The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1800 item #1501013 (stock #K698)
The Kura
$1,425.00
A beautiful bowl covered in frothy Namako blue in the shape of an Abalone shell from the mid-Edo period kilns of Karatsu enclosed in a black lacquered magemono circular box titled Karatsu Awabi-gata Hachi. The basin is roughly 29 cm (11-1/2 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
All Items : Antiques : Regional Art : Asian : Japanese : Okimono : Pre 1900 item #1501012 (stock #K669)
The Kura
$499.00
A lifelike turtle from the Kikko kilns of Osaka, the bottom stamped and covered in black glaze under gold leaf enclosed in the very rare original signed wooden box. Thanks to that the soft clay figure is in perfect condition. It is 16.5 x 11 x 6 cm (6-1/2 inches long), dating from the later Edo period.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1492 item #1500996 (stock #KN033)
The Kura
$500.00
A set of five small dishes and one larger bowl dating from the late Heian to Kamakura periods (12th -14th centuries) from the Seto region in central Japan. The bowl, called Yamajawan or Yama Chawan, is a soft grey color and measures roughly 16 cm (over six inches) diameter, 5.5 cm (2 inches) tall. The plates vary from pale white raw clay to ash spattered yellow and are 7.5~9.5 cm (3-less than 4 inches) diameter.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.
All Items : Antiques : Regional Art : Asian : Japanese : Okimono : Pre 1900 item #1500967 (stock #K692)
The Kura
$1,250.00
A beautifully sculpted 19th Century image of a mischievous Tanuki dressed in priests robes by Ninnami Dohachi of Kyoto, hands overlapping in a meditative pose dating from the 19th century. Signed on the bottom it measures 24 x 24 x 27 cm (roughly 9-1/2 x 9-1/2 x 10-1/2 inches). There is a firing crack under the right jaw, and in the tail, otherwise is in great condition. It comes enclosed in an age darkened wooden display box.
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.
The tanuki (Japanese raccoon dog) is a significant figure in Japanese folklore, celebrated for its mischievous, shape-shifting abilities and humorous antics. Known for their playful and sometimes morally ambiguous nature, tanuki are often depicted as masters of transformation and disguise, embodying themes of deception, adaptability, and humor. In some folk tales, tanuki disguise themselves as Buddhist nuns or priests, often with humorous or ironic undertones. This imagery blends the sacred with the absurd, highlighting the tanuki's cheeky nature. Disguising as religious figures underscores the tanuki's ability to deceive even in spiritual or solemn contexts. These tales serve as cautionary stories about gullibility and the need for discernment, even in sacred spaces.In tales like the Bunbuku Chagama, a tanuki transforms into a Buddhist priest or a sacred object (a tea kettle) to trick humans. Tanuki dressed as religious figures can be interpreted as subtle critiques of hypocrisy or the undue reverence given to appearances, reflecting a deeper layer of humor in Japanese storytelling.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1700 item #1500916 (stock #K682)
The Kura
$780.00
A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened quarter sawn cedar box with Kuro-gaki (Black persimmon) rim. Slightly misshapen, the bowl is 11-12 cm (4-1/2 to 4-3/4 inches) diameter, 5-6 cm (2 plus inches) tall and in surprisingly fine condition, with some ancient lacquer repairs about the rim attesting to the great age and care the piece has received
. Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1800 item #1500915 (stock #KN012)
The Kura
$500.00
Sale Pending
A beautiful set of five small Oribe dishes perfect for sauce (with sashimi) or a small moriawase setting in a kaiseki-meal dating from the early to mid Edo period (17th -18th century). Each is uniquely decorated with abstract seasonal motifs. They are 7.5-8 cm (roughly 3 inches) diameter and in fine condition, enclosed in an old wooden box.
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. Much Japanese food is still served fresh, and so the four seasons are an indispensable factor for the table. Kaiseki is a traditional Japanese multi-course dining experience that emphasizes seasonality, aesthetics, and harmony. The presentation of Kaiseki dishes is as much an art form as the preparation itself, guided by key principles. Great care is taken in selecting plates, bowls, and utensils that enhance the presentation and tie into the season. Materials like lacquerware, ceramics, and bamboo may be used, often featuring seasonal designs. Even the smallest details, such as the angle of a garnish or the placement of a sauce, are considered. Kaiseki emphasizes diversity in textures, flavors, and cooking methods (e.g., raw, grilled, steamed, fried, and simmered dishes). Balance in color, texture, and shape is critical. Each element of the dish complements the others, creating a sense of unity. This harmony extends to the choice of dishware, which should suit the food and the season. By combining these principles, Kaiseki creates a dining experience that is both a feast for the palate and the eyes, reflecting Japanese philosophy and aesthetics.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1700 item #1500821 (stock #K674)
The Kura
$1,700.00
A collapsed bottle from the early years of the Tokoname Kilns dating from the Kamakura to Nanboku-cho periods (12th to 15th centuries) featured in the special Taiyo Art Magazine Close-up on the six ancient kilns. It is 18 cm (7 plus inches) diameter, 13 cm (more than 5 inches) tall and in fine original condition, enclosed in an old red-lacquered wooden box.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1700 item #1500756 (stock #KN013)
The Kura
$800.00
A set of five ancient Karatsu dishes repaired with lacquer and gold perfect for serving sweets in a tea room where Wabi-sabi is paramount, or featured in a Kaiseki meal. They are 10 -11 cm (4 plus inches) diameter each, dating from the 16th to 17th centuries, enclosed in an old kiri-wood box with wiped on lacquer finish.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930 item #1500738 (stock #KN024)
The Kura
$600.00
A set of five small Sencha Tea Cups decorated with a leaf inside, a verse of four archaic characters outside enclosed in the original signed wooden box dated Showa 3 (1928). They are 4.5 cm (just less than 2 inches) diameter, 2.5 cm (1 inch) tall and in excellent condition.
Irie Shikai was born in Fukuoka prefecture in 1862, the son of an upper level samurai retainer. He studied Nanga and Chinese style painting under Yoshitsugu Haizan and Daiju Ekizan among others. Eschewing the contemporary trend to exhibit and paint for the major National Juried exhibitions, he remained outside the mainstream. For more on this artist see Literati Modern, Bunjinga from late Edo to 20th century Japan, Honolulu, 2008.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1700 item #1500737 (stock #K697)
The Kura
$1,200.00
A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened wooden box with a single zen circle of gold inside surrounding the center. These types of early Karatsu bowls were fired stacked inside each other, and it is certain looking at this piece that the artist forgot the wadding between this and the bowl above, so it adhered to the bowl creating a space without air, which caused the center of the bowl to fire at a different color than the rest which was exposed to the heat and oxidation. The bowl above was likely broken to separate them, and where it had adhered was ground down to be repaired with a ring (or Zen circle) of thin gold. It is a beautiful piece which offers a peek into the history of this regional pottery, as well as telling a story of preservation and offers commentary on our modern throw away society. The bowl is 12 cm (just less than 5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900 item #1500736 (stock #K650)
The Kura
$350.00
Sale Pending
An unusual sake kettle in the shape of a wea turtle hailing from the 19th century (Meiji period) Imari Kilns on the southern island of Kyushu. It is 19 x 13.5 x 15 cm (roughly 8 x 5-1/32 x 6 inches) and is in excellent condition.
Imari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions. Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as "Imari ware." Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1900 item #1500715 (stock #K651)
The Kura
$850.00
A 19th century six-sided Koro Incense Burner bearing impressed into the base the seal of the Wakayama branch of the Tokugawa families Kairaku-en Niwa-yaki kiln. It is 10 x 12.5 x 10.5 cm plus lid 4 x 5 x 4-1/4 inches) and is in fine condition. It features a pierced brass lid engraved with smoke tendrils and comes in a period wooden box.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1900 item #1500714 (stock #K560)
The Kura
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.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1910 item #1500701 (stock #K657)
The Kura
$800.00
A large bowl fired in France decorated by Ueda Kochu based on imagery from the Shosoin collection of Imperial Art enclosed in an old wooden box titled Furansu Yaki Kacho E Hachi, Shosoin Gyomotsu Moyo, Ueda Kochu HakuHitsu. This type of dish, made in France, was imported as a blank, decorated in Japan and re-fired, thus giving it overlapping marks of the original French maker and the artist’s signature. A very rare combination offering an intriguing look into the ceramics trade in the 19th century. It is 21.5 cm (8-1/2 inches) diameter, 11 cm (4 inches) tall and in excellent condition.
Ueda Kôchû (1819~1911) was born in Kyoto, the son and pupil of Shijo School artist Ueda Kôfu. After his father's death in 1832, he moved to Osaka where came under the tutelage of Nagayama Kôin. Following the chaos of the Meiji Restoration, Kochu painted on umbrella. It is said he painted on umbrella for a living after the Meiji Restoration. After the Meiji restoration he painted umbrellas, worked as a writer, travelled extensively throughout Japan, and served as a professor at the Naniwa Art School. He was a prominent painter in Osaka art circles and shortly before his death, painted the screens in the Tenman-Shrine. Work by him is held in the British Museum, the Minneapolis Institute of Art among others.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1900 item #1500700 (stock #KN009)
The Kura
$450.00
The shallow clay basin has been thrice dipped into earthy green glaze leaving the foot raw, an Edo period Karatsu Sake Cup enclosed in an age darkened kiri wood box titled Hai-iri. An Ishihaze stone inclusion bursts through the glaze on one side, and the glaze forms a ringlet on the pinched side where the artist thumb held it while dipping in the glaze. Writing abounds on the box, inside the lid, and on the bottom, from the various hands through whom it has passed over the centuries. Edo period, it is 8 zx 7 x 3.5 cm (roughly 3 inches diameter) and is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900 item #1500640 (stock #K499)
The Kura
$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.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1900 item #1500521 (stock #KN017)
The Kura
$500.00
A spectacular bowl covered inside with a rich caramel color, outside in dark amber glaze outside with various white dots evenly distributed around the surface, and clearly stamped Zoroku on the base in the original signed wooden box titled Kosetsu Chawan. It is 13.5 cm (65-1/2 inches) diameter, 7.5 cm (3 inches tall) and in excellent condition.
The first-generation Mashimizu Zoroku (1822–1877) was born in Kuga Village, Yamashiro Province, as the third son of Shimizu Gen’emon. He began his pottery training in Kyoto’s Gojozaka district in 1834 and established his own kiln in 1843. Receiving the character "真" (Ma) from Prince Kogen Hoshinno, he changed his surname to Masamizu. Zoroku gained prominence for his celadon ware, earning the title "Zoroku of Celadon," and was a pioneer of celadon production in Gojozaka. He exhibited at international expositions in Vienna (1873) and Philadelphia (1876) and was known for his philanthropy, aiding disaster victims and the disadvantaged. Zoroku also crafted tea utensils for Emperor Komei in 1864, earning the "Sokan" seal from Gengensai Soshitsu of Urasenke.
The second-generation Mashimizu Zoroku (1861–1936), born in Kyoto as the eldest son of the first Zoroku, assumed the title in 1882 after his father’s passing. He excelled in celadon, white porcelain, underglaze blue, and Mishima styles, drawing inspiration from Chinese and Korean ceramics. He relocated his kiln to Yamashina in 1917 and later to Nishikyo in 1930, forging connections with prominent potters such as Arakawa Toyozo. An authority on antique ceramics, he authored several notable works and earned awards at exhibitions, including the Kyoto and Nanto Expositions. His seals evolved over time, beginning with "Hyakuju" and later adopting "Shunsen" and "Zoroku."
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1920 item #1500520 (stock #K611)
The Kura
$680.00
Sale Pending
A set of six covered soup bowls decorated with a crescent moon rising up through autumn grasses in a traditional pattern named after the Musashino planes by Ito Tozan enclosed in the original singed wooden box titled Musashino Suimonowan. They are 8.5 cm (3-1/2 inches) diameter, 8 cm (roughly the same height) tall and are in fine condition. 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. Much Japanese food is still served fresh, and so the four seasons are an indispensable factor for the table. Suimono Wan are bowls for clear soup served between parts of the meal to clean the palette.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.