An excellent offering from Higaki Ryota of Katsura Kiln, this piece displays a classic and iconic shape coupled with a beautiful Kase-guro glaze said to be used over 400 years ago by Chojiro. The color of this tea bowl changes quite dramatically, taking on the characteristics of its environment; light and cheerful in direct and bright lighting, more austere, deep, and reflective in standard tea room lighting. Perfect for those venturing into the world of Raku tea-ware or for those lo...

From our Indian Subcontinent Collection, a good Kashmiri silver surahi (water flask), 19th century, of compressed globular base with elongated neck and attached stopper secured by linked silver chain, well-decorated with chased vegetal and floral designs typical for Kashmiri silversmithing of this period. Overall a very attractive example with elegant proportions and good presence.

Size and Condition: 9 1/2 inches tall, 5 1/2 inches in diameter at its widest point on base. Excellent co...

If you are familiar with the work of Hiramatsu Ryoma you know that he creates very unconventional ceramics inspired by forms found in nature. Here we have a sake set he describes as “Ou-tekko” (pyrite) and “Ammonite” (same in English - a kind of sea fossil). Part of a series he has been developing, the ancient Ammonite fossil has been the inspiration behind his latest creations. Pyrite, meanwhile refers to the metallic patterning on the outer surface of the clay body. Truly unique pieces...

A polished gypsum sculpture reminiscent of the matte works of Nigoshide ceramics from her home prefecture by Sugano Chi enclosed in a swooden box titled Akerakan and featured in the book Sugano Chii (published 1997). It is 16 x 14.5 x 16 cm (6-1/4 x 4-3/4 x 6 inches) and is in excellent condition.
Sugano Chii was born in Saga Prefecture in 1909, on the Southern Island of Kyushu, and graduated the prefectural Saga Prefectural Ogi Girls School in 1927 before being accepted in the Tokyo Wom...

18th Century bronze Vishnu Figure, Seated on a stylized lotus Throne. The divinity seated in royal ease, his right hand holding a stick, symbol of his power. Wearing a tiered conical hair dress, short vertically striated sampot with overlap, jeweled collar, armlets, anklets and pendeloque earrings. His throne decorated with lotus buds and flower and the figure is seated beneath a nicely decorated arch. This piece dates back to the 18th Century, About 250-300 years. In very good conditi...

The Finely Cast Bronze Stupa, with 4 seated Buddha Figures facing the 4 cardinal directions. The Buddhas, seated in decorated niches. The Stupa decorated with floral patterns, various animal figures. Each Buddha figure flanked with kneeling adornants. 13th Century AD, Angkor Bayon period. Estimate value: $5000 - $6000 Measurements: Height - 36cm (14 In) and 16 cm (6,5 in) Provenance: US Private collection. Don't hesitate to send your offer, we always do our best to offer the most attractive pie...

A Splendid Khmer Sandstone Carved Relief With four Kneeling Deities, Angkor Baphuon 11th Century The Khmer Sandstone relief, carved with four kneeling deities. Finely carved in deep relef with fine details Estimate Value: $2 500 - $4 000 Measurements: Height - 24 cm (9 1/2 In)9 Width - 40 cm (16 In) Don't hesitate to send your offer, we always do our best to offer the most attractive pieces for the best price. SATISFACTION GUARANTEE - We have been offering SE Asian Arts A...

This experimental work by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a tea bowl. Described on the box as a “Kiretsu-mon” (ki = turtle, retsu = cracked, mon = design/ crest), according to Hiramatsu, his inspiration for this piece, and a number of others came from an ancient form of sea life known as an Ammonite—a large spiraled mollusk who’s shells are often found fossilized today. The inside of the bowl is ...

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 guinomi (Saké cup). Described as a “Kiretsu-mon” (ki = turtle, retsu = cracked, mon = design/ crest), according to Hiramatsu, his inspiration for this piece (and a number of others) came from an ancient form of sea life known as an Ammonite—a large spiral...

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 guinomi (Saké cup). Described as a “Kiretsu-mon” (ki = turtle, retsu = cracked, mon = design/ crest), according to Hiramatsu, his inspiration for this piece (and a number of others) came from an ancient form of sea life known as an Ammonite—a large spiral...

The Mino region of Japan has been renowned for centuries for producing high-quality Shino, Oribe, Seto-guro, along with the style shown here, ki-Seto, or “yellow” Seto. The creator, Hori Ichiro, is one of the most acclaimed among Mino potters, tirelessly producing splendid works while continuing to use traditional methods passed down from other great potters before him. The lush yellow glaze seen here is applied thickly, pooling beautifully around the unglazed foot of the bowl—proudly high...

Like the charred remains of an open book deep fingerprints still visible from the opening hands within, this is a fine example of the work of Avante Garde Akiyama Yo enclosed in the original wooden box dating from 2013. It is 6-1/2 x 5 inches (16/5 x 13 cm) and is in excellent condition.
Akiyama Yo was born in Yamaguchi, home of Hagi pottery) in 1953, but went to Kyoto to study at the Kyoto Municipal University of Arts in 1976. He has an impressive list of exhibitions both domestic and ...

The craftsman who fashioned this piece, the 9th Ohi Chozaimon (1901-1986), is the most widely recognized and most accomplished of the now 11 generations of Ohi potters. Born in Ishikawa Prefecture at the start of the 20th century, he took up the family craft and, at the age of 26, became the head potter. Raku tea bowls made by Ohi 9 are some of the finest you will encounter, comparing favorably to even tea bowls made by the main Raku lineage in Kyoto. The lightness of the clay, the s...

Kohiki is a traditional Japanese pottery style known for its simple and rustic aesthetic. It involves applying a white slip onto the vessel's surface, followed by a transparent glaze, creating a contrast between the white and exposed clay areas. Kohiki ware is commonly used in tea ceremonies but it can also be found in various other forms. Its humble and understated style, with organic textures and subdued colors, continues to be appreciated by collectors worldwide. Here we see a koh...

This past summer I had occasion to visit Richard Milgrim in his Mountain Studio and asked him to pair some sake cups and Tokkuri for us. It is a rare opportunity to have an artist personally select pieces which he feels work together. This set is making use of his signature Concord glaze (Konko-yu) from America, with clay from Japan, while the cup is also using a variant of that glaze Black Concord (Konko-guro). The Tokkuri is 9 cm (3-1/2 inches) diameter, 12 cm (5 inches) tall. The rim of the...

A technique most commonly seen in Tenmoku tea bowls, “konoha” is accomplished by applying a coating to an actual leaf and then attaching the leaf to the surface of an artwork before firing. The exact details of this process seem somewhat murky as it appears to be a well-guarded secret among potters. After some research we were unable to identify the potter; and, although there is a signature on the bottom that appears to read “Raishō,” we could find no potter by this name. R...

A Korean Inlaid Celadon Oil Pot. Inlaid in dark and light slip with floral sprays. Probably Koryo 12/13thC. Condition; restoration to underside of rim. Glaze on shoulder missfired.

A Korean pale grey porcelain offering stand. 19th century. Each stand is fired resting on another and so kiln grit, used to prevent adhesion, is left as evidence.

Approximately 12.8 cm diameter, 6.5cm high. Perfect condition.

Please study the photographs.

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