Catalog: Antiques: Regional Art: Asian: Japanese: Stoneware (71)

Plums blossom red on the dark surface of this traditionally shaped Mizusashi bearing the rare Ubagamochi Stamp impressed into the clay of the base. It is 18 cm diameter, 15 cm tall, and comes in an old custom made collectors kiri-wood box labeled Ubagamochi Mimitsuki Mizusashi. It retains the original ceramic lid, as well as two lacquered lids, one a tsukuibuta lid in austere black, the other redish brown outside, gold within, featuring a raised image of a dragon flying through billowing clouds circling mount Fuji.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.

A fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

Lavender and aquamarine coat the surface of this vase from the Kairakuen Kilns of the Ki branch of the Tokugawa family dating from the 19th century. The circular window between floral scrolls is made in the shape of the archaic character Kotobuki. The vase is 18 cm (7 inches) tall and in excellent condition, and bears the Kairakuen seal impressed into the base. It comes enclosed in an old kiri-wood collectors box titled Kairakuen-ki Juji Moyo Kabin (Kairakuen Vessel decorated with Character of fortune).
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A diminutive image of Hotei (Putai) the lucky god of fortune from the Edo period kilns of the Matsudaira clan of Matsue in their distinct golden color. It is 4.5 x 3.3 x 4 cm tall and is in excellent condition. Fushina-yaki was the Goyogama clan kiln of the Matsudaira of Matsue Han in modern day Izumo, established around 1764. It fell strongly under the aesthetic taste of Matsudaira Harusato (1751-1818) Daimyo of the province and one of the most influential Tea Masters of the later Edo period. His style of ceremony continues to this day as the Fumai-ryu style of tea.
Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

Unusual Pottery sweets dish in soft green glaze by the 11th generation head of the Raku Family Keinyu, enclosed in the original signed wooden box titled Chagata Kobachi. Covered in crackled pale green glaze, it is 11.5 cm diameter, 8 cm tall and in excellent condition.
The 11th generation head of the Raku family, Keinyu, was born a second son of Ogawa Naohachi, a sake brewer from Tanba, the present Kameoka city in Kyoto, he was adopted in the Raku family as Tannyû's son-in-law, assuming the name of Keinyû. He succeeded as the 11th generation in 1845. He retired in 1871. The period he lived through was an age of transmission from the feudalism of the Tokugawa Shogunate to the modernization of the Meiji government introducing the modern cultural prospects from the West. At the same time he saw the collapse of traditional culture including the tea culture. Over a long production of ceramics under such unfavourable circumstances, Keinyû, however, vigorously made a variety of ceramics, not only tea bowls but other tea utensils as well as decorative objects, considered as the most versatile among all the Raku generations. His work is endowed with a high quality of artifice as well as a poetic sensibility.

A beautiful set of ten small shallow dishes, each uniquely decorated with a poem and image from the Edo period Sasashima Kiln of central Nagoya. The box, titled Sasashima Yaki Teshio Jumai (10 Sasashima Salt Dishes) is dated inside to the Tenpo era, (1830-1844). Each dish is 9 cm (3-1/2 inches) diameter and all are in excellent condition. Salt dishes were small plates used to hold salt, pickles or other condiments in a traditional Japanese meal. Finding a complete set like this in good condition is exceedingly rare.
The kiln producing Sasashima ware was opened by Makibokusai in the Bunka era in central Nagoya. Sasashima ware is characterized by its bright colors, and it is said that Makibokusai was also good at carving. The kiln, which continued for three generations after Makibokusai, is said to have disappeared around 1923 (Taisho 12) due to the expansion work of Nagoya Station.

An unprecedented 19th century ceramic sculpture of a tumble of Shishi lions in a playful fight covered in unusual green-blue glaze. The Banko mark is impressed into the white clay of the base. It is very unusual to find large sculptures or works in Banko ware. This is 30 × 25 x 26.5 cm (12 x 10 x 10-1/2 inches) and in excellent condition. It comes in a box titled Okimono Banko-yaki Gyoku (Jade?) Shishi, with an inscription inside stating it was named a famous piece of the Shrine in July of 1920.
Banko ware began in the mid Edo period with the establishment of a small kiln in Kuwanocho, Mie prefecture, by the merchant, potter and Tea aficionado Nunami Rozan who stamped his works with his store name Banko. He studied in Kyoto and other regional kilns and created a name for himself in tea circles. The pottery died with Rozan, however was revived in the late Edo period specializing in Sencha tea ware and earthenware eating utensils.

A light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture, particularly in relation to tea ceremonies: Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

The surface of this black glazed bowl signed on the base Dohachi has been impressed all over with seals in a style known as In-chirashi. It comes in an ancient wooden box with ebony rim titled inside Dohachi Saku (Chirashi-in) Chawan, while outside a much-worn paper label reads In-chirashi Dohachi Saku Chawan. The original silk pouch, much deteriorated, is included, but no longer strong enough to hold the bowl. Without a box signed and sealed specifically by the artist, it is difficult to attribute to an individual Dohachi, but likely this is the second Ninnami Dohachi generation. The gourd shaped seal impressed into the side strongly resembles the gourd shaped Momoyama Seal of Ninnami Dohachi II. The bowl is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and is in excellent condition.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.

Rich green glaze covers this elongated delicate undulating bottle from the Kosugi-yaki tradition of the Kaga region near modern day Kanazawa city. This bottle is roughly 20 cm (8 inches) tall and in excellent condition.
Kosugi ware is a type of pottery that was produced in Kosugi Town over four generations for about 80 years, from around the early Bunka era (1810-1820) to the Meiji 20s (around 1890). In the hilly area south of Imizu City that connects Ikeda, Hirano, Ueno, and Hashimotojo, pottery was made in the Kofun period, Nara period, and Heian period, even before Kosugi ware began. This is probably because this area was rich in high-quality clay, which was the raw material for pottery, and red pine trees, which were used as fuel. From the first Yoemon to the fourth generation, pottery production was actively carried out in the former Kosugi Town (hereinafter referred to as Kosugi Town). The first generation Yoemon (given name Yoichiro) traveled throughout the land and mastered the technique of Soma ware (Fukushima prefecture), before returning to his hometown at the age of 30 to open a kiln. Kosugi ware rapidly spread its fame, and in the Tenpo era, it received a pottery license from the Kaga domain, and with the support of the county magistrate, reached its peak. The first Yoemon passed away in August 1838. The second generation Yoemon (young name Yojuro) took over at the age of 30. Many of the first-generation sake bottles were somewhat small, with a wonderful sculptural sense, and the green glaze had a beautiful color and luster that was slightly bright.

A classic bun-shaped Koro incense burner by Miyagawa Chozo pierced with Incense-clock-patterns enclosed in the rare original signed wooden box. It is 8.8 cm diameter, 7.5cm tall and is in excellent condition. The box contains a hand written note in old Japanese describing the origins of Makuzu-ware.
Miyagawa Chozo (1797-1860), also known as Chobei was born a direct descendant of Chokansai and would be the father to Miyagawa (Makuzu) Kozan I (1842-1916). The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by this, the tenth-generation head of the Kyoto pottery family, In 1832 at the age of thirty-five, he became apprentice to Aoki Mokubei (1767-1833) and by 35 had established his reputation as a preeminent independent potter. Differing from his master Mokubei (who was most renowned for Sencha ware) Chozo produced almost exclusively ceramics for use with Maccha (Japanese powdered tea ceremony) wares. Many say his most representative works were his Ninsei items, incense containers being particularly renowned. For more on this artist see Master Potter of Meiji Japan, Makuzu Kozan. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. The kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A Fushina (Fujina) yaki image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the Edo period. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What happens in the tea room, stays in the tea room! The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the Rakuzan seal. It comes in an antique woven thread pouch.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

A striking soft-glazed six-sided incense burner by Maki Hokusai decorated with white flower blossoms on soft flesh colored glaze surmounted by a silver lid pierced with the character Kotobuki (Fortune) by Hata Zoroku. The pot itself is 10 cm tall, plus the sliver lid. It comes in an ancient wooden box signed by Zoroku.
Hata Zoroku I (1823-1890) learned metalwork techniques in the studio of Ryubundo in Kyoto. Hata produced works for the Imperial Household and it is known that he made the gold Imperial seal and national seal by order of the Imperial Household in 1873. He was under consideration as Artist to the Imperial Household (Teishitsu Gigeiin). He died several days before the announcement of these designations in 1890. For bronze works by Zoroku in the collection of the Imperial Household, see The Era of Meiji Bijutsu-kai and Nihon Kinko Kyokai, in Meiji bijutsu saiken I (Reappraisal of Meiji Art I) (Tokyo: Museum of the Imperial Collections, Sannomaru Shozokan, 1995), pp. 40-41.
Maki Hokusai (Bunshichi, 1782-1857) established a pottery workshop in the West district of Nagoya city during the Bunka era (1804-18). Hokusai was a master at sculpture and studied painting technique under Gekkoku. He decorated with bright colors and vivid detailed landscapes. Known as a master craftsman for making tea utensils, sake utensils, ornaments, etc., he worked for the 12th lord of the Owari clan, Tokugawa Naritaka, and produced works in the Hagiyama Niwa-yaki kiln of the Feudal lord. The kiln continued for three generations, but due to the expansion of Nagoya Station, the kiln was abandoned around 1923.

A radical Bizen Mizusashi with two lacquered wooden lids enclosed in a black lacquered wooden box with gold lacquer writing titled Samidare which is in turn enclosed in a kiri-wood storage box by the same title compartmentalized to allow the lids to be stored safely. Samidare is a poetic reading for Rain of the Fifth Month (June in the traditional calendar). It has a seal of overlapping rings impressed into the earth of the base, and dates from the Edo period. The lids are for differing events, one black lacquered, the other covered with gorgeous gold and silver maki-e clouds with a soaring nightingale in gold, inside the ghost of a crescent moon. The Vessel itself is crusted with ash and dribbles of ocher with kutsuki on the side where something adhered to it in the firing. Inside the trials of the artist fingers are clearly visible. The receptacle is 23 x 20 x 15 cm (9 x 8 x 6 inches) ad is in overall excellent original condition. A very impressive presentation. Inside the Kiri box is written that the piece was viewed by The honorable Mr. Inoue upon his visit in Meiji 45 (1912). Inside the black lacquered lid is a paper tablet which reads Matsue-jo Nushi Fumaiko Hakogaki (Box written by Fumaiko of Matsue Castle).
Among the successive lords of the Matsue domain was the 7th lord of the Matsudaira family, famous tea master and Zen acolyte Harusato Matsudaira (1751-1818). He is known by many people simply as Fumai, the name he took after shaving his head in retirement in 1806. At the age of 17 he became the lord of the fief; the domain was in dire financial trouble. Harusato appointed Goho Asahi Tanba as chief retainer and promoted a fiscal reconstruction plan. While making great efforts to reduce expenditures, such as reducing debts within the domain and reviewing the domain's personnel structure, they also sought to increase income through industrial promotion measures such as the cultivation of medicinal ginseng and wax. He succeeded in restoring the domain's prosperity. After rebuilding the domain's finances, he focused his efforts on collecting tea utensils that had been scattered one after another from feudal lords of the time. The collected items were later called ``Unshu specialties,'' and are highly valued by lovers of tea ceremony and art. Harusato's great achievement in the history of the tea ceremony was his 18-volume book, in which he further classified famous tea utensils. He also promoted arts and crafts within the Matsue domain, supporting many craftsmen in the worlds of pottery, lacquer, and woodwork.

A long verse is incised into the side of this tea bowl by Otagaki Rengetsu. The poem reads:
Yorozuyo mo 10,000 ages
tae nu nagare to enduring the surge
shimetsu ran so well
sono kame no o no From Turtle Tail Mountain
yama no shitamizu. The water flows
The bowl is 12.2 cm (5 inches) diameter and in perfect condition. It comes wrapped in a silk cloth pouch, enclosed in an old box with original lid inside of which is a long verse. It has been appraised by the head priest of Jinkoin Tokuda Koen on a separate newer lid titled Rengetsu Ro-ni saku Chawan.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A crane rises elegantly from a truncated tree, the legs intricately crafted and the body flowing in a liquid grace. This is Bizen Saikumono, a body of Bizen popular throughout the Edo, Meiji and early 20th centuries. Craftsman carved wild animals, mythical beasts, human figures and many other figures out of the smooth Bizen clay, relying on perfection of form, allowing the firing to add color without overt decoration. This figure is 34 cm (13-1/2 inches) tall and in excellent condition. It comes in a period wooden box dated the 8th month of Koka 3 (1846). As one might expect from something nearly two hundred years old, there is a well done invisible repair in the neck, otherwise is in excellent condition.
The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The beauty of Bizen pottery lies in its adherence to wood-fired kilns. The firing process is crucial, as it allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Saiku-mono or figurative pottery works have their roots much further back, but were very popular in the 19th and early 20th centuries. Simplicity of form, often inspired by nature and everyday objects, enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

A set of 8 small dishes dating from the later 19th century known as Mame-zara (bean plates) covered in cream colored crackled glaze decorated in the traditional Mugiwarade pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. Each plate is roughly 8.5 diameter and all are in excellent condition, enclosed in a modern, black-lacquered wooden box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.