{"title":"Stoneware","description":"\u003cp\u003eJapanese stoneware (sekīki) — dense, mid-fired ceramics with substantial weight and earthy character. The body of Shigaraki, Bizen, Iga, and other unglazed wood-fired traditions.\u003c\/p\u003e","products":[{"product_id":"kutani-bird-mug-230ml","title":"Kutani Ware Mug, Hand-Painted Wild Cherry Blossom Bird Coffee Cup 9 cm","description":"\u003cp\u003eA stoneware mug from the \u003cstrong\u003eKutani-yaki 九谷焼\u003c\/strong\u003e tradition in Ishikawa Prefecture — distributed by \u003cstrong\u003eIno Shōhō (伊野正峰)\u003c\/strong\u003e, a Kanazawa-area Kutani specialty distributor — hand-painted in \u003cstrong\u003eiroe 色絵\u003c\/strong\u003e polychrome overglaze with a \u003cstrong\u003eyamazakura ni tori (山桜に鳥 — \"bird on wild mountain cherry\")\u003c\/strong\u003e motif. Kutani-yaki has been a METI-designated Traditional Craft since 1975; the line is one of Japan's brightest decorative traditions, defined by its dense overglaze polychrome enamels.\u003c\/p\u003e\n\u003cp\u003eThe motif is one of the classic spring pairings of Japanese decorative vocabulary. The cherry depicted is specifically \u003cstrong\u003eyamazakura 山桜\u003c\/strong\u003e — the wild mountain cherry whose white five-petal blossoms open simultaneously with the new leaves rather than waiting for them, and whose young leaves emerge a deep orange-rust colour. That orange-against-white-against-leaf is what tells you a Japanese painting is yamazakura rather than the more familiar Yoshino cherry (where leaves come AFTER the petals fall). The bird perched on the branch is rendered with a dark cap, slate-blue wings and very long tail feathers, a white throat, and a small orange-coral chest spot — a stylized songbird rather than a single identifiable species.\u003c\/p\u003e\n\u003cp\u003eThe body of the mug is a pale sage-green \/ \u003cstrong\u003easagi (浅葱)\u003c\/strong\u003e stoneware speckled with the natural grog of the clay (visible as small black flecks under the clear gloss). Rim and the top of the handle are finished in \u003cstrong\u003e鉄釉 (tetsuyū)\u003c\/strong\u003e iron-glaze drip — a dark warm-brown that frames the lighter body and softens the painted scene with a contrasting edge. The handle itself is a generous C-curve, sized for a full hand.\u003c\/p\u003e\n\u003ch3\u003eAbout this maker\u003c\/h3\u003e\n\u003cp\u003eMade by Ino Shoho \/ Kutani-yaki stoneware in Ishikawa Prefecture, Japan, curated by ZenKiln\u003c\/p\u003e\n\u003cp\u003e伊野正峰 (Ino Shōhō) is one of the established Kutani-yaki specialty distributors in Kanazawa, supplying both commodity-tier and named-workshop Kutani production into the Japanese domestic and export trade. The specific producing kiln behind the K9- code on this piece is not separately disclosed by the distributor — the red square 九谷 seal on the foot is a ware-line cooperative cert rather than an individual potter's signature, which is standard practice for kiln-anonymous production in the wider Kutani trade.\u003c\/p\u003e\n\u003cp\u003eKutani-yaki itself began in 1655 at the village of Kutani in present-day Kaga (Ishikawa Prefecture) when the local Maeda clan, having identified suitable porcelain clay nearby, commissioned a kiln modelled on Arita's overglaze decoration. Production paused for roughly a century in the early 1700s — the \"Old Kutani \/ Kokutani\" period — then revived in the early 1800s under successive kilns (Mokubei, Yoshidaya, Iidaya, Eiraku, Shōza) that each developed distinct decorative idioms. The modern Kutani trade carries forward this five-colour gosaide tradition into both formal estate work and contemporary commodity tableware like this mug.\u003c\/p\u003e\n\u003ch3\u003eUse \u0026amp; care\u003c\/h3\u003e\n\u003cp\u003eA daily mug at home with coffee, tea, hot cocoa, or matcha latte — works equally well as a desk mug or a quiet morning piece. The iroe overglaze decoration concentrates on one face of the mug (rotate the handle to display the bird, or rotate it away when you want a quieter surface facing the room). Hand-wash recommended for hand-painted overglaze enamel — the polychrome decoration is not specified by the supplier as dishwasher- or microwave-safe on this SKU, so we default to conservative care. Avoid abrasive scouring on the painted areas and the iron-glaze rim.\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47487591121126,"sku":"ZK-MUG-INOSHOHO-KUTANI-YAMAZAKURA-BIRD-9CM","price":44.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/il_fullxfull.7528078049_d13j.jpg?v=1774747066"},{"product_id":"shigaraki-black-ikebana-vase","title":"Shigaraki Flower Vase, Hechimon Zansetsu Lingering Snow Ikebana 28 cm","description":"\u003ch2\u003eShigaraki Flower Vase — Hechimon Zansetsu \"Lingering Snow\", 28.5cm Tall\u003c\/h2\u003e\n\u003cp\u003eA tall sculptural flower vase from the Hechimon (へちもん®) art-vase line of Marui Seitō (丸伊製陶), Shigaraki, Shiga Prefecture. The piece is built in Shigaraki's coarse-grog stoneware clay and finished in the kiln's signature 残雪 zansetsu (\"lingering snow\") two-zone gradient: a fine-net white kirara crackle-glaze at the top that gradates down into a dark iron-pigment Shigaraki body at the foot, evoking snow remaining on a dark mountain in late winter and early spring — when the high peaks are still white but the lower slopes have already turned to dark earth.\u003c\/p\u003e\n\u003cp\u003eThe silhouette is taller than the typical Hechimon (28.5 cm \/ 11.2 inches), and the body sweeps outward through the middle then narrows back to a smaller foot. The mouth opens into a 5-lobed (五弁 go-ben) flower-form silhouette — when viewed from above the rim reads as a flower with five rounded petals, sympathetic to the vase's intended function as an ikebana \/ flower-arrangement vessel. The texture of the clay is left raw and visible through both glaze zones — Hechimon's brand identity is built around \"tsuchi no aji\" (土の味, \"the taste of earth\") that distinguishes Shigaraki stoneware from porcelain.\u003c\/p\u003e\n\u003ch3\u003eAbout the Hechimon brand line\u003c\/h3\u003e\n\u003cp\u003eへちもん (Hechimon) is a Shigaraki-area dialect word meaning ふうがわり (fugawari) — \"out-of-the-ordinary\" or \"unusual.\" Marui Seitō registered the name as a trademark for their contemporary art-vase line in Shigaraki, characterised by hand-finished irregular silhouettes, kiln-master glazing accidents kept as features (broken rims, ash bands, lingering snow gradients), and the deliberate visibility of the Shigaraki clay grog underneath the finish. Each piece in the line is presented as individual — \"ひとつひとつが個性的な衣をまとった器\" (per the maker's brand statement) — meaning the lingering-snow gradient on your vase will be in the same family as the photographs but will vary slightly from any other piece in the same SKU.\u003c\/p\u003e\n\u003ch3\u003eAbout this maker\u003c\/h3\u003e\n\u003cp\u003eMade by Marui Seitō \/ Hechimon Shigaraki-yaki in Shiga Prefecture, Japan, curated by ZenKiln.\u003c\/p\u003e\n\u003cp\u003eMarui Seitō is a Shigaraki kiln whose contemporary art-vase output is published under the brand name Hechimon (へちもん®), one of the largest single-supplier verticals in the ZenKiln catalogue. Their signature is the contrast of a soft, deliberate Shigaraki-clay body against a single decorative intervention per piece — a broken rim, a band of ash, a cascade of gold, or — as here — a two-zone gradient that reads as a landscape compressed onto the vase silhouette.\u003c\/p\u003e\n\u003cp\u003eShigaraki itself is named in METI's official Six Ancient Kilns (六古窯) designation — the six Japanese ceramic regions with the longest continuous production history (since the Heian era, ca. 12th century). Most international collectors associate Shigaraki with the tanuki (raccoon-dog) garden figures, the rough wood-fired tea ceramics, or the storage jars that Sen-no-Rikyū favoured for ikebana in the 16th century. The Hechimon line sits in a different, contemporary register — sculptural stoneware shaped for the modern Japanese interior.\u003c\/p\u003e\n\u003ch3\u003eUse \u0026amp; care\u003c\/h3\u003e\n\u003cp\u003eThis is a functional ikebana vase — the interior is water-tight with the maker's anti-leak treatment, suitable for fresh flower arrangements. Per Marui Seitō's official guidance, please observe:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSurface and interior may have rough sections — the base is treated, but use a protective placemat or coaster on delicate surfaces (waxed wood, lacquerware, fine textile)\u003c\/li\u003e\n\u003cli\u003eTemperature differential between room and water may cause exterior condensation — use a coaster\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDO NOT\u003c\/strong\u003e add detergent or surfactant to the water (such as to \"preserve\" cut flowers longer) — the anti-leak interior treatment will degrade and may begin to seep\u003c\/li\u003e\n\u003cli\u003eClean by rinsing with plain water; dust the exterior gently with a soft dry cloth\u003c\/li\u003e\n\u003cli\u003eDecorative use also welcomed — dramatic single-stem arrangement (one tall ikebana branch, one curved willow), or dry display (preserved pampas, dried wheat, paper-mâché flowers)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47487591514342,"sku":"ZK-VASE-MARUI-HECHIMON-ZANSETSU-28CM","price":139.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/Shigaraki_Ware_Tall_Ikebana_Vase_handmade_Japanese_stoneware.jpg?v=1774879257"},{"product_id":"kutani-yoshidaya-wild-grape-square-plate-set-of-5","title":"Kutani Square Plate Set of 5 — Hakuhō Kiln Yoshidaya Wild Grape 13.7 cm","description":"\u003cp\u003e\u003cstrong\u003eKutani Yoshidaya-Fū \"Nobudō\" Wild-Grape Square Plate Set of 5 — Hakuhō Kiln, side 13.7 cm (4.5号)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA set of five hand-painted Kutani square plates from \u003cstrong\u003e九谷 博峰窯 (Hakuhō Kiln)\u003c\/strong\u003e, Ishikawa Prefecture, distributed by 九谷焼の陶寿堂 (Tōjudō). The pattern is supplier-named \u003cem\u003e吉田屋野ぶどう (Yoshidaya nobudō \/ \"Yoshidaya-style wild grape\")\u003c\/em\u003e — a modern reinterpretation of one of Kutani's most beloved 19th-century idioms.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Yoshidaya idiom\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe original Yoshidaya kiln (active in the 1820s–1860s during Kutani's revival period) is remembered above all for its \u003cem\u003e青手 aote\u003c\/em\u003e painting: a deliberately restricted palette of yellow, green, purple, and turquoise-blue, with iron-black line drawing — and pointedly \u003cstrong\u003eNO iron-red\u003c\/strong\u003e. The aote ground covers the entire surface, leaving no white space, so the painting reads like a small enamel garden. Hakuhō Kiln's contemporary Yoshidaya-fū series carries this discipline forward: each plate here has a textured yellow ground (the speckled \u003cem\u003ekiji-no-jiyū\u003c\/em\u003e effect of Yoshidaya yellow earthenware), two large turquoise grape leaves with fine iron-black veining, a bare branch line in iron-black, and a small turquoise \/ cobalt \/ black grape-berry cluster — the wild grape (\u003cem\u003e野ぶどう \/ nobudō\u003c\/em\u003e) of a late-summer hedgerow.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe form\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA square plate (\u003cem\u003e角皿 \/ kakuzara\u003c\/em\u003e) with mild upturned corners, sized \u003cstrong\u003e4.5号 — a supplier catalogue label that translates to roughly 13.7 cm per side (4.5号 is NOT itself a centimetre measurement; the actual side is what we list here)\u003c\/strong\u003e. Sold as a fixed set of five matching plates. The 4.5号 size fits comfortably in the \u003cem\u003emukōzuke (向付)\u003c\/em\u003e role of a kaiseki place setting, as a small individual share plate, or as a wagashi (Japanese sweets) tray.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBody \u0026amp; finish\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe body is \u003cstrong\u003eearthenware (陶器 — supplier explicit, NOT porcelain)\u003c\/strong\u003e. The Yoshidaya tradition specifically uses earthenware because the heavy yellow \/ green \/ purple aote palette adheres better to the porous body than to porcelain — the warm tōki body is part of why these pieces feel as solid as they look. The reverse of each plate is left unglazed where it shows the warm terracotta-orange clay, with the kiln 底款 reading \u003cstrong\u003e九谷 博峰窯\u003c\/strong\u003e brushed on (visible in the bottom photo).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCare\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe supplier does not specify microwave or dishwasher use. As with most hand-painted Yoshidaya-fū aote pieces we recommend \u003cstrong\u003ehand-wash only\u003c\/strong\u003e — warm water, soft cloth, mild detergent — to protect the overglaze enamel and the iron-black line work. Because each plate is painted by hand the grape leaves and berry clusters vary very slightly piece to piece across the set; this is part of how the Yoshidaya tradition is made, not a defect.\u003c\/p\u003e\n\u003cp\u003e• Made by Hakuho Kiln \/ Kutani-yaki in Ishikawa Prefecture, Japan, curated by ZenKiln. Distributed via 九谷焼の陶寿堂 (Tōjudō).\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47533638058214,"sku":"ZK-PLATESET-HAKUHO-YOSHIDAYA-NOBUDO-13.7CM","price":199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/DSC8161.webp?v=1775989730"},{"product_id":"kutani-hidamari-matcha-bowl","title":"Kutani Matcha Chawan — Iroe Yū Hidamari Cats Tea Bowl Ø11 cm (Kiri Box)","description":"\u003cp\u003e\u003cstrong\u003eKutani Matcha Chawan — Iroe Yū \"Hidamari\" Cats-in-Blooms Tea Bowl Ø 11 × H 6.7 cm (with paulownia kiri-box)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA hand-painted Kutani matcha chawan from \u003cstrong\u003e色絵工房 遊 (Iroe Yū \/ \"Iroe Workshop Yū\")\u003c\/strong\u003e, an Ishikawa-based contemporary Kutani workshop, distributed by 加賀商会 (Kaga Shōkai). This is the cat variant of their signature \u003cem\u003e\"Hidamari\" (陽だまり \/ \"patch of sunshine\")\u003c\/em\u003e series, which the workshop describes as one of its most popular lines internationally since 2020.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe motif\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA white cat and a black cat sit side by side with their backs to us, looking up at a small patch of springtime — a cluster of forget-me-not blue, tiny butterflies in pale yellow, and slender flower stems in purple, pink, and aqua. The drawing is intentionally pared-down: pencil-thin iron-red whiskers, the cats' tails caught mid-flick, the world around them suggested rather than filled in. It is the \u003cem\u003eHidamari\u003c\/em\u003e feeling — a moment of warm light in a quiet corner.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe body\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIroe Yū's signature wabi-sabi grey-glaze stoneware. The lower body and interior are a deep, slightly warm grey, finely speckled where iron from the clay shows through; the upper panel that holds the painting is a soft kohiki-style white, equally speckled, like sun on snow. The foot ring is unglazed at the standing surface and stamped with the workshop's red \u003cstrong\u003e遊\u003c\/strong\u003e kanji seal in a small square box (visible in the bottom photo).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize \u0026amp; use\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter 11 cm × Height 6.7 cm (≈ 4.33 × 2.64 in) — within the standard size range for a matcha chawan (whisked-matcha tea bowl). The form sits comfortably in both hands and gives room for the chasen (bamboo whisk) to move. Sized for daily tea-ceremony practice (keiko-ya) as well as collector display.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBox \u0026amp; papers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArrives in the workshop's premium \u003cstrong\u003e桐箱 (kiribako \/ paulownia gift box)\u003c\/strong\u003e with brushed calligraphy reading \u003cem\u003e九谷焼 茶碗\u003c\/em\u003e (Kutani-yaki matcha chawan) and the red 遊 seal, plus an Iroe Yū workshop introduction card and a \u003cem\u003eKutani-yaki METI Traditional Craft pamphlet\u003c\/em\u003e (METI = Japan's Ministry of Economy, Trade and Industry; Kutani-yaki is a designated Traditional Craft).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCare\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe supplier does not specify microwave or dishwasher use, so as with most hand-painted art-tier matcha chawans we recommend gentle hand washing only — warm water, soft cloth, no abrasive sponge. Dry by hand. The wabi-sabi grey glaze can hold a faint matcha stain after long use; many tea practitioners welcome this as \u003cem\u003ekeshiki (景色 \/ \"scenery\")\u003c\/em\u003e — part of how a chawan grows into its owner. Each piece is decorated by hand, so slight variations in cat-tail line, flower placement, and speckle distribution are part of how the workshop makes them.\u003c\/p\u003e\n\u003cp\u003e• Made by Iroe Yu Workshop \/ Kutani-yaki in Ishikawa Prefecture, Japan, curated by ZenKiln. Distributed via 加賀商会 (Kaga Shōkai).\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47537751818470,"sku":"ZK-CHAWAN-IROEYU-HIDAMARI-CATS-11CM","price":109.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/DSC08869.webp?v=1778290058"},{"product_id":"kutani-hare-rabbit-matcha-bowl","title":"Kutani Matcha Chawan by Kozan Kiln — Hane-Usagi Leaping Rabbit Moon Bowl","description":"\u003cp\u003eA modern Kutani matcha chawan from the \u003cstrong\u003eKōzan (幸山) kiln\u003c\/strong\u003e in Ishikawa Prefecture — three raised-white rabbits hop across a speckled gray ash-glaze body beneath a gold full moon and gold susuki (pampas grass) blades streaming with the wind. The supplier names this pattern simply \u003cstrong\u003eはねうさぎ (Hane-Usagi \/ \"Leaping Rabbits\")\u003c\/strong\u003e. Look at it for a moment and the older Japanese imagery surfaces: the jade rabbit (玉兎 gyokuto) pounding mochi on the moon, the autumn moon-viewing field (月見 tsukimi) where wild pampas grass catches the September light, the contemplative wabi-sabi aesthetic of softly speckled stoneware. The foot ring carries the gold-transfer \u003cstrong\u003e九谷 幸山\u003c\/strong\u003e kiln seal as definitive maker attribution.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eMade by\u003c\/strong\u003e Kozan Kiln (幸山) \/ Kutani-yaki (九谷焼) in Ishikawa Prefecture, Japan, curated by ZenKiln\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eMaker:\u003c\/strong\u003e 幸山 (Kōzan) — Ishikawa Prefecture, Japan (Kutani kiln) — foot-ring kiln seal verified\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003eAbout the design\u003c\/h3\u003e\n\u003cp\u003eThe \u003cem\u003e月夜野ウサギ\u003c\/em\u003e (moonlit-field rabbits) motif sits inside one of Japan's deepest cultural threads. In ancient folklore, the rabbit lives on the moon — the dark patches we see are the silhouette of the \u003cstrong\u003e玉兎 (gyokuto \/ jade rabbit) pounding mochi\u003c\/strong\u003e. Pair that mythology with pampas grass (susuki \/ 薄・芒), the autumn-grass companion of the September full moon, and you have the iconic \u003cstrong\u003e中秋の名月 (Chūshū no Meigetsu) Mid-Autumn moon-viewing\u003c\/strong\u003e aesthetic — though Japanese ceramic design enjoys this imagery year-round. The Kōzan kiln renders it here in the modern Kutani idiom: rather than the bold 五彩手 (gosaide \/ five-color polychrome) of classical Kutani, this piece uses a quieter contemporary palette — a nezumi-iro gray ash-glaze body, raised-white painting, gold-leaf accents — which sits comfortably in wabi-sabi-leaning Japanese interiors.\u003c\/p\u003e\n\u003ch3\u003eUse\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eFunctional matcha-whisking chawan — the speckled glossy gray interior whisks matcha cleanly with a chasen bamboo whisk\u003c\/li\u003e\n\u003cli\u003eEqually usable as a small bowl for nuts \/ wagashi tea sweets \/ individual rice \/ dessert serving\u003c\/li\u003e\n\u003cli\u003eA meaningful tea-altar piece for daily chadō practice; pairs naturally with a chasen, chashaku tea scoop, and chakin tea cloth\u003c\/li\u003e\n\u003cli\u003eDisplay-worthy when not in use — the rabbit-and-moon motif rewards close looking\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eGifting\u003c\/h3\u003e\n\u003cp\u003eThe included wooden gift box (kibako) with calligraphic lid + 2 color-printed Kutani info inserts make this gift-ready as received. Well-suited for matcha practitioners, tea-ceremony students, Japanese-pottery collectors, autumn moon-viewing tsukimi gatherings, housewarmings (with a new tea-corner), Father's Day, anniversaries, and client \/ mentor \/ teacher thank-yous.\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47550376378598,"sku":"ZK-CHAWAN-KOZAN-K9-850","price":85.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/DSC8542.webp?v=1776508042"},{"product_id":"toida-takatsugu-kohiki-sencha-yunomi-vintage","title":"Toida Takatsugu Kohiki Sencha Yunomi — Vintage Japanese Tea Cup with Signed Tomobako","description":"\u003cp\u003e\u003cstrong\u003eKohiki sencha-yunomi tea cup, hand-thrown by Toida Takatsugu (筧田孝嗣) at Jintsū-kama in Toyama Prefecture, Japan. Signed paulownia tomobako and printed tōreki (artist biography card) included. Likely produced in the late 1980s — vintage, not antique.\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWhat this is\u003c\/h3\u003e\n\u003cp\u003eA small cylindrical tea cup in the kohiki (粉引) tradition: a coat of white slip applied over iron-rich red clay, then sealed under a soft, slightly crackled transparent glaze. Where the slip thins, the dark clay shows through in muted blue-grey and warm earth tones. The unglazed foot reveals the raw red body — the signature kohiki \"reveal\".\u003c\/p\u003e\n\u003cp\u003eAt 7.3 cm tall × 5.2 cm at the mouth (approximately 120 mL), this is a sencha-yunomi — sized for premium green teas (sencha, gyokuro, hojicha) where a small portion is part of the brewing ritual, not a casual everyday large pour.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eForm\u003c\/strong\u003e: sencha-yunomi (small yunomi, premium-tea size)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique\u003c\/strong\u003e: kohiki (white slip on stoneware) — one of the artist's three documented specialties (粉引・灰釉・柿釉)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEra\u003c\/strong\u003e: Showa late period, c. late 1980s (tōreki dated through 昭和63 \/ 1988)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMade by\u003c\/strong\u003e Toida Takatsugu \/ Jintsū-kama in Toyama Prefecture, Japan, curated by ZenKiln\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003ch3\u003eWhat makes this piece notable\u003c\/h3\u003e\n\u003cp\u003eToida Takatsugu (b. 1943, Toyama-shi Tsukahara) trained under two influential figures in postwar Japanese ceramics:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eYoshida Kōzō\u003c\/strong\u003e (art critic) — pottery instruction from 1970\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eShimizu Uichi\u003c\/strong\u003e — pottery instruction from 1978 in Kyoto. Shimizu Uichi was designated a Living National Treasure (Ningen Kokuhō) for iron-glaze stoneware in 1985.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSelected highlights from his recorded chronology (source: tōreki):\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e1980\u003c\/strong\u003e — first selection, Japan Traditional Crafts Exhibition; consecutively selected 1980, 1981, 1982, 1983\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1980\u003c\/strong\u003e — full member, Japan Kogei Association\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1981\u003c\/strong\u003e — Mainichi Newspaper Award, 6th Japan Ceramic Art Exhibition; large kohiki and ash-glaze vessels acquired by Toyama Prefecture and Toyama City Local History Museum\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1984\u003c\/strong\u003e — Toyama Prefecture presented his large ceramic vessel to former US President Jimmy Carter\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1986\u003c\/strong\u003e — large vessel presented to Prince Takamado; ash-glaze and kohiki flower vessels presented to the Brazilian and Canadian ambassadors\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1988\u003c\/strong\u003e — pieces presented to four Imperial households (Takamatsu, Hitachi, Mikasa, Takamado)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe piece you receive is signed at three points: the tomobako lid calligraphy \"粉引 湯くみ 孝嗣\" with red seal, the printed tōreki card, and the artist's red square stamp on the box. Three-point provenance closure.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eDimensions (this exact hand-thrown piece, measured)\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight\u003c\/strong\u003e: 7.3 cm (2.9\")\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMouth diameter\u003c\/strong\u003e: 5.2 cm (2.0\") external\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFoot diameter\u003c\/strong\u003e: 4.5 cm (1.8\")\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCapacity\u003c\/strong\u003e: approximately 120 mL (≈ 4 fl oz) when filled to ~1 cm below the rim — sencha-yunomi class, sized for premium green tea\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTomobako (signed paulownia kiribako)\u003c\/strong\u003e: 10.4 × 7.4 cm (4.1\" × 2.9\")\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBecause each piece is hand-thrown, dimensions vary slightly between examples in the same artist's line. The numbers above are this exact piece, measured.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eHow to use \/ who it's for\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePremium green tea (sencha, gyokuro, hojicha) where small portions are part of the ritual — the slip surface deepens with use (yō-no-bi: beauty grown through use)\u003c\/li\u003e\n\u003cli\u003eA tea-ceremony chair-meeting (椅子点前) accent piece\u003c\/li\u003e\n\u003cli\u003eA collector's reference example of post-1970s kohiki by a documented Japan Kogei Association member\u003c\/li\u003e\n\u003cli\u003eA father's day or retirement gift for a tea person, art-pottery collector, or anyone with a Shimizu Uichi \/ Living National Treasure interest\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp\u003eExcellent vintage condition. The fine iron freckles, slip drip patterns, soft-grey transitions, and unglazed foot reveal are all intentional features of kohiki — not flaws. No chips, no hairlines visible. Buyer is encouraged to read the supplied photographs carefully — what looks like a \"spot\" is almost certainly a fired iron point, which is the technique working as intended.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eCare\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eHand-wash with warm water and a soft cloth. Avoid abrasive sponges.\u003c\/li\u003e\n\u003cli\u003eMicrowave \/ dishwasher safety not certified by the artist; we recommend hand-wash only for any signed studio piece of this age.\u003c\/li\u003e\n\u003cli\u003eIf the slip absorbs tea over years, that is normal and considered desirable in kohiki — it is the cup's record of being used.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003ch3\u003eWhat you receive\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e1 × kohiki sencha-yunomi (the cup)\u003c\/li\u003e\n\u003cli\u003e1 × signed paulownia tomobako (kiribako) with brush calligraphy + red seal\u003c\/li\u003e\n\u003cli\u003e1 × printed tōreki (artist biography card)\u003c\/li\u003e\n\u003cli\u003eZenKiln care card\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003ch3\u003eAbout ZenKiln\u003c\/h3\u003e\n\u003cp\u003eA Japan-based curator connecting international collectors with Japan's artisan ceramic tradition. We work closely with the kilns, workshops, and makers featured in our shop — each one disclosed in our About section — and hand-pack every piece in Japan for safe delivery worldwide.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eShipping\u003c\/h3\u003e\n\u003cp\u003eShips from Japan within 1–3 business days, hand-packed with the original tomobako. International tracking included. Buyers outside Japan are responsible for any local customs duties.\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Default Title","offer_id":47642124255462,"sku":null,"price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/6a0f48436f03bf48e8c7f28f9f150b4c_42227b69-ba67-4460-9c27-af6c9067c35c.png?v=1780215679"},{"product_id":"tabata-mino-yaki-double-wall-rock-cup-bordeaux","title":"Tabata Shigemichi Mino-yaki Double-Wall Rock Cup — Bordeaux \u0026 Black Luster Stoneware (300 ml, Kiribako)","description":"\u003ch3\u003e🍷 Tabata Shigemichi (田端繁道) — Mino-Yaki Double-Wall Rock Cup, Bordeaux Glaze\u003c\/h3\u003e\n\u003cp\u003eA double-wall hollow-insulated Japanese rock cup, hand-crafted by 田端繁道 (Tabata Shigemichi), 2nd-generation master of 金昇窯 (Kinshō-gama \/ “Golden Rising Kiln”) in Toki city, Gifu Prefecture — the heart of Japan’s Mino-yaki ceramic tradition. The deep Bordeaux overglaze (辰砂釉 shinsha-yū \/ cinnabar-red) is finished with a fine iron-fleck speckle and a subtle iridescent shimmer in certain light angles; the interior is fully sealed in glossy black overglaze. The engineered 二層構造 (nisō-kōzō \/ double-wall) air-gap cavity keeps cold drinks cold and warm drinks warm longer than a single-wall cup, and reduces the external condensation that would otherwise wet your hand or your table.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eMade by\u003c\/strong\u003e Tabata Shigemichi \/ Kinshō-gama \/ Awasaka in Gifu Prefecture, Japan, curated by ZenKiln\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e🎨 The artist — Tabata Shigemichi (田端繁道)\u003c\/h3\u003e\n\u003cp\u003eTabata Shigemichi was born in 1959 in Toki city, Gifu Prefecture — the center of Japan’s Mino-yaki tradition. His father, 金也 (Kin’ya \/ Kinya), founded 金昇窯 (Kinshō-gama) in 1955. Shigemichi joined the family business as the 2nd-generation potter in 1979 and began hand-making (手造り) at the kiln; he has been practicing for ~46 years. His group exhibitions include 名古屋中日ビル (Nagoya Chunichi Building) in 1996 and 東京黒田陶苑「土練人」(Tokyo Kuroda Touen “Tsuchineri-jin” \/ “Clay-Kneaders” group show) in 1997. The artist biography card 「清風の匠」(Seifu no Takumi \/ “Master of Seifu”) is included with this cup as part of the named-artist provenance.\u003c\/p\u003e\n\u003ch3\u003e🔥 What 二層構造 (Double-Wall Hollow-Insulation) means\u003c\/h3\u003e\n\u003cp\u003eThis is not a slip-cast or pressed cup — Tabata throws the inner wall and outer wall, then joins them with a sealed air-gap cavity between. The cavity is closed with a small foot vent (visible at the cup base). The trapped air is a poor heat conductor (just like a vacuum thermos works on the same physics, but here with one wall instead of two and air instead of vacuum). The practical effect:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCold drinks stay cold longer than in a single-wall cup\u003c\/li\u003e\n\u003cli\u003eWarm drinks (hot sake, tea) stay warm longer\u003c\/li\u003e\n\u003cli\u003eThe outer wall barely sweats with cold drinks → no need for a coaster\u003c\/li\u003e\n\u003cli\u003eThe outer wall doesn’t get burning-hot with hot drinks → comfortable to hold\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e🥃 At the table\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eロック (rocks) — whiskey, shochu, awamori served over ice (the literal “rock cup” name origin)\u003c\/li\u003e\n\u003cli\u003e冷酒 (chilled sake) — the 300 mL capacity fits a comfortable tokkuri pour for two\u003c\/li\u003e\n\u003cli\u003eクラフトビール (craft beer) — short pour for tasting; the insulation keeps the foam cold\u003c\/li\u003e\n\u003cli\u003eアイスコーヒー \/ アイスティー — no coaster needed; the cup doesn’t sweat\u003c\/li\u003e\n\u003cli\u003e熱燗 (warm sake) and Japanese tea (sencha, hōjicha) — the same insulation works for warm pours\u003c\/li\u003e\n\u003cli\u003eDisplay-only collector piece — the matching Black Luster (ブラックラスター) sister variant will be listed separately for shelf-pair display\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e🎨 Why “Mino-yaki” matters\u003c\/h3\u003e\n\u003cp\u003e美濃焼 (Mino-yaki) is Japan’s largest single ceramic-tradition by volume — covering ~50% of the national tableware production — centered in Toki, Tajimi, Mizunami, and Kani cities in southern Gifu Prefecture. The tradition encompasses many sub-styles (Shino, Oribe, Setoguro, Yellow Seto, and modern engineered designs like this hollow-insulation piece). Tabata’s Kinshō-gama works within the Mino tradition but with contemporary functional innovation — the hollow-construction rock cup form is a modern engineered piece that uses Mino’s centuries of ceramic knowledge in service of a 21st-century use case.\u003c\/p\u003e\n\u003ch3\u003e🎁 Gift-ready\u003c\/h3\u003e\n\u003cp\u003eArrives in a paulownia 桐箱 (kiribako — light-tone wooden gift box) stamped “Seifu japan style — Produced by mino”, measuring 115×115×125 mm. Includes the artist biography card and Japanese care card. The paulownia kiribako is the traditional Japanese presentation box used for tea-ceremony pieces, named-artist work, and formal gifts — substantially more elevated than a typical product box. A natural gift for:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWhiskey, shochu, sake enthusiasts and home-bar collectors\u003c\/li\u003e\n\u003cli\u003eJapanese-pottery and named-artisan-piece collectors\u003c\/li\u003e\n\u003cli\u003eExecutive gifting (the kiribako + biography card support B2B gift presentation)\u003c\/li\u003e\n\u003cli\u003eFather’s Day, wedding, anniversary, housewarming gifts\u003c\/li\u003e\n\u003cli\u003eModern Japanese-tableware curators — pairs strikingly with the Black Luster sister variant (a separate listing) for shelf display\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003e🔗 Sister variant — Black Luster\u003c\/h3\u003e\n\u003cp\u003eThe same artist also makes the Black Luster (ブラックラスター) variant — iridescent black with shimmering blue-purple-green glaze; same form, same construction, same paulownia kiribako. Message us if you would like to be notified when the Black Luster listing goes live.\u003c\/p\u003e","brand":"ZenKiln","offers":[{"title":"Bordeaux","offer_id":47695196618982,"sku":"TB-1053","price":95.0,"currency_code":"USD","in_stock":false},{"title":"Black Luster","offer_id":47695196651750,"sku":"TB-924","price":95.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5392\/5350\/files\/DSC08904_a37ff165-9a29-4959-891b-f2baab3b7369.webp?v=1779239548"}],"url":"https:\/\/zen-kiln.com\/en-eu\/collections\/material-stoneware.oembed","provider":"ZenKiln","version":"1.0","type":"link"}