All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1930
item #1493375
(stock #K095)
The Kura
sold, thank you
sold, thank you
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.
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 classic bun-shaped Koro incense burner by Miyagawa Kozan pierced with Incense-clock-patterns enclosed in the rare original signed wooden box. A crested Ibis perches on the prow of a small boat moored among water reeds under a pattern of colorful filigree. The piece bears the Makuzu stamp impressed into the base. It is 9.5 cm (just less than 4 inches) diameter, 8.5 cm (3-1/2 inches) tall and is in excellent condition. The box is titled Mo-Ninsei Koro (Censer after Ninsei), and is signed inside bearing the Makuzu Seal. This is possibly the work of Miyagawa Chozo or the first Miyagawa Kozan, as both created works in this form.
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1500640
(stock #K499)
The Kura
$2,800.00
$2,800.00
Chrysanthemum in blue decorate the pale white porcelain of this tall vase by Miyagawa Kozan signed on the base in a square cartouche Makuzu Kozan. It is 32 cm (12-1/2 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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1960
item #1500471
(stock #K627)
The Kura
sold, thank you
sold, thank you
A lacquered document/paper storage box known as a Bunko by Yamazaki Ritsuzan decorated with firefly squid in a very modern style enclosed in the original signed wooden box titled Hotaru Ika Maki-e Bunko. The box itself is singed inside the lid. It is 25.5 x 36.5 x 12 cm 10 x 16 x 5 inches) and is in overall excellent condition.
The Kura
$1,800.00
$1,800.00
An austere Iga storage jar dating from the 16th century engraved about the shoulder with a crosshatch pattern and raised on two distinctive Geta underneath typical of early Iga ware enclosed in an old Kiri-wood storage box titled Iga Tsubo. There are two silver lacquer repairs to the rim and one on the side, all of which have tarnished to a dark patina with age. The vessel is 22 cm (9 inches) diameter, 28 cm (11 inches) tall and in excellent condition.
Iga pottery originated in the Iga region of Mie Prefecture in the late Heian period (12th century). Initially, it was known for producing utilitarian wares such as jars and mortars. However, during the Momoyama period (late 16th century), it gained prominence as tea practitioners valued its rustic, natural aesthetic for tea ceremony utensils. The nearby Iga and Shigaraki regions shared similarities in clay and techniques, but Iga-yaki developed its own unique style, especially under the influence of wabi-sabi aesthetics. Made from high-quality, coarse-grained clay rich in feldspar and silica, this gives the pieces durability and heat resistance. Fired in wood-fueled kilns, the interaction of ash and heat creates natural glazes, often with flowing textures and irregular patterns. Unique scorched effects appear due to the high-temperature firing and direct exposure to flame, adding depth and character to the pottery.Iga-yaki often features asymmetrical shapes and rough textures, embodying the wabi-sabi philosophy of imperfection and natural beauty. While historically utilitarian, Iga pottery is celebrated for its artistic expression, particularly in tea ceremony ware such as water jars (mizusashi) and tea bowls (chawan).
Iga pottery originated in the Iga region of Mie Prefecture in the late Heian period (12th century). Initially, it was known for producing utilitarian wares such as jars and mortars. However, during the Momoyama period (late 16th century), it gained prominence as tea practitioners valued its rustic, natural aesthetic for tea ceremony utensils. The nearby Iga and Shigaraki regions shared similarities in clay and techniques, but Iga-yaki developed its own unique style, especially under the influence of wabi-sabi aesthetics. Made from high-quality, coarse-grained clay rich in feldspar and silica, this gives the pieces durability and heat resistance. Fired in wood-fueled kilns, the interaction of ash and heat creates natural glazes, often with flowing textures and irregular patterns. Unique scorched effects appear due to the high-temperature firing and direct exposure to flame, adding depth and character to the pottery.Iga-yaki often features asymmetrical shapes and rough textures, embodying the wabi-sabi philosophy of imperfection and natural beauty. While historically utilitarian, Iga pottery is celebrated for its artistic expression, particularly in tea ceremony ware such as water jars (mizusashi) and tea bowls (chawan).
The Kura
sold
sold
An exemplary Bizen Tsubo typifying the late Momoyama style in rough dark clay with smoothed finger grooves spiraling up the body, and a smattering of flying ash typical of the 16th century with a kiln mark (kamajirushi) in the shape of a cross at the base opposite a hash mark. Occasional Shiseki and Ishihaze break the surface, testament to the less refined ‘yamadzuchi’ mountain clay which was used. The base is baked to a stone-like texture and sheen. This is a perfect example of the pottery produced in Bizen during the Momoyama period. It is 24 cm (9-1/2 inches) diameter, 28.5 cm (11-1/4 inches) tall and in excellent condition.
Bizen is one of the Rokkoyo or six ancient kilns of Japan. It is considered by many to be the quintessential Japanese pottery. It was traditionally produced in and around the village of Imbe in Bizen province, from where it received its name. It is therefore also known as Imbe or Inbe ware. As we know it today it made its appearance during the Kamakura period of the 14th century. It experienced its first peak during the Momoyama period of the 16th to early 17th centuries when the unadorned aesthetic was found to blend well with the rustic confines of the tea room. It remained strong throughout the Edo period, but fell into decline after the Meiji restoration, and owes much thanks to Kaneshige Toyo for helping to revive it in the second quarter of the 20th century, a task for which he was granted the status of living National Treasure, and has enjoyed great popularity since.
Bizen is one of the Rokkoyo or six ancient kilns of Japan. It is considered by many to be the quintessential Japanese pottery. It was traditionally produced in and around the village of Imbe in Bizen province, from where it received its name. It is therefore also known as Imbe or Inbe ware. As we know it today it made its appearance during the Kamakura period of the 14th century. It experienced its first peak during the Momoyama period of the 16th to early 17th centuries when the unadorned aesthetic was found to blend well with the rustic confines of the tea room. It remained strong throughout the Edo period, but fell into decline after the Meiji restoration, and owes much thanks to Kaneshige Toyo for helping to revive it in the second quarter of the 20th century, a task for which he was granted the status of living National Treasure, and has enjoyed great popularity since.
The Kura
sold
sold
A handled basin of raw sandy clay decorated with morning glories by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Masago Hada Asa-gao-no Zu Kabin (Sand textured Vase with Morning Glory Design). It is roughly 21 cm (8 inches) diameter, 18 cm (7-1/2 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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1700
item #1498282
(stock #K551)
The Kura
sold
sold
A Shodai-yaki plate from early in the production of that ware, some several hundred years old now. It comes with a label and old monochrome photograph of the piece both stamped with the Kumamoto Museum (Hakubutsugkan) stamp. The plate is a kiln flaw, with a split in the rim in two places which ocured during the firing process, The plate is 27 cm (10-3/4 inches) diameter and is in overall fine condition, enclosed in a red ^-lacquered old Edo period wooden box.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.
The Kura
sold
sold
A set of three dancing figurines by Teishitsu Gigei-in (Imperial Artist) Suwa Sozan I enclosed in their respective signed wooden boxes each bearing the Teishitsu Gigei-in stamp. They are respectively 15.8 x 8.5 x 26 cm, 25 x 10 x 24 cm and 23 x 9 x 23.5 cm (roughly 10 inches tall) each, and in excellent condition. They are published in the book Kirameku Kyo no Meiji Bijutsu (Shining Kyoto Artists of the Imperial Court) and were exhibited at the Kyoto Kyocera Museum in the summer of 2022.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan II (Torako) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan II (Torako) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.
The Kura
sold
sold
A spectacular vessel undoubtedly made as a gift to visiting Daimyo emblazoned with a lightning heraldic crest and young pines from the private Fushina Kilns belonging to the lords of Shimane prefecture. The bottle is perfectly formed, covered in a stately earthen color with perfect ivory key-fret designs about the neck and the family crest on both sides alternating with pine saplings in black. This is truly a masterpiece from the kilns of a medieval warlord. It is 15 cm (6 inches) diameter, 22 cm (9 inches) tall and in perfect condition.
Fushina (also Fujina sometimes simply called Izumo-yaki) was the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo. The origin of Fushina 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.
Fushina (also Fujina sometimes simply called Izumo-yaki) was the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo. The origin of Fushina 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.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1900
item #1500030
(stock #K466)
The Kura
$2,400.00
$2,400.00
A spectacular Edo period Chatsubo Tea Leaf Container covered in green pine-ash glaze engraved about the shoulder with unusual designs of an Otsu-e style creature wearing a mino straw rain-coat and bearing a massive branch of blossoming wisteria over its shoulder between swirling sun spots. The vessel has a deep cleft in the foot from where it partially collapsed, which allows it to be displayed standing up or at an angle. There is a large Kutsuki kiln flaw on the down side where it adhered to whatever was next to it, supporting it in the kiln. Truly an amazing piece. Slight inclusions and the glistening green ash indicate Mino ware from the Iga area. The old wooden bung is still present, wrapped in layer upon layer as the wood dried and shrunk over the decades. It is 38 cm (15 inches) tall, 35 cm (14 inches) diameter and in excellent condition, enclosed in an ancient storage box made of thick slabs of age-darkened Kiri-wood.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930
item #1493743
(stock #K100)
The Kura
sold, thank you
sold, thank you
A masterpiece white porcelain vase by Miura Chikusen III retaining the original richly carved rosewood stand enclosed in the original signed wooden box titled White Porcelain Vase Carved with Flowers, Vines and Sun Designs which is in turn enclosed in a protective outer box, a testament to the import placed on the piece. It is 41 cm (16 inches) tall plus the stand, and in excellent condition. The vase dates between 1921 and 1931.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.
The Kura
sold, thank you
sold, thank you
A carved wood Noh-men Mask of an aged male figure called Okina. Carved wood covered with Gofun and mineral pigments with horse-hair and chord, 20th century. It is 18.5 x 15.2 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.
The Kura
sold
sold
A Noh mask representing a middle-aged woman torn by separation from a loved one, either man or child. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. Gentle and mature, fukai's face is filled with a melancholy that comes from experience and feeling. The features are deep-cut, with crevices along the lower cheeks and deep-set eyes with heavy eyelids and drooping corners. The well-modulated lips neither smile nor frown. The fleshy face has a protruding forehead and chin, creating a slightly concave silhouette. Fukai masks come in a spectrum of ages, the oldest being labeled yuki no fukai (snow), the next tsuki no fukai (moon), and the yougest hana no fukai (flower).
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1493626
(stock #K019)
The Kura
sold, thank you
sold, thank you
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1492362
(stock #K057)
The Kura
sold, thank you
sold, thank you
Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.
The Kura
sold
sold
A fine pair of White Porcelain vases with raised designs by Miura Chikken (Chikuken) dating from the early 20th century each enclosed in the original signed wooden box. The are roughly 17.5 cm (7 inches) diameter, 28.5 cm (over 11 inches) tall and in excellent condition. Although the same diameter, one is slightly shorter than the other. Miura Chikken (Chikuken, 1900-1990) was born the third son of Miura Chikusen I. He was named the third head of the Chikusen family after the untimely death of his older brother in 1918, but returned the kiln to his brother’s son after his coming of age in 1934. That year he set out on his own path with the new name Chikken focusing on traditional Kenzan-Ninsei styles.
The Kura
sold
sold
A fabulous carved-lacquer incense box in the shape of a peach by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box. It measures 7.5 cm x 7 cm x 4.3 cm (roughly 3 inches long, 2 inches high) and is in excellent condition.
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.