Catalog: Antiques: Regional Art: Asian: Japanese: Stoneware (43)

A pair of vases in the shape of old wooden well buckets (tsurube) in white glaze upon which is scrawled in beautiful grass scrip a poem by Otagaki Rengetsu. The poem reads: Yamazato wa
matsu no koe nomi
kiki nare te
kaze fuka nu hi wa
sabishikari keri
Which translates as:
Living deep in the mountains
I’ve grown fond
of the soughing pines
On days when the wind is still
how lonely it is
Each is roughly 15 cm (just under 6 inches) square 18.5 cm (7-1/4 inches) tall and both are in excellent condition. ).
Otagaki Rengetsu (1791-1875) 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 horse shaped koro from the kilns of Bizen dating from the later half of the Edo period enclosed in a period iron bound wooden storage box. The ears are removable, and the saddle lifts off to reveal a compartment for burning incense. It is 27 x 14 x 17 cm. One ear and one tassel along the saddle have been repaired.
Bizen ware, which enjoyed great popularity throughout Japan from the Middle Ages to the Momoyama period, lost its prominence to Seto, Mino, and Arita pottery during the Edo period. The Bizen kilns attempted to break through this situation by developing items such as saikumono (ornamental works) and saishiki Bizen (also called Iro-Bizen or colored Bizen ware). Under the guidance of official painters employed by the Okayama domain, they colored figures and animals, fired at low temperatures, using gofun (white pigment) and mineral pigments. These pieces were used as gifts to the shogunate and other domains.

A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

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 shard has been grafted into the side of this large misshapen Shino bottle dating from the Momoyama to early Edo period, the repair lined with gold. Gold also circle the neck where the discarded misfire was repaired, and gleams on the lip. It is 22 cm (9 inches) tall and in excellent condition. It comes in an age darkened wooden box titled Ko-Shino Tokkuri, Shoki no Kama (Old Shino Tokkuri, early Kiln era)
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

A Momoyama to early Edo period (16th-17th century) small Chawan , much worn inside, with old gold repairs gleaming softly on the iron ringed rim. Aside from this iron circle, and the wear earned over centuries on the slightly oblong shape, there is no decoration. It is 12.6 × 10.9 × 6.2 cm (5 x 4-1/4 x 2-1/2 inches) and comes wrapped in a crepe silk pouch enclosed in an old, fine quality kiri-wood box.
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.

Golden Maple leaves and five petaled plum blossoms float on the golden pond pooling on this early Edo period Karatsu Chawan decorated with a single Zen circle. Superb quality repairs gleam about the rim, one large repair decorated over top of the gold with fine amages of leaves and blossoms. The base is small and shallow, indicative of the early era. It is 12 cm (just less than 5 inches) diameter, 7.5cm (3 inches) tall and comes enclosed in an old wooden box.
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.

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.

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.

A dimpled bowl decorated with chrysanthemum blossoms floating past a dark shore by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kenzan Utsushi Kikusui Ga Kashi-bachi. It is roughly 20 cm (8 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
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 the tenth generation head of the Kyoto pottery family Miyagawa Chozo. 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. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan 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 completely 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 fabulous Edo period large Gohon Chawan from the Hagi region, a classical bowl wearing its history in a spider thread of gleaming gold. Broken once, the cracks have been repaired with softly gleaming thin wisps o gold in the highest quality. The bowl is 12.5 × 15 x 8 cm (5 x 6 x 3 inches) and comes enclosed in a period Kiri-wood box. Kintsugi lacquer gold repairs embody 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.

A set of Nesting Oribe bowls dating from the Momoyama to early Edo period from the Ohira-gama enclosed in an old collector’s box. Both They display a brownish color, typical of early works from the late Muromachi to Momoyama periods. The spur marks between are quite distinct “C” chapes. A simple tendril of iron has been poured over the sand textured surface, otherwise there is no decoration. Both slightly onched shapes feature kin-tsugi gold repairs. The large bowl is 23 x 24.5 x 6 cm (9 x 9-3/4 x 2-1/2 inches), the smaller 21 x 22.5 x 5 cm (8-1.2 x 9 x 2 inches).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).

An E-karatsu Yobitsugi bowl made of various shards attached with wide bands of gold to a discarded base: the pieces dating from the Momoyama to early Edo periods. It is 22 x 20 x 6 cm 8-1/2 x 8 x 2-1/4 inches) and comes enclosed in a modern kiri-wood collectors box titled E-Karatsu Hachi.
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. 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.

A lovely chawan made of three separate excavated shards connected by lines of gold dating from the Kamakura to early Muromachi periods (13th to 14th centuries). It is 15.7 cm diameter, 7 cm tall and in excellent condition, enclosed in an old wooden box.

A masterpiece of Akahada Pottery ware in the shape of a wooden bucket with elaborate scrolling feet from the kiln of Okuda Mokuhaku. It is 18 x 18 x 19 cm (7 x 7 x 7-1/2 inches) and is in excellent condition, enclosed in a modern wooden collector’s box.
Okuda Mokuhaku (1800-1871) was born the son of a merchant in Sakai Machi Yamato Koriyama in Nara Prefecture that served the local lords with hair ornaments, make-up supplies and other fashionable items. His given name was Kamematsu, which was changed to Sahe-e upon reaching adulthood. He was enthralled with the tea ceremony from a young age, and enjoyed making Raku ware, so it was no surprise later when he quit the family business and became a potter. He established the pottery style known today as Akahada-yaki. With his outstanding design and technical prowess, Akahada pottery came to be highly regarded as utensils for the Japanese tea ceremony, earning him the reputation as a master craftsman of the Edo period who made Akahada pottery known to the world.

A set of five fluted dishes decorated with draped branches dating from the mid to later Edo period enclosed in a period age-darkened wooden box. Several have had repairs made with lacquer nad powdered silver, enhancing the beauty and sense of age. They all bear on the base the Mizoro stamp impressed into the raw earth. Each is 16 x 10 x 4.5 cm (6 x 4 x 2 inches) and all are in overall fine condition, with the silver repairs blending with the finely crackled glaze and dark iron decoration.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

Something wild remains in the expression of this quiet little creature hiding away from human eyes. It is Bizen pottery, dating from the 19th to early 20th century, when Saikumono sculptural works were at their peak of production. It is 10.5 x 17.5 x 10.5 cm (4 x 7-1/2 x 4 inches) and 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 were very popular in the 19th and early 20th centuries, and that tradition still exists today. 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 five covered bowls from the Akashi kilns of the 19th century decorated with cotton flowers on brown sandy clay. Each bowl is roughly 11.5 cm (4-1/2 inches) diameter, 6 cm (2-1/4 inches) deep. There are minor abrasions to the soft clay along the rims, but no cracks, and overall in rare fine used condition. Akashiyaki is a type of ceramic from Akashi, Hyogo Prefecture influenced by Mishima, Ko-Kiyomizu and Ninsei wares which reached its peak in the latter half of the Edo period. At the beginning of the Edo period, Tadazane Ogasawara from the Matsumoto domain of Shinano Province was granted the Akashi area with a value of 100,000 koku and founded the Akashi domain. Tadamasa strove to establish Akashi Castle and improve the castle town and economics of the province. According to one theory, Tadamasa initially invited Nonomura Ninsei from Kyoto, and had him develop a kiln to fire pottery which began the industry development. In the Genna era, a government kiln was built and Toda Oribenosuke began firing pottery in Akaura, Toba village. This is known today as Ko-akashiyaki. Bizen-style and Mishima-style tea pottery were produced and loved by tea masters. After that, the production of Akashiyaki was suspended for a period of time during the Tenmei period, but Tezuka Magoichiro, the group magistrate of Akashi Town, had Yamada Kikutaro reestablish the industry during the boom years of the Bunka/Bunsei eras in the early 19th century. Akashiyaki continued to be produced in this way into the Meiji era, however most of the production was for everyday items, and was rarely fired in large quantities, so as mass production took over it declined flourished from the end of the Meiji period to the beginning of the Taisho period

A meek mouse huddles between erratic designs on the crackled-cream colored surface of this lidded container dating from the later 19th century Awata Kilns of Kyoto. It is 17 cm diameter, 11 cm tall and in excellent condition.
Awata, or Awataguchi, was the end of the Tokaido road connecting Kyoto and the Edo period capital of Tokyo. Potteries began there in the opening years of the Edo period.

An aka-Raku Chawan decorated with a phoenix by Kikko Jusoken sealed on bottom with what appears to read “the 7th Kyoto Gosho Hakurankai enclosed in the original signed wooden box. It is 12 cm ( just less than 5 inches) diameter, 89 cm (3-1/8 inches) tall and is in excellent condition.
Kikko Jihei (the firs Jusoken, 1784-1861) was born in Kaminada Village, Iyo country (mod. Ōzu City, Ehime Prefecture), as the eldest son of Todara Genbei, a retainer of the domain. Before establishing his own kiln, Jihei learned various pottery techniques at kilns in Kyoto. He studied under some of Kyoto's foremost masters, including the first Takahashi Dōhachi and the first Kiyomizu Rokubei. After receiving guidance from these emblematic potters of the era, he decided to set up his kiln in Jūso Village, Osaka, for its high visibility. In 1817 at the age of 33 he was commissioned by Mizuno Tadakuni, who later became the Lord of Osaka Castle, to present works to the 11th Shogun, Tokugawa Ienari. These works included a food container (jikirō) adorned with cranes and turtles and a goldfish bowl. As a result, Tadakuni bestowed upon Jihei the kiln name "Kikkō" along with a gold and silver seal. From 1819, at the age of 37, Jihei adopted the surname Kikko. In 1827, he took on the name Kikko Jusoken. Kikko Jusoken worked on his creations at kilns from Osaka to Edo. The first Kikko Jusoken had no children. However, he passed on his kiln in Jūso Village, Osaka, to his niece's son, Kameji, who became the second-generation Kikko, and his own sister's son, Yoemon, who became the third-generation Kikko. The first four generations died within a short time span of each other, all by 1863, and this is likely the work of the fifth generation, who held the reins until 1891.

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 very rare 19th century tea bowl by Ohashi Shuji enclosed in the original wooden box signed by both the artist and a tea aficionado named Horinouchi Fusensai. It is 10 cm (4 inches) diameter, 12 cm (just less than 5 inches) tall and in excellent condition.
Ohashi Shuji (1795-1857) studied medicine before coming to pottery at the age of 37. A practitioner of the Hisada School of tea, he studied in Kyoto under Ogata Shuhei, and was adept at many styles. ＜ｂｒ＞ Horinouchi Fusensai (1889 – 1945) was the 10th head of the Horinouchi school of tea.

A set of four “Mokume” wood-grained dishes in pale crackled glaze decorated with iron lattice from the Seto area enclosed in an ancient wooden box titled Seto Oribe naga-zara. Each dish rises slightly off the table on four pinched feet. They are roughly 19 x 10 x 3 cm (7-1/2 x 4 x 1-1/4 inches) and all are in overall fine condition.

A set of three spouted nesting bowls decorated in the traditional Mugiwara pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. The larger bowl is 9.5 cm (just under 4 inches) diameter, 5.5 cm (2 inches) tall. The smallest is roughly 7.5 diameter, 4.5 cm tall and all 3 are in excellent condition, enclosed in an old kiri-wood 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.

A beautiful 19th century Mishima style Hakeme-chawan inlaid with designs in white slip from the Rakuzan kilns of Shimane prefecture. It comes in a silk lined cloth pouch enclosed in an old kiri-wood box titled Rakuzan Yaki Chawan. Inside the lid is a poem accompanied by a painting of a soaring bird. It is 13.6 cm (5-1/2 inches) diameter, 6 cm (2-1/2 inches) tall and in excellent condition.
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.

An austere wide low Chawan tea bowl from the Asahi kilns of Nara prefecture emblazoned with Daibutsuden (Great Buddhist Hall). This was made to fund the rebuilding of the Great Buddhist Hall at Todaiji Temple during the late Meiji period. It is 15 cm (6 inches) diameter, 6 cm (2-1/4 inches) tall. There is a single gleaming gold repair to a chip in the rim.
Tōdai-ji in Nara, Japan, was founded in the 8th century by Emperor Shōmu as the head temple of all provincial Buddhist temples. It houses the Great Buddha (Daibutsu), one of the largest bronze statues in the world. Over the centuries, Tōdai-ji suffered multiple fires and earthquakes, leading to several reconstructions. The current Great Buddha Hall, rebuilt in the 17th century, is the world's largest wooden structure. Major restorations were conducted in the early 20th century, incorporating modern techniques to preserve its historical significance. In 1906 (Meiji 39), dismantling and repairs began, incorporating new methods such as reinforcing the interior with steel frames. The restoration was completed in 1912 (Meiji 45).

A fan shaped dish from the Gentaku Kiln dating from the first half of the 20th century decorated with a poem and autumn persimmon fruits. It comes enclosed in a wooden collectors box annotated inside with a description of the piece in delicate brush strokes. The dish is 25 x 28 x 5.5 cm (10 x 11 x 2 inches) and is in excellent condition, stamped Gen on the underside. A very intriguing bit of Japanese Ceramic history. In the early Showa period, the first generation, Kahei, built the Gentaku Mountain Villa and established the Gentaku Kiln to produce pottery for guests. However, the kiln naturally fell into disuse with the onset of the Second World War. Oshima Rakuan and various potters were invited to create work there.

A hauntingly beautiful set of 6 Edo period dishes decorated with Sasa-grass in mellow beige color on a creamy white surface. Each is roughly 12 x 8 x 2.2 cm (4-3/4 x 3-1/4 x 1 inches) and are in overall fine condition, enclosed in an ancient wooden box. It is likely there were originally 10 dishes, 6 of which have survived the centuries.

Cranes soar inside this set of five dishes from the Tosa domain on Shikoku. Outside waves crash about over the fawn spotted Gohon glaze. Each is clearly stamped on the base Odo. They are roughly 15 x 10 x 5 cm (6 x 4 x 2 inches) and all are in fine condition, but for one hairline crack.
In 1653, under the order of Tosa Domain's lord at the time, Yamanouchi Tadayoshi, a potter named Kuno Seihaku was invited from Osaka to open a kiln in Odo (present-day Kozu Town), located north of Kochi Castle. This marked the beginning of the production of "Oniwayaki" (a general term for pottery made at kilns established by feudal lords or castle lords who had an interest in pottery). At that time, the clay used was transported from Nojiyama, where high-quality clay could be found. In 1820 (the 3rd year of the Bunsei era), the kiln was moved to Nojiyama, and for about 50 years, until the Meiji period, porcelain was also produced. After the Meiji period, the kilns were privatized, and several kilns were opened around the Nojiyama area.

A set of five Kosobe-yaki pottery plates decorated with plum blossoms, harbinger of Spring. Each is 12 cm (5 inches) diameter and in excellent condition, dating from the century and stamped Kosobe on the base.
The potter who founded Kosobe ware, Shinpei Igarashi, is said to have trained in Kyoto. He opened a kiln in Kosobe Town, Takatsuki City, during the Kansei era (1779-1801), and the operation continued for about 120 years until the fourth generation, Nobuhira. During this period, a variety of products, ranging from tea utensils to everyday household items, were produced for the surrounding areas, and sometimes orders were fulfilled for restaurants in Osaka and Kyoto. The rustic design of Kosobe ware is still widely appreciated by ceramic researchers and collectors today

A set of five covered pottery bowls by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Suimono Wan. The basic setting in Japanese food is Ichiju-Sansai or one soup, three dishes. So instead of mixing everything on one plate, each part of the meal is given its own dish. Suimono Wan are bowls for clear soup served between parts of the meal to cleanse the palette. These bowls are 8.5 cm (3-1/4 inches) diameter, 8 cm tall. One bowl has a gold repair to the lid, otherwise they are all in excellent condition.
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 the tenth generation head of the Kyoto pottery family Miyagawa Chozo. 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. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan 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 completely 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 set of five sake cups, each engraved with a unique poem by the artist/nun Otagaki Rengetsu dating from her 83rd year enclosed in an antique Sarasa cloth pouch with silk pads between enclosed in an old wooden box. They are each 5 cm (2 inches) diameter and all are in excellent condition. The poems read:
1 Wakabae no yanagi no ito no mijikaku te furiwakegami no kokochi koso sure
The newborn willow fronds are short and feel to me just like bobbed hair
2 Umazake no miwa no sugi zu ba kore zo kono oi zu shina zu no kusuri nara mashi
Fine sake in balance becomes an elixir for perpetual youth and long life
3 Asakaze ni ubara kaori te hototogisu naku ya uzuki no shiga no yamasato
On the morning breeze the scent of rambler roses...a cuckoo cries crossing Uzuki over Shiga Mountain Villages
4 Kawazoi no yanagi no ito ni kakari keri nokoru koori no kataware no tsuki
In the willow fronds along the riverbank caught like lingering ice—a half moon
5 Tanazoko wo uke te matsu ma mo chiyo ya hen nome ba wakayu to kiku no shitatsuyu
In my palms waiting for eons to pass...I hear drinking this will make me younger—the chrysanthemums' hanging dew
Otagaki Rengetsu (1791-1875) 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.

An inviting poem for the 8th month is engraved among the leaves and grapes clinging to the vines forming the handle on this tall ewer covered in pale white glaze by Otagaki Rengetsu dating from the 19th century. It is 22 cm (9 inches) tall, 13.5 x 19 cm across the handle and is in excellent condition. The poem reads:
Okazaki no tsuki mi ni ki mase
Miyakobito
kado no hata imo nite matsura nan
Come see the moon in Okazaki
People of Kyoto
And I will serve you boiled garden potatoes
Otagaki Rengetsu (1791-1875) 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 standing lion covered in running yellow bamboo ash glaze from the Edo period kilns of Takatori on the southern Isle of Kyushu. Head held high, the smoke would vent straight out of the creatures mouth, as if exhaling the fragrant tendrils. It is 14 x 10.5 x 20 cm and is in excellent condition, enclosed in a modern kiri-wood storage box.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

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 pale glazed deep Tsutsu-gata chawan tea bowl by the first generation Kuze Kyuho decorated with dried lotus leaves by famed painter Hirai Baisen enclosed in the original wooden box signed by both artists. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (roughly 4 inches) tall and in excellent condition.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.