Catalog: Vintage Arts: Regional Art: Asian: Japanese (85)

Handwoven with delicate precision, this Japanese bamboo ikebana basket showcases the beauty of traditional bamboo weaving and the elegance of classic Chinese design that much of Japanese traditional art is based on. Its sturdy construction and balanced proportions make it perfect for ikebana arrangements, merging floral artistry with cultural aesthetics...

A beautiful example of Ohi inspired Raku-ware; the body of this stylish tea vessel is a mix of a dark black gradating to charcoal grey with undertones of reddish maroon. A hasami-no-ato mark can be seen where the tongs were used to remove this piece from the kiln, and the potters mark can be seen near the foot of the bowl. Simple and refined, perfect for collectors and practitioners of tea alike.

Born into a generational line of tea-ware potters from Kanazawa, Fumiaki Kaihatsu (b...

A testament to the brilliance of traditional Japanese craftsmanship, this lacquered mizusashi—skillfully handcrafted from bamboo—showcases a deep crimson hue that radiates warmth and sophistication. Its seamless design and flawless finish reflect the skilled hands of the first generation artisan who crafted it, achieving a harmonious balance between form and function...

Currently in its 5th generation, the Miura Chikusen line of potters has continued to produce high-quality Kiyomizu-yaki and Kyo-yaki porcelains used in sencha for well over 150 years. The piece seen here is by the third generation potter and has the rare distinction of being endorsed by Sokuchusai, a former Head Tea Master of Omotesenke in Kyoto. Simple and elegant, a section of bamboo stands out in contrast to the white crackled porcelain glaze...

Yuzo Kondo is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelain), he did not settle on this style until well into his potting career that lasted over seven decades. The piece shown here then would be from an earlier period and is evidence of his competency with varied styles and glazes—not just the one he is most well-known for...

This small vessel, similar in a shape to a tokkuri, 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...

The term “Raku” was once reserved for a style of pottery produced by a specific household in Kyoto that began over 450 years ago. Over the years, as it gained popularity, several branch kilns were established (Ōhi, Tamamizu) and a number of other lineages arose making pieces in the style of Raku, though they were not formally associated with the Raku household...

A student of Itaya Hazan, one of the most sought after potters in the world of Japanese art, the ceramicist who crafted this fine vase displays here a high degree of mastery, both in form and glazing technique. For the collector who has always wanted a Hazan but has never been lucky enough to chance upon one, this may be a worthy acquisition...

An often overlooked implement in tea ceremony, here we have the humble kogo (incense box) with an image of a sleek and flowing dragon. Commonly thought to represent strength, freedom, good luck, and magic, dragons are a popular theme in the artwork across Eastern cultures. Interesting to note, the dragon here is portrayed in the Korean style with four claws, with dragons in China typically having five claws and dragons in Japan typically having three...

With pottery shards from excavated kilns dating back to the 5th Century, Mino-ware is one of the oldest and most revered pottery traditions in all of Japan. Though the piece featured here does not fit neatly into any of the typical categories of Mino pottery such as Kiseto, Setoguro, Oribe, or Shino; the shape and overall feel of this piece unmistakably places it within this pottery tradition...

Conceived by 20th century master ceramicist Kawai Kanjiro—here an abstract depiction of flowers is used to adorn an exquisite “henko” shaped vase. The glaze used is known as “tetsu-yu” for its use of iron compounds to achieve this distinctive look. Though many pieces by Kanjiro remain today, this exact combination of style, shape, and glazing is uncommon, making this a must-have work for serious collectors...

Painted lacquerware in Asia is thought to have more than 3,000 years of history; originating in China and then later spreading to South East Asia, Korea, and Japan. One reason this craft has taken centuries to perfect is that the sap of the tree used is highly toxic and irritating to the skin and to the lungs. Even minor contact with the raw materials can cause serious issues, making collecting and refining it quite labor intensive...

Occasionally while browsing through the temple markets of Kyoto or perusing backstreets tea-ware shops, an attractive piece will catch my eye for no particular reason. When this happens, I typically buy it immediately without hesitation, trusting that I will be able to place it to a specific period or kiln given enough time and research...

Unlike many of the pieces in the genre of Kyo-ware, this tea bowl is decidedly demure in appearance...

This extraordinary vase is a truly Japanese expression of a classical Chinese form. Fashioned after cylindrical Song Dynasty pieces that are thought to have been introduced in the 9th century from Syria, the handles are of Chinese origin and represent the mythical "Fenghuang" (Hōu in Japanese). This deity, typically depicted with the body of a bird with characteristics of a dragon, is believed to have originated in the sun and is thought to symbolize virtue, wisdom, and grace. Made ...

A wonderful translucent blue celadon vase done in the classic style of Song Dynasty Chinese pottery. This piece was made by one of the few great female Japanese potters of the previous 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 forwa...

Kondō Yuzō is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelains), he did not settle on this style until well into his potting career that lasted nearly seven decades. The pieces shown here then would be from an earlier period and are evidence of his competency with varied styles and glazes—not just the ones he is most well-known for. The intricate brushwork on ea...

Crafted by one of the most well-known potting families from the Meiji period (Ito Tozan), this black Raku tea bowl displays a glossy sheen and gentle swells rippling through the clay body. The shape of the this tea bowl is known as “tsutsu” in Japanese and is regarded as being especially attractive. Tsutsu bowls are used mainly in the depths of winter to keep in the heat and prevent the tea from cooling too quickly. Tea disciples of all stripes appreciate this type of bowl for its elegant li...

Yuzo Kondo is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelain), he did not settle on this style until well into his potting career that lasted nearly seven decades. The pieces shown here then would be from an earlier period and are evidence of his competency with varied styles and glazes—not just the ones he is most well-known for. The intricate brushwork on each flask also d...

Deceptively simple and notoriously difficult to apply with the calligrapher’s brush in one fluid, arching stroke; the symbol of the ensō has long been associated with strength, elegance, and the simultaneous being and non-being of the universe. A closed ensō (such as the one featured here) is more closely associated with the idea of transcendent perfection, while an open ensō represents movement, fluidity, and attainment in the corporeal world. Though the monk who created this piece, Hasega...

A classic design, the peach is said to represent long-life for mortals and immortality for the gods in Asian folklore. According to legend, the moon goddess—a powerful alchemist—can make an elixir from peaches that grow in the garden of the western paradise with miraculous revitalizing properties. 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. Although the peach motif can be seen in man...

Over 400 years ago the first Takatori potter known as “Hachizan” was brought to Japan by the powerful Kuroda clan and was tasked with establishing a kiln in the town of Fukuoka. Since that time, the Takatori lineage has produced many fine works and gained a reputation across Japan for their skill at producing porcelains of thin construction, using many layers of glaze, and with a variety of unique colorations.

Born in 1907, the 11th generation Takatori potter (Seizan), along wit...

Conceived by 20th century master ceramicist Kawai Kanjiro (1890 - 1966), the combination of “shinsa” (cinnabar glazing) and “tsutsu-gaki kamon” (raised-relief slip-trailing floral design) used in the creation of this work is one of his most recognizable motifs.

Like so many great artists throughout history, Kanjiro refused to confine himself to one genre. A poet, philosopher, sculptor, as well as a gifted potter, he strove to preserve the simple austerity of Japanese folk-a...

Flower arranging is one of the great arts that Japan has managed to take to ever greater heights of refinement over its long history. Here we have a classic example of a kake-hanaire (hanging flower vase) fashioned from bamboo by a lineage of craftsmen that started in 1578 with the first Kuroda Shogen. Now in its 13th generation, this prominent Kyoto family is one of only 10 crafting families from various disciplines to make up the “Senke Jishhoku” (artisan families approved to craft impleme...

Japanese Nihonga painting on paper—this piece by well-known Edo painter, poet, and tea ceremony devotee Baiitsu Yamamoto depicts an idealized mountain scene in Yamamoto's distinctive style. Close inspection reveals a mountain temple nestled along the cliffs overlooking twin waterfalls. Meanwhile, master and student traverse a mountain path below on their way back to the hermitage.

A native of Nagoya, a bustling Japanese center for shipping and trade in Late Edo, Baiitsu was heav...

Yuzo Kondo is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelain), he did not settle on this style until well into his potting career that lasted nearly seven decades. The piece shown here is from an earlier period and has been expertly repaired with gold joinery. One of the most striking kintsugi pieces I have personally come across, this exquisite jar has the added distinction o...

One of the most important Japanese potters of the 20th century, skilled in an impressive number of styles, today his pieces can be found in museum collections around the world. The kintsugi used here was recently reapplied by a top artisan and uses copper, which, with age should display a blueish color to complement the cobalt blue of the dish.

Born the second son of the head priest of Kamigamo Shrine in the north of Kyoto (very close to our gallery), Kitaoji Rosanjin (1883-1959) is...

A wonderful translucent blue celadon Tobi vase done in the classic style of Longquan Chinese pottery. This piece was made by one of the few great female Japanese potters of the previous 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 for...

Considered auspicious symbols of wealth, status, and good fortune; foo dogs—commonly referred to as shishi or koma-inu in Japan—are often seen in pairs guarding shrines, straddling the doorways of shops, and protecting public buildings. These mythical effigies have deep religious and social symbolism and can be seen in countries across Asia.

This exquisite incense burner features three guardian shishi—one adorning the lid and one on each side—and appears to be made from cop...

This masterful rendition of an idilic landscape done in the Nanga style of Chinese painting is spread across three canvases titled 1) “Arashiyama” (A district nestled at the foot of Kyoto’s eastern mountain range), 2) “Kyomizu-dera” (One of Kyoto’s most iconic temples located in the western foothills), and 3) “Tatsuta” (An area west of Kyoto on the edge of Lake Biwa, known for its expansive fields of lotus flowers). These three actual places are used as the inspiration for this f...

Here we have a very unique ceremonial tea implement made by one of the most important figures from Japanese tea culture in the past century. While most tea scoops (chashaku) are made of bamboo, this piece is fashioned from the branch of a plum tree and retains part of the bark on the handle. Fashioned by the 14th Tea Master of Urasenke, this is a very rare and interesting implement.

Matcha tea culture in Japan stretches back nearly 1,000 years, when it was first brought to its shore...

Comfortable in the hand and with a unique textured black Raku glaze, this tea bowl by 20th century potter Samukawa Seiho would make a fine addition for collector and practicing tea devotee alike.

Born in Osaka at the very end of the 19th century, at a young age his family moved to Kyoto where he would later take up an apprenticeship under well-known potter Sawada Sozan. After achieving a high degree of skill in his craft, he then took a position with a ceramics company where he work...

Tamba-yaki, with its origins reaching back as far as the end of the Heian Era or early Kamakura Period (1180-1230), is one of the six ancient pottery centers of Japan along with Seto, Tokoname, Shigaraki, Bizen, and Echizen. The pottery of Tamba is said to have an elegant simplicity and an understated beauty that stems from its calm simple lines. The hues of Tambayaki are drawn forth from the iron-bearing clay by the flames of the traditional “anagama” and the “noborigama” (styles of kil...

The Choraku line of potters began when a student of Kichizaemon XI (Keinyu) and Kichizaemon XII (Konyu) opened an independent kiln in Kyoto in 1904. The line was officially given the name Choraku in 1906 by Choyuken, the head of a very influential tea ceremony association. Red Raku chawan are a favorite of tea enthusiasts and seem to have a face for every mood. In the right light they may appear like an amber sunset on the horizon. In another light, like lanterns moving through a misty field. Ak...

The natural ash Hagi glaze gives this piece a mellow yet robust feel. The foot of the bowl is unglazed in places showing traces of ferrous-rich clay in the form of an orangish hue. The sides of the bowl show pale ash, ivory, and faint hints of lavender. Overall a classic and attractive example of an expertly crafted Hagi tea bowl.

The creator of this work, Korai-zaemon Saka XI was born in Yamaguchi prefecture in 1912. In 1958, just 10 years after marrying the daughter of Korai-zaemo...

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...