{"product_id":"397","title":"Guinomi Sake Cup \/ Japanese-Style Shot Glass with Striped Design by Takeda Toshio, Pupil of Living National Treasure Tamura Koichi, Artist Represented in the Collection of The National Museum of Modern Art, Kyoto #397","description":"\u003cp dir=\"ltr\"\u003eWe are pleased to present a guinomi (sake cup) by Takeda Toshio (b. 1932), a ceramic artist born in 1932 (Showa 7) in Takaoka, Toyama Prefecture. After studying ceramics at Kanazawa College of Art, Takeda honed his craft in Kyoto and Kanazawa, and also studied under Tamura Koichi, who would later be designated a Living National Treasure. Since 1964 he has continued to make ceramics at the kiln he built in Mashiko, Tochigi Prefecture. His work has been accepted many times into the Nitten (Japan Fine Arts Exhibition), the Japan Ceramic Art Exhibition and the Japan Traditional Kogei Exhibition. His entry to the Japan Ceramic Art Exhibition was selected for a touring exhibition in Canada and the United States and then entered the collection of The National Museum of Modern Art, Kyoto. He is a full member of the Japan Kogei Association. This cup is inscribed “Guinomi” on its tomobako (the original box inscribed by the artist). Drawing on its compact size, which fits in the palm of the hand, and the substantial character woven by clay and glaze, we propose it as a Japanese-style shot glass (drinking vessel) for savoring well-matured old whisky or brandy neat, a little at a time.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAccording to the accompanying leaflet, “Takeda Toshio: Ceramic Career,” Takeda graduated from Kanazawa College of Art in 1955 (Showa 30) and continued his research in the college’s research course. In 1956 (Showa 31) he moved to Kyoto, where he studied under Yonezawa Soho, and his work was accepted into the Nitten. In 1957 (Showa 32) he returned to Kanazawa and worked at his alma mater as assistant to the Kutani ware artist Kitade Tojiro, then a professor at Kanazawa College of Art. In 1960 (Showa 35) he sought out Tamura Koichi in Sano, Tochigi Prefecture, and became his pupil. Through Tamura’s introduction he joined the Tsukamoto Pottery in Mashiko, where he devoted himself to ceramic research. In 1963 (Showa 38) he entered the Nagoya Industrial Research Institute to master glaze and firing techniques, studying under Kato Etsuzo and Morita Shiro. The following year, 1964 (Showa 39), he built his own kiln in Mashiko and became independent. In 1966 (Showa 41) he formed the Shodokai with like-minded colleagues living in Mashiko. In 1969 (Showa 44) his work was accepted into the Japan Traditional Kogei Exhibition. In 1971 (Showa 46) his work was accepted into the Japan Ceramic Art Exhibition, organized by The Mainichi Newspapers. This entry was selected for a touring exhibition in Canada and the United States and was later purchased by The National Museum of Modern Art, Kyoto. He went on to present his work repeatedly at the art galleries of major department stores. Between 1973 (Showa 48) and 1978 (Showa 53) he held four solo exhibitions at Nihombashi Takashimaya in Tokyo, and in 1979 (Showa 54) he held a solo exhibition at Yokohama Takashimaya. In 1974 (Showa 49) he became a full member of the Japan Kogei Association. Furthermore, in 1990 his “Bowl with Grape Design in Iron and Copper Decoration” was accepted into the 37th Japan Traditional Kogei Exhibition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe work that can be confirmed as a representative piece attesting to Takeda Toshio’s standing is this “Bowl with Grape Design in Iron and Copper Decoration.” Tetsu-dosai (iron and copper decoration) is a mode of expression that combines the colors developed by two metals, iron and copper, to adorn the surface of a vessel. Takeda’s teacher, Tamura Koichi, was recognized for, among other things, using copper coloring alongside iron painting (tetsu-e) to vary his palette. In 1986 Tamura was designated a Holder of Important Intangible Cultural Property (Living National Treasure). Takeda’s tetsu-dosai can be said to belong to this lineage. This piece does not bear brush-painted motifs such as grapes in tetsu-dosai. Even so, its handling of a blackish-brown glaze suggestive of iron reveals Takeda’s style, which centers on iron and clay. So does its approach of bringing the material quality of the clay to the fore.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn form, the taut, rounded body draws slightly inward toward the rim as if embracing its contents. Below, it tapers narrowly into a small foot ring. Stepped undulations from wheel-throwing encircle the body, and around the shoulder a ridge rises, projecting outward in a single step. These undulations give the form a crisp, taut silhouette. The surface is adorned with a striped design of grayish-white, low-luster orange and blackish-brown bands repeating horizontally one above another. The orange bands have a dry, matte texture, while the grayish-white bands carry a glassy sheen. The blackish-brown bands melted in the heat of the firing and flowed downward, forming glaze runs in wavy and teardrop shapes. These flows change shape from place to place, so a different scene appears each time the cup is turned. The height and width of the bands also waver around the circumference, conveying a rhythm unique to handwork. White, sand-like grains rise to the surface across the entire piece, and the blackish-brown bands are dotted with a dull, golden sheen. Held in the hand, the cup conveys a rough, robust texture to the fingertips.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe mikomi (interior of the cup) has a grayish clay body over which a pale bluish-white, milky glaze is thinly applied, as if stroked on with a brush. Fine kannyu (crazing, a pattern of fine cracks in the glaze surface) runs across it. In the center, a transparent glassy glaze has pooled, glinting quietly as it catches the light. The foot ring is left unglazed to reveal the bare clay, and spiral trimming marks from the turning wheel remain inside the foot. This is a highlight that preserves the making process just as it was.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe small mouth, approx. 5.5 cm in diameter, and the low, stable profile, approx. 4.5 cm in height, are well suited to sipping high-proof spirits a little at a time. The amber color of aged spirits stands out beautifully against the gray ground and the glassy pool of glaze inside. Unlike mass-produced ware, this is a one-of-a-kind piece that passed through the artist’s own hands at every stage, from throwing on the wheel to glazing and firing. No other piece has the same layered stripes and glaze flows. Very little information on Takeda Toshio’s work circulates outside Japan, and opportunities to acquire a vessel by an artist whose work is held in a national museum collection are limited. The tomobako bears the artist’s handwritten inscription “Guinomi,” his signature “Toshio” and a red seal. A shiori, a leaflet recording the artist’s ceramic career, is also included.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eTakeda Toshio (武田 敏男、b. 1932)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eSelected Career Highlights:\u003c\/strong\u003e [1955] Graduated from Kanazawa College of Art, pursued research in the college’s research course; [1956] Studied under Yonezawa Soho in Kyoto, accepted into the Nitten; [1957] Worked at his alma mater as assistant to Kitade Tojiro; [1960] Studied under Tamura Koichi in Sano, Tochigi Prefecture, conducted ceramic research at the Tsukamoto Pottery in Mashiko; [1963] Researched glazes and firing at the Nagoya Industrial Research Institute; [1964] Built his own kiln in Mashiko, Tochigi Prefecture, and became independent; [1966] Formed the Shodokai; [1969] Accepted into the Japan Traditional Kogei Exhibition; [1971] Accepted into the Japan Ceramic Art Exhibition, entry selected for the touring exhibition in Canada and the United States and added to the collection of The National Museum of Modern Art, Kyoto; [1973] First solo exhibition at Nihombashi Takashimaya (four in total at the store by 1978); [1974] Became a full member of the Japan Kogei Association; [1979] Solo exhibition at Yokohama Takashimaya; [1990] Accepted into the 37th Japan Traditional Kogei Exhibition (Bowl with Grape Design in Iron and Copper Decoration)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePublic Collections: \u003c\/strong\u003eThe National Museum of Modern Art, Kyoto\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eCirca 1979 to early 1980s (estimated)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent (no chips, no cracks; crazing in the interior)\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003eIncluded: \u003c\/strong\u003eTomobako (inscribed “Guinomi,” signed, with red seal), shiori (leaflet recording the artist’s ceramic career)\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\u003e Height approx. 4.5 cm, rim diameter approx. 5.5 cm, width approx. 6.0 cm\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cstrong\u003ePlease Note: \u003c\/strong\u003eAll items we offer, even those that are new and unused, were produced a very long time ago and are therefore listed as pre-owned. Items may have age-related damage; please understand and check this before considering a purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":48302504607931,"sku":null,"price":31000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_5630_result_0db0dd1b-c019-4628-b088-537b4f5d27a8.jpg?v=1792903432","url":"https:\/\/antiqueliquor1926.com\/en\/products\/397","provider":"Antique Liquor","version":"1.0","type":"link"}