Sometime around the year 1600 the first Takatori kiln was constructed at the foot of Mt Takatori in Fukuoka. This tradition was based on styles created by Korean potters brought to the shores of Japan during its colonial expansionism of the late 16th century. A favorite of the Kuroda lords of the time, its production and use was closely guarded until later in the 19th century when the domain system was abolished, freeing it up to be more widely used...

Before styles such as Raku, Hagi, Karatsu, etc came into fashion for use in the tearoom in early Edo, it was commonplace in cultured society to use tea-ware imported from China. In fact, some pottery styles uniquely Japanese (such as Shino) are thought to have been born out of unsuccessful attempts to emulate these extremely high-quality and refined ceramics...

This elegant work of Karatsu pottery has an unglazed foot, showing the rich ferrous clay from which it is constructed, and displays splashes of ferrous pigment on a backdrop of ashen glaze with a milky white overglaze. The triangular shape and large proportions make for a very distinctive work of e-Karatsu or “painted” Karatsu.

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated...

According to Kei Wakao, the artist who crafted this extraordinary work, it took him years of trial-and-error to perfect the unique rice-porcelain glaze covering this finely shaped tea vessel...

Appearing to capture an ocean inside a tea bowl, this particular work has been given the very fitting poetic name “Nami” or wave. Masterfully crafted by veteran potter Hideo Torazawa, the inside is painted with a special glaze known as heki-yu—prized for its pure aquamarine character with accents of sapphire and azure depending on the light...

The pottery style know as “nerikomi” or sometimes “neriage” in Japan is a technique where various colors and consistencies of clay are stacked together and then cut through to reveal a unique pattern. Here we see a beautiful execution of this approach by potter Wakasugi Naomi (b. 1974) who spent many years perfecting the technique...

Appearing to be from a 2006 excavation site in Tokyo known to be a former residence of the Owari Tokugawa clan—the most senior contingent of the Tokugawa clan that united Japan under one rule—this lovely Mishima tea bowl is one of just two I have seen appear on the Japanese art market over the years. The previous bowl also listed on our site had a large portion reconstructed with a gold repair. This piece meanwhile is entirely intact and even has its original box...

From a 2006 excavation site in Tokyo known to be occupied by the Owari Tokugawa clan—the most senior contingent of the Tokugawa clan that united Japan under one rule—this lovely Mishima tea bowl has been given a new lease on life with a gorgeous and detailed kintsugi repair with maki-e gold painting...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then act as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

This piece is quite unique for its brown color which may have been produced using a copper glaze under very specific conditions...

With pottery shards from excavated kilns dating back to the 5th Century, Mino-ware is one of the oldest and most revered pottery traditions in all of Japan. Though the piece featured here does not fit neatly into any of the typical categories of Mino pottery such as Kiseto, Setoguro, Oribe, or Shino; the shape and overall feel of this piece unmistakably places it within this pottery tradition...

Based on telltale signs, this extraordinary Raku tea bowl likely dates to the late Edo period (200+ years old). Crafted with meticulous care, its smooth, ebony surface exudes a sense of depth and mystery while its reddish hues gracefully traverse the bowl's contours—creating subtle variations of color that evoke a feeling of warmth...

Born the second son of Ryônyû, the 10th Raku Kichizaemon Tannyû took over the family kiln in 1811 at the age of 16 and served until his retirement and subsequent handing on of the title of Kichizaemon to his son-in-law Keinyû some 34 years later. Retaining many of the unique stylistic innovations of his father including his clay trimming technique, Tannyû went on to establish several new family kilns and to produce wares for both 10th and 11th Tokugawa Lords...

Found in a small antique shop in central Kyoto, this piece immediately caught my eye and I knew I had to buy it. With no original box and a potting mark that could not be deciphered, this one remains a beautiful mystery. The style itself is very close to that of internationally renowned 8th generation Hagi potter Kaneta Masanao (b. 1953); so much so in fact that we decided to contact this artist to see if it was one of their pieces. They courteously replied back that it was not...

Looking something akin to dragon skin with gilded beads glistening between the scales, this recent creation by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a Tokkuri (Saké flask)...

This striking chawan is a fine example of “Oni Shino” (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre...

A master work by one of the top artisans of the late 20th century—the result of techniques perfected over centuries by dedicated craftsmen residing in districts in and around Kyoto. This black Raku-style tea bowl produced by Sugimoto Sadamitsu beautifully exemplifies the essence of "wabi-cha" or the philosophy of finding beauty and deep philosophic meaning in rustic simplicity.

Sugimoto (b. 1935) is one of the most important Shigaraki potters alive today and continues to create...

From our Japanese Collection, an exquisite Meiji Period (1868-1912) satsuma vase of tapered ovoid form, depicting several scenes of figures including an Empress with her attendants, all very finely executed with lavish use of raised gilding, moriage enameling, and intricately detailed shoulder work. Like all of our satsuma offerings, this piece is of the highest quality. Signed Kinkozan, circa 1880-1890.

SIze and Condition: 6 inches tall, 4 1/2 inches wide at the shoulder, perfect conditi...

From a large collection of Edo period Nabeshima and Hirado-ware, this intricately crafted vase features two serpentine dragons intertwined across the face of the round porcelain vessel. In addition to the carved dragons, the body displays a painted third dragon, much fiercer than the two in relief. Overall in very good condition, there appear to be fine repairs made to the horns of one dragon.

Hirado wares—alternately known as Mikawachi wares in some contexts—are known throughou...