Catalog (431)

A lovely Shino tea bowl fashioned from coarse, iron-rich Mino clay and covered in feldspar glazing. The crackled glazing along with the elongated kutsugata shape (shoe shape) are very typical of this type of Shino-ware and these elements compliment each other nicely. The shape allows the chawan to rest firmly in the hands and the light-colored glaze makes a beautiful backdrop for a frothy bowl of green matcha tea.

In excellent condition, this piece measures 5.1 inches in diameter at...

Representing the culmination of over 1,000 years of Shigaraki potting tradition, this bold guinomi with rough exterior and natural ash glazing was produced by well-known and admired potter Takahashi Rakusai

Born Mitsunosuke, the eldest son of Takahashi Rakusai III, the fourth Rakusai potter succeeded the family name in 1976 with his father’s passing. The Takahashi family on the whole has been one of the most important, influential, and longstanding among Shigaraki potters, playing...

A lovely Shino tea bowl fashioned from coarse Mino clay and covered in a crackled feldspar glazing. The front and sides of the bowl are decorated with paintings of abstract foliage resembling Iris leaves and the base of the bowl is unglazed, displaying rough clay. The paintings, which are applied using a ferrous glaze, along with the han-zutsu shape (half cylinder) are very typical of this type of Shino-ware.

In excellent condition, this piece measures 5 inches in diameter (12.6 cm)...

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...

This extraordinary piece depicting what appears to be a learned scholar (possibly of foreign origin?) being escorted by a young vassal, is done in fine white porcelain from the Hirado region of Japan. Hirado wares—alternately known as Mikawachi wares in some contexts—are known throughout Japan and also abroad for their high quality and fine craftsmanship and date back at least as far as the mid-18th century when they were produced exclusively for powerful lords and their families. In the 19t...

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-like aesthetic.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay and covered in a dark iron-glaze which turns a lustrous black color when removed from the kiln (still glowing red) and allowed to cool sl...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then acts as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay. The brilliant green color is the result of copper...

Ivory white, forest green, and metallic brown/ gold combine to lend this tea bowl a dynamic and refreshing landscape. Bamboo fronds perceived here in the stylized outlines of white marks crisscrossing the front and back inside lip of the bowl signifying strength and resilience. Together with pine and plum (sho chiku bai)—bamboo is one of the auspicious symbols running through the heart of Japanese art and culture.

In fine condition, this piece is 5.1 inches in diameter (13 cm) and...

A wonderful translucent blue celadon vase decorated with a low-relief vine and grape motif. This piece was made by one of the few great female Japanese potters of the 20th century—Suwa Sozan II, daughter of Meiji Imperial Court Artist Sozan I.

Suwa Sozan I (1852—1922) was born in an area of what is known today as Ishikawa prefecture. After a short stint in the military he took up pottery design and painting under Touda Tokuji in 1873. From this point forward, he divided his time...

Weighty, yet smooth and even in the hand, this Kuro Oribe bowl is quite attractive and unique in its construction. The jet-black glaze nicely highlights the Chrysanthemum flowers (Kiku) on the front and back of the bowl which are auspicious symbols of longevity and rejuvenation in Japan. When first introduced to the island nation during the Nara period (710 – 793 AC), the Japanese Royal Family was fascinated with the Chrysanthemum. Eventually, during the passing of the years, the Chrysanthemum...

Though this piece appears quite old and nicely worn by time, it is in fact a very recent work from Sekizanjin kiln. Using a special organic process to “ferment” powdered ore used in the clay, they then fire the hand molded pieces under extreme heat to produce bowls they call “Chibori.” The Chibori bowl featured here is inspired by works of Chojiro—forbearer of the Raku line of potters and collaborator with legendary tea master Sen no Rikyu.

The master potter of Sekizanjin...

A beautifully formed bowl in the typical Gohon style, produced in Korea for the Japanese market during the 17th century. The light-grey ash glaze makes a tasteful backdrop for the pinkish speckles decorating the surface. These patterns are formed through a reaction of the iron in the clay and the ash glaze and are very typical of this type of pottery. One edge of the bowl is furnished with a dimple, making it comfortable in the hand while the gold repairs give it an added beauty and depth.

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 this piece I thought 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 (like the bowl shown here). Bowls made using this te...

This lovely plum patterned chawan (umebachi) is done in a classic style known as e-Gorai (“e” meaning picture and “Gorai” meaning Korean). This classification is somewhat of a misnomer as the style is said to have first developed at China’s Cizhou kilns in early Ming—only later being widely copied and popularized in Korea. e-Goriai wares first made an appearance in Japan by way of Korea at the end of the 16th century and have been highly appreciated among tea enthusiasts to this day....

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century, Korean potters heavily influenced the development of this form—helping to endow it with the earthy, simple, and natural qualities it is so appreciated for. With crackled glazing and a beautiful gold repair along the top rim, this tokkuri is quite attractive and a pleasure to use.

Housed in its own fine kiri wood box, this piece is 4.3 inches in diameter at...

A late winter scene picturing a majestic white hawk alighting on a plum branch in full bloom. Hawks—which were used for hunting during the Momoyama and Edo periods (takagari)—are considered symbols of nobility, strength, and are thought to embody the samurai spirit. This piece is signed Kano Tanshin, though it is unclear exactly which Tanshin as there were several Kano painters who went by this name during this period.

Color on silk, this scroll is 71.5 inches tall (18...

An ancient technique known as “haito” in Japanese was used to give this piece its distinctive look. Thought to have originated in neolithic times and commonly used during the T’ang and Song dynasties in China, an excess of fuel is added at the very end of firing which causes a thick layer of grey ash to adhere to the outside of the vessel. Below the ash glaze of this piece is a yellow amber reflective coating that shows through in areas giving it an almost imperceptible glittering effect ...

This striking chawan is a fine example of Oni Shino (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre. Fired at extreme temperatures for days in an anagama, the iron in the clay and in the glaze fuse, drip, and coalesce—while at the same time blending with the molten ash of t...