{"title":"Mingei","description":"\u003cp class=\"p1\"\u003eMingei, literally “people’s craft,” refers to the utilitarian objects made by anonymous craftspeople for everyday use. These works—ceramics, textiles, lacquer, woodwork, baskets, metal objects, and more—were traditionally produced in local workshops or by village artisans using regional materials and inherited techniques. The idea embraces the quiet, unselfconscious beauty found in the handmade objects of daily life. Their forms reflect utility, simplicity, and an integrity born of honest work.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the early twentieth century, thinkers and makers such as Yanagi Sōetsu, Hamada Shōji, and Kawai Kanjirō championed these qualities as the foundation of the Mingei Movement. Its precepts could be said to encompass an anti-industrail stance celebrating natural materials, regional traditions, handmade integrity, and Beauty in anonymity.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThey celebrated the handmade as a vital cultural expression amid growing industrialization, advocating for the preservation of craft traditions and the recognition of beauty in modest, everyday things.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlongside consciously crafted folk objects and the formal Mingei movement, the term mingei is often invoked more broadly to describe objects of everyday life that have acquired beauty through long use, weathering, or repeated repair. Found and use-worn objects such as weathered wood, patched cloth, recycled or repurposed iron, and stones or plinths shaped by generations of touch are not “artworks” in the intentional sense but are valued for the quiet dignity revealed by time and necessity. These humble remnants carry the imprint of time, labor, and resourcefulness. Their surfaces reveal a different kind of craftsmanship: the poetry of wear, repair, and continuous use. Collectors, artists, and museums increasingly recognize them as authentic material witnesses to everyday life, valued for the same sincerity, imperfection, and regional character that define mingei as both a craft tradition and an aesthetic philosophy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTogether, these expressions of mingei invite us to see beauty not in luxury or authorship, but in the dignity of materials, the rhythm of daily life, and the enduring human impulse to make, mend, and preserve.\u003c\/p\u003e","products":[{"product_id":"rare-traditional-dategera-mino-rain-coat","title":"Rare Traditional Dategera Mino Rain Coat","description":"\u003cp\u003eA mingei rain\/snow coat from Northern Japan known as a Dategera woven from various natural fibers. In the Tōhoku region, the rain cape known as kera was an essential item for days of rain and snow. Among these, the Date-gera was a special type of raincoat, made by dyeing umisuge sea grass black. Around the collar, various colored threads were used to weave in auspicious patterns such as arrow feathers. From the back hung long strips of hemp or bark from the shinanoki (Japanese linden), serving as ornamentation. This garment was worn in wedding processions. Date-gera were made by men for the women who would become their wives. They carefully selected the materials, designed the patterns on the collar, and devoted time to complete it. A man who could create a beautiful gera was regarded as accomplished, and women felt proud to wear it when walking. It is said that, when it rained, they would sometimes take it off, fold it away carefully, and carry it home—despite the fact that it was meant to be a rain cape. But of course, it was the Date-gera lovingly made by someone dear to them. For men, there was the Date-gera; for women, Kogin embroidery. Each made their own handiwork with heartfelt devotion for the other, and exchanged them as gifts. Learning about this custom, I cannot help but wish the two traditions had been passed down together and it is truly regrettable that the techniques of Date-gera have been lost.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDifficult to measure with certainty, it is made for an adult Japanese woman of the 19th to early 20th century, roughly 125 cm (4 feet) long and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50009592594679,"sku":"K951","price":1300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2306.42.49_copy.jpg?v=1757730487"},{"product_id":"goki-the-demon-attendant-of-en-no-gyoja","title":"Goki, The Demon Attendant of En-no-Gyoja","description":"\u003cp\u003eA powerful soot blackened image of Goki, one of two attendant demons of En no Gyoja, here seen with the sacred flask in his right fist. It has fierce, glass eyes with glowing gold irises. Muromachi to Momoyama period (14th–16th century). The figure is 37 x 27 x 41.5cm (15 x 11 x 16-1\/2 inches). Originally covered in thick pigments, much has flaked off, and all is coated in thick black incense soot. The bottom of the flask magical is missing.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEn no Gyōja, the semi-legendary founder of Shugendō, is often said to have had two supernatural attendants (kijin) who served him after being bound by his powers. According to legend, they were originally fierce demons who caused trouble in the mountains, but En no Gyōja subdued them through his spiritual discipline and bound them to serve as protectors. In Shugendō lore they come to symbolize the taming of destructive forces and the transformation of destructive forces into protective ones. Zenki is traditionally red and represents the yang (active force), often shown with an axe or a travel pack, while Goki appears in blue or green tones as the yin (receptive force), depicted carrying a jug of sacred water. Interestingly, in folk tradition, Zenki and Goki are sometimes also regarded as the progenitors of the Yamabushi’s “oni clans” in the Yoshino region, where their descendants were believed to live for generations, thus are revered as guardian deities rather than malevolent beings, embodying the power of the mountains.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50011906048247,"sku":"K782","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-03-2307.26.44.jpg?v=1756005970"},{"product_id":"spectacular-antique-japanese-lacquer-workers-display-table","title":"Spectacular Antique Japanese Lacquer Workers Display Table","description":"\u003cp\u003eA stunning lacquer workers table covered in hundreds of layers of lacquer polished to reveal the strata. It is 48.5 x 34 x 5.5 cm (19-1\/2 x 13-1\/2 x 2 inches) and is in excellent condition.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50016782844151,"sku":"K786","price":1400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2501.44.39copy.jpg?v=1757730761"},{"product_id":"the-scariest-antique-japanese-mask-ever","title":"The Scariest Antique Japanese Mask Ever!","description":"\u003cp\u003eThis ancient and dilapidated mask is ghoulishly frightening.  Carved from a single piece of wood, the visage seems to scream with both rage and fear, or is it pain, the brow furrowed and mouth open in a shout.  Emaciated lips curl back to reveal three teeth like tombstones framing the orifice.  A hole appears in the hollow of the left eye, and the top of the mask is broken open like an egg, as if something might leap out.  This goes way beyond the traditional mask, into the realm of Iki-ningyo or living dolls.  It is 24 x 15 x 12 cm (roughly 9 x 6 x 5 inches).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJapanese ghost tales and horror stories have a rich and fascinating history that dates back centuries. These stories have evolved and been shaped by various cultural, religious, and historical influences over time. Let's focus on the pre-modern era to explore the origins and development of Japanese ghost tales and horror stories:  Japan's early ghost tales were influenced by indigenous Shinto beliefs, animism, and the veneration of ancestral spirits. In these tales, spirits were often associated with natural phenomena and specific places.  During the Nara (710-794) and Heian (794-1185) periods, court literature flourished, and stories of supernatural beings, such as yōkai (supernatural creatures), oni (demons), and yūrei (ghosts), started to gain prominence in written works like \"The Tale of Genji.\"  Buddhist beliefs and notions of karma influenced the portrayal of spirits and the idea of vengeful ghosts who returned to the living world seeking retribution.  \"Uji Shūi Monogatari\" (Tales of a Raindrop) and \"Konjaku Monogatari\" (Tales of Times Now Past) are collections of folktales, including ghost stories, from this period. They reflected the belief in the supernatural and the moral consequences of human actions.  The medieval period saw the development of various ghost tales, often referred to as \"kaidan\" or \"katakiuchi-mono\" (stories of vengeance).  During the Edo period traditional Japanese theater, particularly Noh and Kabuki, incorporated ghostly elements into many of their plays. Ghost characters seeking vengeance or resolution were common themes in these performances, making them popular among audiences.  Also during this period was a flourishing of ghost-themed art and literature. Throughout these eras, storytelling played a crucial role in passing down ghost tales and horror stories in Japan. It's essential to recognize that Japanese ghost tales and horror stories are deeply rooted in cultural and spiritual beliefs, and their themes often explore concepts of life, death, morality, and the supernatural. They were often used as a means to entertain, educate, and explore societal norms and values.  In the later 19th century, Lafcadio Hearn, an Irish-Greek author who emigrated to Japan taking a Japanese name, is credited with introducing Japanese ghost tales to the Western world. In 1904, he published \"Kwaidan: Stories and Studies of Strange Things,\" a collection of traditional Japanese ghost stories he had translated and adapted in an effort to preserve them before the oral tradition was lost.  Many of these pre-modern ghost tales continue to inspire modern Japanese horror literature, movies, and other media.  \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50231772676343,"sku":"K158","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2024-09-2008.19.54.jpg?v=1781146396"},{"product_id":"antique-japanese-fossilized-suzuri-ishi-ink-stone","title":"Antique Japanese Fossilized Suzuri Ishi Ink Stone","description":"\u003cp\u003eI have never seen before a Suzuri Ink-grinding stone made from slate containing fossilized sea shells. This is a very unusual item incorporating the shells themselves into the design, the ink well is cut deep into the surface, covered by a beautifully carved rosewood cover. The stone comes in an ancient black lacquered wooden box, undeniably Edo period.  The stone is 20 x 26 x 8.5 cm (8 x 10-1\/2 x 3-1\/2 inches) and is in excellent condition. \u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50407645020407,"sku":"K1151","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2302.57.50.jpg?v=1767751410"},{"product_id":"unusual-plate-by-lnt-ー浜田-庄司-焼〆流梅皿","title":"Unusual Plate by LNT ー浜田 庄司 “焼〆流梅皿”","description":"\u003cp\u003eAn unusual plate by Living National Treasure Hamada Shoji enclosed in the original signed wooden box titled Yakishime Nagashi-yu Zara.  It is 24.5 cm (10 inches) diameter, 4 cm (1-1\/2 inches) tall and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHamada Shoji was born in Kanagawa Prefecture in 1894. In 1913, at the age of 19, he entered the Ceramics Department of the Tokyo Higher Technical School (now the Tokyo Institute of Technology) where he formed a friendship with senior student Kawai Kanjiro. In 1918 after visiting an exhibition, Yanagi Soetsu introduced him to the important British potter Bernard Leach, and the history of ceramic art was forever changed. The following year, he moved to England with Leach where he lived in St. Ives. After returning to Japan (1924), he spent time in Okinawa studying and appreciating the Tsuboya pottery of the island region. He then stayed with Kanjiro in Kyoto, where he, Yanagi, and Kanjiro established the principles of the Mingei movement.  Hamada then chose to establish his own kiln in the sleepy northern town of Mashiko.  He worked incessantly to further the Mingei ideals, using local clays and materials, and became mentor to any number of artist both domestic and from abroad.  He was named a Living National Treasure in 1955.  One of the most influential and sought after of all Japanese Ceramic artists. There is no shortage of reading material for those who would like to learn more about this potter.\u003cbr\u003e\u003c\/p\u003e","brand":"Hamada Shoji","offers":[{"title":"Default Title","offer_id":50418154504439,"sku":"MC1451","price":650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-09-0706.13.24_2.jpg?v=1768194015"},{"product_id":"antique-japanese-edo-p-ko-imari-bottle-vase","title":"Antique Japanese Edo p. Ko-Imari Bottle Vase","description":"\u003cp\u003eA haunting 18th century bottle shaped vase with flaring rim covered in pale, blue-tinged white glaze decorated with a band of flowering vines from the Southern kilns of Arita. It is 13 cm (5-1\/4 inches) diameter, 25 cm (10 inches) tall and in perfect condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50468906533111,"sku":"K1125","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2107.01.12.jpg?v=1769911610"},{"product_id":"unusual-antique-japanese-minpei-yaki-pottery-vase","title":"Unusual Antique Japanese Minpei-yaki Pottery Vase","description":"\u003cp\u003eA very unusual modern Minpei vase in blue and white, the blue etchedinto the surface in a very unusual technique. In fact it was created by carving the imagery into the vessel, glazing in white then blue, then wiping away the bulk of the blue glaze, leaving only that which was in the deep recesses. Thus you are left with a “negative” version of the design in blue. It is 22 cm (9 inches) diameter, 25.5 cm (10 inches) tall and in excellent condition, dating circa 1925. It comes in the original wooden box signed Minpei-kama Zo.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMimpei-yaki, is a type of pottery established in the late Edo era (circa 1830) by Mimpei Kasyu, the village headman of Igano mura, a small town in the southernmost part of Awaji island west of Osaka. The son of a powerful Soy trader his talent led Mimpei to leave the family business to become a potter at the age of 33.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e After inviting Ogata Shuhei to his kiln to introduce the techniques of Kyoyaki (Kyoto ware), he soon developed his own style which was influenced by contemporary potters of the day such as Eiraku Hozen and Shuhei’s older brother, Ninnami Dohachi. Also inspired by classic Chinese pottery, he created delicate porcelain ware decorated in exquisite and intricate three-dimensional designs that included animals, human forms, floral and geometric motifs. These were overglazed with polychrome enamels in classic Chinese colors (blue, celadon, bright green, yellow and gold) so that the design was highlighted and enhanced, pooling randomly in varying levels of intensity. Mimpei was quite successful and his pottery was popular and widely traded in its time. Dishes have been excavated in large cities like Tokyo (then Edo), Kyoto and Osaka, and as far away as Aomori (in northern Japan) and Okinawa (the southernmost island).\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50482168463607,"sku":"K1149","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2302.44.32.jpg?v=1770603587"},{"product_id":"published-antique-japanese-sanda-seiji-celadon-vase","title":"Published Antique Japanese Sanda Seiji Celadon Vase","description":"\u003cp\u003eAn exquisite early Sanda Celadon Vase in classical form with rosewood stand wrapped in a beautiful silk pouch and enclosed in a fie Kiri-wood storage box published in the book: Ko-sanda Seiji Bi to Ko (2016). The vase is 30 cm (12 inches) tall, 15 cm (6 inches) diameter excluding the rosewood stand, and is in excellent condition, enclosed in a beautiful age-mellowed Kiri-wood box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSanda was a production center renowned for its exceptionally high level of celadon production, to the extent that it was once referred to as one of the “three great celadon wares of the world.” Production began in the mid-Edo period and is said to have continued until the early Shōwa period.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50485825569015,"sku":"K1148","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2302.38.47.jpg?v=1770695477"},{"product_id":"rare-dated-17th-c-japanese-hexagonal-mingei-jar","title":"Rare Dated 17th c. Japanese Hexagonal Mingei Jar","description":"\u003cp\u003eAn unusual 6-sided storage jar, the dark iron-rich clay covered in green glaze with the date Genroku 5 ((1692) and a signature scored into the side. Opposite this is an impressed image of a coin as well as a 3-character seal impressed into the side below the shoulder. Interestingly, deeply impressed into the soft clay of the base is a large oak leaf, very unusual for the time. The jar, likely from Tamba, one of the Rokkoyo or six ancient kilns, is 16.5 cm (6-1\/2 inches) across, 19.5 cm (just less than 8 inches) tall and in excellent condition. \u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50497549762807,"sku":"K1137","price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2105.40.04_bef58e0a-a523-4c4a-ae91-6828b2fb8b85.jpg?v=1771205414"},{"product_id":"tsugaru-nuri-antique-japanese-lacquer-jubako-stacking-box-set","title":"Tsugaru Nuri Antique Japanese Lacquer Jubako Stacking Box Set","description":"\u003cp\u003eA set of four boxes with marching lid made to stack on top of each other from the Tsugaru Lacquer tradition of Aomori prefecture in Northern Japan dating from the Meiji period. They are 23.5 x 24.5 x 32.5 cm (stacked) which is roughly 9-1\/2 x 9-3\/4 x 13 inches) and are in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTsugaru lacquer ware, commonly known as Tsugaru-nuri, is a distinctive Japanese lacquer tradition that developed in the northern Tsugaru region of present-day Aomori Prefecture. Tsugaru-nuri emerged under the patronage of the Tsugaru domain in the late 17th to 18th centuries. Unlike courtly or urban lacquer traditions centered in Kyoto or Edo, Tsugaru lacquer evolved as a regional, utilitarian craft, intended for daily use rather than elite ceremonial display. Bowls, trays, writing boxes, and furnishings were produced for local consumption, emphasizing durability and warmth over refinement. What distinguishes Tsugaru lacquer historically is its highly layered construction. Artisans apply numerous coats of lacquer mixed with pigments and materials such as clay powder, charcoal, or eggshell, then incise, polish, and reveal the underlying strata. This process—repeated many times—creates dense, richly textured surfaces that appear almost geological. The technique was well suited to northern Japan’s cold climate, as the thick lacquer layers improved resilience and longevity. Unlike pictorial lacquer traditions, Tsugaru-nuri is fundamentally non-illustrative: beauty arises from process, depth, and accident rather than imagery. During the Meiji period, Tsugaru lacquer adapted to modernization and new markets. Improved transportation allowed wares to circulate beyond Aomori, and the craft gained recognition as a regional specialty. While some standardization occurred, the labor-intensive nature of Tsugaru-nuri ensured that it remained a high-skill practice rather than an industrial product.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50502436946167,"sku":"K1121","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2201.41.03.jpg?v=1771405888"},{"product_id":"set-5-antique-japanese-negoro-lacquer-bowls","title":"Set 5 Antique Japanese Negoro Lacquer Bowls","description":"\u003cp\u003eAn exquisite set of 5 17th-18th century lacquered bowls with flaring rims, beautifully turned with unusually refined thin bodies covered in black and red lacquer, and bearing two marks on the base, a circled character for up (heaven) and what appears to be Mune, a common character in a male name. They are magnificently worn, with black lacquer showing through where the red has been worn away from use.  Theya re roughly 13.5 cm (5-1\/4 inches) diameter, 5 cm (2 inches) tall. Well taken care of, still, there are chips to the thin edges and feet, and one repair to the rim about 2.5 cm (1 inch) long on one of the bowls.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNegoro lacquerware is one of Japan’s most distinctive lacquer traditions, celebrated not for pristine polish but for the slow revelation of time itself—a red surface gradually wearing away to expose black beneath. Negoro lacquerware takes its name from Negoro-ji, a powerful Shingon Buddhist temple complex in present-day Wakayama Prefecture. From the late Heian through the Muromachi period, Negoro-ji functioned as a vast religious and economic center, complete with workshops producing ritual implements, furnishings, and everyday utensils for monastic life. Negoro pieces were utilitarian by design: bowls, trays, sutra stands, writing boxes, and ritual vessels meant for constant handling. Their durability—thick wooden cores coated first in black lacquer, then overlaid with vermilion red—was paramount. The hallmark of Negoro-nuri lies in its inevitable transformation. As objects were used, the red lacquer thinned at edges and contact points, allowing the black underlayer to emerge naturally. Over years—and sometimes centuries—each object acquired a unique topography of abrasion; rims darkened by lips and hands, corners softened by movement and surfaces mottled like weathered architecture. This was not planned ornamentation, but the result of lived time. This quality later resonated deeply with tea practitioners, who recognized in Negoro lacquer a material expression of wabi—quiet imperfection, humility, and endurance. In 1585, Toyotomi Hideyoshi attacked Negoro-ji, destroying much of the temple complex and dispersing its monks. Production at the site effectively ceased. Yet paradoxically, this catastrophe ensured Negoro lacquer’s survival: objects entered circulation among warriors, merchants, and tea masters, where their aesthetic value was newly appreciated. Therefore, by the late Momoyama and early Edo periods, old Negoro pieces were already prized as antiques. During the Edo period, Negoro lacquer became firmly embedded in chanoyu (tea ceremony) culture. Tea masters valued it alongside Bizen ware, Shigaraki jars, and weathered bamboo utensils—objects that bore the marks of time rather than resisting it.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50507276714231,"sku":"K1124","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2106.38.07.jpg?v=1771638534"},{"product_id":"unusual-seto-e-zara-stoneware-mingei-plate","title":"Unusual Seto E-zara Stoneware Mingei Plate","description":"\u003cp\u003eA very unusual Seto Ishi-zara plate decorated with what truly appears to be full blown Art-Nouveau designs in white. It is 30 cm (12 inches) diameter, 4 cm (1-1\/2 inches) tall and in overall fine condition, with two small chips in the rim. An excellent example of the fusion of Mingei and Art, East and West, it comes in an old un-marked wooden box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSeto ishi-zara are stoneware dishes produced at the Seto kilns in central Japan, primarily from the late Muromachi through Edo and into the Meiji periods. The term ishi (“stone”) refers not to the use of literal stone, but to the stone-like hardness, weight, and durability of the fired clay body, which distinguishes these plates from softer earthenware. Produced at the historic Seto kiln complex in Seto, one of Japan’s oldest ceramic centers, ishi-zara exemplify Seto’s role as a supplier of practical ceramics for daily life, in contrast to more elite or decorative wares. Seto ishi-zara are valued today for their quiet, utilitarian beauty. Their restrained surfaces align closely with later wabi-sabi sensibilities and the aesthetics of the tea world, even though they were not originally made as tea wares. Each plate bears subtle variations from hand-forming and firing, making even functional objects quietly individual.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50507630018807,"sku":"K1056","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/K1056_1_copy.jpg?v=1771665012"},{"product_id":"edo-p-pair-imari-tako-karakusa-tokkuri-vases","title":"Edo p. Pair Imari Tako Karakusa Tokkuri Vases","description":"\u003cp\u003eA matching pair of Tako-Karakusa (Octopus Vine) vases with elongated necks dating from the Mid to Later Edo period (18th to early 19th c) hailing from the Arita Kilns of southern Japan. They are 10 cm (4 inches) diameter, 26 cm (10-1\/2 inches) tall and in perfect condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50514297028855,"sku":"K1129","price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2106.09.21.jpg?v=1771898420"},{"product_id":"exquisite-tsurukubi-style-edo-p-tako-karakusa-vase","title":"Exquisite Tsurukubi Style Edo p. Tako-Karakusa Vase","description":"\u003cp\u003eA beautiful Arita-yaki Tako-Karakusa (Octopus Vine) bottle vase with stretched neck dating from the Mid to Later Edo period (18th c.) . It is 11.5 cm (4-1\/2 inches) diameter, 26 cm (10-1\/2 inches) tall and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50524255191287,"sku":"K1126","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2105.58.29.jpg?v=1772248765"},{"product_id":"ancient-bugaku-mask-ryo-o-rangryo-the-dragon-king","title":"Ancient Bugaku Mask, Ryo-o (Rangryo) The Dragon King","description":"\u003cp\u003eA breathtaking carved wood mask representing Ryo-o (also Rangryo and a plethora of other spellings), the mythical Dragon King. It is made of carved wood lacquered black and red then covered in gold.  The chin is attached by silk cords to allow the mouth to swing freely with the dancer’s movements. The Rangryo mask represents a young Chinese king who was renowned for his beauty, but who could not intimidate his enemies. In battle, he donned a hideous mask surmounted by a dragon to hide his face and frighten his enemies. The dance is a solo dance; it is highly martial and more active than many other Bugaku dances. This mask is 36.5 x 18.5 x 18 (14-1\/2 x 7-1\/2 x 7-1\/4 inches) and is in excellent condition, enclosed in an age darkened Kiri wood box titled Ryo-o men.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBugaku is an official court dance of Japan, dating back to at least the Heian period, Bugaku dances were so central to protocol that nearly all ceremonies and festivals included them. The dance was especially important in appeasing angry gods, purifying the village, and petitioning the gods for rain or a good harvest.  The dance is performed to the music of drums and flutes. The dancers enter the stage singly in succession, then dance together in pairs, in synchronicity to varying tempos. Each dance has its own mask and is named after the mask. Bugaku masks were sometimes made of wood, like this one, and sometimes made from kanshitsu, dried lacquer.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50527492342007,"sku":"K724","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/K724_5_copy.jpg?v=1772335908"},{"product_id":"huge-ko-imari-futamono-tako-karakusa-covered-container","title":"Huge Ko-Imari Futamono Tako-Karakusa Covered Container","description":"\u003cp\u003eA Massive Arita-yaki Covered Bowl emblazoned with Tako-Karakusa (Octopus Vine) deigns dating from the Mid to Later Edo period (c. 1800). It is 32 cm (13 inches) diameter, 23.5 cm (9-1\/2 inches) tall and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50527585665271,"sku":"K1111","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-1606.32.57.jpg?v=1772343312"},{"product_id":"a-large-ko-imari-abura-tsubo-oil-jar-vase","title":"A large Ko-Imari Abura Tsubo Oil Jar Vase","description":"\u003cp\u003eA long necked oil storage jar dating from the mid Edo period decorated with floral motifs from the Arita kilns of Kyushu.  It is 10 cm (4 inches) diameter and in excellent overall condition.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50575981215991,"sku":"K1112","price":200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2108.02.53.jpg?v=1773466355"},{"product_id":"edo-p-akahadayaki-chawan-ー奥田-木白-赤膚焼-茶碗","title":"Edo p. Akahadayaki Chawan ー奥田 木白 \"赤膚焼 茶碗\"","description":"\u003cp\u003eA masterpiece of Akahada Pottery ware, the sides of this deep bowl impressed with cherry blossoms under key fret designs by Okuda Mokuhaku enclosed in a period wooden box.  It is 10.5 cm (4 inches) diameter, 6 cm (2-1\/2 inches) tall and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOkuda Mokuhaku (1800-1871) was born the son of a merchant in Sakai Machi Yamato Koriyama in Nara Prefecture that served the local lords with hair ornaments, make-up supplies and other fashionable items. His given name was Kamematsu, which was changed to Sahe-e upon reaching adulthood. He was enthralled with the tea ceremony from a young age, and enjoyed making Raku ware, so it was no surprise later when he quit the family business and became a potter. He established the pottery style known today as Akahada-yaki.  With his outstanding design and technical prowess, Akahada pottery came to be highly regarded as utensils for the Japanese tea ceremony, earning him the reputation as a master craftsman of the Edo period who made Akahada pottery known to the world.\u003cbr\u003e\u003c\/p\u003e","brand":"Okuda Mokuhaku","offers":[{"title":"Default Title","offer_id":50575983739127,"sku":"K1261","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-2015.22.16.jpg?v=1773466573"},{"product_id":"pair-ko-imari-abura-tsubo-oil-flasks","title":"Pair Ko-Imari Abura Tsubo Oil Flasks","description":"\u003cp\u003eA pair of oil Jars (Abura Tsubo) with delicate small necks from the 18th to early 19th century kilns of Arita on the southern island of Kyushu, Japan’s oldest porcelain production center.  They are decorated with floral sprays in blue and white, measuring 10.5 cm diameter, 10.5 cm tall and 9.5 cm diameter,  10 cm tall respectively, and are in excellent condition. \u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50602386030839,"sku":"K1113","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2108.06.57.jpg?v=1773629858"},{"product_id":"edo-p-japanese-tako-karakusa-tokkuri-bottle-vase","title":"Edo p. Japanese Tako Karakusa Tokkuri Bottle Vase","description":"\u003cp\u003eA beautiful Arita-yaki Tako-Karakusa (Octopus Vine) bottle vase with slightly tapered neck dating from the Mid to Later Edo period. It is 15 cm (6 inches) diameter, 26 cm (10-1\/2 inches) tall and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50609461395703,"sku":"K1127","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-2105.52.32.jpg?v=1773900564"},{"product_id":"huge-late-18th-century-imari-tako-karakusa-bottle-vase","title":"Huge Late 18th century Imari Tako-Karakusa Bottle Vase","description":"\u003cp\u003eA massive Tako-Karakusa (Octopus Vine) vase with elongated neck dating from the Mid to Later Edo period hailing from the Imari Kilns of southern Japan. The size is unusual and the form is expertly drawn, difficult for porcelains of this era. It is 23 cm (9 inches) diameter, 41 cm (16-1\/4 inches) tall and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions.  Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as \"Imari ware.\" Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50620372222199,"sku":"K1128","price":1700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-1605.34.31.jpg?v=1774328444"},{"product_id":"antique-japanese-mingei-abura-zara-oni-no-nenbutsu-devil","title":"Antique Japanese Mingei Abura-zara, Oni no Nenbutsu Devil","description":"\u003cp\u003eA very rare Otsu-e image of an Oni No Nenbutsu (devil in priests’ habit) decorates this abuira-zara Oil dish from the Seto\/Mino kilns dating from the mid to late Edo period. It is 21.5 cm (8-1\/2 inches) diameter and in surprisingly excellent condition, enclosed in a very old wooden box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eŌtsu-e refers to a form of Japanese folk painting that emerged in the early Edo period in the town of Ōtsu, near Kyoto, along the busy Tōkaidō road. By the early 17th century, roadside stalls began producing inexpensive paintings to sell to travelers moving between Kyoto and Edo. Ōtsu-e imagery drew from a wide range of sources—religious, moral, and humorous. Early works often depicted Buddhist deities such as Kannon or protective figures like Fudō Myōō, functioning as talismans for safe travel. Over time, however, the imagery expanded into something more playful and subversive: moralizing scenes that gently mocked human folly. This blend of humor and didacticism gave Ōtsu-e a distinctive tone, both accessible and quietly critical of social behavior. During the 18th and early 19th centuries, Ōtsu-e reached widespread popularity. They occupied a cultural space parallel to early popular Ukiyo-e in their engagement with everyday life and broad audiences, though they remained hand-painted rather than printed.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe image of an oni—traditionally a demon or embodiment of ignorance—praying or chanting the nenbutsu (invocation of Amida Buddha) is one of the most iconic and layered motifs in Ōtsu-e painting. Its meaning unfolds across several overlapping registers: moral, satirical, and quietly philosophical. At its most direct level, the motif expresses a core Buddhist idea: that all beings, even the most deluded or malevolent, possess the capacity for awakening. In the context of Pure Land belief, chanting the nenbutsu opens the possibility of rebirth in Amida’s paradise regardless of one’s past. The oni, then, becomes a paradoxical figure—an embodiment of karmic error who nevertheless turns toward salvation. The image gently reassures: if even a demon can seek redemption, so too can the ordinary viewer. At the same time, Ōtsu-e is rarely naïve. The sight of an oni in priestly robes invites skepticism. Is the demon truly transformed—or merely disguised? In this reading, the image becomes a subtle critique of religious hypocrisy. The humor is essential. By displacing critique onto a demon, the image avoids direct offense while remaining unmistakably pointed. Ōtsu-e thrives on inversion—turning the world slightly askew to reveal its truths. A demon chanting scripture collapses categories sacredand profane. This inversion reflects a broader Edo-period sensibility in which wisdom is often delivered through absurdity. The viewer is invited not to take the image literally, but to recognize the instability of moral identity itself. At a deeper level, the motif resonates with a long-standing current in Japanese thought—especially within Zen-inflected culture—in which opposites are not absolute. The oni is not outside the human condition; it is a mirror of it. What gives the image its enduring power is its ambiguity. It cannot be fixed into a single interpretation. \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50662122127607,"sku":"K1290","price":950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-02-0217.24.22.jpg?v=1775355668"},{"product_id":"elegant-antique-japanese-inlayed-wood-smoking-set","title":"Elegant Antique Japanese Inlayed Wood Smoking Set","description":"\u003cp\u003eParquetry inlay of various designs decorates the exquisitely grained clear-lacquered wood surface of this unusual arching smoking set with domed brass brazier. The brass dome on the basin inset into the top is pierced with a key fret design. It nestles into a ring suspended over three drawers by arching legs. From the front hinged akado copper flanges swing out to hold the pipe. It is 17 x 17 x 20 cm (7 x 7 x 8 inches) and in overall excellent condition.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50713806471415,"sku":"K1343","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0117.48.28.jpg?v=1780303774"},{"product_id":"ainu-carved-wood-display-table","title":"Ainu Carved Wood Display Table","description":"\u003cp\u003eA kadai table carved from a slab of wood with the distinct patterns of the Ainu people of Northern Japan. It is 49 x 27.5 x 5.2 cm (19-1\/2 x 11 x 2 inches) and is in excellent condition. \u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50715048182007,"sku":"K1370","price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-2111.15.52.jpg?v=1779246501"},{"product_id":"rare-bamboo-bound-tankoji-porcelain-tea-set","title":"Rare Bamboo Bound Tankoji Porcelain Tea set","description":"\u003cp\u003eAn elegant Tankoji pottery tea set bound in bamboo from the Tobe-yaki tradition of Shikoku. The teapot is 13.5 x 9 x 8 cm (5-1\/2 x 3-1\/2 x 3-1\/4 inches) the cups 5.5 cm (just over 2 inches) diameter, 4 cm (1-5\/8 inches) tall and all is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTankōji porcelain, a type of Tobe ware from Ehime Prefecture, is known for its delicate, ivory-like body with a subtle yellow hue. Its production is technically challenging, resulting in limited quantities, and older pieces in good condition are rare due to crackling and fractures. In its original firing practice, there was a tendency toward crackling in the surface glaze. This was in fact, not intended, and pieces with this effect were not offered for sale. Later a bamboo artist bought the bulk of these fractured works, and bound them with thin cut bamboo. Once considered difficult to appreciate, its character was enhanced through this addition of woven bamboo wrapping. This highlighted its unique qualities and led to a renewed appreciation and popularity, and the combination was a dramatic hit. So much so that people sought out the bamboo bound works explicitly, and the kiln actually fell into financial decline (the basket maker had a field day!). However, unable to compete with modernization of production, the kiln closed during the Taisho era in the opening years of the 20th century. \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50715197407479,"sku":"K1331","price":1100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0414.52.19.jpg?v=1780890534"},{"product_id":"ancient-lacquered-bamboo-tea-room-vase","title":"Ancient Lacquered Bamboo Tea Room Vase","description":"\u003cp\u003eA fabulous hand polished bamboo-root vase signed in red lacquer and enclosed in an Edo period dark wood box. It is 16 x 9.5 x 19.8 cm (6-1\/2 x 4 x 8 inches) and is in excellent original condition.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50716823060727,"sku":"K1360","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-1416.24.30.jpg?v=1781489727"},{"product_id":"antique-ainu-shishimai-bear-dance-mask","title":"Antique Ainu Shishimai Bear Dance Mask","description":"\u003cp\u003eA remarkable Ainu Shishi-bear mask covered in genuine hair with glass eyes made for traditional festival dance performance. It is made of paper, dry-lacquer, paint, animal hair and features glass eyes. A unique contraption inside the head allows the eyes to move from side to side. Roughly the mask is 33 x 19 x 21 cm (13 x 7-1\/2 x 8-1\/2 inches) and is in excellent condition, enclosed in an old age darkened wooden box. This is an unprecedented opportunity to acquire a unique piece of Ainu culture.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar mask see the last photo, published in the book Garakuta Bijutsu (1975, Figure 27) titled Ainu Soshingu (Ainu accessories); a copy of the book page is included.\u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50761922314487,"sku":"K1318","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-05-0416.55.22.jpg?v=1778553690"},{"product_id":"antique-cloud-shaped-root-wood-scholars-stand","title":"Antique Cloud Shaped Root-wood Scholars Stand","description":"\u003cp\u003eA natural wood stand forming swirling clouds enclosed in an age darkened wooden box titled Kashiwa Joku Kumo-gata Dai. Kashiwa is the Japanese name for the Daimyo-Oak, a tree native to East Asia (Japan, Korea and China). The stand is 26 x 22 x 11 cm (10-1\/4 x 9 x 4-1\/4 inches) and is in overall fine condition.  Inside the box lid It came from the collection of the Oda family.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50786173092087,"sku":"K952","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-3006.21.40_2.jpg?v=1778984777"},{"product_id":"antique-japanese-gennai-pottery-bowl","title":"Antique Japanese Gennai Pottery Bowl","description":"\u003cp\u003eA beautiful example of the richly decorated Gennai pottery dating from the 19th century enclosed in an old wooden box.  The center of the bowl is a yellow and white flower on green leaves in a pale field with trumpeting sides deeply carved and decorated in green glaze.  Outside is simple austerity.  There are a number of small chips to the edges of the foot, typical of use from this softer clay.  It is 17.5 cm (7 inches) diameter, 8 cm 3 inches) tall and in overall fine condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love.  He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50820278878455,"sku":"K015","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2414.59.53.jpg?v=1780126956"},{"product_id":"antique-japanese-gennai-yaki-suiban-platter","title":"Antique Japanese Gennai Yaki Suiban Platter","description":"\u003cp\u003eHotei sleeps quietly against his bottomless sack of treasures on this Suiban basin by Hiraga Gennai enclosed in a period wooden box titled Hiraga Kyukei Kochi Itsushi Suiban. It is 35.5 x 24 x 6 cm (14 x 9-1\/2 x 2-1\/2 inches) and is in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love. He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Hiraga Gennai","offers":[{"title":"Default Title","offer_id":50821195235575,"sku":"K1326","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2414.41.19.jpg?v=1780203186"},{"product_id":"mid-edo-period-gennai-yaki-plate","title":"Mid Edo period Gennai-yaki Plate","description":"\u003cp\u003eA large plate in purple and green with white flowers from the Gennai tradition of Sanuki (modern day Kagawa on the island of Shikoku).  It is 25.5 cm (10 inches) square, 4cm (1-1\/2 inches) tall. There are small gold repairs to chips in the rim, but is overall in excellent condition enclosed in a kiri-wood collectors box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names, including Kyūkei (鳩渓), Fūrai Sanjin (風来山人) (his principal literary pen name), Tenjiku rōnin (天竺浪人) and Fukuchi Kigai (福内鬼外). He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love.  He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50821201035511,"sku":"K029","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2414.53.08.jpg?v=1780203658"},{"product_id":"antique-japanese-gennai-yaki-hexagonal-basin","title":"Antique Japanese Gennai Yaki Hexagonal Basin","description":"\u003cp\u003eHotei sleeps quietly supported by his staff on this 8 sided basin from the Edo period Gennai kilns on the island of Shikoku. It is 25 cm (10 inches) wide, 4 cm (1-1\/2 inches) tall and in overall fine condition, with a firing flaw and two small chips along the above Hotei’s head.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love. He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768).\u003cspan style=\"font-size: 10.0pt; font-family: 'Century',serif;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50821201887479,"sku":"K1325","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2414.17.06.jpg?v=1780203974"},{"product_id":"antique-japanese-gennai-yaki-tetsuki-dish","title":"Antique Japanese Gennai Yaki Tetsuki Dish","description":"\u003cp\u003eA braided handle loops over chrysanthemum blossoms on this Edo period Gennai Yaki Pottery dish enclosed in an old wooden box. It is 22 x 22.5 x 11 cm (roughly 9 x 9 x 4-1\/4 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love. He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50821202313463,"sku":"K1324B","price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2414.22.17.jpg?v=1780204116"},{"product_id":"unusual-gennai-yaki-basin-waves-and-basho-leaves","title":"Unusual Gennai Yaki Basin, Waves and Basho Leaves","description":"\u003cp\u003eA rare and spectacular Gennai-yaki pottery bowl with Basho leaves rising on crackled white glaze in the center surrounded by crashing waves sculpted into the unusual orange-colored walls of the bowl.  There is a small chip in the soft clay of one wave, and a firing flaw visible in the base, however this is in overall remarkably good condition.  It is 30 cm (12 inches) diameter, 6 cm (2-1\/2 inches) tall and in excellent condition. It comes enclosed in an old Kiri-wood collectors box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love.  He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50821203951863,"sku":"K511","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2024-10-1403.35.38.jpg?v=1780204414"},{"product_id":"edo-period-gennai-yaki-10-plate-set","title":"Edo period Gennai Yaki 10 plate set","description":"\u003cp\u003eA set of 10 plates from the Edo period kilns of Gennai on the island of Shikoku. Each is 15.5 cm (6 inches) diameter, 2.5 cm (1 inch) tall and all are in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGennai Yaki, known for its bright coloring, originated during the Horeki era (1751 – 1764) in Shido, Sanuki Province (mod. Kagawa prefecture) when Hiraga Gennai (1728-1780) a scientist and intellectual developed a process based on the Cochin ware style of China. Gennai was typically decorated with bold designs with green and yellow glazes. The style was developed by Gennai, and the wares were produced mostly by his apprentice Wakita Gengo, who used the name of “Shunmin,” (resulting in another name for the pottery style, Shunmin-yaki). Yashima ware from the same area is a type of earthenware descending from Gennai ware.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHiraga Gennai was a Japanese polymath and Rōnin (Masterless Samurai) of the later Edo period. His birth name was Shiraishi Kunitomo, but he later used numerous pen names. He is best known by the name Hiraga Gennai. He was a pharmacologist, student of Rangaku (Dutch studies), physician, author, painter and inventor well known for his Erekiteru (electrostatic generator), Kandankei (thermometer) and Kakanpu (asbestos cloth). Gennai composed several works of literature, including the fictional satires Fūryū Shidōken den (1763), the Nenashigusa (1763) and the Nenashigusa kohen (1768), as well as the satirical essays On Farting and A Lousy Journey of Love.  He also authored two guidebooks on the male prostitutes of Japan, the Kiku no en (1764) and the San no asa (1768). \u003cbr\u003e\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50821254381815,"sku":"K043","price":1300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-03-2514.05.33.jpg?v=1780216697"},{"product_id":"natural-wood-tanzaku-kake-poem-card-hanger","title":"Natural Wood Tanzaku Kake Poem Card Hanger","description":"\u003cp\u003eA natural splinter of carefully polished wood inset with two hooks and a string from which to hang made to carry a Tanzaku Poem card. Very much in the scholar tradition, it is 69.5 cm (28 inches) long and in excellent condition, dating from the early 20th century.\u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50860173721847,"sku":"SA061","price":370.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-3013.45.16.jpg?v=1781409312"},{"product_id":"antique-japanese-polished-natural-root-wood-stand","title":"Antique Japanese polished Natural Root-Wood Stand","description":"\u003cp\u003eA polished burl of rootwood flattened to form a stand for a koro or small bonsai display cut from what appears to be the burled rootwood of a keyaki (Zelkova) tree. It is 45 x 19 x 16 cm (18 x 7-1\/2 x 6-1\/4 inches) and is in excellent condition. \u003c\/p\u003e","brand":"Kura Monzen Gallery","offers":[{"title":"Default Title","offer_id":50877017456887,"sku":"SA066","price":395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-2015.25.22.jpg?v=1781924705"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/collections\/DSC_8138.jpg?v=1766740016","url":"https:\/\/kuramonzen.com\/collections\/mingei.oembed?page=2","provider":"Kura Monzen Gallery","version":"1.0","type":"link"}