Tatsuzo Shimaoka Signed Japanese Mingei Rope Inlay Ceramic Pottery Bowl Plate

A wonderfully decorated and executed large Mingei pottery plate/charger by Japanese National Treasure Mashiko-yaki ceramic master Tatsuzo Shimaoka. This work exhibits his signature r...

A wonderfully designed and gorgeously colored coveted square Mingei vase by Japanese National Treasure pottery master Tatsuzo Shimaoka. This work displays...

A wonderfully designed, gorgeously glazed, and highly coveted press-molded square Mingei Henko vase by Japanese National Treasure and Mashik...

A wonderfully designed and gorgeously glazed Mashiko Ware curved Mingei vase by Japanese National Treasure pottery master Tatsuzo Shimaoka. This work displays his famous Jomon Zogan...

Despite inspired originally by the celadons from Song Dynasty in China, the development of celadon in Korean peninsula took its own course and reached the Zenith in the 11-12th century during Goryeo dynasty...

A small ceramic conical form tea bowl from Korean Goryeo Dynasty circa 14th century. The bowl is of a slightly irregular shape and covered in a grayish overglaze. The inlaid slip dec...

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

A superb Korean celadon bowl with elaborate slip inlays circa 12th century from the Goryeo Dynasties (918 to 1392AD). Despite inspired originally b...