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JANUARY
"Remnants of a Distant Past"
MINOSUKE WADA
Nobuhito Nakaoka
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MATSUDAIRA (松平不昧)
Tsukigata Nahiko
",Seeing the Noble white Fuji with the appearance of cherry trees above clouds of Hara "
Takashi Minagawa
Katho Takeshi "Turtle Mine no Momij"
Kaneta Masanao
閔鍾泰作 A monumental Laquer Mother-of-Pearl
Tsukigata Nahiko
Ando Hidetake
Deishi Shibuya
☆ Hori Ichirō ☆
Tamaoki Yasuo
Tamaoki Yasuo
Winner of numerous awards and hailed as an Important Intangible Cultural Property of Tajimi City and Gifu Prefecture, both historical centers of Japanese pottery, his works epitomize the beauty of Shino. A high-temperature-fired style of pottery, it often has small nesting holes (suana) that tea ceremony aficionados adore. This characteristic, combined with a yuzuhada (citron skin) finish and a milky glaze made from feldspar, makes Shino one of the most beautiful ceramic methodologies on the planet. Tamaoki's pieces are the culmination of years of stylistic advancement. Creating red and white pieces with iron-colored, ashen clay decorated with thick, beautiful white or reddish glaze, his valuable works are highly praised.
Brief introduction by Dr. Ken Jeremiah
"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.
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
Kumano Kurouemon
Kumano Kuroemon
Some of the most valuable pieces are made by the enigmatic Kumano Kuroemon. Reclusive, he lives in the mountains near Echizen, Fukui Prefecture, where he has his own private kiln. Yearly, he scours the surrounding mountains for suitable clay, which he shapes into incredible bowls, vases, and more. After applying his own glaze variation, he fires them at an incredible 1520 degrees Celsius, often foregoing sleep for an entire week to constantly regulate the heat.
Most artists would not think of firing a piece at such a high temperature, as it would cause pieces to buckle, distend, or lose their solidity.
Brief introduction by Dr. Ken Jeremiah
Ken Jeremiah has written numerous books and articles, and he has 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 If the Samurai Played Golf...Zen Strategies for a Winning Game. He teaches world language and comparative religion courses, and currently resides in Narragansett, RI.
Guide to Hanko
SECTION IS LOCKED - ONLY BY INQUIRY
MIWA KAZUHIKO "EL CAPITAN" KJUSETSU XIII
Kawasaki Daishi Heikenji Temple Omamori
The omamori are Japanese amulets dedicated both to particular Shinto deities and to Buddhist icons. The Japanese word mamori means protection, while the honorific prefix o- gives the word a moving meaning towards the outside, thus going to mean "Your protection".
Traffic safety guard (omamori bag) Kanji character of "traffic safety" 交通安全御守
Only with the passage of time, after years and experience, it is possible to understand and evaluate a ceramic, I believe that the production processes and temperatures are so extreme to the point that normal defects can occur, to which the Japanese often give a name. For those who don't understand the japanese spirit and who are not ready to fully embrace this philosophy, please don't buy items from my gallery. Ceramics have different stories and although they can be closed in a showcase, the acceptance that may have been destined for their normal use is the basis of what are the foundations of a chawan, cup, a plate or a vase. We can consider everything as a work of Art without ever forgetting their true nature. Knowing how to identify when a defect is a real oven or a previous user is not easy, that's why I am here. I don't want to make any reference to collectors, because i also like having an object that has never been used, I do not want to relate to serial accumulators that have absurd claims.