The inside of the bowl is painted with cherry tree boughs laden with blossoms—done in a dazzling underglaze blue-and-white porcelain distinctive of Imari-wares. Below, the trunks of the trees can be seen grounded in a grassy field resting on an abstract ring of karakusa (arabesque). The center of the bowl displays a fashioned wreath of cherry blossoms strung together with field grasses. The outside of the bowl shows darkly pigmented cherry blossoms and berries running around the circumference ...

A mesmerizing piece of ceramic art, this exquisite tenmoku tea bowl embodies the rich traditions of Japanese craftsmanship that are inspired by over a millennia of Chinese artistry. With its distinctive deep red glaze, reminiscent of brilliant sunsets, red chili peppers, and festival colors; its presence creates an enchanting visual allure. The bowl's form is elegantly simple, with a gently flared rim that invites contemplation. Crafted with precision and care, this piece reflects th...

Decidedly masculine in character with straight sculpted edges, a rich palette of color, and a calm steadiness in the hand; this tea bowl was crafted by one of Japan’s great masters, a Mashiko potter by the name of Takauchi Shugo.

A native of Tokyo, Takauchi (b. 1937) took the well-established path of working for a company after graduating from university and it was not until a number of years later—upon visiting the town of Mashiko and being inspired by the works of artists such...

A powerful work of Shino pottery by one of the veterans of Mino ceramics. Vibrant lines of white feldspar contrast sharply with the iron rich clay and glaze to bring out this abstract depiction of field grasses swaying in the breeze. The technique used to produce this work is over 400 years old and was nearly lost to the ages before being revived by several well-known artists in the mid-20th century.

Born in 1941 in Taijima, Tamaoki began his studies at a very early age; apprentici...

This iconic tea bowl was crafted by one of the great masters of Japanese pottery and given the poetic name "Dewdrop" by a famous tea master of the Omote-senke school of tea. The Chrysanthemum flowers (Kiku) depicted on the front of the bowl are auspicious symbols of longevity and rejuvenation in Japan. When first introduced to the island nation during the Nara period (710-793 AC) the Japanese Royal Family was fascinated with this enigmatic flower. Eventually, during the passing of the years, the...

Here we have an exceptional Raku tea bowl given the poetic name "Setsu-gekka" (snow, moon, flower) — a phrase often used in Japanese art and literature to evoke a sense of beauty, tranquility, and the passing of seasons. With a masterfully applied red Raku glaze and a noticeable aesthetic of asymmetrical balance, this piece highlights a very old technique used in Raku pottery of scraping straight edges along the body of the vessel, thus producing contrast and a degree of desirable ...

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

Crafted with meticulous attention to detail and showcasing a soft and gracefully executed red glaze, this Raku tea bowl exudes a sense of ease, tenderness, and tranquility. Adorned with subtle crackling patterns and variations in texture, the tea bowl's surface adds to its unique and organic feel. Made by one of the true veterans of Japanese pottery, these are some of the finest Raku tea bowls you will find in all of Japan.

Sugimoto (b. 1935) is one of the most important...

Crafted with meticulous attention to detail and showcasing a rich, deep red glaze, this Raku tea bowl exudes a sense of warmth, vitality, passion, and energy. Adorned with subtle crackling patterns and variations in texture, the tea bowl's surface adds to its unique and organic feel. When held in the hand, you immediately notice a surprising lightness and pleasing proportionality, inviting a sensory connection with the tea-drinking experience. Not merely a vessel for drinking tea; th...

Raku-ware carries with it a very naturalistic aura; with its implements made of raw clay, its use of fire water and air to shape and harden these implements, and with its myriad processes that produce smooth glossy surfaces—like those often found in nature. In fact, if you look more deeply into Raku, you find that many of the shapes and motifs are inspired directly by nature.

Born the second son of Raku VII, Chônyû (1714 - 1770), Ryônyû took over the title of Kichizaemon (head...

This beautiful Red Raku tea bowl is the work of Raku XI Keinyu (1817-1902), the 11th Raku potter in an unbroken line of artisans stretching back over 450 years. Keinyu was adopted into the Raku family after marrying the daughter of the 10th Kichizaemon, thereupon becoming torchbearer for the most noted and celebrated tradition of pottery within the world of Japanese tea. One of Keinyu’s classic creations, this tea bowl highlights his honed sense of proportion, his versatility as a potter, and ...

Over the years we have taken a special interest in Raku-ware and especially in works produced by the Tamamizu kiln, such as the 300+ year old ceremonial tea bowl seen here. The first in this line of potters was Yahē (1662 - 1722), an illegitimate son of Kichizaemon Ichinyu (1615 - 1768) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho). Though he is the first potter of this branch, he is sometimes referred to as Tamamizu VI, deno...

Over the years we have taken a special interest in Raku-ware and especially in works produced by the Tamamizu kiln, such as the 300+ year old ceremonial tea bowl seen here. The first in this line of potters was Yahē (1662 - 1722), an illegitimate son of Kichizaemon Ichinyu (1615 - 1768) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho). Though he is the first potter of this branch, he is sometimes referred to as Tamam...

Ninani Dohachi (1783 - 1855) was second in the long line of Kyoto potters that continue to this day to be held in high regard. After the death of his father in 1805, Ninani succeeded his father by taking charge of the family kiln and officially taking the name “Dohachi.” Specializing in porcelain sencha wares done in the style of Annan, Kenzan, Ninsei, and well-known Chinese forms; Ninani showed remarkable versatility as is evidenced by this red Raku tea bowl which shows his supreme competen...

A testament to the brilliance of traditional Japanese craftsmanship, this lacquered mizusashi—skillfully handcrafted from bamboo—showcases a deep crimson hue that radiates warmth and sophistication. Its seamless design and flawless finish reflect the skilled hands of the first generation artisan who crafted it, achieving a harmonious balance between form and function. Designed for use in Japanese tea ceremony, this indispensable implement would love to be put back into service o...

Rectangular rounded netsuke manju, made of ivory and depicting the mighty Shoki with horn eyes. Shoki is a Japanese mythological figure, also known as the demon hunter, who symbolizes protection from evil forces. Adding a touch of sophistication to the manju the sword, with which he fights demons, in mother of pearl and the details of Shoki's robes in tortoiseshell. Origin: Japan Period: Edo 19th century Dimensions: 3.7 x 4.5 x 1.5cm. State of conservation: Very good

Wooden ornament, carved in relief on wood, representing Hindu god Kartikeya, with six heads, holding a spear in his right hand, riding his peacock, in a niche, flanked by two other niches in which are shown his two wives, Devasena and Valli. The two other niches are surmounted each by a kala makara (dragon) head. The whole scene is resting on two feet, each decorated in relief with a foliage design. India, 19th century, maybe earlier. Height: 49 cm. Slight abrasion due to age, chip on top, other...

Architectural element --- probably the end of a beam --- carved in the shape of a stylized lion. Wood, with fine dark brown patina. Nepal, 18th century, maybe earlier. Length: 22 cm. Height: 10.5 cm. The back of the element was partly attacked by insects, but there is no more danger. The element is nicely counted on a custom stand. Good condition.