pinnacle of Japan both in name and reality after winning the highest award, culminated in his final years.\u003c\/li\u003e\n\u003cli data-path-to-node=\"14\"\u003e\u003cb data-path-to-node=\"14\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Very good (no chips, no cracks, no scratches), [Authenticity Guaranteed]\u003c\/li\u003e\n\u003cli data-path-to-node=\"15\"\u003e\u003cb data-path-to-node=\"15\" data-index-in-node=\"0\"\u003eDate of Production:\u003c\/b\u003e Circa 1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"16\"\u003e\u003cb data-path-to-node=\"16\" data-index-in-node=\"0\"\u003eAccessories:\u003c\/b\u003e Tomobako (wooden box with artist's handwritten signature, Yohen Tenmoku inscription, and seal), Wrapping cloth (with seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"17\"\u003e\u003cb data-path-to-node=\"17\" data-index-in-node=\"0\"\u003eMaterial:\u003c\/b\u003e Ceramic (Kyoyaki, Yohen Tenmoku)\u003c\/li\u003e\n\u003cli data-path-to-node=\"18\"\u003e\u003cb data-path-to-node=\"18\" data-index-in-node=\"0\"\u003eDimensions:\u003c\/b\u003e Diameter approx. 10.3 cm, Height approx. 13.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cb data-path-to-node=\"19\" data-index-in-node=\"0\"\u003eNote:\u003c\/b\u003e All items we offer, even if new and unused, are from a very old production period and are listed as used. Please understand that items may have age-related damage and consider this before purchasing.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47581461905595,"sku":null,"price":2000000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5520_result.jpg?v=1774857314"},{"product_id":"295","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #295","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by Kumakura Junkichi (1920-1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, he pursued his artistic career in ceramics. He apprenticed under \u003ca href=\"\/en\/search?q=%22%E7%A6%8F%E7%94%B0%E5%8A%9B%E4%B8%89%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFukuda Rikisaburo\u003c\/a\u003e at the Shosai Toen atelier in Kyoto, and further had his creative spirit rigorously instilled by \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, a giant of modern ceramics and a Living National Treasure. His style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with his own industrial design and architectural background, shone with a unique brilliance in the ceramic world of his era. In 1957, he joined the legendary avant-garde ceramic artist group \"Sodeisha,\" formed by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. His artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. His works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in his youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued his unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. His spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to his relatively short active period of ceramic creation and the fact that many of his major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kumakura Junkichi (熊倉順吉, 1920-1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974194315451,"sku":null,"price":130000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8558_result.jpg?v=1783258162"},{"product_id":"301","title":"British Museum \u0026 MOMAT Collection Artist - Okayama Prefecture Important Intangible Cultural Property Holder, Isezaki Mitsuru (伊勢崎満) - Anagama-Fired Bizen Guinomi Sake Cup with Signed Tomobako, Yohen \u0026 Goma Unglazed Stoneware, One-of-a-Kind #301","description":"\u003cp data-path-to-node=\"24\"\u003eThis is an exceptionally distinguished guinomi sake cup, representing the height of classic elegance, meticulously crafted by Isezaki Mitsuru, a master craftsman who significantly shaped the world of Bizen ware during the Showa era by restoring the medieval semi-underground anagama kiln and relentlessly pursuing the fundamental, primeval beauty of earth and fire. Isezaki Mitsuru was born into a highly respected lineage as the son of \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, a celebrated master artisan designated as a holder of Okayama Prefecture’s Intangible Cultural Property. In 1998, Mitsuru himself was formally recognized as a holder of Bizen ware production techniques and certified as an Important Intangible Cultural Property holder by Okayama Prefecture, cementing his reputation as a premier giant of modern Bizen pottery. His single greatest contribution to ceramic history lies in successfully reviving the historical semi-underground anagama kiln—the exact firing environment used for ancient Bizen ware during the Muromachi and Momoyama periods—alongside his younger brother, \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E6%B7%B3%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Jun\u003c\/a\u003e, who is recognized as a Living National Treasure. Completely distinct from modern climbing kilns or automated gas kilns, the traditional anagama kiln presents extreme challenges in temperature control. Isezaki dedicated his creative life to this unpredictable environment, allowing the airborne wood ash from the red pine fuel and the intense, shifting torrents of flame to interact organically with the unglazed clay body, thus capturing a calculatingly elusive natural wonder within the physical form of the vessel.\u003c\/p\u003e\n\u003cp data-path-to-node=\"25\"\u003eThis particular sake cup stands as a true masterwork, beautifully showcasing Isezaki Mitsuru's hallmark anagama yakishime (kiln-fired, unglazed) technique across its entire surface with mesmerizing visual contrast. On one half of the vessel, the melted ash from the burning red pine logs has settled to form \"kase-goma\"—a distinctive, matte, and dry-textured natural ash glaze that exudes a profound rustic charm. Conversely, the opposite side features \"yōhen\" (accidental kiln transformation) created by the dynamic passage of direct flames, which has painted a magnificent smoky coloration of warm scarlet and deep grayish-black across the moist, tactile clay surface. Creating such a sophisticated range of expressions solely through the raw elements of earth and fire, without relying on chemical glazes or painted pigments, requires several days of sleepless, intense kiln monitoring and represents the highest crystallization of a technique perfected over decades. The artist's genuine signature is carved with a spatula beside the foot rim as undeniable proof of authenticity, and on the exterior lid of the accompanying dedicated wooden box (Tomobako), the title \"Bizen Guinomi,\" the artist's personal signature \"Mitsuru,\" and his official vermilion seal (rakkan) are cleanly inscribed and stamped together in a unified composition. Furthermore, the inclusion of the original ceramic biography pamphlet detailing his career achievements up to 1984 (Showa 59) provides objective provenance, certifying this piece as a rare survivor from the early 1980s—the definitive golden era of Isezaki's anagama mastery.\u003c\/p\u003e\n\u003cp data-path-to-node=\"26\"\u003eOur gallery proudly presents this historic vessel, whose sister works are permanently preserved within renowned international institutions such as the British Museum and the National Museum of Modern Art, Tokyo, as the ultimate expression of Japanese Kōgei. It is perfectly tailored to bring timeless refinement to a sophisticated modern lifestyle, allowing the collector to hold the heritage of Japan in the palm of their hand. The comfortable, compact proportion and the heavy, powerful structural form make it an incomparable premium vessel for savoring aged sakes, mature spirits, or fine whiskies that have developed a rich complexity and amber luminescence over long periods of cellaring. The contrast between the dry, organic texture of the wood ash and the smooth, moist glaze variations of the kiln transformation resonates beautifully with the spirit poured inside, elevating a quiet evening drink into a luxurious communion with a three-dimensional masterpiece of classic Japanese art.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eIsezaki Mitsuru (伊勢崎満, 1934-2011)\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eArtist's Notable Career History: \u003c\/strong\u003e[1961] Awarded the Sanyo Shimbun Prize at the Okayama Prefectural Art Exhibition; [1966] First selected for the Japan Traditional Crafts Exhibition (in the same year, restored the medieval semi-underground anagama kiln at Kuyasan with his brother, Isezaki Jun); [1972] Received the Grand Prize at the Chunichi International Exhibition of Ceramic Arts; [1973] Received the Japan Ceramic Society Award; [1984] Received the Okayama Prefectural Cultural Encouragement Prize; [1994] Received the Sanyo Culture Prize; [1998] Officially designated as a holder of Okayama Prefectural Important Intangible Cultural Property for Bizen ware production techniques\u003c\/li\u003e\n\u003cli data-path-to-node=\"29\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Victoria and Albert Museum (London, UK); The British Museum (London, UK); and other major public fine art institutions\u003c\/li\u003e\n\u003cli data-path-to-node=\"30\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e Circa 1980–1984 (specifically determined by the final recorded year, Showa 59, in the accompanying official documentation)\u003c\/li\u003e\n\u003cli data-path-to-node=\"31\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good (pristine condition with no chips or cracks, excluding the natural material characteristics and age-related maturation typical of antique and old fine art pieces)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Dedicated Tomobako (original signed and sealed artisan wooden box), original informational pamphlet detailing the artist's profile up to Showa 59\u003c\/li\u003e\n\u003cli data-path-to-node=\"33\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003eCeramic (Stoneware \/ Bizen ware, anagama unglazed yakishime, yōhen transformation, natural goma ash glaze)\u003c\/li\u003e\n\u003cli data-path-to-node=\"34\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 5.5 cm, Diameter approx. 5.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"35\"\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Please be advised that all items curated by our gallery, even if unused, originate from a historic production era and are strictly categorized as antique\/collectible fine art. Vintage objects may display subtle age-related nuances; we kindly invite you to consider your purchase with a full understanding of the unique character of antique Japanese ceramics.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48055746986171,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8601_result.jpg?v=1783739588"},{"product_id":"322","title":"Second-Generation Furai Kiln, Bizen Ware Artist Mori Taiga (森大雅): Unglazed Stoneware Yohen Free Cup, Sake Vessel, Guinomi, Rocks Glass #322","description":"\u003cp data-path-to-node=\"17\"\u003eInheriting the bloodline and traditional techniques of Furai Kiln, founded by his grandfather \u003ca href=\"\/en\/search?q=%22%E6%A3%AE%E9%A2%A8%E6%9D%A5%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFurai Mori\u003c\/a\u003e—renowned as a master craftsman of Bizen ware—this unglazed stoneware free cup is created by Taiga Mori, a contemporary ceramic artist born in Bizen City, Okayama Prefecture in 1978. At Furai Kiln, Taiga Mori mastered the fundamental techniques of Bizen pottery, including the refining of carefully selected rice-field clay (tado) and wood-fired kiln firing. While inheriting the aesthetics of traditional tea ceramics and sake vessels, he has pursued a sharp, powerful sculptural beauty that harmonizes with modern spaces. Bizen ware uses no glazes or painted decoration whatsoever; by firing in a wood-burning kiln at temperatures exceeding 1,000 degrees Celsius over several days, it gives birth to coincidental beauty woven by the components within the clay, the flames, and the wood ash. Our shop presents this vessel, which condenses the strength of Japan's unglazed stoneware craft with over a thousand years of history, to the global market not only for sencha or everyday tea, but also as a vintage rocks glass (Japanese free cup) designed for slowly savoring aged sake or premium Japanese whisky with large ice cubes, enveloped in rich aromas matured through the years.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eExamining the details of this work reveals that the three-dimensional carving, powerful sculptural sensibility favored by Taiga Mori, and the diverse yohen (kiln transformation) scenery resulting from wood-firing are clearly manifested across the vessel. A horizontal, band-like ridge and depression are crafted around the center of the body; through manual carving and pressing after wheel-throwing, a bold, functional contoured form is created that fits the fingers naturally when held. The raw clay surface displays the warm reddish-brown hue characteristic of Bizen, while on one side of the body, minute goma (natural ash glaze) ranging from yellowish-brown to golden-green—formed by burned pine ash melting at high temperatures—appears as a beautiful accent. Furthermore, smoky dark brown shadows and vivid hiiro (scarlet fire marks) created by oxidation-reduction reactions within the kiln overlap one another, drawing a rich color gradation hard to imagine originating from a single clay. Inside the interior base (mikomi), swirling clay expressions and natural ash scorching spread out, while the bottom of the foot ring features powerful carved marks alongside the artist's own carved seal clearly incised.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, it is identified as an authentic work created between circa 2015 and 2022, when Taiga Mori established his unique three-dimensional sculpting and faceted\/tiered carving techniques at Furai Kiln, actively presenting works at major galleries and craft exhibitions nationwide, and reaching a mature stage in both sculptural beauty and firing technique. The vessel itself has no cracks or chips, maintaining the moist clay texture and yohen scenery unique to unglazed stoneware in extremely good condition.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Mori Taiga (森大雅, 1978–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [2000s] Began ceramic creation at Furai Kiln; [2010s–Present] Selected for the Japan Traditional Art Crafts Exhibition, received awards at the Okayama Prefecture Art Exhibition, and held numerous solo exhibitions at department stores and galleries\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Local exhibition facilities and private craft collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e Circa 2015–2022\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition：\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories：\u003c\/strong\u003e None\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed stoneware, yohen kiln transformation, goma natural ash glaze, hiiro fire marks, carved seal)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003e Height approx. 9.3 cm, Mouth diameter approx. 8.5–8.9 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115730907323,"sku":null,"price":29000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0494_result.jpg?v=1786023161"},{"product_id":"328","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Sake Cup, Crafted Under Two Important Intangible Cultural Properties #328","description":"\u003cp data-path-to-node=\"16\"\u003eThis extremely rare sake cup (guinomi) is crafted by Takahara Shoji (1941–2000), a master of Bizen ware born in Okayama Prefecture in 1941. He achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having his work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of his creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, to the global market as a vintage premium sake vessel (shot glass) designed for slowly savoring aged amber sake or neat premium Japanese whisky.\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eThe core artistic value of Takahara Shoji lies in his prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, he studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e (1902–1961), Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, he studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e (1899–1964), 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 is expressed with extraordinary density through the sharp contrast of authentic, traditional Bizen firing effects—such as yohen (natural kiln transformation), 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 heavy hai-kaburi (ash deposit) and goma (sesame-like ash spots) that melted under intense falling wood ash to create a volcanic, rough texture, while the contrasting side vividly highlights warm hidasuki reddish tones alongside refined wheel marks. Furthermore, melted natural glaze has pooled at the bottom of the interior, presenting a deep, profound expression unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThis work is identified as an authentic piece created between 1971 and 1975—a peak period when Takahara's noborigama firing techniques and wheel-throwing skills reached full maturity following his entry into the 1st Japan Ceramic Art Exhibition in 1971. The artist’s signature seal is clearly stamped on the underside of the base, and the vessel remains in excellent condition with no chips or cracks.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003eTakahara Shoji (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\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; [1965] Built his own noborigama (climbing kiln) and established his independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003eMuseum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e1971–1975 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\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=\"24\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003eStoneware (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=\"25\"\u003e\u003cstrong\u003eDimensions：\u003c\/strong\u003eMouth diameter approx. 6.0 cm, Height approx. 5.2 cm – 5.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCaution：\u003c\/strong\u003eAll products offered by our shop are historical items from an old production period and are listed as antique art \/ pre-owned items. Products may have subtle changes due to age, so please consider purchasing after understanding and verifying the nature of antique art.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731169467,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_9890_result.jpg?v=1785286224"},{"product_id":"329","title":"Museum Angewandte Kunst Frankfurt Collection Artist Takahara Shoji (高原昌治), Bizen Ware Yohen Goma Hai-Kaburi Hidasuki Tea Bowl, Crafted Under Two Important Intangible Cultural Properties, Western Liquor Vessel, Rocks Glass #329","description":"\u003cp data-path-to-node=\"17\"\u003eThis extremely rare Bizen ware tea bowl is crafted by Takahara Shoji (1941–2000), a master of Bizen ceramics born in Okayama Prefecture in 1941. He achieved prestigious accolades including winning the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition, entering the landmark 1st Japan Ceramic Art Exhibition in 1971—the pinnacle of modern ceramic art—and having his work officially purchased and permanently collected by the Frankfurt Museum of Applied Arts (Museum Angewandte Kunst) in former West Germany in 1987. Passing away prematurely at the age of 59, Takahara is a deceased master whose supply of new works has completely ceased, causing the rarity and value of his creations in the art market to climb year by year. We offer this supreme Japanese craft piece, backed by established history and distinction, to the global market not only as tea ceremony pottery for enjoying matcha, but also as a vintage premium sake vessel (Japanese rocks glass) designed for slowly savoring aged amber sake or neat premium Japanese whisky over large ice cubes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eThe core artistic value of Takahara Shoji lies in his prestigious and authentic lineage, having inherited techniques directly from two top masters of Bizen ceramics with contrasting styles. In 1958, he studied under \u003ca href=\"\/en\/search?q=%22%E4%BC%8A%E5%8B%A2%E5%B4%8E%E9%99%BD%E5%B1%B1%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIsezaki Yozan\u003c\/a\u003e, Holder of Okayama Prefectural Important Intangible Cultural Property, absorbing the spatial sense of intricate ceramic sculpture and three-dimensional craftsmanship. Subsequently in 1962, he studied under \u003ca href=\"\/en\/search?q=%22%E7%9F%B3%E4%BA%95%E4%B8%8D%E8%80%81%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eIshii Furo\u003c\/a\u003e, also a Holder of Okayama Prefectural Important Intangible Cultural Property, thoroughly mastering the superb potter’s wheel forming techniques that served as Ishii's trademark. Examining the details of this work reveals that the transcendent techniques inherited from both masters, along with the drama of noborigama (climbing kiln) firing, are clearly manifested across its entire surface. The vessel's form retains beautiful and powerful wheel marks directly passed down from Ishii Furo around its waist, conveying the moist, clinging texture of meticulously selected rice-paddy clay (tado) when held in the palm. Without the use of any glaze, the external appearance coexists in extraordinary density with traditional Bizen firing effects—yohen (natural kiln transformation), hai-kaburi (ash deposit), sangiri (ash-covered firing mark), and hidasuki (fire-cord pattern)—created solely by the fierce flames and convective wood-ash currents generated by splitting red pine firewood. One side displays magnificent natural glaze (goma) that melted and settled like heavy tree bark or molten lava under intense falling wood ash from the noborigama kiln, while contrastingly, vibrant red hidasuki patterns born from rice straw wrapping powerfully encircle the area from the foot ring to its underside. Within the interior base (mikomi), melted natural glaze deposits and deep unglazed firing expressions spread out, while the outer surface exhibits minor natural fissures along the clay boundaries typical of noborigama firing (ishihaze and fine clay expressions), boasting the ultimate unglazed beauty unique to unglazed Bizen stoneware.\u003c\/p\u003e\n\u003cp data-path-to-node=\"19\"\u003eRegarding the period of production, this work is identified as an authentic masterpiece created during his peak period between 1981 and 1984, grounded directly in the fact that his form and yohen techniques reached their zenith following his research trip to the United States in 1981, as well as the artist's biography leaflet included with the piece detailing his solo exhibition history up to 1984 (Showa 59). The artist's unique seal is clearly stamped inside the foot ring, and the piece remains in very good condition with no chips or cracks. It arrives as a complete set, accompanied by a matching wooden box for safe protection, a dedicated wrapping cloth stamped with a red seal, and a biography leaflet printed with the artist's mark.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist：\u003c\/strong\u003e Takahara Shoji (高原昌治, 1941–2000)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities：\u003c\/strong\u003e [1958] Studied under Isezaki Yozan, Holder of Okayama Prefectural Important Intangible Cultural Property; [1962] Studied under Ishii Furo, Holder of Okayama Prefectural Important Intangible Cultural Property, selected for the Japan Kougei Association Higashi-Chugoku Branch Exhibition for the first time; [1965] Built his own noborigama (climbing kiln) and established his independence; [1967 \u0026amp; 1968] Won the Sanyo Shimbun Award for two consecutive years at the Japan Kougei Association Higashi-Chugoku Branch Exhibition; [1971] Selected for the 1st Japan Ceramic Art Exhibition; [1981] Traveled to the U.S. to conduct ceramic research; [1987] Work officially purchased by the Frankfurt Museum of Applied Arts (former West Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In：\u003c\/strong\u003e Museum Angewandte Kunst (Frankfurt, Germany)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production：\u003c\/strong\u003e 1981–1984\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition： \u003c\/strong\u003eVery good (no chips, no cracks, natural ash glaze melted deposits inside the interior, minor natural clay boundary fissures on the surface as inherent character of the work)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories： \u003c\/strong\u003eMatching wooden box, wrapping cloth with seal, leaflet printed with artist's seal included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial：\u003c\/strong\u003e Stoneware (Bizen ware, unglazed firing, natural ash glaze, goma ash spots, hai-kaburi ash deposit, sangiri, hidasuki, yohen kiln transformation, tado clay, potter's wheel marks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions： \u003c\/strong\u003eHeight approx. 7.9 cm, Mouth diameter approx. 12.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution： \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48115731235003,"sku":null,"price":100000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0047_result.jpg?v=1785504621"},{"product_id":"341","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #295","description":"\u003cp data-path-to-node=\"33\"\u003eThis ceramic vessel is a masterwork by Kumakura Junkichi (1920-1985), a legendary figure who left an indelible mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 and passing away in 1985, Kumakura Junkichi was a magnificent pioneer who led the post-war history of Japanese ceramics. After thoroughly studying modernism design and architectural structural expression at the Kyoto City First Industrial School of Architecture and the Kyoto Higher College of Arts and Crafts (currently the Kyoto Institute of Technology) Department of Pattern Design and Drawing, he pursued his artistic career in ceramics. He apprenticed under \u003ca href=\"\/en\/search?q=%22%E7%A6%8F%E7%94%B0%E5%8A%9B%E4%B8%89%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFukuda Rikisaburo\u003c\/a\u003e at the Shosai Toen atelier in Kyoto, and further had his creative spirit rigorously instilled by \u003ca href=\"\/en\/search?q=%22%E5%AF%8C%E6%9C%AC%E6%86%B2%E5%90%89%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eTomimoto Kenkichi\u003c\/a\u003e, a giant of modern ceramics and a Living National Treasure. His style, which fused the strict modernist philosophy of \"never create patterns from existing patterns\" inherited from Tomimoto Kenkichi with his own industrial design and architectural background, shone with a unique brilliance in the ceramic world of his era. In 1957, he joined the legendary avant-garde ceramic artist group \"Sodeisha,\" formed by \u003ca href=\"\/en\/search?q=%22%E5%85%AB%E6%9C%A8%E4%B8%80%E5%A4%AB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYagi Kazuo\u003c\/a\u003e and \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and as a central member, reigned at the pinnacle of the Japanese ceramic art world. His artistry achieved high international acclaim, winning the prestigious Grand Prix at the 1958 Brussels World's Fair in Belgium and a silver prize at the 1962 International Ceramics Exhibition in Prague, Czechoslovakia. His works are publicly housed in leading national institutions, including the National Museum of Modern Art, Tokyo, and the National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"34\"\u003eThis piece is a true masterpiece that clearly demonstrates Kumakura Junkichi’s most highly regarded philosophy: the modernization of traditional glazes. The surface of the vessel presents a beautiful and magnificent landscape, as if the rich, volatile variations of the deep sea have been encapsulated within its glaze. This deeply vibrant green glazed kiln transformation (yohen), while utilizing traditional mineral glazes, has been elevated into a contemporary abstract expression through the graphic design sensibility the artist cultivated in his youth. The fluid undulations of the glaze and the meticulously controlled color gradations create a three-dimensional depth, painting an abstract expressionist drama upon the serene clay body. While other core members of Sodeisha moved towards pure sculptural objects that completely denied the utility of the vessel form, Kumakura Junkichi pursued his unique artistic conviction of how far avant-garde expression could be extended while strictly maintaining the practical utility and elegant form of the vessel. His spatial and architectural intelligence is fully expressed in the fusion of this piece's structured form and overwhelming tactile texture. Due to his relatively short active period of ceramic creation and the fact that many of his major works are held in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this item highly rare as a global collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"35\"\u003eWith its exquisite size of 18.5 cm in diameter, we propose this bowl as a Japanese KOGEI masterpiece perfectly tailored for enjoying matured vintage sake (Koshu) within a sophisticated contemporary lifestyle. It is particularly ideal as a dish for serving simmered foods or as an appetizer plate when savoring aged sake that has acquired a deep richness and noble aroma over many years. The overwhelming seascape of the glaze, where tradition and the avant-garde intersect, elegantly enhances the dishes served, creating a luxurious experience that satisfies all five senses alongside the rich flavor of matured vintage sake. This vessel, embodying the spirit of a master who relentlessly pursued beauty without compromise, is a supreme modern piece that brings undeniable dignity and a unique presence to the everyday dining table.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kumakura Junkichi (熊倉順吉, 1920-1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48145420681403,"sku":null,"price":65000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_0220_result.jpg?v=1785639061"},{"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 his father, Mr. \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\" (Living National Treasure)—and legitimately inheriting his paramount ceramic art philosophy, advanced glaze formulation, and firing techniques, this white glaze wave motif tea bowl was created by ceramic artist Mr. Shimizu Yasutaka (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, Mr. Shimizu Yasutaka entered full-scale pottery making under his father in 1971. Beginning with his first selection at the 19th Japan Traditional Art Crafts Exhibition in 1972, he 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 his nomination as a Regular Member and Special Member of the Japan Art Crafts Association. Basing his pottery practice at Horai Kiln in Adogawa-cho, Takashima City, Shiga Prefecture, his 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 Mr. 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 Mr. 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 his 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 Mr. 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\u003eShimizu Yasutaka (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 his father, Mr. 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\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":"380","title":"Honorary Member of Kofukai, Mr. Haniu Takahiro (羽二生隆宏): Iridescent Yohen Sake Cup, Crystalline Iridescence, Japanese Sake Shot Glass, Sake Vessel #380","description":"\u003cp\u003eBorn in Hokkaido in 1937, Mr. Haniu Takahiro was inspired to pursue pottery during his apprenticeship at the Nopporo Ceramic Branch of the Hokkaido Industrial Research Institute after being deeply moved by the works of Mr. \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 master of modern Japanese ceramics. After honing his skills in Mashiko and Seto, he established his independent kiln in Kashiwa City, Chiba Prefecture in 1967, and studied under Mr. \u003ca href=\"\/en\/search?q=%22%E5%B1%B1%E6%9C%AC%E6%AD%A3%E5%B9%B4%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eYamamoto Masatoshi\u003c\/a\u003e from 1974. A member who earned selections in the Nitten Exhibition and received the Kofu Craft Special Award, Mr. Haniu Takahiro is today highly acclaimed as an Honorary Member of Kofukai. Our shop offers this piece—featuring a thinly and neatly hand-carved shallow cup form and a mystical rainbow luminescence—to the global market as a luxurious Japanese sake shot glass for quietly savoring amber aged sake, matured whisky, or noble spirits neat.\u003c\/p\u003e\n\u003cp\u003eCarefully examining the details of this work clearly reveals the scenery of the iridescent yohen glaze, a signature technique established by Mr. Haniu Takahiro through advanced glaze research in the lineage of Mr. Shinobu Komori. Over a deep, dark glaze ground, fine crystalline particles and light refraction create a dense rainbow iridescence of blue, purple, green, and gold across the entire vessel down to the mikomi (inner bottom), presenting fantastical color shifts with every change in angle. The sharp, well-balanced shallow bowl shape, reminiscent of an abacus bead, was formed through dense manual carving, while the base features an unglazed clay exposure (\"tsuchimise\") revealing rustic red clay. Inside the foot ring, Mr. Haniu Takahiro's hand-carved signature \"Takahiro\" is clearly inscribed.\u003c\/p\u003e\n\u003cp\u003eRegarding the period of production, taking the workshop address listed on the accompanying leaflet (shiori) as Ezochi, Abiko City—where his studio relocated in 1982—and the maturation of his yohen glaze expression in Kofukai and Nitten exhibitions leading to his receiving the Kofu Craft Special Award in 2003, it is identified as an authentic work created in the 2000s to 2010s (mid to late Heisei period), when he perfected his unique iridescent expression. The vessel itself has no cracks or chips, maintaining excellent condition in its iridescent yohen glaze coloration, crystal formation, and glaze texture. The piece arrives in complete condition, accompanied by its dedicated Tomobako (wooden box) inscribed on the lid with \"Iridescent Yohen Sake Cup\" in ink with a red seal, a dedicated wrapping cloth bearing the same ink inscription and seal, and a studio leaflet from the Abiko workshop.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMr. Haniu Takahiro (羽二生隆宏, 1937–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1958] Encountered the works of Mr. Shinobu Komori during his time as a trainee at the Nopporo Ceramic Branch of the Hokkaido Industrial Research Institute and decided to pursue ceramics; [1967] Established an independent kiln in Kashiwa City, Chiba Prefecture; [1974] Studied under Mr. Yamamoto Masatoshi, a Nitten Councilor; [1982] Relocated his kiln to Abiko City and was selected for the first time at the 68th Kofukai Exhibition; [2003] Received the Kofu Craft Special Award at the 89th Kofukai Exhibition; [2014] Selected for the first time at the 1st Reorganized Nitten Exhibition; [2018] Nominated as an Honorary Member of Kofukai\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e Kashiwa City Public Collections, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 2000s–2010s (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako, dedicated cloth with seal stamp, studio leaflet included\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (iridescent yohen glaze, crystals, hand-carved, stamped signature)\u003c\/li\u003e\n\u003cli data-path-to-node=\"27\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 3.6 cm, Mouth diameter approx. 8.4 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"28\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period. Products may have minor age-related changes in texture, so please consider purchasing after understanding and verifying these details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48265439248571,"sku":null,"price":41000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_1674_result.jpg?v=1787565752"},{"product_id":"392","title":"Imari Nagisa Kiln Takagi Kazuyasu (高木和安): Jomon Carved Pattern Yohen Chawan, Matcha Bowl, Sake Vessel, Primitivism Art, Japanese Rocks Glass #392","description":"\u003cp data-path-to-node=\"16\"\u003eLocated at the mid-slope of Mount Koshidake in Imari City, Saga Prefecture, Nagisa Kiln is led by ceramic artist Takagi Kazuyasu (1944–), who is renowned as a leading pioneer who theorized saggar firing (saya-bachi firing) and elevated the ancient Jomon aesthetic into contemporary ceramic art. Since establishing Nagisa Kiln in 1970, after receiving awards at the Gendai Kogei Exhibition and winning the Saga Governor's Award at the Japan Shin-Kogei Exhibition in 1989, Mr. Takagi Kazuyasu stepped away from public competitions in 1992 to focus exclusively on creating one-of-a-kind works at his own kiln. In 2005, he authored the technical treatise \"First-Time Electric Kiln Firing: Saggar Firing Japanese Ceramics\", establishing a firm reputation in firing techniques that control the natural phenomena of clay and flame through advanced technology. Although originally crafted as a dignified Matcha bowl, our shop presents this piece to the global market not only as a tea vessel for enjoying a bowl of tea, but also as a luxury Japanese rocks glass (sake vessel) for quietly savoring amber aged sake, matured whisky, or authentic shochu over large ice cubes, utilizing its generous bowl form and profound interior bottom (mikomi).\u003c\/p\u003e\n\u003cp data-path-to-node=\"17\"\u003eCarefully inspecting the details of this piece reveals a magnificent realization of the intricate carved patterns reminiscent of ancient Jomon motifs—Takagi Kazuyasu's signature design—and the dramatic yohen (kiln transmutation) characteristic of saggar firing and anagama kiln firing, where wood, charcoal, and organic materials are reduction-fired inside sealed containers. Upon the heavy exterior ceramic body shifting from dark brown to iron-rust hues, sun-like, geometric lattice, and wave patterns are deeply hand-carved, with the unglazed reduction-fired texture and three-dimensional sculptural design exuding a commanding presence. On the other hand, turning one's gaze to the interior (mikomi), an extraordinarily rich glaze tone emerges where yellow, brown, and green glazes flow and layer in complex harmony, imparting a mystical depth to poured sake or tea. Beside the foot ring, artist's stamp marks \"Nagisa\" and \"Kazuyasu\" are clearly impressed in two rows by his own hand, certifying its intentional craftsmanship and authenticity alongside the raw texture of the base.\u003c\/p\u003e\n\u003cp data-path-to-node=\"18\"\u003eRegarding the period of production, it is estimated to have been created between circa 1995 and 2005, a peak period after building a full-scale anagama kiln at Nagisa Kiln in 1991, during which his expression of saggar firing and Jomon carving reached maturity, culminating in his 2005 publication. Created after becoming independent from public competition, this is a one-of-a-kind masterpiece that defies mass production, possessing exceptionally high rarity value. The vessel body itself has no damage such as cracks or chips, maintaining extremely excellent condition in both the coloration of the carved patterns and the glaze tone of the interior. It arrives in complete condition accompanied by its dedicated paulownia Tomobako, inscribed on the lid in an original calligraphic script with \"Chawan\" and on the back of the lid with \"Nagisa Kiln\" and \"Kazuyasu\" in ink, stamped with his seal.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"19\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakagi Kazuyasu (高木和安, 1944–)\u003c\/li\u003e\n\u003cli data-path-to-node=\"20\"\u003e\u003cstrong\u003eArtist's Key Activities: \u003c\/strong\u003e[1970] Established Nagisa Kiln in Imari City, Saga Prefecture; [1989] Won the Saga Governor's Award at the Japan Shin-Kogei Exhibition; [1991] Built a full-scale anagama kiln at Nagisa Kiln; [1992] Transitioned to an independent artist outside public competitions after receiving awards at the Gendai Kogei Exhibition; [1998] Appointed ceramics instructor at Keitoku High School; [2005] Authored and published the technical book \"First-Time Electric Kiln Firing: Saggar Firing Japanese Ceramics\" (Seibundo Shinkosha)\u003c\/li\u003e\n\u003cli data-path-to-node=\"21\"\u003e\u003cstrong\u003ePeriod of Production: \u003c\/strong\u003eCirca 1995–2005 (Estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"22\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"23\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated Tomobako included\u003c\/li\u003e\n\u003cli data-path-to-node=\"24\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (Imari ware, Nagisa Kiln, saggar firing, Jomon carved pattern, with artist's mark)\u003c\/li\u003e\n\u003cli data-path-to-node=\"25\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 8.0 cm, Mouth diameter approx. 13.6 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"26\"\u003e\u003cstrong\u003eCaution: \u003c\/strong\u003eAll products offered by our shop are pre-owned items due to their historical production period, even if unused. Products may have age-related damage, so please consider purchasing after understanding and verifying these condition details.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48302502805691,"sku":null,"price":38000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2118_result.jpg?v=1788061758"},{"product_id":"447","title":"Direct Disciple of Kamoda Shoji, Mashiko Ware, Sakata Jinnai (坂田甚内), 1988 Work, Inscribed Ash Glaze Yohen Bowl, Tea Bowl, Japanese Style Rocks Glass #447","description":"\u003cp data-path-to-node=\"1\"\u003eThis is an ash-glazed yohen (kiln-transformation) sake vessel created by Sakata Jinnai, a ceramic artist who directly inherited the unique modeling spirit of \u003ca href=\"\/en\/search?q=%22%E5%8A%A0%E5%AE%88%E7%94%B0%E7%AB%A0%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKamoda Shoji\u003c\/a\u003e, a genius who established a milestone in the Showa period ceramic art world. The top of the lid of the included original wooden box (Tomobako) is inscribed by the artist's own hand with \"Ash Glazed Yohen Bowl\" (灰釉窯変盌). Clear characters reading \"63nd Year\" (六十三年) are carved into a section on the side of the vessel, which indicates Showa 63 (1988), definitively identifying this work as having been created in 1988.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eWhat is most highly acclaimed in Sakata Jinnai's work is the fusion of heavy incised-lettering (carved text) techniques backed by the structural design philosophy of his master, Kamoda Shoji, three-dimensional pattern compositions directly carved into the clay surface with chisels and spatulas, a passionate sculptural beauty, and the ash glaze yohen created through grueling firing in a wood-burning kiln. Examining the design of this piece, the surface of the vessel is systematically divided into regular vertical bands, with extremely deep carving executed within each section. The body utilizes coarse clay with exposed feldspar and sand grains, presenting a complex yohen landscape across the entire surface that transitions from a glass-like vitrified ash glaze formed by wood ash melting at high temperatures to shades of green-brown and scorched textures.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eObserving the group of characters carved into the vessel's surface, in addition to the inscription \"63nd Year\" indicating the production date, one can confirm carvings in the style of ancient scripts reminiscent of primitive forms and brushstrokes of kanji such as \"龍\" (dragon), \"竜\" (dragon), \"辰\" (dragon\/zodiac), \"達\" (reach\/attain), \"立\" (stand), \"絶\" (surpass\/sever), and \"発\" (depart\/emanate). A major characteristic of these characters is that they all share the pronunciation \"Tatsu\" in Japanese. It is inferred that the meanings of ascent, departure, and attainment represented by verbs like \"to stand\" (Tatsu), \"to depart\" (Tatsu), and \"to attain\" (Tatsu) are overlaid with the symbolism of the \"dragon\" (Tatsu\/Shin), a divine beast ascending to the heavens. Rather than mere character recording, this design is considered to express the surging of vitality, auspicious omens, and the artist's own resolve in ceramic creation through the overlapping sounds of \"Tatsu\". The powerful carvings, evocative of ancient bronze and stone inscriptions or oracle bone script, are thought to endow the vessel with ancient mystical and geometric decorative qualities.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eWhile this work was originally created as a tea bowl or small bowl, its sturdy, thick-walled structure, comfortable form in the hands, and the three-dimensional tactile feel of the carved characters transmitted directly to the fingertips provide it with the function of an exceptionally high-quality Japanese-style rocks glass in modern times. Floating ice and pouring thoroughly aged amber-colored vintage sake, vintage whisky, or aged awamori allows the rustic, heavy texture of the ash glaze yohen and the colors of the liquor to show a magnificent harmony. As a precious authentic work of Japanese modern craft (Japanese Kogei) with virtually no information available in overseas markets, we propose this piece not only as a tea vessel, but also as a supreme sake vessel where one can experience deep aesthetic sensibilities through both touch and visual scenery.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"5\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Sakata Jinnai (坂田甚内, 1943- )\u003c\/li\u003e\n\u003cli data-path-to-node=\"6\"\u003e\u003cstrong\u003eRepresentative Career Highlights:\u003c\/strong\u003e [1964] Studied under Kamoda Shoji, [1966] Established independent kiln, [1971] Selected for Japan Ceramic Art Exhibition; selected for US and Canada Touring Exhibition, [1973] Selected for Japan Ceramic Art Exhibition; selected for South America Touring Exhibition, [1987] Purchased by The Japan Foundation; exhibited at the \"Modern Traditional Ceramic Art Exhibition\" overseas touring exhibition, [1989] Selected for New Zealand International Ceramic Exhibition\u003c\/li\u003e\n\u003cli data-path-to-node=\"7\"\u003e\u003cstrong\u003ePublic Collections \/ Shrine Dedications: \u003c\/strong\u003eThe British Museum (London), Rockefeller Foundation, Embassy of the United States, The Japan Foundation (purchased), etc. (Dedications: Izumo Taisha, Ise Jingu, Hieizan Enryakuji, Kodaiji, Takachiho Shrine)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1988\u003c\/li\u003e\n\u003cli data-path-to-node=\"9\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e Very Good (No chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"10\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated original wooden box (Tomobako), cloth (Tomobuke), certificate\/brochure (Shiori) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"11\"\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Ceramics (Mashiko ware, salt glaze, tea bowl, stamped\/inscribed)\u003c\/li\u003e\n\u003cli data-path-to-node=\"12\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height approx. 7.6 cm, Rim width approx. 12.5 cm, Weight approx. 340 g\u003c\/li\u003e\n\u003cli data-path-to-node=\"13\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eEven if the products provided by our shop are unused, they were produced a very long time ago and are all listed as pre-owned items. Please understand and confirm that the item may have age-related wear before considering your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48359790215355,"sku":null,"price":70000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_2920_result.jpg?v=1789962297"},{"product_id":"451","title":"Grand Prix Winner at the Belgium World's Fair, Sodeisha Member, Kumakura Junkichi (熊倉順吉), Green Glazed Yohen Vessel, Side Dish #451","description":"\u003cp data-path-to-node=\"1\"\u003eThis bowl is a piece by Kumakura Junkichi (1920-1985), a master who left a legendary mark on the avant-garde ceramic art world of modern Japan. Born in Kyoto in 1920 (Taisho 9) and passing away in 1985 (Showa 60), Kumakura was a pioneer who led post-war Japanese ceramic history. After thoroughly studying modernist design and architectural structural expression at the Architectural Department of Kyoto Municipal First Industrial School and the Design Department of Kyoto Higher School of Arts and Crafts (currently Kyoto Institute of Technology), he pursued the path of ceramics. He studied under \u003ca href=\"\/en\/search?q=%22%E7%A6%8F%E7%94%B0%E5%8A%9B%E4%B8%89%E9%83%8E%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eFukuda Rikisaburo\u003c\/a\u003e at Shosai Toen in Kyoto, and was further instilled with the creative spirit 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, a master of modern ceramics and a Living National Treasure. Inheriting the strict modernist philosophy from Tomimoto Kenkichi of \"not creating patterns from existing patterns,\" combined with his own background in design and architecture, his style stood out uniquely in the ceramic art world at that time. In 1957, he joined \"Sodeisha,\" the legendary avant-garde ceramic group 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, \u003ca href=\"\/en\/search?q=%22%E9%88%B4%E6%9C%A8%E6%B2%BB%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eSuzuki Osamu\u003c\/a\u003e, and others, becoming a member (Dojin) and reigning at the pinnacle of Japanese ceramics as a central figure. His artistry gained high international acclaim, winning the Grand Prix at the 1958 Brussels World's Fair in Belgium and the Silver Prize at the 1962 Prague International Ceramics Exhibition in Czechoslovakia, with his works publicly collected in institutions such as The National Museum of Modern Art, Tokyo and The National Museum of Modern Art, Kyoto.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eAlthough titled \"Green Glazed Bowl\" (Ryokuyu Hachi) on the original wooden box (Tomobako), this work is a masterpiece where Kumakura's unique sense of modernism and Yohen (kiln transformation) technique crystalize splendidly. Across the surface of the vessel spreads a breathtakingly beautiful and grand landscape, where layers of Yohen interweave from eye-dazzling vivid turquoise blue to deep cobalt blue, with olive green and golden-brown hues floating around the rim and center. In the midst of radial waves of delicate, reticulated crystalline glaze, at the central interior bottom (Mikomi), an irregular three-dimensional relief (an island-like motif) adorned in golden-brown and green is constructed, reminiscent of an ancient solitary island or a lagoon floating upon a blue ocean. Furthermore, the sculpturally deformed rim line that waves freely in organic curves demonstrates the structural backbone unique to Kumakura Junkichi, high-dimensionally fusing graphic design sensibility with architectural modeling thought. While other members of Sodeisha moved toward pure objets that completely rejected the vessel form, Kumakura maintained the beauty of utility and form as a vessel while pushing the boundaries of avant-garde expression under his own artistic philosophy. Because his career as a potter was relatively short and many of his major works are housed in public museums, the number of authentic pieces circulating in the private market is extremely limited, making this an exquisite item of very high rarity as a world-class collector's piece.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003ePossessing an exquisite size with a diameter of approximately 18.5 cm, our shop proposes this bowl as a Japanese Kogei piece to enjoy traditional Japanese aesthetics tailored to modern lifestyles. It is particularly ideal as a small dish for simmered dishes, appetizers, or a deep bowl when savoring aged sake or chilled sake that has acquired deep richness and aroma over time. The mysterious solitary island motif floating in the center of the interior bottom and the overwhelming ocean colors surrounding it elegantly complement served dishes, creating a luxurious time that satisfies all five senses alongside the rich flavor of sake. Imbued with the spirit of a master who pursued beauty without a single compromise, this vessel is a supreme modern piece that brings refined dignity and a unique presence to daily dining tables.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"36\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kumakura Junkichi (熊倉順吉, 1920-1985)\u003c\/li\u003e\n\u003cli data-path-to-node=\"37\"\u003e\u003cstrong\u003eArtist's Notable Activities: \u003c\/strong\u003e[1955] Received the 1st Japan Ceramic Society Award, [1957] Joined the avant-garde ceramic artist group \"Sodeisha\" as a central member, [1958] Awarded the Grand Prix at the Brussels World's Fair in Belgium, [1962] Received a silver award at the International Ceramics Exhibition in Prague, Czechoslovakia\u003c\/li\u003e\n\u003cli data-path-to-node=\"38\"\u003e\u003cstrong\u003eWorks Housed In:\u003c\/strong\u003e The National Museum of Modern Art, Tokyo; The National Museum of Modern Art, Kyoto; The Shigaraki Ceramic Cultural Park; The Museum of Modern Ceramic Art, Gifu, etc.\u003c\/li\u003e\n\u003cli data-path-to-node=\"39\"\u003e\u003cstrong\u003eProduction Period: \u003c\/strong\u003e1970s - 1980s (Maturity period as a prominent Sodeisha member)\u003c\/li\u003e\n\u003cli data-path-to-node=\"40\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eVery good (no chips, no cracks)\u003c\/li\u003e\n\u003cli data-path-to-node=\"41\"\u003e\u003cstrong\u003eAccessories:\u003c\/strong\u003e Original Tomobako (wooden box signed by the artist), wrapping cloth, artist's profile brochure included\u003c\/li\u003e\n\u003cli data-path-to-node=\"42\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery (green glaze with kiln transformation \/ yohen)\u003c\/li\u003e\n\u003cli data-path-to-node=\"43\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eHeight approx. 6.2 cm, Diameter approx. 18.5 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"44\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003ePlease note that all products offered by our store, even if unused, originate from a historic production period and are listed as antique fine art items. Vintage products may exhibit subtle age-related characteristics; please consider purchasing upon full understanding and confirmation.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48371985154235,"sku":null,"price":45000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_3181_result.jpg?v=1790256383"},{"product_id":"481","title":"Recipient of the Japan Art Academy Award, Member of the Japan Art Academy, Kanagawa Ware, Inoue Ryosai III (三代 井上良斎), Yohen Small Bottle, Water Dropper, Sake Bottle #481","description":"\u003cp data-path-to-node=\"1\"\u003eInoue Ryosai III (1888–1971, real name Inoue Ryotaro) was a ceramic artist who produced \"Kanagawa ware\" in Yokohama from the Taisho through the Showa era. He served as a member of the Japan Art Academy and an advisor to the Nitten (Japan Fine Arts Exhibition). In the late Edo period, Ryosai I moved from Owari Seto to Edo and established a kiln in Asakusa, where he produced \"Sumida ware,\" export ceramics renowned for high-relief decoration. Ryosai II was known for fine underglaze-painted works and won a Gold Medal at the 1900 Paris Exposition. Ryosai III was born in Asakusa, Tokyo, in 1888 as the eldest son of the second generation. In 1905, he engaged in pottery making to succeed the family business as the third generation, studying under \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\"\u003eHazan Itaya\u003c\/a\u003e, a pioneer of modern Japanese ceramic art, and refining his craft over many years.\u003c\/p\u003e\n\u003cp data-path-to-node=\"2\"\u003eIn 1914, he relocated to Yokohama for its convenient export access, establishing a kiln in Takashima-cho. After suffering damage in the Great Kanto Earthquake, he built a new climbing kiln (noborigama) in Nagata (now Nagata-Higashi, Minami Ward, Yokohama City). In this Nagata workshop, he continued to create pottery for nearly half a century until his death. This climbing kiln and workshop site is the only climbing kiln remaining in Yokohama City, and in 2023, it was registered as a Yokohama City Historic Building.\u003c\/p\u003e\n\u003cp data-path-to-node=\"3\"\u003eAs an artist, he participated from its inception in the \"Totokai,\" an association of Kanto ceramic artists founded in 1927 by Hazan Itaya and others. In 1928, he was selected for the first time for the Teiten (Imperial Art Exhibition), and from the following year onward, he held approximately 20 solo exhibitions at the Mitsukoshi Main Store. In 1943, he became a \"Mukansa\" (exempt from screening) exhibitor at the Buntan (Ministry of Education Art Exhibition). After World War II, he was primarily active in the Nitten, receiving the 1st Yokohama Cultural Award in 1953 while serving five times as a Nitten judge. In 1959, he was awarded the Japan Art Academy Award for \"Round-Pattern Flat Plate,\" and in 1966, he became a director of the Nitten and a member of the Japan Art Academy. In 1967, he received the Order of the Sacred Treasure, Third Class. His works are held in collections including the Yokohama Museum of Art and the Kanagawa Prefectural Museum of Cultural History.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eRegarding his artistic style, the Yearbook of Japanese Art by the Tokyo National Research Institute for Cultural Properties notes that he displayed unique coloration in jars and plates of celadon, white porcelain, and green glaze, and was cherished by enthusiasts for a dignified, noble style that directly mirrored his gentle and warm personality. Research by curators at the Kanagawa Prefectural Museum of Cultural History also highlights several key characteristics: his ornamentation was understated through glazes or carving, he favored simplified motifs, and his sculpting primarily sought to bring out the inherent quality of the glaze tone and the form itself. Over half of the works examined by the museum were unpatterned pieces decorated solely by glaze or simple lines. Furthermore, it has been confirmed that he mastered a wide variety of glazes, including green glaze, celadon, white porcelain, cinnabar (copper red) glaze, crystalline glaze, and his own original glaze formulations. While continually studying ancient ceramics, he was a master potter representing Yokohama who dedicated his life to experimenting with forms and glazes.\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThis piece is a small bottle with the inscription \"Yohen Small Bottle\" on the top of the tomobako lid. It features no surface patterning or painting; all of the vessel's expression arises from the kiln transmutation (yohen) of the glaze during firing. Dense, fine brown speckles appear across the blackish-brown to dark brown glaze, displaying a granular, tactile texture. From the shoulder to the neck, the glaze pools thickly with a strong luster, casting a metallic sheen depending on the angle of light. Gentle vertical indentations run down the body, where the pooled glaze forms dark bands to create a landscape (keshiki). The lower part of the body is left unglazed to reveal the reddish-brown clay body, where the coarse clay texture containing white feldspar grains forms a vivid contrast with the blackish-brown glaze above. Its coloration calls to mind the fruit of autumn Japanese chestnuts. Fashioned in an upright, dignified small bottle form with taut shoulders, the rim of the short neck flares slightly outward, and wheel marks remain on the body. A seal stamp is impressed on the base. Relying on no extraneous decoration, showcasing the interplay between glaze transmutation, clay contrast, and form itself, this work clearly exemplifies the core of his style as identified in curatorial research.\u003c\/p\u003e\n\u003cp data-path-to-node=\"6\"\u003eThe accompanying shiori lists \"Nitten Judge\" among his titles and records his career up to his service as a Nitten judge in Showa 31 (1956). It does not mention his appointment as a Nitten councilor in 1958, the Japan Art Academy Award in 1959, or his membership in the Japan Art Academy in 1966. Furthermore, the seal of \"Member of the Japan Art Academy\" often seen on tomobako from his later years is absent from this box. Based on these details, this work is considered to have been produced between around 1956 and 1958. It is a piece from the period when he was active as a Nitten judge, just prior to receiving the Japan Art Academy Award.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eMeasuring approximately 7 cm in diameter and 11 cm in height, this piece is a size that fits comfortably in the palm of your hand. Our shop proposes it as a water dropper for pouring chaser water alongside vintage whisky, or as a small liquor bottle for holding a modest pour of spirits. It is an exquisite item that allows you to enjoy close at hand, as a tool accompanying your daily dram, a creation by an artist who left a lasting name in the history of modern Japanese ceramics.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"8,0,0\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Inoue Ryosai III (井上 良斎, 1888–1971), Real name: Inoue Ryotaro（井上 良太郎）\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,1,0\"\u003e\u003cstrong\u003eMajor Career Highlights: \u003c\/strong\u003e[1888] Born in Asakusa, Tokyo, as the eldest son of Inoue Ryosai II; [1905] Engaged in pottery making to succeed the family business as the third generation, studying under Hazan Itaya; [1914] Relocated kiln to Takashima-cho, Yokohama; [From 1923 onward] After suffering damage in the Great Kanto Earthquake, built a climbing kiln in Nagata (now Nagata-Higashi, Minami Ward, Yokohama City); [1927] Participated in founding Totokai; [1928] First selected for 9th Teiten; [1929] Held solo exhibition at Mitsukoshi Main Store (approx. 20 times thereafter); [1943] Mukansa (exempt from screening) at Buntan; [1951] Entrusted artist at Nitten; [1953] Received 1st Yokohama Cultural Award; served as Nitten judge (5 times total); [1958] Councilor of Nitten; [1959] Received Japan Art Academy Award (Round-Pattern Flat Plate); [1966] Director of Nitten, Member of Japan Art Academy; [1967] Received Order of the Sacred Treasure, Third Class; Vice President of Japan Contemporary Craft Artists Association; [1968] President of Kanagawa Prefectural Craft Association; [1971] Passed away on February 6 (aged 82); [2023] Nagata climbing kiln and workshop site registered as a Yokohama City Historic Building\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,2,0\"\u003e\u003cstrong\u003eMuseum Collections:\u003c\/strong\u003e Yokohama Museum of Art, Kanagawa Prefectural Museum of Cultural History, Kanagawa Prefectural Government, and others\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,3,0\"\u003e\u003cstrong\u003ePeriod of Production:\u003c\/strong\u003e c. 1956 to c. 1958 (estimated)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,4,0\"\u003e\u003cstrong\u003eItem Condition:\u003c\/strong\u003e No noticeable chips or cracks. Fine crack-like lines inherent to the clay surface are visible on the unglazed portion of the base (refer to images)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,5,0\"\u003e\u003cstrong\u003eAccessories: \u003c\/strong\u003eDedicated tomobako (lid top inscribed \"Yohen Small Bottle\", signature and red seal stamp), shiori (with career history) included\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,6,0\"\u003e\u003cstrong\u003eMaterial: \u003c\/strong\u003ePottery \/ Stoneware (Kanagawa ware)\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,7,0\"\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Diameter approx. 7.0 cm, Height approx. 11.0 cm\u003c\/li\u003e\n\u003cli data-path-to-node=\"8,8,0\"\u003e\u003cstrong\u003eNote: \u003c\/strong\u003eAll items offered by our shop, even if new and unused, were produced a very long time ago, and all are therefore listed as pre-owned. Items may show age-related wear or damage. Please understand and confirm this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67651886481595,"sku":null,"price":26000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5024_result_f41f1d47-a226-4f73-b0d8-4ca9d3c21511.jpg?v=1791975411"},{"product_id":"502","title":"Hand-Built Shinsha Yohen Yunomi, Kiln-Transformed Copper Glaze \/ Japanese-Style Spirits Vessel by Kuze Tensei (久世天聲, Presumed 2nd Generation), Tensei-zo, Awara Ware Kiln, Echizen #502","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a hand-built yunomi (teacup) made at the Awara ware kiln in Awara City, Fukui Prefecture, whose box bears the inscription “Tensei-zo” (made by Tensei). Neither the box inscription nor the potter’s seal indicates a generation, but we presume it to be the work of Kuze Tensei II (the reasons are given below). The outside of the lid of the tomobako (the original box inscribed by the maker) is inscribed “Tebineri Shinsha Yohen Yunomi” (hand-built teacup, shinsha kiln transformation). The inside of the lid is inscribed “Echizen Awara-yaki Tensei-zo” (Echizen, Awara ware, made by Tensei). The cup fits comfortably in the hand at approx. 9.3 cm high and approx. 8.3 cm in rim diameter, and its glaze shows a scenery keyed to deep red. Drawing on both qualities, we propose it as a Japanese-style vessel for Western spirits (drinking vessel), for enjoying old whisky neat or with a small piece of ice.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAwara ware is pottery made at a kiln in the Onsen district of Awara City, Fukui Prefecture. According to the Awara City Tourism Association, it began when the first Kuze Tensei made pottery using clay from Jingaoka, near Tojinbo, and its hallmark is a pale aqua blue produced by a glaze rich in copper. Another account states that the first generation built a kiln and began Awara ware in 1914 (Taisho 3). That account explains that malachite, a mineral rich in copper, was used as a glaze material, producing pale blue and green tones. According to the records of the Fukui Prefectural Archives, an article titled “Awara Ware, the Only One in Echizen (Part 1)” appeared in the Osaka Asahi Shimbun (Hokuriku edition) dated April 4, 1916 (Taisho 5), carrying the name of Kuze Tensei. This means the kiln was already being covered by the press shortly after it opened. The kiln was later passed down to the third generation. According to the association, however, the third generation has since passed away, and the kiln’s shop now only sells works.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA reference compiling deceased artists gives the dates of the first Kuze Tensei as 1878–1933 and of the second as 1909–1987, and notes that the second further developed the Awara ware he inherited from the first. The name “Tensei” passed from the first to the second generation. Whether the third generation used this name could not be determined from the sources we were able to consult. There are three reasons we presume this piece to be the work of the second generation. First, the name “Kuze Tensei” can be verified in sources only for the first and second generations. Second, there is the condition of the tomobako. Although there are faint stains at the edges, the wood remains quite white, with little noticeable darkening from age. It seems too new to be a box made during the lifetime of the first generation, who died in 1933, so we consider it unlikely that this is his work. Third, the second generation’s dates suggest that his working life spanned most of the Showa era. All of these points are presumptions and do not establish the generation definitively. The possibility that this is the work of the third generation cannot be ruled out. Incidentally, the ceramic sculptor \u003ca href=\"\/en\/search?q=%22%E4%B9%85%E4%B8%96%E5%BB%BA%E4%BA%8C%22\u0026amp;type=product\" target=\"_blank\" rel=\"noopener\"\u003eKuze Kenji\u003c\/a\u003e (1945–2020) was also born into the family of the Awara ware kiln. He served as president of Kanazawa College of Art from 2007 to 2014.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAwara ware is noted for the colors produced by glazes rich in copper. In ceramics, shinsha glaze produces a red resembling the mineral cinnabar (shinsha). Its color, however, comes not from mercury but from copper, and the red is obtained through reduction firing. Reduction firing is a method of firing with reduced oxygen in the kiln. The same copper glaze is said to develop a pale green when fired in oxidation. The pale aqua that represents Awara ware is a blue-green tone produced by copper, whereas this piece, true to the box inscription “Shinsha Yohen,” is dominated by copper red. The surface is keyed to deep red, intermingled with purplish areas and pale pink areas with a milky-white cast. Green speckles appear from the lower body to the foot and here and there across the body. Yohen (kiln transformation) refers to changes in the color and texture of a glaze caused by the flame and the conditions inside the kiln during firing. In this piece, red, purple, milky white and green coexist in a single vessel. The work of a kiln known for its copper-rich glazes appears here as a kiln transformation centered on red.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAs the box inscription states, the form is hand-built (tebineri, shaping the clay by pinching and forming it by hand). The nearly cylindrical body swells slightly in places and tapers gently toward the foot. Vertical depressions and undulations, as if pressed with fingers or a spatula, run around the entire body. Along the ridges formed at the edges of the depressions, the glaze thins, and a pale yellowish white emerges as fine vertical lines. Small depressions are dotted across the upper body, where the glaze is also thin and a lighter color shows through. The rim is thinly glazed and framed in a pale yellow-green tone. The glaze stops on the lower body, ending in a thick line. Along this edge, glaze that ran during firing has gathered into beads and hangs down toward the foot. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) can be seen where the glaze is thick near the foot. From the unglazed waist to the foot ring, pale flesh-colored clay containing fine sand grains and small black specks is visible, and the foot ring is low and stepped. Swirling trimming marks remain inside the foot ring, and the center rises slightly. On the exposed clay of the waist is impressed a square potter’s seal that reads “Awara” and “Tensei.” The interior (mikomi) is also glazed, with deep red mingling with reddish purple, dark brown and green. At the center of the bottom, the glaze has pooled into a glassy, lustrous surface.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003ePoured into this cup with a rim diameter of approx. 8.3 cm, the amber of old whisky layers over the deep red interior. The hand-built form and the kiln-transformed glaze scenery differ from piece to piece. Awara ware has been passed down at a single kiln in Awara City, Fukui Prefecture, and almost no information about it is available in English. The outside of the tomobako lid bears the inscription “Tebineri Shinsha Yohen Yunomi,” the signature “Awara-yaki” and two red seals. The inside of the lid bears the ink inscription “Echizen Awara-yaki Tensei-zo” and a round red seal. A yellow wrapping cloth stamped with a round red seal is also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kuze Tensei (久世 天聲、presumed 2nd generation, 1909–1987)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1914] The first Kuze Tensei built a kiln and began Awara ware (according to an account dating the kiln’s founding to Taisho 3); [1916] An article titled “Awara Ware, the Only One in Echizen (Part 1)” appeared in the Osaka Asahi Shimbun (Hokuriku edition); [1933] Death of the first generation. The second Kuze Tensei (1909–1987) is said to have developed the Awara ware inherited from the first; [By around 2020] The third generation, who had inherited the kiln, passed away, and the kiln’s shop now only sells works\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eNo records of holdings in public institutions have been confirmed\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eEstimated c. 1933–1987 (the span from the first generation’s death to the second generation’s death, assuming the work is by the second generation; given how little the tomobako has aged, we consider a postwar date within this range more likely. Without specifying the generation, the range extends from the kiln’s founding in 1914 to around 2020, when the third generation’s death was reported)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood (the glaze pooling and crazing are aesthetic features of the glaze)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (outside of lid inscribed “Tebineri Shinsha Yohen Yunomi,” signed “Awara-yaki,” two red seals; inside of lid inscribed “Echizen Awara-yaki Tensei-zo,” red seal), wrapping cloth (with red seal)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eMedium: \u003c\/strong\u003ePottery\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDimensions: \u003c\/strong\u003eRim diameter approx. 8.3 cm, height approx. 9.3 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":67734404858043,"sku":null,"price":25000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5859_result_5e2c14da-496f-4cf8-b27d-c2e3a5c8fa0f.jpg?v=1792903674"}],"url":"https:\/\/antiqueliquor1926.com\/en\/collections\/yohen.oembed","provider":"Antique Liquor","version":"1.0","type":"link"}