{"title":"Gold - Silver - Metal","description":"\u003cp\u003e\u003cspan\u003eOur selection of objects adorned with gold, silver, or metallic accents showcases the refinement and richness of Asian art. Gold symbolizes light, prosperity, and timeless radiance; silver evokes purity, modernity, and fluidity; while metallic finishes add depth and character. Whether it's Japanese lacquer enhanced with gold powder, a Chinese bronze piece, or a contemporary sculpture with metallic highlights, these objects illuminate an interior and enhance its elegance. This selection allows you to browse our works by shine and easily find the ideal object to create a luminous and sophisticated focal point.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"brule-parfum-en-ceramique-kutani-nakamura-takuo-baisan-iii","title":"Ceramic perfume burner, Kutani, Nakamura Takuo, Baisan III","description":"\u003cp\u003e Perfume burner, Nakamura Takuo, Baisan III\u003c\/p\u003e\n\n \u003cp\u003eRed clay incense burner modeled by Nakamura Takuo, also known as Baizan III. The work plays on the contrast between the rough base, sculpted from the clay itself, with its angular and powerful shapes, and the smooth enameled lid, decorated with geometric motifs typical of the Kutani tradition. The brightly colored enamels—yellow, green, and orange-pink—are enriched with gold highlights, giving the object an almost jewel-like presence, like a jewel emerging from the rock.\u003c\/p\u003e\n\n \u003cp\u003eThis koro, or incense burner, made around 2001, can be compared to a work housed at the Metropolitan Museum. It demonstrates Nakamura Takuo's ability to blend heritage and modernity. Born in 1945 in Kanazawa, he is a member of the Kutani porcelain masters. Trained under his father, Baizan Nakamura, he further developed enamel techniques in Seto and then in Italy with Ardo Rontini. His work is marked by the influence of the Rinpa movement of the Edo period, whose decorative codes he transposes into resolutely contemporary compositions.\u003c\/p\u003e\n\n\u003cp\u003e The expressive modeling of the base reveals a sculptural approach where the material retains its telluric strength. This uneven base makes the lid emerge as a precious form, balancing roughness and refinement. The whole works like an abstract landscape, a dialogue between mineral nature and ornamental culture.\u003c\/p\u003e\n\n \u003cp\u003eNakamura Takuo's works are featured in numerous private collections as well as in the permanent collections of international museums, including the Metropolitan Museum of Art in New York. This incense burner is a brilliant synthesis, both for an enlightened amateur and for a decorator seeking strong, sculptural and inhabited pieces.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e Height: 10.5 cm\u003c\/p\u003e\n\n\u003cp\u003e Dimensions: approx. 18 x 10.5 cm\u003c\/p\u003e\n\n\u003cp\u003e Tomobako (wooden box) signed.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51644328706394,"sku":null,"price":2600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_005_20250528_093227.jpg?v=1752136686"},{"product_id":"grand-vase-en-ceramique-fujimura-hoshu-1903-1970-japon-vers-1950-60","title":"Large ceramic vase, Fujimura Hoshu (1903–1970), Japan circa 1950-60","description":"\u003cp\u003e \u003cspan\u003eA spectacular piece both in terms of its size and the strength of its decoration, this large vase in fine glazed earthenware - typical of the Kutani tradition - embodies the spirit of renewal that animated Japanese ceramics in the 1950s. Made by Fujimura Hoshu (1903–1970), one of the major artisans of modern Kutani ceramics, it testifies to a search for balance between ornamental tradition and contemporary expressiveness.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThe background, dominated by deep tones of blue and green, makes the surface vibrate while serving as a setting for a stylized motif of lightly modeled hydrangeas, in front of which large birds in flight stand out, in paste on cream paste highlighted with a pearly gray outline. The whole plays on volumes, rhythms, matte and shiny contrasts thanks to gold highlights, in a purely decorative language of rare coherence.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThis large, 40-centimeter-high ball vase was likely intended for an exhibition, as its visual presence extends beyond the domestic sphere. Its maker, Fujimura Hoshu, trained in Kanazawa, is one of the few Kutani ceramists to have survived the upheavals of post-war Japan by continuing to present pieces at the Teiten and then Nitten exhibitions, the leading national fairs. He was regularly selected for these exhibitions between 1947 and 1965, a period during which he developed a personal style that was both refined and bold, and deeply rooted in Japanese decorative aesthetics.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis vase thus stands out as a collector's item, but also as an interior decoration object in its own right, capable of occupying space with nobility and modernity. It embodies the transitional spirit of post-war Kutani: rooted in tradition, yet open to new forms of visual expression.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eHeight 40cm – Diameter 38cm\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eOriginal Tomobako.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":51651626598746,"sku":null,"price":4600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_008_20250616_172725.jpg?v=1752213894"},{"product_id":"paravent-le-dit-du-genji-japon-epoque-edo-debut-19e","title":"Screen from the Tale of Genji, Japan, Edo period, early 19th century","description":"\u003cdiv class=\"titre\"\u003e Screen from the Tale of Genji, Japan, Edo period, early 19th century\u003c\/div\u003e\n\n\u003cdiv class=\"texte\"\u003e\n\n \u003cp\u003ePainting on paper, mineral pigments and gold leaf, mounted as a 6-panel screen. Silk brocade and lacquered wood borders, engraved brass protective fittings.\u003cbr\u003e\u003cbr\u003e This early 19th-century Edo-period screen depicts several scenes from The Tale of Genji, a major literary work written by Lady Murasaki in the early 11th century. This novel, often considered the first novel in history, chronicles the life and loves of Hikaru Genji, a prince of the imperial court. \u003cbr\u003eThe central section of this screen is particularly remarkable. It illustrates Chapter 24 of The Tale of Genji, in which court maidens, dressed as butterflies and kalavinka birds, dance beneath the cherry blossoms. The beauty of this scene is striking, showing not only the court figures but also the dancers and musicians. The kalavinka, a mythical bird whose melodious song is considered the voice of the \u003cspan style=\"font-size: 0.875rem;\"\u003eBuddha, adds a spiritual dimension to this depiction.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eThe event described in this chapter is a formal Buddhist sutra reading ceremony sponsored by the Empress. This ceremony, reflecting the imperial court's piety and support for Buddhism, underscores the importance of religious rituals in aristocratic society during the Heian period (\u003c\/span\u003e \u003ca href=\"tel:794-1185\" style=\"font-size: 0.875rem;\"\u003e794–1185\u003c\/a\u003e \u003cspan style=\"font-size: 0.875rem;\"\u003e). Buddhist rituals were often integrated into court festivities, symbolizing both religious devotion and cultural refinement.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cdetails open=\"\"\u003e\n\u003cdiv class=\"descriptif_suite\"\u003e\n\n\u003cp\u003e The other scenes show more intimate scenes like the one on the right where the women are busy washing a child in a lacquer basin. \u003cbr\u003eHistorically, the Edo period (1603–1868) was marked by relative peace and economic prosperity, which allowed for flourishing artistic development. Folding screens like this one are typical examples of the art of this period, combining aesthetic and narrative elements to capture the essence of classic literary works.\u003cbr\u003e 106 x 362 cm\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003c\/details\u003e\n\n\u003c\/div\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51665426350426,"sku":null,"price":9500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_20240531_120443.jpg?v=1752411285"},{"product_id":"japon-paravent-a-deux-feuilles-les-marchands-chinois-epoque-edo","title":"Japan, Double-leaf screen, Chinese merchants, Edo period.","description":"\u003cp\u003e \u003cspan\u003eJapan, Double-leaf screen, Chinese merchants, Edo period.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eAt the beginning of the 19th century, while the Tokugawa had been implementing the sakoku policy for over a century, Nagasaki remained the only link between Japan and foreign countries. The narrow enclosure of the Tōjin yashiki, reserved for Chinese merchants and adjoining the islet of Dejima where the Dutch resided, became the scene of these strictly controlled exchanges. Every year, Chinese junks docked there: they unloaded raw silk, rare fabrics, refined sugar, ginseng and medicinal herbs, then left laden with ceramics, copper and lacquerware.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eConfined for three to four months in this closed quarter, the Chinese traders play a pivotal role because they serve as obligatory intermediaries for the Japanese economy and, conversely, supply the Chinese, Asian and sometimes Western markets with Japanese products, thus maintaining a vital bilateral link despite the political compartmentalization.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eIt is in this context that this two-panel screen was painted, using mineral pigments on paper and placed on a background of gold leaf. The frame is made of black lacquered wood.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e It depicts \u003cspan\u003e18th\u003c\/span\u003e century \u003cspan\u003eChinese merchants\u003c\/span\u003e \u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThe first two merchants, richly wrapped in heavy cloaks, advance preceded by two gorals with dark fur punctuated with light spots. Gorals are mountain goats from Central Asia. It is a direct allegory of the \"Poem of the Blue Goats\" by the Qianlong Emperor, which celebrates the sovereign fragility and controlled vigor of these beasts, symbols of the conquest of Xinjiang and the civilizing power of the Qing regime (\"Remaining masters of the rock, these goats bend without ever bending\").\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eBehind them, two other traders, their coats in brighter hues, walk alongside a child holding a lively-looking dog on a leash. The boy embodies the family tradition of trading and the desire for a lasting business, while the dog, with its vigilance, serves as a reminder of the contractual loyalty necessary in a strictly regulated exchange.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eStylistically, this byōbu is part of the tradition of kara-e, a Chinese-style painting that enjoyed a revival of interest in the late 18th and early 19th centuries. Produced on large formats such as screens, it draws its subjects from the visual world of imperial China: scenes of scholars, classical landscapes, symbolic animals, and episodes from mythology. Unlike yamato-e, which celebrates specifically Japanese themes, kara-e demonstrates a precise knowledge of the aesthetic codes, historical narratives, and social representations of the Manchu world.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eAt this time, we also observe a reinterpretation of certain motifs from the Namban style – specific to the turn of the 16th and 17th centuries. The Namban style, which had introduced into Japanese painting the spectacular image of Portuguese merchants arriving in Japan, with their costumes, boats, and exotic animals, is reinvested in a new framework. The screen presented here, although fully kara-e in its pictorial treatment and its explicit reference to imperial China, maintains a formal and iconographic dialogue with these Namban screens. The figure of the Portuguese merchant has been replaced by that of the Chinese trader.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThis parallel is not anecdotal. It reveals that, just as namban-e had been a way of depicting the novelty and importance of trade with Europe at the beginning of the Edo period, kara-e seized on the motif of the Chinese merchant to visually inscribe the renewed centrality of China in Japan's commercial and cultural exchanges under sakoku. Their integration is therefore not a simple fascination with foreigners, but a learned and economic logic: that of representing, through codified visual means, an outside world perceived as a legitimate source of commercial references. Despite the limitation, after 1764, to eleven Chinese junks per year, the volume of their trade remained three to five times greater than that of the Dutch on Dejima. The products exported from Japan were resold in China but also to Westerners.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eDeveloped by the court workshops, in particular the Kano school, this repertoire then conquered the homes of merchants and provincial governors, eager to affirm their success by acquiring pieces influenced by Manchu culture.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eKara-e screens, which became symbols of prosperity, were a daily reminder of the delicate balance between the political closure of sakoku and economic dependence on the outside world.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eHeight: 172.5 total width 190cm, thickness 2cm\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51665711300954,"sku":null,"price":12500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_20250304_104444.jpg?v=1752414895"},{"product_id":"grand-plat-en-ceramique-hajime-gen-kozuru-ne-en-1938","title":"Large ceramic dish, Hajime Gen Kozuru born in 1938","description":"\u003cp\u003e Hajime Gen Kozuru, born in 1938, comes from a long line of Japanese ceramicists specializing in the Agano style in Fukuoka.\u003cbr\u003e For over thirty years, Kozuru has divided his time between his studio in Fukuoka and an 1847 farmhouse\/studio in Topsfield, Massachusetts. \u003cbr\u003eIn November 2008, Kozuru celebrated his seventieth birthday, a milestone honored by the Art Complex Museum (Duxbury, Massachusetts) with a solo exhibition. This exhibition featured both works from the museum's collection of over 30 and new creations.\u003c\/p\u003e\n\n\u003cp\u003e Throughout his career, Kozuru has exhibited in numerous museums and galleries in Japan and the United States, receiving numerous awards for his artistic excellence. He has also contributed to the knowledge of the Agano style by writing books about the excavations and research he conducted at ancient Agano wood-fired kiln sites. His work has deepened understanding of the history, techniques, and cultural context of the Agano style.\u003c\/p\u003e\n\n \u003cp\u003eHer work draws inspiration from her surroundings, merging elements of New England with those of her native Japan. In 2020, Fukuoka Mitsukoshi Gallery held a retrospective exhibition dedicated to the Kozuru family, highlighting the continuity of the ceramic tradition with her daughter, who now continues the family legacy, working in both ceramics and glass.\u003cbr\u003e 57 x 11.3\u003cbr\u003e Tomobako signed\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51676489384282,"sku":null,"price":5500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_000_20240910_082723_72be01c3-cd43-43f9-861a-7c796372c46e.jpg?v=1752520476"},{"product_id":"boite-en-laque-jubako-a-cinq-compartiments-japon-vers-1920-1940","title":"Lacquer box, jubako with five compartments, Japan, circa 1920-1940","description":"\u003cp\u003e Five-compartment jubako box, Japan, circa 1920-1940. \u003cbr\u003eThis jubako consists of five stacked modules, each with two lids. This structure allows the box to be divided into two separate stacks: one with three compartments, the other with two, each with its own lid. This modularity is explained by the ceremonial use of jubako, food boxes reserved for major celebrations such as New Year's or Tango no Sekku, the boys' festival. Depending on the number of guests or the nature of the food, all or part of the compartments were used.\u003cbr\u003e The decoration is of very fine quality, applied with gold powder and leaf, with vermillion highlights on a deep black lacquer. It represents votive objects associated with the New Year and the Boys' Festival: carp, helmet, miniature saber, lobster and symbolic plants. The interior and the back of the lids are lacquered red, decorated with a Noh mask in lacquer of different shades of gold.\u003c\/p\u003e\n\n\u003cp\u003e \u003cbr\u003eLittle used during the year, carefully stored in their original protective box, these jubako have retained exceptional condition.\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Dimensions: 22 cm wide, 23 cm long. Stack of three compartments + lid: 24 cm high; stack of two + lid: 14 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51676511568218,"sku":null,"price":4600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_006_20250414_145802.jpg?v=1752521037"},{"product_id":"vase-en-gres-a-reflets-metalliques-de-kokuryo-hisato-1939-2020","title":"Metallic-reflected stoneware vase by Kokuryo Hisato 1939 - 2020","description":"\u003cp\u003e\u003cspan\u003eKokuryo Hisato (1939–2020) was a Japanese ceramicist from Kyoto, whose work combines the tradition of Kyō-yaki ceramics with a strong personal creativity. The vase presented here, made of silver-plated stoneware with metallic reflections, approximately 25.5 cm high, perfectly illustrates his late 20th-century production. Its irregular parallelepiped shape is adorned with an original design of green glazed pastilles circled in red, a bold and eye-catching motif. This unique piece testifies to the artist's rich career, from his training with the ceramic masters of Kyoto to his artistic independence within his own Mizuho-gama kiln, and is part of Kokuryo Hisato's stylistic evolution in the years 1985–1995.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eKokuryo Hisato's career and training\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eBorn in 1939 in Kyoto, Kokuryo Hisato trained in the purest tradition of Japanese ceramics. He was the last disciple of the great master Kenkichi Tomimoto – recognized as a Living National Treasure – and also received instruction from Kanjiro Kawai and Kiyomizu Rokubei, two eminent figures in Kyoto ceramics. From the very beginning, Kokuryo distinguished himself by his talent: while still young, he won awards at prestigious fairs and exhibitions in Japan, notably at the Nitten, the Takumi-kai, the Asahi Exhibition, and the Kyoto Municipal Art Exhibition. This apprenticeship with illustrious masters, coupled with early recognition, forged his technical mastery and aesthetic sense. He inherited the rigor and refinement of Kyoto's ceramic tradition, while developing his own sensitivity that would lead him towards his own artistic path.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003eArtistic independence and the Mizuho oven\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eDespite his initial success in artistic circles, Kokuryo Hisato chose to break away from traditional paths to assert his own vision. He founded his personal studio, the Mizuho kiln (Mizuho-gama), whose name – as well as his artist name Tōsai – was given to him by the Buddhist monk Ekishū Takeda, head of the Kennin-ji temple in Kyoto. Towards the end of the 1960s, faced with the ceramic art world, which he considered too attached to titles, notoriety and commercial interests, Kokuryo left official associations and competitive salons to devote himself to independent creation. This distancing marked the beginning of a total artistic freedom: freed from the constraints of schools and competitions, he was now able to experiment with forms and techniques according to his inspiration. His Mizuho kiln became the crucible of his innovations, a place where he combined the heritage of Kyoto (polychrome glaze, stoneware expertise) with a personal quest for authenticity and simplicity. Kokuryo then oriented his work towards pieces intended to embellish everyday life, believing that true cultural wealth lies in everyday objects that bring joy and beauty to everyday life. He made it a point of honor to create ceramics that were not only decorative, but also functional and accessible, in keeping with his philosophy of the art of living.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003eA unique vase from the years 1985–1995\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis silver-plated stoneware vase with metallic reflections is part of Kokuryo Hisato's mature period, created between 1985 and 1995. During this decade, the artist, then at the height of his creative freedom, explored new forms and surface effects. The shape of this vase—an irregular parallelepiped with rounded edges—reflects a resolutely modern and sculptural approach. Kokuryo departs from symmetrical throwing in favor of a freer shaping technique.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eVisually, the irregular, silvery surface with metallic reflections like oxidation is the work's most striking feature. This moiré and slightly shiny finish is achieved through a special metalliferous glaze obtained by a controlled reduction firing – which deposits a silvery veil with changing reflections on the stoneware. This treatment gives the piece a precious and contemporary aura, while retaining the robustness and textured depth of the stoneware. The polychrome decoration, meanwhile, brings a touch of exuberance: small circular pastilles glazed in green are arranged on the faces of the vase, each one highlighted by a fine red and gold border, traditional colors of Kitani enamels. This pattern of circles creates a dynamic contrast with the silver background.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003eStyle and techniques: a work between heritage and innovation\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThis vase embodies the stylistic characteristics developed by Kokuryo Hisato following his artistic emancipation. The freedom of form—illustrated by the asymmetrical geometry of the vase—reflects the artist's independence of mind. By freeing himself from formal constraints, Kokuryo was able to integrate varied influences into his creations: one can see, in the pattern of the enameled pastilles, a nod to the traditional ornamental decorations of Kyō-yaki (such as floral or geometric medallions), revisited here in a very personal way. The chromatic audacity—this marriage of green and red on a silver background—is emblematic of his style of the 1980s and 90s, where he did not hesitate to combine ancestral enameling techniques with innovative visual effects. On a technical level, the mastery of the metallic-reflecting glaze demonstrates the potter's high level of expertise. This type of glaze requires great precision in the composition of the glazes and in the conduct of the firing, in order to obtain this metallic shine without altering the applied colors. Kokuryo, strong in the teaching of Tomimoto (oriented towards decorative glazes) and Kawai (focused on glazes and spontaneity of gesture), succeeds in merging these legacies in this vase: decorative refinement coexists with the refined form and the free use of materials. We also recognize in this piece the importance he gives to the utilitarian function of the art object. Indeed, although sculptural and intended to be admired, this vase remains a functional container, designed to hold a floral arrangement (ikebana) or to serve as a decorative centerpiece in an interior. It thus responds to Kokuryo's vision according to which the beauty of ceramics must be integrated into everyday life\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eKokuryo's signature is present under the base of the vase as well as on its original tomobako.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e25.5 x 15 x 10 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51711653577050,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Hisato.jpg?v=1769961275"},{"product_id":"plateau-en-laque-a-decor-de-fleurs-japon-fin-de-l-epoque-meiji","title":"Lacquer tray with floral decoration, Japan, late Meiji period","description":"\u003cp\u003e Japan, lacquer tray with flower decoration, late Meiji period.\u003cbr\u003e This Japanese maki-e lacquer tray from the Meiji period (1868-1912), masterfully and exquisitely crafted, features a lush decoration of delicately executed plants in gold lacquer on a glossy black background.\u003cbr\u003e Its rectangular shape with subtly beveled angles rests on four curved legs emphasizing the finesse of the whole. \u003cbr\u003eThe abundant decoration covering the top, the lower edge of the tray and the feet, brings together with precision and realism wisteria, chrysanthemums, campanulas, vine foliage and ferns in a graceful and naturalistic tangle.\u003cbr\u003e The shades of gold, punctuated with subtle touches of silver, highlight each petal and leaf with finesse, demonstrating great expertise both in the development of the motif and in its production.\u003cbr\u003e In Japan, this type of tray was traditionally used to present a perfume burner accompanied by its incense kit or a delicate ikebana floral arrangement during refined ceremonies.\u003cbr\u003e In the West, it is an ideal support for displaying a collection of precious objects such as inr? or netsuke, or for an elegant breakfast service.\u003cbr\u003e Dimensions: 54.6 x 38.8 cm, height 14.4 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51769287311706,"sku":null,"price":3800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/7F7F6CA2-1424-4FBC-845E-738933552940.jpg?v=1753602852"},{"product_id":"vase-en-porcelaine-inoue-haruo-1910-1975","title":"PORCELAIN VASE, INOUE HARUO (1910-1975)","description":"\u003cp class=\"dc_article\"\u003e \u003cstrong\u003eRare porcelain vase by Inoue Haruo (1910-1975)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdiv class=\"dl_article\"\u003e\n\n \u003cp\u003eThis porcelain vase, created by Inoue Haruo, embodies the elegance and finesse of Kyoto ceramics. Its spherical shape, softened by harmonious curves, is topped with a slightly flared and narrow neck. The surface of the vase is decorated with ears of wheat delicately curved under a veiled sun and subtly integrated into the overall pastel beige hue, recalling the ephemeral nature and simple beauty that characterize Inoue Haruo's work.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e Inoue Haruo (1910-1975), born in 1910, underwent rigorous training at the Kyoto Municipal Ceramic Training Institute, an institution renowned for producing some of Japan's greatest potters. After World War II, Inoue began exhibiting his work at prestigious exhibitions such as Kanten and Nitten.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003eInoue's works are distinguished by their delicacy and constant search for innovation. This quest for renewal in an art as traditional as Kyō ceramics has allowed Inoue to carve out a prominent place in the Japanese artistic community.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e He was a member of the Decorative Arts Association of Japan, which organized an exhibition at the Queensland Gallery of Modern Art in Australia in 1970.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e This vase, with its apparent simplicity and underlying sophistication, perfectly illustrates Inoue Haruo's artistic philosophy: a combination of respect for tradition and creative boldness. His works are rare on the market.\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51772068790618,"sku":null,"price":1600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/5A4835BE-8120-4CDD-BD3E-96E48D094D7B.jpg?v=1753603218"},{"product_id":"japon-grand-chat-endormi-en-porcelaine-japonaise-de-kutani-epoque-meiji","title":"Japan, Large Sleeping Cat in Japanese Kutani Porcelain, Meiji Period","description":"\u003cp\u003e \u003cstrong\u003eJapan, Life-size sleeping cat, in Japanese Kutani porcelain, Meiji period\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis Kutani porcelain cat, dating from the Meiji period, is an exquisite piece depicting a “nemuri neko” (sleeping or peaceful cat). Inspired by the famous wooden sculpture located at Toshougu Shrine in Nikko, created by Hidari Jingoro, this work symbolizes serenity and peace.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThe cat is handcrafted from pure white fine porcelain using a multi-part mold. It is adorned with delicately applied gold motifs to represent its fur. Its neck is adorned with a red enamel scarf, enhanced with green and yellow motifs that add a touch of realism and elegance. Details, such as the calm expression and flowing lines of the body, reflect the exceptional technical mastery unique to Kutani porcelain.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThe dimensions make this piece ideal for display as a collectible or decorative item. This object perfectly captures the tranquil spirit of the nemuri neko, a symbol of peace and harmony in Japanese culture.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e31 x 18 x 14cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51773243588954,"sku":null,"price":1700.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/0A020B84-73CF-4EB8-A03D-802028582D38.jpg?v=1753620014"},{"product_id":"grande-boite-en-laque-et-vannerie-chine-epoque-ming","title":"Large lacquer and wickerwork box, China, Ming period","description":"\u003cdiv class=\"titre\"\u003e \u003cstrong\u003eLarge lacquer and wickerwork box, Ming period China\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"titre\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"texte\"\u003e\n\n\u003cp\u003e Large gold lacquer box on a black background decorated with wickerwork panels covered with red lacquer.\u003cbr\u003e Inscription on the bottom of the lid referring to a hall.\u003cbr\u003e China, late Ming period, early 17th century.\u003cbr\u003e\u003cbr\u003e 70x40x16cm\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cp\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":51774734500186,"sku":null,"price":8500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/9054F9F2-62F3-4DA1-9FB9-92B0125ABBF2.jpg?v=1753631772"},{"product_id":"paravent-a-six-feuilles-ecole-de-kano-japon-epoque-edo","title":"Six-leaf screen, Kano school, Edo period, Japan","description":"\u003cp\u003eSix-leaf folding screen, Kano school, Edo period Japan\u003c\/p\u003e\n\u003cp\u003e This six-panel Japanese folding screen, from the Kano school, depicts a fluid and refined landscape typical of the late 18th and early 19th centuries. The scene, executed in ink and enhanced with gold leaf, depicts a rowboat gliding along a river, framed by a gnarled pine tree and jagged rocks. It is carrying a scholar accompanied by his students. The composition reflects an atmosphere of meditative calm, accentuated by the shimmering light of the golden backgrounds, which symbolize eternity and spirituality in Japanese art.\u003cbr\u003e\u003cbr\u003e The Kano school, founded in the 15th century, dominated official painting in Japan during the Edo period (1603-1868). This screen demonstrates the elegance of this school, marked by a balance between Chinese tradition and Japanese aesthetics. These works adorned the homes of elites and samurai, conveying prestige and refinement.\u003cbr\u003e\u003cbr\u003e This screen is a rare piece, preserved in very good condition, which illustrates the height of the Kano style, combining technical mastery and poetic symbolism.\u003cbr\u003e\u003cbr\u003e Ink and gold on paper on a wooden frame, silk borders and black lacquer rods.\u003cbr\u003e Signature on the right panel unidentified.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Approximately 170 x 360 cm\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52015934210394,"sku":null,"price":8700.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/DFDC6E67-B0FB-4C05-A4D3-BD29DBE65621.jpg?v=1756205063"},{"product_id":"paravent-ecole-de-kano-periode-edo-fin-du-17eme-siecle","title":"SCREEN, KANO SCHOOL, EDO PERIOD, LATE 17TH CENTURY","description":"\u003cp\u003eJapan, screen, Kano School, Edo period, late 17th century.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e This six-panel screen depicts an idyllic garden where a pair of pheasants and a pair of ducks rest peacefully by a small waterfall among the rocks. On the left, a gnarled cypress tree is covered in snow, while camellias add touches of color, alluding to winter. The right side of the screen shows blooming peonies, alluding to spring.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e In Japan, the progression of seasonal changes is an important element in the appreciation of art and beauty, as it is closely associated with the awareness of the passage of time and the evanescence of nature.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e In China and Japan, the peony, called \"the queen of flowers,\" is an emblem of wealth and high social status or rank.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Mineral pigments, gofun and gold on paper. Black lacquer mount.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Kano School, Edo period, late 17th century.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e 172 X 370 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52030103912794,"sku":null,"price":35000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/0926C899-4EAB-4A8C-BA36-05C1D2F21A84.png?v=1756299837"},{"product_id":"japon-collier-en-nunome-zogan-signe-fukui-epoque-meiji","title":"JAPAN, NUNOME-ZOGAN NECKLACE, SIGNED FUKUI, MEIJI PERIOD","description":"\u003cp\u003e\u003cspan\u003eThis rare necklace perfectly illustrates the mastery of nunome-zōgan, Japanese damascening, which consists of inlaying fine gold leaves or threads into a carefully engraved iron background. Each flower-shaped medallion, connected by a delicate gilded metal setting, features a finely chiseled decoration where landscapes, animals, and traditional symbols are precisely displayed. The contrast between the deep black of the polished iron and the brilliance of the gold gives the ensemble a visual richness that evokes the preciousness of court finery from the Meiji period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eA double clasp allows the necklace to be adjusted in length, demonstrating that the object combined aesthetic refinement with practical ingenuity. The reverse of the medallions, also decorated, demonstrates the attention paid to every detail, both visible and hidden. The intaglio signature of Fukui, one of the renowned workshops of the late 19th century, places this work in the circle of the great masters of damascene, whose expertise was highly sought after by Western collectors at the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eCreated around 1900, this piece of jewelry is not limited to ornament: it embodies the adaptation of Japanese metalworking traditions to the world of jewelry, at a pivotal moment when Japanese craftsmanship was in dialogue with international taste. Through this necklace, the centuries-old technique of nunome-zōgan is transformed into an object of adornment, a rare testimony to a subtle art and a time of great creative effervescence.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52031374033242,"sku":null,"price":2300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/JAPON_COLLIER_EN_NUNOME-ZOGAN_SIGN_FUKUI_POQUE_MEIJI.png?v=1766250274"},{"product_id":"recipient-a-eau-mizusashi-de-nakamura-takuo-baizan-iii","title":"WATER CONTAINER (MIZUSASHI) BY NAKAMURA TAKUO (BAIZAN III)","description":"\u003cp\u003eWater container (mizusashi) by Nakamura Takuo (Baizan III)\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e This water vessel, or mizusashi, created by Nakamura Takuo, also known as Baizan III, is a magnificent example of contemporary Japanese ceramic art. Born in 1945 in Kanazawa, Japan, Nakamura Takuo is deeply influenced by the centuries-old traditions of Kutani porcelain, which he combines with a modern approach. He studied under his father, Baizan Nakamura, and also furthered his knowledge of enameling in Seto, Japan, and in Italy under Ardo Rontini.\u003c\/p\u003e\n\u003cp\u003e This work, circa 2001, comparable to a piece in the Metropolitan Museum, reflects the aesthetic influence of the Edo-period Rinpa movement. The multi-layered structures and golden geometric patterns of mizusashi demonstrate a deep understanding of traditional and contemporary techniques and designs. Nakamura Takuo seamlessly integrates the vibrant colors and decorative motifs inspired by the Edo period, creating a work that respects tradition while also innovating.\u003c\/p\u003e\n\u003cp\u003e The complexity of form and richness of texture in this piece highlight the artist's skill in merging historical influences with a personal artistic vision, thus characterizing the essence of contemporary Japanese ceramic art that he has evolved over the years.\u003c\/p\u003e\n\u003cp\u003e Nakamura Takuo's works are present in numerous private collections and a long list of museums.\u003c\/p\u003e\n\u003cp\u003e Height 12.5 cm, 27.3 cm x 20.2 cm\u003c\/p\u003e\n\u003cp\u003e Tomobako (wooden box) signed\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52046757364058,"sku":null,"price":3600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Nakamura_Baizan.jpg?v=1767263837"},{"product_id":"grande-paire-de-boucles-d-oreilles-miao-chine-fin-du-19eme-a-debut-du-20eme-siecle","title":"Large Pair of Miao Earrings, China, late 19th to early 20th century","description":"\u003cp\u003e\u003cspan\u003eThis exceptional pair of solid silver earrings, weighing a total of 490g and measuring 18cm in height, comes from the Miao people of southern China. Each piece consists of a thick circular ring, terminated at the ends by tight spirals. Suspended from this circle are eight concentric rings: five are finely engraved with dragons and yin-yang motifs, three are twisted and arranged on the outside, reinforcing the sculptural appearance of the whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eAmong the Miao of Guizhou, and in Hmong communities as far away as northern Thailand and eastern Burma, silverwork is central to women's traditions. More than an ornament, it is a sign of wealth and identity. Families begin building a silver trousseau as soon as a girl is born, so that she enters her marriage with a personal inheritance that will remain hers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eDuring important ceremonies such as weddings, funerals, and spring festivals, women wear spectacular finery that reflects their status and the seniority of their lineage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe earrings presented here are distinguished by their exceptional size, the quality of the silver, the vigor of the engravings and the balance of the composition. Their state of preservation is remarkable, the traces of use reinforcing the authenticity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eDue to their imposing size, their weight and the iconographic richness of the dragons, they are among the finest examples of their category and perfectly illustrate the virtuosity of the Miao goldsmiths.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReferences\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e– Beringen, J., et al., The Art of Silver Jewellery: From the Minorities of China, the Golden Triangle, Mongolia and Tibet – The René van der Star Collection, Skira, 2006.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e– Hoek, C., et al., Ethnic Jewellery: From Africa, Asia and Pacific Islands, Pepin Press, 2004.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eChina, Guizhou, late 19th to early 20th century.\u003cbr\u003e 18 x 12 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e490 grams\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52073030713690,"sku":null,"price":2200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/FAB6BF04-5C51-466C-A1AD-CEB8D0F887F7.jpg?v=1756737026"},{"product_id":"ensemble-de-verseuses-rituelles-bouddhistes-en-cuivre-dore-japon-epoque-edo-1603-1868","title":"Set of Buddhist ritual pourers in gilded copper\n Japan, Edo period (1603–1868)","description":"\u003cp\u003e\u003cspan\u003eA rare set of Naga-e Chōshi (長柄銚子), a long-handled jug, and Chōshi (銚子), a jug with an arched handle. Made of finely hammered copper, once entirely gilded, they both bear a mon (heraldic crest), a sign of a commission for a temple by a high-ranking family.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe Naga-e Chōshi, with its long, engraved handle and lateral spout, was designed to contain and pour lustral water. Purified and consecrated, this water was used to wash away impurities (kegare), bless the faithful, or demarcate the ritual space. The priest's gesture, pouring the water in the four directions or onto the altar, symbolically linked the human world to the cosmic dimension.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe second, the Chōshi, rounded in shape with an arched handle and a short spout, was used for libations: sake, water, or plant decoctions offered to the deities and ancestors. The act of offering the drink, central to Buddhist ritual, sealed a bond of respect and continuity between the visible and the invisible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe original gilding, now partially worn away, emphasized the sacredness of these instruments, gold being associated with light, purity, and the divine presence. Similar objects are housed at the Tokyo National Museum, notably in the Sen'en collection, which illustrates the variety and refinement of metal jugs from the Edo period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe combination of a Naga-e Chōshi and a Chōshi in the same set expresses the essential complementarity of Buddhist rites: purification and offering. These two pieces, which have a very beautiful patina, form a rare testimony to Japanese liturgy and the know-how of the metallurgical workshops of the Edo period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e14 x 28 x 50 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e22 x 16 x 22 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52092972597594,"sku":null,"price":3800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/2E0F575D-B2B9-41F0-A22C-06244D978818.jpg?v=1756913909"},{"product_id":"sans-titre-5sept-_16-52","title":"Japanese screen, Flower chariot, late Edo period (19th century)","description":"\u003cp\u003e\u003cspan\u003eJapanese six-leaf folding screen, late Edo period (19th century)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThis 19th-century Japanese six-panel folding screen depicts the theme of the flower chariot (hanaguruma), a major subject in decorative painting of the Edo period. A legacy of the aristocratic aesthetic of the Heian period, this iconography has always been highly valued.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e The composition depicts a large black lacquer chariot, enhanced with gold, laden with vibrant flowers, placed behind a stylized bamboo barrier and in front of a pine tree. The gold leaf background reflects the light, giving the whole a monumental dimension. A golden cloud partially obscures the scene in its upper part.\u003c\/p\u003e\n\u003cp\u003e The painting combines mineral pigments and applications of gofun (oyster shell powder), which accentuate the relief of certain flowers, the baskets containing the bouquets and the barrier.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e The flowers depicted carry a strong symbolic value in Japanese art: the peony, queen of flowers, evokes wealth and prosperity; the pine, a symbol of longevity; the prunus, associated with spring and renewal; the chrysanthemum, an imperial and autumnal flower; and the hydrangea, a sign of gratitude and elegance. Their combination celebrates the cycle of the seasons and traditional virtues.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThis Japanese screen from the Edo period bears witness to the continuity of the great classical themes at the threshold of the Meiji era, while retaining today a decorative power that naturally finds its place in a contemporary interior.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003esilk and lacquer frame with brass reinforcements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e170 x 376 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52113262772570,"sku":null,"price":18000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/0A445BBB-9B65-4978-83E1-E7AE40518C15.png?v=1757085543"},{"product_id":"vase-saichi-matsumoto-ne-en-1930-kutani","title":"Vase\n Saichi Matsumoto, born in 1930\n Kutani","description":"\u003cp\u003e\u003cspan\u003eMatsumoto Saichi, born in 1930 in Kanazawa, is a ceramist specializing in Kutani porcelain.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe comes from a prestigious line of potters, his great-grandfather Shoundo Matsumoto Sahei having founded a kiln during the Tenpō era, and his grandfather Matsumoto Sataro being a renowned expert in Kutani ceramics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eSaichi graduated from the Kanazawa Art Institute and continued his studies at the National Ceramics Research Institute in Kyoto.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1952, his work was first selected for the Salon Nitten, where he continued to exhibit and receive numerous accolades over the years, including the Grand Prix in 1985 and 1988.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe has also exhibited his works and won awards at the Asahi Ceramics Exhibition, the Kofukai Exhibition, and the Chunichi International Exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eHis works include various objects and ornaments, often decorated with techniques such as gold leaf (Yuri-kinsai) and silver glaze (Ginsai). Some of his creations are present in prestigious collections, including the British Museum and the Ishikawa Prefectural Museum of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eIn addition to his work as a ceramicist, Matsumoto Saichi has also contributed to major artistic projects such as the creation of ceramic walls for the Ishikawa Prefectural Architectural Center and other public spaces. He has also held solo exhibitions at prestigious venues such as Isetan in Shinjuku, demonstrating the extent of his influence in the field of ceramic art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eHe is a member of the Contemporary Art and Crafts Society and the committee of the Japan Sea Forms Society. His works are distinguished by their innovative use of porcelain, with dyed figures and precious metal applications, making them unique and sought after by collectors worldwide.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e24 x 21cm approximately\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eBox\/tomobako\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52129294877018,"sku":null,"price":1100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/1754AC39-1C9D-422C-97E6-6B7EFB1BCA51.jpg?v=1757313717"},{"product_id":"plat-nagae","title":"Sculptural porcelain cup by Shigekazu Nagae circa 1990","description":"\u003cp\u003e\u003cspan\u003eThis porcelain bowl, of rare elegance, perfectly embodies Shigekazu Nagae's sculptural and poetic style. The piece is distinguished by its undulating, almost floating shape, like a veil frozen in movement. Although supple in appearance, the porcelain seems to have delicately settled on three \"stones\" that support its weight: these are in fact ceramic elements, shaped to imitate blocks of stone, and covered with a subtly textured matte gilding. This contrast between the raw appearance of the \"stones\" and the finesse of the porcelain creates a remarkable visual and tactile tension.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis work illustrates Nagae's work of deconstruction and suspension, which diverts industrial casting processes to create unique forms, both organic and abstract. Each element is reflected as a line of tension, a continuous surface, a fold of light.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThe artist uses the slip casting technique, generally reserved for mass-produced porcelain, to explore the singularity of the gesture. The pieces are cast, dried, then suspended in the kiln by rigid iron wires. It is in this suspension and under the effect of firing that these fragile and free forms are born. The elements are then assembled by a vitrified glaze that binds the whole with discretion and precision.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eShigekazu Nagae, born in 1953 in Seto to a family of ceramicists, is considered one of the contemporary masters of Japanese porcelain. A graduate of the Seto Industrial Ceramics School in 1974, he began exhibiting in the late 1970s. He established himself as a pioneer of sculptural porcelain in Japan, and his work is praised for its technical refinement and constant exploration of lightness and movement.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eHis most recent series, titled Moving Forms, pushes the physical limits of porcelain even further, evoking the curves of Japanese nature—rivers, hills, gusts of wind—while maintaining a pure abstraction. His work has received numerous awards, including the Grand Prix at the Nyon Porcelain Triennial in 1998, as well as the Mino Ceramics Festival and the Japanese Ceramic Art Exhibition in 1997.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eNagae's works are now held in numerous public collections around the world, including the Victoria \u0026amp; Albert Museum in London, the Musée National de Céramique in Sèvres, the Museum of Fine Arts in Boston, the Metropolitan Museum of Art in New York, the Cernuschi Museum in Paris, the Powerhouse Museum in Sydney, and the Museum of Modern Ceramic Art in Gifu.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eDimensions: 30.5 x 5.5 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52166411813210,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/84DBA7A0-335D-4980-A7D2-237ABB6BFD7D.jpg?v=1757667965"},{"product_id":"vase-archaisant-kawai-toru-ne-en-1941","title":"Archaic vase, Kawai Tōru, born in 1941","description":"\u003cp\u003e\u003cspan\u003eThis vase by Kawai Tōru (河井透) boldly captures the powerful silhouettes of archaic Japanese ceramics, reminiscent of Jōmon period jars with its globular body and wide-open neck. The slightly raised decoration, punctuated by diamond-shaped patterns, captures a deep blue glaze where brown and silver shades emerge. The drips and contrasting brightness create an almost metallic depth that magnifies the play of shadows.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eBorn in 1941 in Kyoto, Kawai Tōru is the eldest son of the potter Kawai Kyōbu and the great-nephew of the great master Kawai Kanjiro, a major figure in the Mingei movement. Introduced to ceramics at a very early age in the family workshop, he learned from his father and great-uncle, whose humanist aesthetic he continued while asserting his personal research. From the 1970s, he participated in the father-son exhibition at the Fukuyama Museum and then organized regular exhibitions in Tokyo, Osaka, Kyoto, and Takamatsu, as well as in the United States. His work is now represented in several public collections, notably at the Kyoto National Museum of Modern Art and the Shiga Ceramic Art Museum, which hold pieces emblematic of his research on glazes and archaic forms.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis vase, accompanied by its signed and inscribed tomobako, illustrates Kawai Tōru's mastery in the art of uniting tradition and modernity.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eDimensions: height 31.5 cm, width 21.5 cm.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52182406496602,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/72E13C9D-89F4-4827-9B3C-503707B16710.jpg?v=1757841724"},{"product_id":"paire-de-bougeoirs-shokudai-en-cuivre-grave-19eme-siecle","title":"Pair of engraved copper shokudai candlesticks, 19th century","description":"\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePair of Japanese shokudai candlesticks in engraved and gilded copper, 19th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThese medium-sized candlesticks feature a warm patina that highlights a chrysanthemum flower design, the imperial emblem of Japan and a symbol of longevity. The motifs are finely engraved and then enhanced with gilding applied to the reliefs, creating a subtle contrast between the brown copper and the gold highlights. Each piece is removable thanks to small original rivets, a detail that illustrates careful and functional manufacturing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e The set retains its original wooden box as well as its traditional accessories: a clip for the wicks and two small matching boxes, one with a hinged lid, all decorated with the same imperial motif.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eHeight: 46 cm – Diameter: 21 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e 46 x 21 cm\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":52262615318874,"sku":null,"price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/5784DD22-894C-4592-B3B8-F088DF16DBA2.jpg?v=1758736133"},{"product_id":"sans-titre-28oct-_13-54","title":"Black lacquer kyōdai decorated with the kamon Maru ni Daki Myōga on a background of clematis – Japan, Edo period, second half of the 18th century","description":"\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBlack lacquer kyōdai decorated with the kamon Maru ni Daki Myōga on a background of clematis – Japan, Edo period, second half of the 18th century\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThis kyōdai (鏡台), a complete women's vanity unit, is a remarkable example of Edo period ceremonial furniture. The set includes a cubic cabinet with drawers, a polished metal mirror simply placed on the stand, a compartmentalized makeup box, a small container, and two original brushes, exceptionally preserved since the 18th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe mirror, whose silver surface served to reflect light as much as the image of the face, evokes the refined customs of Japanese aristocratic homes. In the Tale of Genji (源氏物語), the mirror symbolizes the permanence of memory and attachment beyond separation. In the chapter \"Exile to Suma,\" Genji confides to Murasaki:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eみはかくて\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eさすらへぬとも\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e君があたり\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eさらぬ鏡の\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eかげははなれじ\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMi wa kakute\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eSasuraenu to me\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eKimi ga atari\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eSaranu kagami no\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eKage wa hanareji\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003e“So my body wanders, but in your mirror,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eMy image will not leave you.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe cabinet is decorated in black urushi lacquer with gold and silver maki-e decoration, with brass fittings and knobs. The Maru ni Daki Myōga (丸に抱き茗荷) kamon—emblems of the Inagaki family, daimyō of Mikawa Province and vassals of the Tokugawa shogunate—are scattered across all sides of the cabinet, among a network of climbing clematis (tessen, 鉄線). The large star-shaped flowers and slender stems of this tessen-karakusa motif reflect the virtuosity of the lacquer workshops of the second half of the 18th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eCommissioned for a wedding trousseau (yomeiri dōgu), this kyōdai illustrates the practice of marking each item of wedding furniture with the family crest, a sign of rank and lineage identity. The combination of the Inagaki kamon and the plant decoration testifies to the daimyō's taste for motifs combining prestige and ornamental refinement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eThe general condition is good, with traces of use and oxidation consistent with its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eFurniture dimensions: total height 67 cm; width 27.8 cm; depth 27.5 cm.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":52562443403610,"sku":null,"price":3600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Photoroom_000_20251028_125108.jpg?v=1761657544"},{"product_id":"paire-de-bouquets-de-fleurs-de-lotus-en-bois-sculpte-et-dore-japon-epoque-meiji","title":"Paire de bouquets de fleurs de lotus en bois sculpté et doré, Japon, époque Meiji","description":"\u003cp\u003e\u003cstrong\u003ePaire de bouquets de fleurs de lotus en bois sculpté et doré, Japon, époque Meiji\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eSpectaculaire paire de compositions florales japonaises d’époque Meiji, réunissant vingt-deux fleurs, boutons et feuilles de lotus en bois sculpté et doré. Chaque bouquet est présenté dans un vase en bronze et reste amovible, permettant une présentation modulable et cohérente avec l’usage ancien de ce type d’ornements, souvent associés aux décors rituels et aux espaces de temples.\u003c\/p\u003e\n\n\u003cp\u003eLes vases en bronze sont ornés de prises rapportées en forme de shishi, souvent appelés « chiens de Fô », apportant une note protectrice et décorative. L’ensemble est en bon état. La plus grande fleur atteint 96 cm de hauteur, tige comprise. Le petit socle cubique visible sur la photo n’est pas inclus.\u003c\/p\u003e\n\n\u003cp\u003eLe lotus est ici porteur d’un sens directement lié au bouddhisme : il naît dans l’eau trouble et s’élève vers la lumière sans se souiller, image du chemin spirituel. L’ouverture progressive des feuilles et l’épanouissement de la fleur symbolisent l’éveil. Cette idée est rendue par le rythme des tiges, l’alternance des boutons et des fleurs ouvertes, et le relief très lisible des nervures des feuilles, conçu pour être perçu à distance.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53241915769178,"sku":null,"price":13800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Fleurs_de_lotus_en_bois_dor_Japon_Meiji.jpg?v=1767535583"},{"product_id":"vase-en-ceramique-toshio-sakamoto-坂本利夫-ne-en-1952","title":"Ceramic vase, Toshio Sakamoto (坂本利夫, born 1952)","description":"\u003ch2\u003eCeramic vase, Toshio Sakamoto (坂本利夫, born 1952)\u003c\/h2\u003e\n\u003cp\u003e This globe-shaped vase, narrowing at the opening, presents a striking contrast between a dark, matte black background and wide, undulating ribbons with a silvery sheen. The abstract, continuous decoration unfolds around the body like a rhythmic line, creating a highly graphic presence.\u003c\/p\u003e\n\u003cp\u003e The underside is signed in relief with the artist's seal. The vase is preserved in its original tomobako, which is also signed.\u003c\/p\u003e\n\u003ch2\u003e Biography\u003c\/h2\u003e\n\u003cp\u003e Toshio Sakamoto is a ceramicist associated with the Mashiko ceramics school. Japanese records indicate he was born in 1952 in Hachiōji (Tokyo), trained in Mashiko from 1980 onwards, and established his own studio in 1990. His work has been featured in several Japanese exhibitions, including the Japan Ceramic Art Exhibition, the Japan Traditional Kōgei Exhibition (1995), and the Traditional Craft New Works Exhibition (1997). He is listed as a full member of the Japan Kōgei Association. He is a master of the zōgan (inlay) technique, which is frequently featured in his work.\u003c\/p\u003e\n\u003ch2\u003e Dimensions\u003c\/h2\u003e\n\u003cp\u003e Height approx. 24 cm; diameter approx. 20.8 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53294561919322,"sku":null,"price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Vase_en_c_ramique_Toshio_Sakamoto_n_en_1952.jpg?v=1768149151"},{"product_id":"vase-michio-koinuma","title":"Cylindrical stoneware vase, Koinuma Michio (肥沼美智雄) 1936-2020","description":"\u003ch2\u003eCylindrical stoneware vase, Koinuma Michio (肥沼美智雄), Japan\u003c\/h2\u003e\n\u003cp\u003e This vase is constructed like a cylinder with superimposed registers, clearly distinguishing the successive \"levels.\" Its deliberately compact profile evokes a notched mechanical part: an almost industrial form, based on the rigor of its volume rather than ornamentation. The thick, slightly incised lip reinforces the impression of a sculpted and assertive form.\u003c\/p\u003e\n\u003cp\u003e The entire surface has a continuous, metallic, silvery sheen that catches the light across the whole piece. The variations in gray, from dark to light, are achieved solely through the material and firing process, without any added decoration. The piece is signed underneath and does not have a tomobako (a decorative element).\u003c\/p\u003e\n\u003ch2\u003e Biography\u003c\/h2\u003e\n\u003cp\u003e Koinuma Michio (肥沼美智雄, 1936–2020) is a major figure in modern ceramics from Mashiko (Tochigi Prefecture). Born in Tokyo, he initially studied economics and political science before turning to ceramics later in life and settling in Mashiko at the age of thirty-three. He built his own kiln, Ichimoku-gama, in 1969 and began working independently. He gained recognition as early as the 1970s, notably receiving the Excellence Award at the North Kanto-area Art Exhibition (1974), and in 1991 was awarded the Marronnier Culture Award by Tochigi Prefecture.\u003c\/p\u003e\n\u003cp\u003e His work is renowned for its powerful forms, often constructed using the \u003cem\u003etatara\u003c\/em\u003e method (clay slabs), which allowed him to achieve strongly structured volumes and sharp edges. He worked primarily with Shigaraki clays or a \u003cem\u003egairome\u003c\/em\u003e -type clay, exploring surfaces where the material and firing process alone were sufficient to produce the visual effect. A program on NHK was dedicated to him in 1997 (Yakimono tanpō \/ “Ceramic Hunt”). He passed away in August 2020.\u003c\/p\u003e\n\u003cp\u003e Works by Koinuma Michio are held in public collections in Japan and abroad, including the Tochigi Prefectural Museum of Fine Arts, the Tokyo Opera City Cultural Foundation, and the Museum of Fine Arts, Boston. The Mashiko Museum of Ceramic Art dedicated the exhibition \"Koinuma Michio and his contemporaries\" (April 16 – June 19, 2022), showcasing several of the artist's seminal works.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53351260848474,"sku":null,"price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Vase_en_gr_s_structure_cylindrique_Koinuma_Michio_1936_2020.jpg?v=1768652110"},{"product_id":"porte-katana-japonais-en-laque-tashi-kake-epoque-meiji-19e-siecle","title":"Antique Tachi Kake in Urushi Nashiji Lacquer — Maki-e Kabuto \u0026 Shishi Decor — Japan Edo \/ Meiji Period | H. 65.5 cm","description":"\u003cp data-source-line=\"11-11\"\u003eVertical sword stand ( \u003cem\u003etachi kake\u003c\/em\u003e , 太刀掛け), made of urushi lacquered wood, with maki-e decoration on a nashiji background.\u003c\/p\u003e\n\u003cp data-source-line=\"13-13\"\u003e The rectangular base with lobed corners rests on a background\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003enashiji\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e— glittery gold lacquer with shimmering reflections — adorned with a\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ekabuto\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(兜, samurai helmet) rendered in polychrome vermilion and gold lacquer, accompanied by a\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eshishi\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(獅子, mythical guardian lion) and of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003echerry blossoms\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eScattered in gilded hira-maki-e. A lobed cloud-shaped back panel connects the base to the upright. The double-notched T-shaped top is designed to receive the sword scabbard.\u003c\/p\u003e\n\u003cp data-source-line=\"15-19\"\u003e \u003cstrong\u003eMaterials:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eWood, urushi lacquer, gold powder, polychrome pigments\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTechniques:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNashiji, hira-maki-e, taka-maki-e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eWidth approx. 29.5 cm — Total height approx. 65.5 cm\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOrigin :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eJapan\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEra :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eLate Edo\/Meiji period (circa 1850–1880)\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53821400777050,"sku":null,"price":1650.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/IMG_7439-Photoroom.jpg?v=1773676421"},{"product_id":"grande-bo-te-jubako-cinq-compartiments-et-plateau-japon-vers-1880-laque","title":"Large five-compartment jubako box with tray, Japan, circa 1880","description":"\u003cp\u003eLarge five-compartment jubako box with tray, Japan, circa 1880\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis jubako consists of five superimposed modules, accompanied by two lids.\u003c\/p\u003e\n\u003cp\u003eThe set rests on a tray.\u003c\/p\u003e\n\u003cp\u003eThis structure allows the box to be split into two distinct stacks: one with three compartments, the other with two, each of which can be closed with its own lid.\u003c\/p\u003e\n\u003cp\u003eThis modularity is explained by the ceremonial use of jubako, food boxes reserved for major celebrations such as New Year's Day or Tango no Sekku, the Boys' Festival.\u003c\/p\u003e\n\u003cp\u003eDepending on the number of guests or the nature of the dishes, all or part of the compartments would be used.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eDecorated with scrolls of very beautiful quality, drawn in gold and covering the entire surface.\u003c\/p\u003e\n\u003cp\u003eThe tray measures 10 x 31.7 x 31.7\u003c\/p\u003e\n\u003cp\u003eThe stack of two compartments plus lid measures 20 x 25.8 x 25.8\u003c\/p\u003e\n\u003cp\u003eThe stack of three compartments plus lid measures 29 x 25.8 x 25.8\u003c\/p\u003e\n\u003cp\u003eThe two compartments and lid placed on the tray have a height of approximately 29cm.\u003c\/p\u003e\n\u003cp\u003eAll elements are modular.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53885525655898,"sku":null,"price":4200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/5A47BD67-FB39-44E4-BF6A-5550DEF23DD3.jpg?v=1774531918"},{"product_id":"boite-laque-de-wajima-nishizuka-choko-1888-1976","title":"Box, Wajima lacquer, Nishizuka Chōkō (1888–1976)","description":"\u003cdiv class=\"product-description\"\u003e\n\u003ch1\u003eBox, Wajima lacquer, Nishizuka Chōkō I (1888–1976)\u003c\/h1\u003e\n\u003cp\u003eWajima lacquer box decorated with two quails among millets, by Nishizuka Chōkō I (西塚朝光, 1888–1976). \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis box, probably intended for storing tea ceremony items, combines raised maki-e work, mother-of-pearl inlays, and, much more rarely, two quails rendered in applied enameled ceramic.\u003c\/p\u003e\n\u003cp\u003eIt constitutes a particularly interesting example of the revival of Japanese lacquer in the 20th century, combining decorative tradition, technical virtuosity, and artistic exploration.\u003c\/p\u003e\n\u003ch2\u003eDescription\u003c\/h2\u003e\n\u003cp\u003eThe lid features a refined composition of two quails moving among grasses, probably susuki or millet, a classic autumn theme in Japanese decorative arts. This decoration extends onto the base of the box, creating a continuous design, a testament to great pictorial mastery.\u003c\/p\u003e\n\u003cp\u003eThe background is treated with \u003cem\u003enashiji\u003c\/em\u003e at different intensities, creating a vibrant, almost atmospheric surface that animates the entire scene. The grasses unfold in a play of textures (lacquer painted with gold lacquer and black and dark gray lacquer with a mosaic effect) and rhythms, while the birds, modeled in enameled ceramic with added mother-of-pearl to give the eyes their shine, bring an unusual sculptural presence to the Wajima lacquer composition.\u003c\/p\u003e\n\u003cp\u003eThe interior is covered with large irregular squares of gold leaf, producing a fragmented and precious effect, very characteristic of an object conceived as a piece of grand decoration as much as an object for daily use.\u003c\/p\u003e\n\u003cp\u003eThe whole is preserved in its tomobako signed \u003cem\u003eChōkō saku\u003c\/em\u003e (朝光作).\u003c\/p\u003e\n\u003ch2\u003eNishizuka Chōkō I (1888–1976)\u003c\/h2\u003e\n\u003cp\u003eNishizuka Chōkō I, or \u003cem\u003eNishizuka Chōkō\u003c\/em\u003e (西塚朝光), was a lacquer artist active in Wajima in the early and mid-20th century. He belongs to the generation of artisans who continued the most demanding technical traditions of \u003cem\u003eWajima-nuri\u003c\/em\u003e while adapting their decorative language to a modern sensibility. Works signed 朝光 are known on the Japanese and Western markets, particularly \u003cem\u003esuzuribako\u003c\/em\u003e, objects related to the tea ceremony, and decorative pieces with naturalistic subjects.\u003c\/p\u003e\n\u003cp\u003eHis work is part of a context of very high-level craftsmanship, where mastery of \u003cem\u003emaki-e\u003c\/em\u003e, inlays, and surface effects remained fundamental. In Nishizuka Chōkō's work, this tradition opened up to a more artistic exploration, visible in the relief, the density of the backgrounds, and the taste for contrasting materials.\u003c\/p\u003e\n\u003ch2\u003eThe Wajima lacquer tradition\u003c\/h2\u003e\n\u003cp\u003eWajima lacquer, produced on the Noto Peninsula, is one of Japan's most renowned. \u003cem\u003eWajima-nuri\u003c\/em\u003e is distinguished by the complexity of its manufacturing process, the use of local earth powder in the preparatory layers, and the successive intervention of several specialists. This technical demand results in objects of great solidity and remarkable surface depth.\u003c\/p\u003e\n\u003cp\u003eFrom the late 19th century and especially during the 20th century, Wajima workshops participated in a movement to renew Japanese decorative arts. Without abandoning traditional subjects, they explored new effects of material, relief, and inlay, producing objects where formal invention became an essential element.\u003c\/p\u003e\n\u003ch2\u003eBetween Rimpa heritage and 20th-century modernity\u003c\/h2\u003e\n\u003cp\u003eThis box, in several aspects, is part of the aesthetic heritage of the Rinpa school. The taste for seasonal motifs, the value given to contrasts between dark flat areas and luminous surfaces, as well as the decorative treatment of flora, refer to this major tradition of Japanese arts. The composition favors visual impact, the stylization of rhythm, and the preciousness of materials, all elements that fall within a deeply decorative spirit.\u003c\/p\u003e\n\u003cp\u003eBut this work is not limited to a survival of the Rimpa taste. It also demonstrates the revival of Japanese lacquer in the 20th century. The pronounced relief, the presence of cut mother-of-pearl, and especially the exceptional integration of enameled ceramic quails show a desire for experimentation while reappropriating ancient techniques. This rare hybridization between tradition and invention places the box at a moment when Japanese craftsmanship sought to renew its vocabulary without breaking with its heritage.\u003c\/p\u003e\n\u003ch2\u003eWhy this box is important\u003c\/h2\u003e\n\u003cp\u003eThis unique work stands out for the quality of its execution, the originality of its technical combination, and the tactile strength of its decoration. It is interesting both for the history of Japanese lacquer, for the study of Wajima-nuri in the 20th century, and for collectors sensitive to objects where Japanese decorative tradition extends into a form of silent modernity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e width 28 cm; depth 23 cm; height 15.5 cm.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53891523674458,"sku":null,"price":5600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/IMG-7793.jpg?v=1774616095"},{"product_id":"vase-2","title":"Yamatoya Tadafumi Bottle Vase circa 2000-2005","description":"\u003ch2\u003eSilver-decorated Vase by Yamatoya Tadafumi, circa 2000-2005\u003c\/h2\u003e\n\u003cp\u003eCeramic vase signed by Yamatoya Tadafumi (大和屋忠文). The form is tall, with an oval base, rounded shoulders, and a narrow cylindrical neck. The silhouette is compact, focused on a clean verticality.\u003c\/p\u003e\n\u003cp\u003eThe surface is crafted in the tradition of \u003cem\u003eirabo\u003c\/em\u003e (伊羅保釉) glaze, matte and grainy, with olive green tones mixed with ferrous browns. The texture presents natural irregularities linked to firing and the composition of the clay. The decoration consists of vertical bands and a shoulder motif executed in metallic silver (\u003cem\u003eginsai\u003c\/em\u003e 銀彩), producing changing reflections depending on the light. The opposition between the mineral surface and the silver intervention organizes the reading of the piece.\u003c\/p\u003e\n\u003cp\u003eYamatoya Tadafumi (大和屋忠文) is a ceramist active in Japan around the turn of the 2000s. His work is documented in Japanese galleries specializing in contemporary ceramics, particularly in Tokyo at 桃居 (Momoi), where solo exhibitions are mentioned in the early 2000s. Texts associated with these presentations describe work based on \u003cem\u003eirabo\u003c\/em\u003e glaze and repeated firings with reduction cooling.\u003c\/p\u003e\n\u003cp\u003eThis vase comes with its signed \u003cem\u003etomobako\u003c\/em\u003e with seal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height approximately 31 cm; neck diameter approximately 4.4 cm; base approximately 13.5 x 10.8 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53896830255450,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/IMG-7832.jpg?v=1774694703"},{"product_id":"grand-plat-profond-en-ceramique-de-nonaka-taku-date-de-2011-a-decor-de-pins-sur-glacure-temmoku-oeuvre-signee-sous-la-base-avec-tomobako-signe","title":"Large tenmoku platter by Nonaka Taku circa 2011","description":"\u003ch2\u003eLarge Deep Ceramic Dish by Nonaka Taku, Pine Tree Decoration, Tenmoku Glaze, 2011\u003c\/h2\u003e\n\u003cp\u003eLarge deep ceramic dish by Nonaka Taku from around 2011, with pine tree decoration on a powerful temmoku glaze. Signed under the base, it comes with its signed tomobako. This large composition, both sculptural and functional, powerfully illustrates the artist's work on the contrasts between deep black, silvery grey, and radiating design.\u003c\/p\u003e\n\u003ch2\u003eDescription\u003c\/h2\u003e\n\u003cp\u003eThis large deep dish is distinguished first by its scale and the breadth of its widely open form, whose continuous profile gives the piece an architectural presence. The interior surface is enlivened by a temmoku glaze with nuanced effects, ranging from dense black to metallic grey passages, with variations in mattness and brilliance that give the decoration true visual depth.\u003c\/p\u003e\n\u003cp\u003eThe pine tree motif, stylized, is organized into large radiating forms that stand out vigorously against the dark background. The decoration is anything but anecdotal: it structures the space of the dish and dialogues with the very material of the glaze. The ensemble produces a very constructed, almost graphic impression, but retains the sensitive richness characteristic of great firing ceramics, where the surface remains alive, changing according to the light.\u003c\/p\u003e\n\u003cp\u003eDated 2011, this work belongs to a fully mature period in Nonaka Taku's career. It is part of his work on large formats in temmoku, where the monumentality of the form meets a sober, powerful, and immediately legible decorative vocabulary. The fact that the dish is signed under the base and kept with its signed tomobako further reinforces the documentary interest of the ensemble.\u003c\/p\u003e\n\u003ch2\u003eBiography of Nonaka Taku\u003c\/h2\u003e\n\u003cp\u003eNonaka Taku, 野中拓, was born in 1955 in Ureshino, Saga Prefecture, a major region for Japanese ceramics. In 1975, he apprenticed with Ono Hakuko and Ono Shōji. From the late 1970s, his career rapidly established itself in the field of contemporary Japanese kōgei.\u003c\/p\u003e\n\u003cp\u003eIn 1978, he was admitted to the exhibition of the western branch of the Japan Craft Arts Association. In 1979, he was selected for the first time for the Nihon Dentō Kōgei-ten, the Japanese Exhibition of Traditional Arts. He then received several awards in Saga exhibitions as well as in Kyūshū-Yamaguchi exhibitions. In 1982, he became a regular member of the Nihon Kōgeikai.\u003c\/p\u003e\n\u003cp\u003eIn 1983, a long-necked white porcelain work was acquired by the Saga Prefectural Museum. In 1998, a work titled \u003cem\u003eTenmoku fukabachi\u003c\/em\u003e was selected for the 44th Japanese Exhibition of Traditional Arts and purchased by the Imperial Household Agency. In 1999, he traveled to Great Britain for a presentation at the British Museum. His career then continued with new selections for major Japanese exhibitions. In 2011, a temmoku pine tree decorated work was offered to Chion-in, which particularly highlights the place of this motif in his work.\u003c\/p\u003e\n\u003cp\u003eNonaka Taku's work develops around two main registers. On one side, white porcelain, sober and taut. On the other, temmoku, denser, darker, more dramatic in its surface effects. This large deep dish clearly belongs to this second aspect of his production. It shows his mastery of large forms, his taste for powerful contrasts, and his ability to make decoration a structural element of the work.\u003c\/p\u003e\n\u003ch2\u003eDimensions\u003c\/h2\u003e\n\u003cp\u003e56.5 × 15.5 cm\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53955789947226,"sku":null,"price":7500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/Grand_plat_c_ramique_de_Nonaka_Taku.jpg?v=1775660090"},{"product_id":"suzuribako-a-decor-de-horagai-et-paysage-de-pavillons-epoque-edo-xviiie-debut-xixe-siecle","title":"Suzuribako with horagai and pavilion landscape design, Edo period, 18th-early 19th century","description":"\u003ch2\u003eSuzuribako with Horagai and Pavilion Landscape Decoration\u003c\/h2\u003e\u003cp\u003eJapan, Edo period, 18th-early 19th century\u003c\/p\u003e\u003cp\u003eRectangular suzuribako with rounded corners, made of lacquered wood, measuring 24.1 cm in width, 22.2 cm in height, and 4.7 cm in depth. The lid features a large \u003cem\u003ehoragai\u003c\/em\u003e 法螺貝, a conch shell transformed into a trumpet, wrapped in a net rendered in raised red lacquer, against a \u003cem\u003enashiji\u003c\/em\u003e background. The interior contains an inkstone and a water dropper, or \u003cem\u003esuiteki\u003c\/em\u003e, here in the shape of a pine branch, while the reverse of the lid is adorned with a landscape of pavilions by the water. The \u003cem\u003esuzuribako\u003c\/em\u003e is a writing box designed to hold the instruments necessary for preparing ink and writing.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003enashiji\u003c\/em\u003e background should be highlighted from the outset. This technique, which gives the surface the appearance of a pear skin through the dense scattering of fine gold flakes, here creates a luminous, warm, and very regular field, against which the motif stands out with great clarity. The decoration of the lid visibly combines \u003cem\u003ehiramaki-e\u003c\/em\u003e and \u003cem\u003etakamaki-e\u003c\/em\u003e. \u003cem\u003eHiramaki-e\u003c\/em\u003e corresponds to the thinly drawn parts, integrated into the surface, while \u003cem\u003etakamaki-e\u003c\/em\u003e refers to the more pronounced reliefs, achieved by modeling before sprinkling with gold. The dialogue between these two processes gives the motif its depth without breaking the smooth and precious unity of the lacquer.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003ehoragai\u003c\/em\u003e is a well-identified instrument in Japanese culture, mainly associated with the \u003cem\u003eyamabushi\u003c\/em\u003e, mountain ascetics of \u003cem\u003eshugendō\u003c\/em\u003e. Japanese sources recall that it was used to communicate in the mountains, to mark a presence, to punctuate certain ritual practices, and that it was also attributed a protective function, capable of warding off evil forces. In the iconography of this box, its presence thus introduces a world of retreat, hermitage, life apart from the world, and mountain spirituality. The red net that carries it is not a secondary detail: it belongs to the very reality of the object, and its representation, of extreme precision, is one of the greatest achievements of the box. Each strand of the braiding is followed, crossed, and tightened with exceptional meticulousness, which gives the decoration an almost tactile truth.\u003c\/p\u003e\u003cp\u003eThe interior develops another, more literary, register. The reverse of the lid is adorned with a landscape of pavilions by the water, with pines, reliefs, and birds in flight. The bottom reiterates this atmosphere with gold lacquer branches. We are here in the vocabulary of the ideal, secluded, contemplative landscape, constructed around water, light architecture, and the pine, a tree of permanence and steadfastness. The pine branch-shaped \u003cem\u003esuiteki\u003c\/em\u003e directly extends this decoration and shows that the accessories themselves participate in the iconographic program. Thus, the decoration of the box is organized in a true dialogue between the world of mountain asceticism evoked by the \u003cem\u003ehoragai\u003c\/em\u003e and that of writing, mental landscape, and cultivated retreat.\u003c\/p\u003e\u003cp\u003eIt is this dialogue that makes the particular intelligence of the work. On the exterior, the large \u003cem\u003ehoragai\u003c\/em\u003e dominates alone, almost monumental, with its raised red net, in a strong, concentrated, almost emblematic image. Inside, the gaze enters a quieter, ampler space, made of water, pavilions, pines, and birds. The passage from the lid to the inside of the box thus corresponds to a symbolic passage: from the signal, the call, and the mountainous world to the space of the literati, of writing, and of contemplation. Such iconographic coherence, served by such precise execution, places this piece among suzuribako of excellent quality.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 24.1 × 22.2 × 4.7 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":53998016758106,"sku":null,"price":6300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/9E02A717-9C6C-44BA-BF5B-246569EE020D.jpg?v=1776178725"},{"product_id":"suzuki-kenji-鈴木健司-vase-en-ceramique-signe","title":"Suzuki Kenji 鈴木健司, signed ceramic vase","description":"\u003ch2\u003eSuzuki Kenji 鈴木健司, Signed Ceramic Vase\u003c\/h2\u003e\u003cp\u003eJapan, second half of the 20th century\u003c\/p\u003e\u003cp\u003eCeramic vase by Suzuki Kenji, of a highly constructed form, resting on a narrow almond-shaped foot and developing a distorted, diamond-shaped body. The silhouette is one of the most interesting aspects of the piece. The constricted base supports a volume that widens then stretches into an angular shape, very different from more classic ovoid or baluster vase typologies. The relatively discreet opening extends this construction with precision. The vase is signed and comes with its signed tomobako.\u003c\/p\u003e\u003cp\u003eThis piece is distinguished primarily by its form. The almond-shaped foot provides a concentrated base, while the body develops as a geometrized, almost sculptural volume. The piece thus rests on a subtle balance between stability and controlled distortion. This formal exploration gives the vase an immediate presence, without the need for abundant decoration.\u003c\/p\u003e\u003cp\u003eSuzuki Kenji, born February 25, 1930, in Kyoto and deceased in 2010, belongs to a long lineage of ceramists. He learned ceramic techniques at an early age from his father, Suzuki Kiyoshi, and his brother Takuji. His family training was complemented by studies at the Kyoto University of Fine Arts, from which he graduated in 1957. During his studies, he benefited from the teaching of major masters such as Kondō Yūzō, Tomimoto Kenkichi, and Fujimoto Nōdō, before perfecting his skills as an apprentice to the sixth Kiyomizu Rokubei.\u003c\/p\u003e\u003cp\u003eAs early as 1958, one year after graduating, he was selected for the Nitten exhibition, where he would subsequently receive regular accolades. In 1960, he received the Mayor of Kyoto Award. In 1967, he won the Hokuto-shō Prize at Nitten for his work \u003cem\u003eWhite Orb\u003c\/em\u003e, an important piece in his career, which already demonstrated his mastery of forms and glazes. Between 1965 and 1971, he was an assistant professor to the seventh Kiyomizu Rokubei at the Kyoto University of Fine Arts. In 1976, he installed a new kiln in Yamashina, where he notably continued his research on metallic glazes.\u003c\/p\u003e\u003cp\u003eHis activity was not limited to workshop production alone. During the 1960s, he participated in international exhibitions in North America, Australia, New Zealand, and Europe, demonstrating the early extent of his recognition. He was also an important author. In 1971, he published for the National Museum of Modern Art, Tokyo, a book titled \u003cem\u003eContemporary Ceramic Art: Canada, USA, Mexico and Japan\u003c\/em\u003e, which highlights the breadth of his visual culture and his interest in ceramics beyond Japan. In 1984, he also published \u003cem\u003eSōsaku tōgei no tenkai \/ sekinin henshū\u003c\/em\u003e, among other works.\u003c\/p\u003e\u003cp\u003eFrom 1990 onwards, Suzuki Kenji became an authoritative figure in the world of Japanese ceramics, serving as a judge at Nitten and a jury member for the Japan New Crafts exhibition. This recognition culminated in 2005, when he received the Order of Cultural Merit from Kyoto Prefecture. His works are preserved in important collections, notably at the Kyoto Prefectural Museum and the Kyoto Municipal Museum.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 25 cm; width 19 cm; depth 12 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54075817099610,"sku":null,"price":2600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/025A39D6-F8D5-43DF-A477-F8BEAC202925.jpg?v=1779646213"},{"product_id":"eiraku-jizen-eiraku-koichi-vase-tsukikage-en-decor-or-et-argent","title":"Eiraku Jizen (Eiraku Kōichi), \"Tsukikage\" vase in gold and silver decoration","description":"\u003ch2\u003eEiraku Jizen (Eiraku Kōichi), \"Tsukikage\" vase in gold and silver decoration\u003c\/h2\u003e\n\n\u003cp\u003eLarge, flattened vertical vase, built on a rectangular base, by Eiraku Jizen, also known by his personal name Eiraku Kōichi. This unusual, almost architectural silhouette gives the piece a very strong frontal presence. The constricted opening at the top extends this tension between stability and slenderness, while the surface develops a vast decoration rhythmic with curved bands in black, white, reddish brown, gold, and silver.\u003c\/p\u003e\n\n\u003cp\u003eThe highly refined decoration is based on the superposition of undulating lines that cross the piece like moving reflections. Gold dominates without heaviness, enlivened by the contrasts of black and white, and produces an effect of changing light rather than a simple applied decoration. The title inscribed on the tomobako, \u003cem\u003eTsukikage\u003c\/em\u003e – \u003cstrong\u003e月影\u003c\/strong\u003e, \"moon shadow,\" aptly clarifies this research: the composition evokes less a descriptive image than a luminous, almost atmospheric perception.\u003c\/p\u003e\n\n\u003cp\u003eThe signed tomobako bears the inscription \u003cstrong\u003e金銀彩色花入 月影 紘一造\u003c\/strong\u003e, which can be translated as \"flower vase in gold and silver polychrome decoration, 'Tsukikage', made by Kōichi.\" The piece is signed under the base.\u003c\/p\u003e\n\n\u003cp\u003eBorn in Kyoto in 1944, Eiraku Jizen belongs to one of the most prestigious lineages of Kyoto ceramics. Born under the name Eiraku Kōichi, he became Eiraku Zengorō XVII in 1998, before resuming the name Jizen after passing on the family title in 2020. Biographies published by Joan B. Mirviss Ltd. and by the Kyoto Kogei Bijutsu Sakka Kyokai recall his mastery of the great decorative traditions of Kyoto, particularly \u003cem\u003ekinrande\u003c\/em\u003e, as well as his connection to the refined heritage of the Eiraku workshops, long associated with tea culture.\u003c\/p\u003e\n\n\u003cp\u003eThis work particularly well reflects this dual belonging: rooted in the history of decorated Kyoto ceramics, it also asserts a more personal sensibility, based on the construction of form and a very free use of linear rhythms and metallic glints. With its sculptural presence and luminous decoration, this vase will appeal equally to a collector of Japanese ceramics and to an interior seeking a strong and refined piece.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 47 cm; width 32 cm; depth 8.8 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54075831681370,"sku":null,"price":5500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/58B17970-B914-4E93-AE39-B3E17D1E606C.jpg?v=1780203246"},{"product_id":"nonaka-taku-grand-vase-feux-d-artifice","title":"Nonaka Taku, \"Fireworks\" large vase","description":"\u003ch2\u003eNonaka Taku, large \"Fireworks\" vase\u003c\/h2\u003e\n\n\u003cp\u003eLarge ceramic vase by Nonaka Taku, with a wide ovoid shape and a subtly tapered opening. The piece stands out for its impressive volume and the deep luster of its dark surface, animated by a vast, radiating decoration that immediately evokes the luminous explosion of fireworks. The motif, unfurling in broad beams from a central point, covers the body with great visual impact while respecting the purity of the form.\u003c\/p\u003e\n\n\u003cp\u003eThe contrast between the glossy black background and the silvery-gray rays structures the entire perception of the vase. The radiating beams guide the eye, visually expanding the body and giving the whole a presence that is both graphic and monumental. Depending on the viewing angle, the reflections of the glaze modify the perception of the decoration and enhance the effect of depth. The title \"Fireworks\" is particularly apt for this work, as it illuminates the logic of luminous expansion that organizes its surface.\u003c\/p\u003e\n\n\u003cp\u003eBorn in 1955 in Ureshino, Saga Prefecture, Nonaka Taku entered \u003cem\u003eKozan-gama\u003c\/em\u003e in 1975, where he studied under Ono Hakuko and Ono Shōshi, and received throwing instruction from Inoue Manji. He became a regular member of the \u003cem\u003eNihon Kōgeikai\u003c\/em\u003e in 1982 and opened his own kiln, \u003cem\u003eHiraku-gama\u003c\/em\u003e, in 1996 in Iwayagawachi, before moving to Takeo in 2020. Initially focused on white porcelain, he then developed significant work around \u003cem\u003etenmoku\u003c\/em\u003e, and has since pursued a body of work built around these two major styles.\u003c\/p\u003e\n\n\u003cp\u003eHis career has been marked by several official recognitions. In 1998, his work \u003cem\u003eTenmoku Fukabachi\u003c\/em\u003e, presented at the 44th Exhibition of Traditional Japanese Crafts, was acquired by the Imperial Household Agency. In 2000, he traveled to the United Kingdom for a presentation at the British Museum, where a work titled \u003cem\u003eHakuji Yamon Kaki\u003c\/em\u003e was presented. In 2011, a \u003cem\u003etenmoku\u003c\/em\u003e vase with a pine tree motif was offered during the enthronement ceremony of the head priest of Chion-in. These milestones demonstrate the institutional recognition of his work.\u003c\/p\u003e\n\n\u003cp\u003eThis vase offers a particularly compelling interpretation of his work. It combines the technical mastery of large format, the power of an immediately legible decoration, and the optical depth of a highly crafted surface. The work appeals equally to a collector of contemporary Japanese ceramics and to an interior seeking a spectacular piece, supported by the rigor of a great ceramist.\u003c\/p\u003e\n\n\u003cp\u003eThe vase is signed on the base. Its signed \u003cem\u003etomobako\u003c\/em\u003e is present.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 39 cm; diameter 36 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54075831714138,"sku":null,"price":5500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/EE388024-56A6-4861-A536-06F873D67B96.jpg?v=1779031697"},{"product_id":"vase-sculptural-en-ceramique-creme-et-argentee-par-hitomi-masatsugu-人見政次-japon-seconde-moitie-du-xxe-siecle","title":"Sculptural cream and silver ceramic vase by Hitomi Masatsugu 人見政次, Japan, second half 20th century","description":"\u003ch2\u003eSculptural Cream and Silver Ceramic Vase by Hitomi Masatsugu 人見政次\u003c\/h2\u003e\u003cp\u003eJapan, second half of the 20th century.\u003c\/p\u003e\u003cp\u003eSculptural ceramic vase by Hitomi Masatsugu 人見政次, constructed as an openwork abstract form, straddling the line between vase and sculpture. The work consists of two large vertical semi-circles joined by silver elements, which act simultaneously as articulation, structure, and visual rhythm.\u003c\/p\u003e\u003cp\u003eThe piece features different treatments on its sides. One side is entirely rendered in a cream-white tone, with a lightly cracked and patinated surface. The two interior panels visible in the openings are silver-colored, as are the connecting parts. On the other side, a light semi-circle responds to a silver semi-circle, while the other semi-circle remains cream. This more complex alternation creates an additional rhythm and alters the perception of the object depending on the viewing angle.\u003c\/p\u003e\u003cp\u003eThe central void organizes the composition, lightens the mass, and transforms the vase into a sign. The object retains the Japanese name \u003cem\u003ekabin\u003c\/em\u003e 花瓶, or vase, but its potential use is secondary to its plastic force. It belongs to the vocabulary of post-war Japanese sculptural ceramics, where form, material, and space become the main subjects of the work.\u003c\/p\u003e\u003cp\u003eHitomi Masatsugu is part of the history of \u003cem\u003eSōdeisha\u003c\/em\u003e 走泥社, an avant-garde movement founded in Kyoto in 1948 by Yagi Kazuo, Suzuki Osamu, Yamada Hikaru, Matsui Yoshisuke, and Kano Tetsuo. \u003cem\u003eSōdeisha\u003c\/em\u003e played a major role in establishing autonomous ceramics, freed from traditional utilitarian function. Artists associated with the group moved clay beyond the sole domain of the vase, bowl, or everyday object, making it a sculptural language in its own right.\u003c\/p\u003e\u003cp\u003eHis work is documented in the retrospective exhibition \u003cem\u003eSōdeisha: Rethinking Avant-Garde Ceramics\u003c\/em\u003e. Several pieces by Hitomi Masatsugu, dated 1968, 1972, and 1973, are listed there, confirming his place among the artists of the second generation of \u003cem\u003eSōdeisha\u003c\/em\u003e and his inscription in the history of avant-garde Japanese ceramics.\u003c\/p\u003e\u003cp\u003eThis work should be viewed in this context. It does not seek to charm through applied decoration, but through precise formal construction: two opposing masses, an active void, an alternation of cream and silver surfaces, a tension between frontality and volume. The vase becomes a constructed form, almost a three-dimensional ideogram, where balance arises from the contrast between weight, opening, and light.\u003c\/p\u003e\u003cp\u003eHitomi Masatsugu is documented as a professor in the applied arts department of Osaka University of Arts. Japanese sources link him to ceramic teaching and \u003cem\u003eSōdeisha\u003c\/em\u003e exhibitions, particularly in the 1990s.\u003c\/p\u003e\u003cp\u003eThis vase is a representative work of this generation of Japanese ceramists for whom clay becomes the material for autonomous plastic thought. Through its balance of cream surface, silver luster, and openwork structure, it retains a strong decorative presence while reflecting a demanding artistic approach.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 32.5 cm; width 35 cm; thickness 4.5 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54093974176090,"sku":null,"price":1600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/8D0309F3-601B-4A78-BE59-EB44207A2160.jpg?v=1777820102"},{"product_id":"petite-aiguiere-d-ecritoire-archaisante-en-bronze-dore-chine-ou-japon-xviie-siecle-1","title":"Dropper, Small archaistic gilt bronze inkwell ewer, China or Japan, 17th century","description":"\u003ch2\u003eArchaistic Gilt Bronze Ewer\u003c\/h2\u003e\n\u003cp\u003eChina or Japan, 17th century.\u003c\/p\u003e\n\u003cp\u003eSmall bronze ewer with a dark brown patina and significant traces of ancient gilding. The globular body rests on a small circular foot. The tall, narrow cylindrical neck receives a lid with a spherical finial. The raised tubular spout balances the object's compact silhouette.\u003c\/p\u003e\n\u003cp\u003eThe belly features an archaistic frieze in low relief, composed of geometric patterns derived from leiwen and stylized masks from the vocabulary of Chinese ritual bronzes. This decoration places the piece within the literati taste for antique forms, widely shared in China and Japan in the 17th century.\u003c\/p\u003e\n\u003cp\u003eThe handle is formed by a small crouching fantastic beast, attached to the belly and connected to the neck. Its compact treatment, with the body gathered and head raised, places the object closer to small desk bronzes, such as Japanese suiteki or Chinese water droppers, rather than large-format ritual ewers. The animal belongs to the repertoire of auspicious and archaistic creatures used in cabinet objects.\u003c\/p\u003e\n\u003cp\u003eDistinguishing between Chinese and Japanese production remains delicate for this type of piece. The Chinese-inspired decoration, worn gilding, and archaistic frieze may point to China. The small scale, probable function as a desk object, and inventive treatment of the animal are also compatible with early Japanese production. The designation \"China or Japan, 17th century\" remains the most rigorous.\u003c\/p\u003e\n\u003cp\u003eCondition: surface wear, localized oxidation, ancient patina, traces of gilding preserved in patches. Small loss to the rod extending from the animal's mouth. \u003c\/p\u003e\n\u003cp\u003eHeight: 11 cm. Width: approximately 9 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54163375128922,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/02A20CFA-067C-4B73-838E-592E82C98AE4.jpg?v=1779946823"},{"product_id":"boite-a-documents-en-laque-a-decor-de-pivoines-et-motif-rikyu-hanabishi-xixe-siecle","title":"Lacquered document box with peony and Rikyū hanabishi motif, 19th century","description":"\u003cp\u003eLarge rectangular urushi lacquer box decorated in gold on a black background using several maki-e techniques, including nashiji, hiramaki-e, and takamaki-e.\u003c\/p\u003e\u003cp\u003eThe main decoration combines a basket overflowing with peonies and a vast geometric network incorporating the Rikyū hanabishi heraldic motif, a refined variation of the hanabishi associated with tea culture and the aesthetic world of Sen no Rikyū.\u003c\/p\u003e\u003cp\u003eThe inside of the lid features a cloudy gold decoration on a sprinkled gold brown-black background, enlivened by a flight of sparrows scattered in different directions. The bottom of the box has a more sober decoration of clouds in gold powdering on a brown-black background.\u003c\/p\u003e\u003cp\u003eHigh-level production from the 19th century.\u003c\/p\u003e\u003cp\u003eCondition: good overall condition, some minimal signs of use.\u003c\/p\u003e\u003cp\u003eDimensions: 41 × 32 cm; height: 14 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54163393741146,"sku":null,"price":5600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/IMG-9699.jpg?v=1780428837"},{"product_id":"ito-kosho-伊藤公象-1932-2024-vase-ovoide-a-surface-argentee-craquelee-japon-xxe-siecle-1","title":"Itō Kōshō (1932-2024), ovoid vase with crackled silvered surface, Japan, 20th century","description":"\u003ch2\u003eItō Kōshō 伊藤公象 (1932-2024), ovoid vase with cracked silver surface, Japan, 20th century\u003c\/h2\u003e\u003cp\u003eOvoid vase, resting on a slightly triangular base, with a short, constricted neck. The shape is understated, but the surface gives it all its singularity. It is covered with a dense network of cracks, folds, and retractions that evoke a material caught in a state of contraction. The silvery-gray, metallic appearance distances this work from the idea of a simple decorative glaze. The surface appears to be born of a physical phenomenon, like a mineral or frozen skin. The vase comes with its inscribed and signed tomobako.\u003c\/p\u003e\u003cp\u003eThis piece is very representative of Itō Kōshō's research into the transformations of clay. Japanese museum sources recall that he integrated freezing, shrinkage, cracking, and contraction of the material into his work, not as accidents, but as the very principle of creation. His work thus lies at the border of ceramics and sculpture.\u003c\/p\u003e\u003cp\u003eItō Kōshō created many large-format works, as well as important installations. This vase is therefore particularly interesting because it concentrates, in a small, enclosed volume, research that is often associated with monumental pieces or sculptural ensembles in his work. Here, the form of the vase remains, but the true subject becomes the surface, with its tensions, cracks, and material effects.\u003c\/p\u003e\u003cp\u003eBorn in 1932 in Kanazawa, Itō Kōshō is one of the great pioneers of post-war Japanese ceramic sculpture. He trained at a very young age with Nakamura Suikō, then developed a very personal language centered on the physical reactions of clay, and pursued an international career, notably marked by a gold medal at the Triennale India in 1978 and by his participation in the Venice Biennale in 1984. He died in 2024.\u003c\/p\u003e\u003cp\u003eHis works are preserved in several important public collections in Japan, notably at the Tochigi Prefectural Museum of Fine Arts, the Museum of Contemporary Art Tokyo, the Utsunomiya Museum of Art, and the National Museum of Art, Osaka. A piece by Itō Kōshō is also preserved at the Sèvres Museum in France.\u003c\/p\u003e\u003cp\u003eThis vase clearly shows what makes Itō Kōshō unique: making the clay itself, its physical reactions, and its metamorphoses, the center of the work.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 26 × 18 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54194206376282,"sku":null,"price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/2DD2AACA-FF4F-4A10-B285-3098C2C88622.jpg?v=1779946496"},{"product_id":"paire-de-kaioke-a-decor-d-eventails-kamon-de-la-famille-ichijo-japon-epoque-edo","title":"Pair of kaioke decorated with fans, kamon of the Ichijō family, Japan, Edo period","description":"\u003ch2\u003ePair of kaioke with fan decoration, Ichijō family kamon\u003c\/h2\u003e\n\u003cp\u003eJapan, Edo period, late 18th - early 19th century. Black \u003cem\u003eroiro\u003c\/em\u003e lacquer, gold \u003cem\u003emaki-e\u003c\/em\u003e decoration on a black ground and on gold grounds, using different densities and shades of gold powder.\u003c\/p\u003e\n\u003cp\u003eThis pair of \u003cem\u003ekaioke\u003c\/em\u003e (貝桶), literally \"shell containers,\" was intended to store and display the shells used for \u003cem\u003ekai-awase\u003c\/em\u003e, an aristocratic shell-matching game. The Japanese term does not use \u003cem\u003ehako\u003c\/em\u003e \/ \u003cem\u003ebako\u003c\/em\u003e, \"box,\" but \u003cem\u003eoke\u003c\/em\u003e, which refers to a cylindrical container or tub; this nuance corresponds to the tall shape of these large ceremonial vessels.\u003c\/p\u003e\n\u003cp\u003eThe boxes have a cylindrical shape with cut corners and each rest on a footed tray. The black \u003cem\u003eroiro\u003c\/em\u003e lacquer surface is enlivened by a decoration of unfurled fans. Each fan forms a pictorial reserve, with landscapes, floral motifs, and decorative compositions rendered in gold \u003cem\u003emaki-e\u003c\/em\u003e. The alternation of black grounds, gold grounds, and brown-gold nuances gives the decoration a strong presence without disrupting the overall balance.\u003c\/p\u003e\n\u003cp\u003eThe trays bear \u003cem\u003ekamon\u003c\/em\u003e identified as those of the Ichijō family. This heraldic presence places the object in a context of aristocratic commission or use, and not in ordinary decorative production.\u003c\/p\u003e\n\u003cp\u003eThe Ichijō family, or Ichijō-ke, belongs to the \u003cem\u003ego-sekke\u003c\/em\u003e, the five regent houses descended from the Fujiwara clan, along with the Konoe, Kujō, Nijō, and Takatsukasa. During the Edo period, these lineages maintained considerable court prestige and remained associated with the highest aristocratic offices, particularly those of \u003cem\u003esesshō\u003c\/em\u003e and \u003cem\u003ekampaku\u003c\/em\u003e. The presence of the Ichijō kamon on \u003cem\u003ekaioke\u003c\/em\u003e thus links the set to a very high aristocratic milieu, where lacquer objects participated in family ceremonial and the affirmation of rank.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKai-awase\u003c\/em\u003e consisted of finding the two valves of the same shell. In the context of marriage, this game took on a strong symbolic value: two valves from the same shell could only match each other, evoking marital union, fidelity, and the harmony of the couple. \u003cem\u003eKaioke\u003c\/em\u003e were thus among the refined objects of the aristocratic trousseau.\u003c\/p\u003e\n\u003cp\u003eGood state of preservation. Minimal traces of use consistent with the age of the set.\u003c\/p\u003e\n\u003cp\u003eDimensions: height 35 cm; diameter 48 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54219113988442,"sku":null,"price":8500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/005EFFDF-46C6-45E5-A557-D477378CDF4D.jpg?v=1780236507"},{"product_id":"suzuribako-en-laque-a-decor-de-moineaux-au-bord-de-l-eau-fin-edo-debut-meiji","title":"Lacquer writing box (suzuribako) decorated with sparrows by the water, late Edo-early Meiji period","description":"\u003ch2\u003eLacquer Suzuribako with a design of sparrows by the water\u003c\/h2\u003e\u003cp\u003eJapan, late Edo or early Meiji period, 19th century\u003c\/p\u003e\u003cp\u003eBlack lacquer suzuribako, with gold decoration executed in \u003cem\u003etakamaki-e\u003c\/em\u003e and \u003cem\u003ehiramaki-e\u003c\/em\u003e on a lightly powdered \u003cem\u003enashiji ro-iro\u003c\/em\u003e ground. The lid shows several sparrows flying above a small stream bordered by grasses, while in the foreground other birds are perched on bundles of grass. The design plays with great elegance on the contrast between the dark mass of the background, the luminous sinuosity of the stream, and the vivacity of the birds. The gold on black ground technique, particularly attractive here, belongs to one of the great languages of 19th-century Japanese lacquerware.\u003c\/p\u003e\u003cp\u003eThe inside of the lid features the same landscape, without the sparrows, while two birds are still present on the inner box. The compartmentalization can be removed in its lower part, and the decoration continues under this hidden section. This detail is important: it indicates particularly meticulous execution, where the decoration is conceived for the entirety of the object and does not stop at the immediately visible parts. Pieces preserved in Japanese collections clearly show that this interior decorative continuity is considered a sign of very high quality.\u003c\/p\u003e\u003cp\u003eThe box contains its inkstone with a gilded edge, as well as a small silver water dropper, placed in a silver corolla itself mounted on a gilded metal base. This refinement in the treatment of the \u003cem\u003esuiteki\u003c\/em\u003e and its support complements the richness of the lacquer decoration and reinforces the precious unity of the ensemble. The suzuribako has retained its period tomobako.\u003c\/p\u003e\u003cp\u003eThe subject of sparrows by the water is part of a long Japanese decorative tradition where birds, grasses, and streams create a lively, rhythmic, and immediately legible space. This type of composition, which associates the movement of the bird with the flow of water, finds several parallels in ancient suzuribako with river and bird designs, notably in works preserved at the Tokyo National Museum and the Kyoto National Museum.\u003c\/p\u003e\u003cp\u003eWith its very deep black background, its gold highlights, the quality of its decoration extending even into hidden parts, and the care taken with the interior elements, this suzuribako belongs to a fine production, which can be placed at the turn of the late Edo and early Meiji periods.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e height 4.5 cm; width 22 cm; depth 23.5 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54223240429914,"sku":null,"price":3800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/4D9EA7B7-6114-4357-8003-6042E676F5B0.jpg?v=1780380098"},{"product_id":"ensemble-bunko-et-suzuribako-au-decor-des-sept-sages-de-la-foret-de-bambous-japon-xixe-siecle","title":"Bunko and suzuribako set with decoration of the Seven Sages of the Bamboo Grove, Japan, 19th century","description":"\u003ch2\u003eBunko and Suzuribako Set with the Seven Sages of the Bamboo Grove Decoration\u003c\/h2\u003e\n\u003cp\u003eJapan, late Edo period – early Meiji period, 19th century\u003cbr\u003eGold maki-e lacquer on brown nashiji ground, hiramaki-e, takamaki-e, aogai mother-of-pearl inlays, ink stone and bronze suiteki\u003c\/p\u003e\n\u003cp\u003eThis set consists of a \u003cstrong\u003ebunko\u003c\/strong\u003e, a document box, and a \u003cstrong\u003esuzuribako\u003c\/strong\u003e, a box for writing instruments. The two pieces form a coherent set due to their decoration, technique, and subject: the \u003cstrong\u003eSeven Sages of the Bamboo Grove\u003c\/strong\u003e, or \u003cem\u003eChikurin shichiken\u003c\/em\u003e in Japanese.\u003c\/p\u003e\n\u003cp\u003eThis theme, of Chinese origin, evokes a group of 3rd-century literati, poets, musicians, and thinkers, gathered in a bamboo grove away from the court. In Japanese art, it belongs to the repertoire of scholarly subjects of Chinese inspiration. It is particularly suitable for a set related to writing, the preservation of papers, and the preparation of ink.\u003c\/p\u003e\n\u003cp\u003eThe exterior decoration features the seven sages in a bamboo grove. The figures, rocks, and landscape details are rendered in gold maki-e on a brown nashiji ground. The decoration combines \u003cem\u003ehiramaki-e\u003c\/em\u003e, for the surface-drawn parts, and \u003cem\u003etakamaki-e\u003c\/em\u003e, for the reliefs. Iridescent \u003cem\u003eaogai\u003c\/em\u003e mother-of-pearl is used for details in the decoration, particularly in the bamboos. One of the sages holds a light mother-of-pearl paper leaf with an inscription, which may correspond to a signature.\u003c\/p\u003e\n\u003cp\u003eThe interiors are also decorated. The undersides of the lids feature gold lacquer landscapes, with pavilions, rocks, trees, and architecture. The bottom of the large box is adorned with bamboos; the bottom of the suzuribako also features a bamboo decoration, echoing the main theme.\u003c\/p\u003e\n\u003cp\u003eThe suzuribako retains its ink stone and a high-quality bronze \u003cem\u003esuiteki\u003c\/em\u003e. This water dropper, sculptural and quite unusual for a writing set, reinforces the scholarly and precious character of the ensemble.\u003c\/p\u003e\n\u003cp\u003eThe execution quality is high. The nashiji is dense, the reliefs are well-constructed, and the use of mother-of-pearl is masterful. The set combines the scholarly function of the boxes with refined decoration, nourished by classical Chinese culture and interpreted in the Japanese taste for grand decorative lacquerware.\u003c\/p\u003e\n\u003cp\u003eVery good state of preservation. Each box retains its original tomobako with old inscription.\u003c\/p\u003e\n\u003cp\u003eBunko dimensions: 45 × 39 × 21 cm.\u003cbr\u003eSuzuribako dimensions: 29 × 25.5 × 10 cm.\u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54229199356250,"sku":null,"price":8500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/7A141E1E-D6E1-470C-84FD-3CC873FC3F0D.jpg?v=1780750029"},{"product_id":"suzuribako-japonais-en-laque-a-decor-de-grues-d-apres-korin-heian-zohiko-taisho-showa","title":"Japanese lacquer *suzuribako* decorated with cranes after Kōrin, by Heian Zōhiko, Taishō–Shōwa period","description":"\u003ch2\u003eLacquer suzuribako with crane decoration in the style of Kōrin\u003c\/h2\u003e\n\u003cp\u003eJapanese urushi lacquer suzuribako signed \u003cstrong\u003eHeian Zōhiko\u003c\/strong\u003e, Kyoto, Taishō–early Shōwa period, circa 1920-1940. The lid features a decoration of cranes in flight inspired by the aesthetics of Ogata Kōrin, on a gold background with stylized water lines.\u003c\/p\u003e\n\u003cp\u003eThe composition is based on a diagonal movement. The cranes are rendered in mother-of-pearl \u003cem\u003eraden\u003c\/em\u003e and pewter in the spirit of Rimpa lacquerware. The mother-of-pearl catches the light with green, pink, and silver reflections. The dark parts add weight to the decoration. The whole remains very legible, almost graphic, with few elements and a real tension between the materials.\u003c\/p\u003e\n\u003cp\u003eThe interior is made of deep-polished black \u003cem\u003eroiro-nuri\u003c\/em\u003e lacquer. The tray is arranged for writing, with an inkstone, a \u003cem\u003esuiteki\u003c\/em\u003e, and accessories. The inkstone is signed on the underside. The circular silver \u003cem\u003esuiteki\u003c\/em\u003e, with a radiating design, bears a Japanese hallmark. The edges of the box and lid are silver. The bottom of the box bears Zōhiko's seal mark in gold lacquer.\u003c\/p\u003e\n\u003ch2\u003eInscription and tomobako\u003c\/h2\u003e\n\u003cp\u003eThe \u003cem\u003etomobako\u003c\/em\u003e bears the inscription \u003cstrong\u003e光琳鶴蒔絵 硯箱\u003c\/strong\u003e, which can be translated as: \"suzuribako with crane maki-e decoration in the style of Kōrin\". The signature indicates Zōhiko. \u003c\/p\u003e\n\u003ch2\u003eHeian Zōhiko and Kōrin's legacy\u003c\/h2\u003e\n\u003cp\u003eZōhiko is one of Kyoto's great lacquerware houses. Its history dates back to the 17th century, and the workshop played an important role in transmitting high-level \u003cem\u003emaki-e\u003c\/em\u003e. Its modern productions often draw on great classical Japanese models, particularly those related to the Rimpa school.\u003c\/p\u003e\n\u003cp\u003eOgata Kōrin (1658-1716) is one of the major artists of this aesthetic. His influence extends beyond painting and deeply impacted lacquerware, textiles, and Japanese decorative arts. In Kōrin's work, natural motifs become signs: water is reduced to a rhythm, a bird to a silhouette, and a landscape to a composed surface. This suzuribako embodies this intelligent use of space. The cranes, symbols of longevity and good fortune, traverse the lid with a simple and immediately recognizable force.\u003c\/p\u003e\n\u003cp\u003eVery good condition. Complete set with \u003cem\u003etomobako\u003c\/em\u003e, inkstone signed on the underside, hallmarked silver \u003cem\u003esuiteki\u003c\/em\u003e, and Zōhiko seal mark in gold lacquer.\u003c\/p\u003e\n\u003cp\u003eDimensions: approximately 22 × 18 cm. \u003c\/p\u003e","brand":"Sinapango ","offers":[{"title":"Default Title","offer_id":54242521121114,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/files\/IMG-9757.jpg?v=1780739901"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/8568\/1242\/collections\/Photoroom_000_20240910_082723_81fd9f97-1b29-40a2-8544-76114e6b4eb4.jpg?v=1755342458","url":"https:\/\/sinapango.com\/en\/collections\/or-argent-metal.oembed?page=2","provider":"Sinapango ","version":"1.0","type":"link"}