{"title":"民藝 (Mingei)","description":"\u003cp\u003e民藝とは、「民衆的工芸」を意味し、名もなき職人たちが日常生活のために作り出してきた実用品を指します。陶芸、染織、漆工、木工、籠、金工などの作品は、地域ごとの素材と受け継がれた技法を用い、村や土地に根ざした工房で生み出されてきました。そこには、日々の暮らしの中で自然に現れる、気負いのない静かな美が宿っています。その造形は、用に即した合理性、簡素さ、そして誠実な手仕事から生まれる確かな品格を映し出しています。\u003c\/p\u003e\n\u003cp\u003e20世紀初頭には、柳宗悦、濱田庄司、河井寛次郎らの思想家・作家によって、これらの価値観が「民藝運動」として体系化されました。民藝運動は、自然素材、地域性、手仕事の誠実さ、そして無名性の中にある美を重んじ、工業化が進む時代において、手仕事を重要な文化的表現として位置づけました。工芸の伝統を守り、日常の中にある控えめな美を見出すことが、その思想の核となっています。\u003c\/p\u003e\n\u003cp\u003e一方で、民藝という言葉は、意図的に制作された工芸作品や民藝運動に限らず、長年の使用や風化、繰り返された修理によって美を獲得した日用品全般を指して用いられることもあります。風合いを増した木材、繕われた布、再利用された鉄、世代を超えて触れられてきた石や台座などは、意図された「作品」ではありませんが、時間と必要性によって立ち現れた静かな尊厳を備えています。そこに刻まれたのは、時間、労働、工夫の痕跡であり、摩耗や修繕、使い続ける行為そのものが生み出す、別種の職人性とも言える詩情です。今日では、こうしたものもまた、民藝が持つ誠実さ、不完全さ、地域性を体現する素材として、収集家や作家、美術館から注目されています。\u003c\/p\u003e\n\u003cp\u003eこれら多様な民藝の表現は、豪奢さや作者性ではなく、素材の尊厳、日々の暮らしのリズム、そして作り、直し、受け継ごうとする人間の根源的な営みの中にこそ、美が宿ることを私たちに教えてくれます。\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"rare-traditional-dategera-mino-rain-coat","title":"希少な伝統工芸品ダテゲラミノのレインコート","description":"\u003cp\u003e日本の東北地方に伝わる民芸の雨雪兼用コートで \"ダテゲラ\" と呼ばれています。東北地方では 雨や雪の日に欠かせない雨よけとしてケラが使われていました。その中でもダテゲラはウミスゲラを黒く染めた特殊な雨合羽です。衿の周りには矢羽根など縁起の良い模様が色とりどりの糸で織り込まれ、背中には麻やシナノキの皮を長く垂らして飾り付けられ 嫁入り行列などで着用されました。妻となる女性のために男性が素材を選び、衿の模様をデザインし、時間をかけて作り上げたものでした。美しいゲラを作り上げる男性は達人と見なされ、女性たちはゲラを身につけて歩くことを誇りとしました。雨が降ると、雨よけのはずのものを脱ぎ捨て大切に畳んで持ち帰ることもあったそうです。大切な人が愛情を込めて作ったダテゲラだからです。男にはダテゲラ、女にはこぎん刺しというそれぞれが相手を思いやる気持ちを込めて作った作品を、贈り物として交換していたのです。この風習を知ると、二つの伝統が共に受け継がれていればよかったのにと思わずにはいられません。ダテゲラの技術が失われてしまったのは本当に残念です。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e正確な計測は困難ですが、19世紀から20世紀初頭の日本の成人女性用に作られたもので 長さは約125cmで 状態は良好です。\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":"役行者の侍りの鬼 ゴキ","description":"\u003cp\u003e煤で黒ずんだ、役行者の二匹の従鬼の一人、五鬼（ごき）の力強い像です。右の拳には神水瓶を握っています。室町時代から桃山時代(14～16世紀)の作品で、ガラスの瞳は鋭く金色に輝く虹彩を持っています。像の寸法は37×27×41.5cmで、元々は濃厚な顔料で覆われていましたが 現在は多くが剥がれ落ち、全体が濃い黒色の香の煤で覆われています。神水瓶の底は失われています。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e修験道の半ば伝説的な開祖、役行者には 彼の力に縛られて仕える超自然的な従者(鬼神)が二人いたとよく言われます。伝説によると、鬼神はもともと山で問題を引き起こす獰猛な鬼でしたが 役行者は修行を通して鬼神を鎮め、守護者として仕えるよう縛り付けました。修験道の伝承では、鬼神は破壊的な力を鎮め破壊的な力を守護的な力へと変えることを象徴しています。前鬼は伝統的に赤色で陽(活動的な力)を表し斧や旅袋を持っている姿で描かれることが多い一方、後鬼は陰(受容的な力)として青色または緑色で描かれ、神聖な水の入った水差しを持っている姿で描かれます。興味深いことに、民間伝承では前鬼と後鬼は吉野地方の山伏の「鬼の一族」の祖先とみなされることもあり、その子孫は代々吉野地方に住むと信じられていたため、山の力を体現した悪意のある存在ではなく守護神として崇められています。\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":"見事なアンティークの日本の漆職人の展示台","description":"\u003cp\u003e何百層もの漆を塗り重ね、研磨によって地層が現れる美しい漆塗りの台です。サイズは48.5 x 34 x 5.5 cmで 状態は良好です。\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":"史上最も恐ろしい日本のアンティークマスク！","description":"\u003cp\u003eこの古く朽ち果てた仮面は不気味なまでに恐ろしいです。一枚の木から彫り出されたその顔は、怒りと恐怖、あるいは苦痛で叫んでいるかのよう。眉間にしわを寄せ口を大きく開けて叫んでいます。やつれた唇は反り返り、開口部を縁取る墓石のような3本の歯が露わになっています。左目の窪みには穴が開き、仮面の上部は卵のように割れておりまるで何かが飛び出しそうに思えます。これは伝統的な仮面の域をはるかに超え、「生き人形」の域に達しています。大きさは24×15×12cmです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e日本の幽霊物語や怪談は何世紀にも遡る豊かで魅力的な歴史を持っています。これらの物語は時代とともに様々な文化、宗教、歴史の影響を受けて進化し形作られてきました。ここでは近世に焦点を当て、日本の幽霊物語や怪談の起源と発展を探ってみましょう。日本の初期の幽霊物語は土着の神道信仰、アニミズム、そして祖霊崇拝の影響を受けていました。これらの物語では精霊はしばしば自然現象や特定の場所と結び付けられていました。奈良時代(710-794)と平安時代(794-1185)には宮廷文学が栄え、『源氏物語』などの著作において妖怪、鬼、幽霊といった超自然的な存在の物語が注目を集め始めました。仏教信仰と業の概念は、精霊の描写や報復を求めて現世に舞い戻る怨霊という概念に影響を与えました。『宇治拾遺物語』と『今昔物語』はこの時代の民話集であり、幽霊物語も含まれています。これらの民話は超自然現象への信仰と人間の行為の道徳的帰結を反映しています。中世には「怪談」や「敵討ち物」と呼ばれる様々な幽霊物語が生まれました。江戸時代には特に能や歌舞伎といった日本の伝統演劇において、多くの作品に幽霊の要素が取り入れられました。復讐や解決を求める幽霊の登場人物はこれらの演目の共通のテーマとなり、観客に人気を博しました。またこの時代には幽霊を題材とした芸術や文学が隆盛を極めました。これらの時代を通して、日本では物語が幽霊物語や怪談を伝承する上で重要な役割を果たしました。日本の怪談や怪奇物語は文化的、精神的な信仰に深く根ざしており、そのテーマはしばしば生、死、道徳、超自然といった概念を探求していることを認識することが重要です。これらの物語は娯楽、教育、そして社会規範や価値観の探求のための手段としてしばしば用いられました。19世紀後半、アイルランド系ギリシャ人作家で日本名で日本に移住したラフカディオ・ハーンは、日本の怪談を西洋世界に紹介したとされています。1904年、彼は日本の伝統的な怪談を集めた『怪談』を出版しました。これは、口承が失われる前に保存しようと、自ら翻訳・翻案した物語集です。これらの前近代の怪談の多くは、現代日本の怪談文学、映画、その他のメディアに今もなお影響を与え続けています。\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":"日本の古代の化石硯石","description":"\u003cp\u003e化石化した貝殻を含んだ粘板岩で作られた硯墨砥石は、これまで見たことがありません。貝殻そのものを意匠に取り入れた大変珍しい作品で、墨壺は表面に深く刻まれ、美しく彫刻された紫檀の蓋で覆われています。砥石は、紛れもなく江戸時代の黒漆塗りの木箱に収められています。砥石のサイズは20 x 26 x 8.5cm（8 x 10.5 x 3.5インチ）で、状態は良好です。\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\u003e様々なデザインの寄木細工が施された 美しい木目の表面が特徴的な、珍しいアーチ状の喫煙具セットです。真鍮製のドーム型火鉢が付属します。上部に埋め込まれた盆の真鍮製ドームには、鍵のフレット模様が透かし彫りされています。アーチ状の脚で吊るされた三つの引き出しの上に、盆が収まるリングがあります。前面の開く赤銅製のフランジは、パイプを保持するために外側にスイングします。サイズは17 x 17 x 20 cmで 全体的に良好な状態です。\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\u003e日本の北部の アイヌ民族 独特の模様が彫られた木の一枚板の台です。サイズは49 x 27.5 x 5.2 cmで、状態は良好です。\u0026nbsp;\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\u003e四国の砥部焼の伝統を受け継ぐ、竹で編まれた優雅な丹光寺陶器の茶器セットです。急須は13.5 x 9 x 8 cm、湯呑は直径5.5 cm、高さ4 cmで すべて状態は良好です。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e愛媛県 砥部焼の一種である淡黄磁は、繊細で象牙のような肌合いとかすかに黄みがかった色合いが特徴です。その製造は技術的に難しく、生産量は限られており良好な状態の古い作品は貫入やひび割れが多いため稀です。当初の焼成方法では表面の釉薬に貫入が生じやすい傾向がありました。これは本来意図されたものではなく、この効果のある作品は販売されませんでした。その後、ある竹工芸家がこれらのひび割れた作品のほとんどを買い取り 細く切った竹でそれらを縛り付けました。かつては鑑賞が難しいとされていたその個性は、この編まれた竹のラッピングの追加によって引き立てられました。これによりそのユニークな品質が強調され、再評価と人気につながりこの組み合わせは劇的なヒットとなりました。そのため人々は竹で縛られた作品を明確に探し求めるようになり、窯元は財政的に衰退しました (籠職人は大儲けしました!)。しかし、生産の近代化に対抗できず 窯元は20世紀初頭の大正時代に閉鎖されました。\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\u003e漆で銘が書かれた素晴らしい手磨きの竹根花入れです。江戸時代頃と思われる黒い木箱に収められています。サイズは16 x 9.5 x 19.8 cmで オリジナルの状態で保存状態は良好です。\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. 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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. 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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. 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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\/ja\/collections\/mingei.oembed?page=2","provider":"Kura Monzen Gallery","version":"1.0","type":"link"}