Yamada Jozan III

We celebrate today the 2500th chawan with Yamada Jozan,  which boasts a history of over 1000 years, and was taught by the first master craftsman, Yamada Jozan, in his childhood.He succeeded his father as the third Jozan, and made a great achievement, such as being the first in Aichi Prefecture to be recognized as a holder of an Important Intangible Cultural Property of Japan [Tokoname ware].

This excellent work by Yamada Jozan III is made using "Pear Skin Red Clay," an expression that respects the tradition of Tokoname ware.The beautiful wheel molding, which shows the craftsman's spirit, and the taste of the pear skin red clay, which shows a unique earthen color and color, are in perfect harmony.

This is a very wonderful work that has been carefully crafted by Yamada Jozan III down to the smallest detail.

There is a carved inscription of "Kojozan" on the side of the foot.The box inscription reads "Made by the third generation Jozan when he was young, with Kojozan inscription.”

Welcome to TANAKA-NL! We are thrilled to have you as part of our exclusive community, where a world of authentic Japanese pottery awaits. Our carefully curated selection brings the beauty and craftsmanship of traditional Japanese ceramics right to your shop. We look forward to helping you discover the perfect pieces that embody the elegance and artistry of Japan.
Thank you for joining us on this journey to celebrate and share the timeless heritage of Japanese pottery.

Pure silver teapot, horizontal, hammered, pure silver stamp, antique silverwork

HIROSHI GOSEKI

Korean Karatsu tea bowl made by Hisa Kiln's Tsuruta Sumihisa!!!

Eiichi Shibuya Osaka Station Hotel Autograph 

This is a work by Fujinoki Dohei, a chosen Karatsu made in saga ❤️

KIM HONO

Fujio Koyama

　After training as a potter under the second Mashimizuzo Roku, he decided to study ancient ceramics in the early Showa period, and became a researcher at the Institute of Oriental Ceramics, where he left behind numerous achievements in his research and investigations of ancient kiln sites in China, such as the Ding Kiln, and ancient kiln sites throughout Japan, including the Six Ancient Kilns. After the war, he played a central role in the study of ancient ceramics, and was also active as a ceramic artist. His greatest achievement was
　in incorporating methodologies from various fields, such as history, archaeology, and chemistry, into ancient ceramics research, which had previously been largely an extension of the appreciation of ancient art, and in emphasizing and leading a scientific and empirical research methodology. Furthermore, as the first permanent chairman of the Society for Oriental Ceramics, which was founded in 1973, he worked hard to manage the society and promote academic exchanges with overseas scholars, and had a major influence on future generations.

　Born in 1900 in Okayama Prefecture. Dropped out of Tokyo University of Commerce (now Hitotsubashi University).
　Trained as a potter under the second generation master of Mashimizu Zoroku. Later served as a researcher at the Institute of Oriental Ceramics, director of the Japan Ceramic Association, expert member of the Council for the Protection of Cultural Properties, director of the Idemitsu Museum of Arts Foundation, and standing chairman of the Society of Oriental Ceramics.
　The main works of his vast collection of works, including Song Porcelain (1943) and Draft History of Chinese Celadon (1943), can be found in Collected Works of Fujio Koyama, Vol. 1, 2, and 3 (Asahi Shimbun, 1977-79). Some of his ceramic fragments are housed in the Pottery Fragment Room of the Idemitsu Museum of Arts, and most of the white porcelain fragments collected from the Ding kiln are housed at the Nezu Museum (Tokyo).

Invitational exhibition of wood-fired ceramics March 20 - April 20, 2024 Curated by John Jessiman, Resident Director Cub Creek Foundation Featuring Rob Barnard, Randy Edmonson, Dan Finnegan, Chris Gustin, Mitch Iburg, John Jessiman, Jan McKeachie Johnston, Randy Johnston, Lindsay Oesteritter, Zoe Powell, Tim Rowan, Akira Satake, Jeff Shapiro, Hitomi Shibata, Takuro Shibata, Jack Troy, Catherine White.

We are about to start a new project, which will not be possible without your help. This space wants to start with an arrangement to restore the gallery in another reality where we subsequently hope to open a beautiful tea room.
I would really like thank all of you to be part of this beautiful project.
Thank  you to also help me since the early days to let me see this gallery move exponentially ahead far & beyond.

Manuel Jensa

Even we support crypto payments, paypal, swift & wise transfer, we added Revolut.

IBAN : LT743250074461465864BIC : REVOLT21

EIICHI SHIBUYA in ROME to visit Manuel Jensa & ONIHAGI

A few raw fragments with a mobile phone, try to make it a suitable dining, while waiting perhaps next year, to see a full documentary in which I participated yesterday. Director Kazuma Mochizuki from https://filmer.co.jp : Filmer=映像人 with Kenichi Nagatani from Cre-lab , Miya as interpreter & entire team interviews me & Master Eiichi Shibuya. The entire crew came from Japan, demonstrating that our paths often become the backdrop to video clips, fiction, commercials and documentaries. Filming for the production of a documentary as part of an incredible project has ended. Japanese efficiency (exciting!) I would like to say that was a great conversation by talking in general about Hagi-yaki (Hagi pottery). Seto, Tokoname, Echizen, Shigaraki, Tanba, and Bizen are referred to as the Six Ancient Kilns, pottery production areas that have passed down Japan's ancient techniques from medieval times to the present day. But since Onihagi started i met many people who believe in their potential and want to take on the challenge together to make Hagi strong again. We are very proud to be part of this project that aim to create something that the pottery world has never seen before. Hagi is where Miwa & Deishi left their roots & where Eiichi, proudly begun with a step ahead to maintain alive all tradition originated there: in Yamaguchi, in the former Nagato Province, in Hagi! For me essentially was the same, i traveled to Japan, than to Matsue, Nagato-oi station trough old road Yamaguchi to Hagi.

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"The Cha-no-Yu, or Tea Ceremony, is an aesthetic ritual intimately linked to Zen and Daoism. Its history reveals a comingling of Chinese and Japanese …. " We strongly support Ken Jeremiah as we have proof of his sincerely intent to share his knowledge. We support pure talents & for us is a Mission.

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It is meaningless just to inherit the traditions of Japanese pottery, unless you add your own ideas...but if you overdo yourself, you might ruin the traditions. The point is to make the best use of the old methods and ideas. -Toyozo Arakawa, Japan, "Living National Treasure"

Introduction by Ken Jeremiah written exclusively for Onihagi.com

The World on a tea bowl "A miniature universe"

These days, the idea of "mindfulness" is praised, but it is nothing new. It is nothing more than remaining in the present, the mantra of both Zen and Daoist ideals, and the concept reflected in the art and crafts of the traditional tea ceremony. The traditional path leading to the tea house is called roji, dewey ground, and comes from a Buddhist sutra which states, "There is no peace in the three worlds; they are like a house in flames," but upon enlightenment, one "emerges from the house in flames and sits on the dewey ground." Thus, the ceremony of tea is a spiritual one, which can lead practitioners to worldly understandings.

The tea house has a small door, so small that guests have to crawl inside, thus accentuating the feeling of separation from the petty thoughts and mundane considerations of the outside world. Inside, the small tea room is bare, with nothing more than a flower vase and a hanging scroll. Referred to as the abode of the unsymmetrical, it may look imperfect, but an appreciation of its beauty allows one to live in the present, to cast away the smaller self and understand the transcendent unity of all people and all things.

The acclaimed tea master Sen no Rikyu wrote:

House and dewy ground.

Guest and host both joined as one,

Share a cup of tea.

In tranquil meditation,

No margin divides their hearts.

Among the prized objects used in the tea ceremony, none is more valued than the tea bowl, and it is said that each bowl is a miniature universe. With countless styles and refined aesthetics, all who strive to understand its beauty will find works that speak to them. Besides the sky-blue and jade-green incised Chinese bowls, the beloved red and black Japanese raku ware, and the prized Korean ido and irabo pieces, there are many other beautiful styles, such as unglazed Bizen pieces, colored by ashen deposits, and partly-glazed Shigaraki works, which highlight the natural beauty of the rough clay hidden under smooth glaze. Hagi potters often leave patches of bare clay between the thick, white glaze that covers each piece. The bare clay suggests desert sands and sometimes contains small pebbles, boulders in the miniature landscape, which are covered by a snowy white glaze that hides all imperfections and echoes the impermanence of all things. See the miniature world in each tea bowl. Their beauty facilitates mindfulness and a refined awareness of details, and will lead beholders to harmonize with their surroundings.

Dr. Ken Jeremiah

Dr. Ken Jeremiah has written extensively about history, religion, and critical thinking. His books and articles are available worldwide, has written numerous books and articles, translated various works from Spanish, Italian, and Japanese. Dr. Ken Jeremiah has written extensively about history, religion, and critical thinking. His previous books include Remnants of a Distant Past, Christian Mummification, Living Buddhas, Aikido Ground Fighting, and he teaches world language and comparative religion courses.  Is a big honour for Onihagi he took place here. And for those who really love pottery world, please enjoy knowledge.

We are located in Hiroshima. Screenshot any item you like \  I will help to send it to you.