Catalog (431)

An excellent example of Japanese rustic charm that transcends its humble origins to embody a refined artistic work, this mizusashi, or fresh water pot used in tea ceremony, displays a beautiful natural ash glaze that includes dazzling ochres, browns, grays, and yellows splashed across the intentionally rough and contoured ceramic landscape.

Iga-ware pottery dates back to 7th and 8th century and—like so many other pottery styles in Japan—takes its name from the region where it wa...

Reminiscent of a hollowed out lotus seed pod, this recent creation by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a tea bowl. Described on the box as a “ammonite/ gindani/ chawan” (ammonite/ silver glaze/ tea bowl), Hiramatsu says his inspiration for this piece (and several others) came from an ancient form of sea life known as an ammonite—a large spiraled mollusk who’s shells are often found fossilized toda...

A dazzling Hagi-ware bowl with cherry petal and earthen tones made by one of Japan's great potters. The 14th potter of the Sakakura line of potters Sakakura Shinbei XIV (1917-1975) was designated an important human cultural treasure of Yamaguchi prefecture in 1972. For those interested, videos produced by NHK are available online detailing the work of the current Sakakura Shinbei XV, the kiln, and the surrounding estate.

This piece is 5.7 inches in diameter (14.5cm) and 3 inches tal...

This elegant and mature work of Karatsu pottery has an unglazed foot and beautiful crackled glazing that displays hues ranging from ivory to almond.

Toya Inoue (1942 - ) is a native of the world-renowned pottery center of Karatsu in Saga prefecture. From a young age he was interested in tea and tea-ware and studied tea ceremony under Tansai. Later in his 20’s he was involved in a project to restore ancient kilns. From this experience he decided to make pottery his life’s work an...

This nikuchi, or seal paste box, was created by one of the very few Imperial Court Artists of late Meiji and bears an attractive and subtle design etched on the cover. Seal paste boxes are used to hold the red ink paste used for endorsing official documents and works of art by way of an in-kan (official seal). This attractive piece by Sozan would not only be a nice addition to any comprehensive collection of his works, but could also be used as a functional item if desired.

Suwa Soz...

With a sturdy foot firmly grounded, the upper rim of this piece rises and falls, somewhat reminiscent of a mountain path. Combined with the plum blossoms floating on the white background, these elements together suggest balance and harmony.

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Kuro Oribe (as pictured here) with their jet-black glazes and feldspar ornamentation tend toward the minimalistic, abstract; and, some would say, Zen-l...

Done in the Annan style which is a Japanese adaptation of porcelain-wares imported from a region of ancient Imperial China (now part of Vietnam) from the late Muromachi period (1392 - 1573). At the time this type of pottery was hugely popular among tea devotees and this enthusiasm continues into the modern day. The scene portrayed on the tea bowl is the classic image of the “shichikenjin” or the Seven Sages of the Bamboo Grove.

Although reports vary, it is generally thought that...

The image of the brush-drawn circle, known most commonly as the “enso” of Japanese Buddhism, has long been a symbol of strength, elegance, and the simultaneous being and nonbeing (mu) of the universe. A closed enso is associated with the idea of perfection while an open enso represents movement, fluidity, and attainment in the corporeal world. In this composition by veteran Mino potter Takuzo Mizuno, we can see an open enso done in thick feldsparic glaze on a classic background of nezumi Shi...

This finely crafted Japanese yakkan (copper teapot) shows the kind of beautiful patina that can only be achieved with time and careful used and looks to date from the Meiji period of the late 1800s.

The brilliant rich auburn color of this type of metalwork is achieved by adding smoked straw during the firing process and often deepens in character over time. The resulting stained metal canvas makes the perfect backdrop for the decorative autumn grasses, flowers, maple trees, and drif...

Appearing to capture an ocean inside a tea bowl, this particular work has been given the very fitting poetic name “Nami” or wave. Masterfully crafted by veteran potter Hideo Torazawa, the inside is painted with a special glaze known as heki-yu—prized for its pure aquamarine character with accents of sapphire and azure depending on the light.

Born in Gifu prefecture in 1935, Hideo Torazawa has enjoyed a long and productive career as a potter and has mastered a number of diffic...

A Korean vase dating from the early Joseon period (“Richo” in Japanese; 1392-1897). This particular piece appears to date from the 16th/ 17th century and comes with an antique wood box. The light brown crackled glaze is smooth in the hand and has a warm inviting rustic feel. Several gold repairs can be seen along the upper rim providing a subtle yet noticeable contrast between the rustic glazed clay and the shiny metal. Such pieces have long been favored by learned cha-jin (tea people) and a...

The creator of this lovely Hagi chawan, Hirose Tanga (b. 1939) is the master-potter of Tenpozan kiln in the city of Hagi. When I acquired my first tea bowl by this artist it reminded me of bowls produced by Yoshida Shuen (apprenticed under NLT Miwa Kyusetsu). As it turns out, Yoshida worked alongside Hirose in establishing Tenpozan and in training young potters in the art of “Oni” Hagi which utilizes a rough textured clay and a milky translucent glaze. Bowls made using this technique display...

This piece features a warm golden glaze with several patches of lighter pigmentation. The inside of the bowl is especially inviting and shows a magnificent patina developed over many decades of use and what appears to be a partly faded stencil of a pinecone. The foot is well-shaped, well-grounded, and clearly displays the unglazed rich clay. The Chinese characters on the lid of the box read 古瀬戸 (ko-Seto) 大茶碗 (oo-jawan), indicating it is an large tea bowl...

An interesting and well-shaped tea bowl, this Meiji piece surely has stories to tell. The gold repairs traversing one side of the bowl are extensive and skillfully applied, nicely complimenting the dark ferrous clay and flaxen glaze. Many find such repairs quite attractive and in this case they clearly add an extra dimension to this lovely work.

Stemming from the philosophy of wabi-sabi, or, beauty in the imperfect, cracks and repairs in a work of pottery are often seen as highligh...

Made from ferrous rich Bizen clay covered in an ashen feldspar glaze, this non-conventional Shino tea bowl is a variety known as “Beni” or crimson red. Distinctively modern yet emanating a primal vitality, the form harkens back to the very origins of ceramic exploration in Japan. The influence of Momoyama potters and greats such as Koetsu can be seen in the dynamic edges of the clay body.

Though female potters have constituted a small minority throughout the history of Japans p...

Featuring rich earthy tones and intricate hand-drawn stencil designs of passion flowers resting on a string of vines, this bowl would be perfect for displaying an ikebana flower arrangement. A kintsugi (gold) repair attest to the age and care that went into maintaining this piece through generations. The label on the lid of the box reads “e-Seto Karatsumon O-wan” indicating a large Seto bowl with arabesque hand drawings (絵瀬戸 唐草文 大鉢). The piece also features a technique known ...

Hagi-yaki has a tradition stretching back over 400 years and is prized for its subdued colors and classical features, especially the glazing, which is often clear and vivid. The natural ash Hagi glaze of this piece gives it a mellow yet robust feel. In addition, the split wari-kodai at the base together with the asymmetrical hand-molded shape offers the user a unique tactile experience The sides of the bowl show pale ash, ivory, and faint hints of lavender. Overall a classic and attractive exam...

Reminiscent of the wildly popular avant-garde works of Suzuki Goro, this striking modern interpretation of the classic tokkuri (sake flask) was done by budding artist Ikeda Shogo.

Born in 1976 in the southern port city of Kagoshima on the island of Kyushu, from a young age Ikeda would have been exposed to a great variety of ceramic-wares from the numerous historical kilns native to the region including Satsuma, Arita, Imari, and Karatsu. Equally influential were ceramics from neighb...