Small, unique and very beautiful antiques for display in the
Tokonoma, with Bonsai as an accent or for display with a scroll

Scrolls Small size Antiques
Accent items for Bonsai Display or Tokonoma
 Accoutrements for Tea and Lacquer Trays Suiseki
Viewing Stones




Cricket Cage

Cherry Wood Tea Caddy

                       Various woods Tea Caddy's


These are  a very nice pair of Japanese 18th century Bizen Pottery terracotta  vases. Both have applied images of a dragon seen through clouds in the form of pitted areas of terracotta stained black, the dragon being gilded so it stands out, they both have oriental seal marks as seen. These are  heavy vases  and  the rim on one of the vases is slightly  damaged but can be turned to the back  and so hidden.  I can get that fixed of course if requested. I will get an estimate from a pottery restorer It is a most unusual pair.

 They measure  32cm high and both weigh about 2kg each

The perfect one is £120 and the imperfect one is £65 or £150 for the pair


Fukagawa porcelain


Size Diameter 6.5"(16.5cm) x Height 7.3"(18.5cm)
DESCRIPTION This is a vintage Japanese vase of the famous maker, Koransha, whose porcelain vase was made about 30 years ago. Yellow and pink Iris are painted on the vase.

On the bottom of the vase, the seal of the Koransha porcelain is stamped. Koransha is the designer and artist for this beautiful vase

Koransha porcelain is known in the world as a manufacturer of fine arts of ceramics known as Arita(Imari) Ware. The Koransha porcelain workshop was started by the 8th Eizaemon Fukagawa in 1875.

Vintage Japanese vases of the famous Fukagawa porcelain. Notes.

On the bottom of the vase, the trademark of Fukagawa porcelain, Mt. Fuji is painted, and "Kanyo Sometsuke (The official clan kiln, Blue and white ware)" is written.

Fukagawa porcelain is known in the world as a manufacturer of fine arts of ceramics known as Arita Ware. The art and craft of porcelain that was expressed through the philosophy and creations of Chuji Fukagawa, the founder of the Fukagawa Seiji Porcelain company.

The art of porcelain was produced for the first time in the small town of Arita in Saga Prefecture, Japan in 1616. In 1894, Fukagawa Porcelain was organized and founded by Chuji Fukagawa, adopting Mt.Fuji and river as the company logo.

Fukagawa Porcelain became Famous when the company won the gold prize at the World Exposition held in Paris in 1900. The designs of Chuji Fukagawa, the founder of the company, immediately fascinated porcelain lovers of the world.

In 1910, Fukagawa Porcelain was appointed purveyor to the Imperial Household which is the highest honor in Japan and so became the representative of Japan’s porcelain (ceramic) ware society.

The charm of the pottery of Fukagawa porcelain is in coloring of blue on the almost transparent white porcelain, which was made possible by high temperature (approx. 1350?) baking. This blue color is so unique that it is called "Fukagawa blue" and attracts many fans even today. The design the founder Chuji Fukagawa has left is of a special technique that can hardly be seen today. The company has inherited this valuable asset and treasured the mystique over the design of Fukagawa porcelain. The porcelain lovers in the world have respect for the design and call it as the Fukagawa Style.

In Arita, the birthplace of Japanese porcelain, the pottery FUKAGAWA-SEIJI has approximate 120 years history, and has been sticking to hand techniques for all porcelain productions. "The almost transparent white porcelain" produced by only being baked at high temperature and "Unique design" fascinate porcelain lovers all over the world. FUKAGAWA-SEIJI was appointed as Japanese Imperial Household Agency with high evaluation, not only Japan but also Europe

The Fukagawa Family and Their Porcelain
Koransha was founded in 1875. Ezaiemon Fukagawa started to produce porcelain for export to Europe and America. He named his company "Koransha," which means "The Company of the Scented Orchid."

Sei Ji Kai Sha, which stands for
"The Company of Pure Water," was founded in 1879 by members of the Fukagawa and other families in Arita
who were at one time associated with Koransha. The company made dinner ware for the Western market. In 1894, the Fukagawa Porcelain Manufacturing Company was founded. This company still exists today and manufactures some of the finest contemporary Imari. It is still being operated by the Fukagawa family.






Kamakura-bori” is a traditional art form handed down 700years ago from the Kamakura Period.

During the Kamakura Period many Buddhist temples were built. Kamakura-bori” is said to originate from the sculptors of the Buddha statues and the unique lacquering on the carved Buddhist objects. They were much influenced by Chinese traditional lacquer-carving ( Tsuishy, Tsuikoku, Benibanaryokuba etc.) .


Kamakura-bori is attractively hand carved usually from Magnolia, and Ginkgo trees and then coated with many layers of special bright colored lacquer . The most representative example of “Kamakura-bori” uses special ‘Shumakinuri’ lacquer in which a special powder of Makomo (wild rice) is sprinkled into a bright vermillion lacquer, producing a strong three dimensional impression of the sculpture. This special characteristic cannot be found in other lacquer wares.



Kamakura-bori is a form of lacquer ware from Kamakura, Japan. It is made by carving patterns in wood, then lacquering it with layers of red, blue, yellow or other colors. And then polished. The genre is said to date to the Kamakura period, when Koun began carving Buddhist implements in the manner that Chin Na-kei (or Chin Wa-kei) had introduced from Song Dynasty China

When Kamakura was the seat of power for the ruling Shogunate in around 1200AD, monk sculptors copied the technique of carving and lacquering wood imported from China into Buddhist images. This way grew and developed into the art of Kamakura Bori.* The first feature is the technique displayed by the carving knife, a sculptor’s chisel, that breathes life and form into the wood. The second feature is the tone of the lacquer which brings out the depth of the carving.
The Katsura tree is used for the wood for the Kamakura Bori. The wood is cured after harvesting and prepared for decoration.
A wide variety of wood materials are lathed, joined, hollowed and other cutting techniques are applied to create this versatile art form.
Designs and patterns are sketched in ink onto translucent sheets of Japanese paper. Then the images are transferred onto dampened wood surfaces by rubbing.
In the preliminary carving the artist carves along the base lines of the pattern creating dimension, angle and perspective.
Then with special, flat-headed knives portions of the surface are chipped away to create a relief pattern.
A final carving is added to the design to produce the trademark gouging effect which gives a special texture to the work and is only known to Kamakura Bori art pieces.
The lacquering process starts by applying a raw sap from a special tree,
called “Urushi”, base lacquer coat to the freshly carved piece. It soaks into
the wood and forms a rich undercoating.
After multiple coatings of the base lacquer and polishing of the piece by using fine grained charcoal, a black lacquer is applied in two coats followed again by polishing with fine abrasives.
Then a vermillion lacquer is applied to create the outer layer, a reddish, highly translucent finish unique to Kamakuri Bori!
After some more polishing the final stage exists of applying a thin layer of lacquer. This is then wiped off, followed by a final polishing with powdered oatmeal material. This process is repeated until the perfect finish is achieved.
In total it will take 4 to 6 weeks to make a round tray (1ft in diameter).

Link to the history:




Japanese porcelain bud Vase.
Decorated with a bird on a flowering tree.
3.5" Tall.
This has the  YAMAJI stamp on the base. This is one of the older ceramic makers in Japan and from the early 20th century specialised in Japanese themes with a western influence.

£14  $20



Unusual Japanese Pot on three legs.

Pattern of Fan, Ume and Môn crests)

I think that this looks late 18th century

8cm high with an 18cm circumference






















Celadon Plate , butterflies and birds on raised enamels, Tongzhi mark to base. £120



This is an absolutely gorgeous Pair of 9 1/2" CHINESE FAMILE ROSE CELADON PLATES Hand painted and decorated on ground celadon with exotic birds, butterflies, insects, peonies and fruits in the later part of the 19th century. Made approx between 1862-1874, these unique plates have an exquisite crafted finish to the highest standard with a colour palette that is vivid and bright. These plates are in excellent condition and overall there is little damage to the plates, one plate has a couple of tiny nibbles on the underside of the rim and the 2nd plate has Y shaped hairline crack that is evident on both the upper and underside of the plate, there is a couple of flea bites to the rims of the plates, these are minor and are commensurate with age and do not detract from the simple beauty of the plates. The plates measure about 24.5cm (9 1/2") in diameter. The base rim measures approx 15.3cm in diameter. CJ

There is a blue back stamp on the base of both of the plates and I am unable to clarify exactly who this mark belongs to under the Da Qing period.

This is a magnificent example of Chinese craftsmanship at its best. These lovely plates would be a great addition to any collection and brighten up any room with its captivating beauty. A rare find for a collector of Asian arts.

£180 for pair

Notes on Shishi-Chinese Lions

Fu Dog Pair19th century Chinese £60


Chinese guardian lions, known as Shishi (Chinese: 石獅; pinyin: shíshī; literally "stone lion") or Imperial guardian lion, and often incorrectly called "Foo Dogs" in the West, are a common representation of the lion in pre-modern China. They have traditionally stood in front of Chinese Imperial palaces, Imperial tombs, government offices, temples, and the homes of government officials and the wealthy, from the Han Dynasty (206 BC-AD 220), and were believed to have powerful mythic protective benefits. Pairs of guardian lions are still common decorative and symbolic elements at the entrances to restaurants, hotels, supermarkets and other structures, with one sitting on each side of the entrance, in China and in other places around the world where the Chinese people have immigrated and settled, especially in local Chinatowns.

The lions are always created in pairs, with the male resting his paw upon the world and the female restraining a playful cub that is on its back. They occur in many types of Chinese pottery and in Western imitations.
In Japan: the lion figures are known as Komainu (狛犬・高麗犬, lit Korea dogs) possibly due to their introduction to Japan through Korea.
In Myanmar: called Chinthe and gave their name to the World War II Chindit soldiers.
In Okinawa: similar lion formed statuettes are known as Shisa.
In Tibet: known as a Snow Lion
In English and several Western languages, the guardian lions are often referred in a multitude of name such as: "Fu Dogs","Foo Dogs", "Fu Lions", "Fo Lions", and "Lion Dogs". The term "Fo" or "Fu" may be transliterations to the words 佛 (pinyin: fó) or 福 (pinyin: fú), which means "Buddha" or "prosperity" in Chinese, respectively. However, Chinese reference to the guardians lion are seldom prefixed with 佛 or 福, and more importantly never referred to as "dogs".

Reference to guardian lions as dogs in Western cultures may be due to the Japanese reference to them as "Korean dogs" (狛犬・高麗犬) due to their transmission from China through Korea into Japan. It may also be due to the misidentification of the guardian lion figures as representing certain Chinese dog breeds such as the Chow Chow (鬆獅犬, Pinyin: sōngshī quǎn, lit. "puffy-lion dog") or Shih Tzu (獅子狗; Pinyin: Shīzi Gǒu, lit. "lion dog").


The lions are traditionally carved from decorative stone, such as marble and granite or cast in bronze or iron. Because of the high cost of these materials and the labour required to produce them, private use of guardian lions was traditionally reserved for wealthy or elite families. Indeed, a traditional symbol of a family's wealth or social status was the placement of guardian lions in front of the family home. However, in modern times less expensive lions, mass produced in concrete and resin, have become available and their use is therefore no longer restricted to the elite.

The lions are always presented in pairs, a manifestation of yin and yang, the female representing yin and the male yang. The male lion has its right front paw on an embroidered ball called a "xiù qiú" (绣球), which is sometimes carved with a geometric pattern known in the West as the "Flower of life" The female is essentially identical, but has a cub under the closer (left) paw to the male, representing the cycle of life. Symbolically, the female fu lion protects those dwelling inside, while the male guards the structure. Sometimes the female has her mouth closed, and the male open. This symbolizes the enunciation of the sacred word "om". However, Japanese adaptations state that the male is inhaling, representing life, while the female exhales, representing death. Other styles have both lions with a single large pearl in each of their partially opened mouths. The pearl is carved so that it can roll about in the lion's mouth but sized just large enough so that it can never be removed.

According to feng shui, correct placement of the lions is important to ensure their beneficial effect. When looking out of a building through the entrance to be guarded, looking in the same direction as the lions, the male is placed on the left and the female on the right. So when looking at the entrance from outside the building, facing the lions, the male lion with the ball is on the right, and the female with the cub is on the left.


The Asiatic lions were once quite common throughout its historic range in Southwest and Central Asia and are believed to be the ones depicted by the guardian lions in Chinese culture With increased trade during the Han dynasty and cultural exchanges through the Silk road, lions were introduced into China from the ancient states of Central Asia by peoples of Sogdiana, Samarkand, and the Yuezhi (月氏) in the form of pelts and live tribute, along with stories about them from Buddhist priests and travelers of the time.This exchange can be seen in that the Chinese word for lion is "Shi" (師, later 獅/狮), which shares the same etymological roots as "Shiar" (شیر), the Persian language name for the animal.

Several instances of lions as imperial tributes from Central Asia was recorded in the document Book of the Later Han (後漢書) written from 25-220CE. On one particular event, on the eleventh lunar month of 87 CE, "... an envoy from Parthia offered as tribute a lion and an ostrich to the Han court. Indeed the lion was associated by the Han Chinese to earlier venerated creatures of the ancient Chinese, most notably by the monk Huilin (琳说) who stated that "the mythic suanni (狻猊) is actually the lion, coming from the Western Regions" (狻猊即狮子也,出西域).

The Buddhist version of the Lion was originally introduced to Han China as the protector of dharma and these lions have been found in religious art as early as 208 BC. Gradually they were incorporated as guardians of the Chinese Imperial dharm. Lions seemed appropriately regal beasts to guard the emperor's gates and have been used as such since. There are various styles of guardian lions reflecting influences from different time periods, imperial dynasties, and regions of China. These styles vary in their artistic detail and adornment as well as in the depiction of the lions from fierce to serene.

Although the form of the Chinese guardian lion was quite varied during its early history in China, the appearance, pose, and accessories of the lions eventually became standardized and formalized during the Ming and Qing dynasties into more or less its present form.


This is a very unusual and extremely attractive Chinese BI (Disk) made from  Jade. Beautifully hand carved with detailed incising and chasing on both sides of the disk. There is a small hole at the top which I assume is to hang around your neck. The carving details two Phoenix and in the centre of the Bi surrounded by leaves. The carving is almost identical on both sides. The yellow jade colour is very rare and was used for imperial gifts..
It dates from the  19th century but could be earlier. The subject of Phoenix and Ox are lucky talismans and this is why the Bi would have been an object of great respect in a home

 Size 3 inches across by 1/4 inch thick:  £45

A bi is a flat jade disc with a circular hole in the centre. Neolithic bi are undecorated, while those of later periods of China, like the Zhou dynasty, bear increasingly ornate surface carving (particularly in a hexagonal pattern) whose motifs represented deities associated with the sky (four directions) as well as standing for qualities and powers the wearer wanted to invoke or embody.
As laboriously crafted objects, they testify to the concentration of power and resources in the hands of a small elite.
Later traditions associate the bi with heaven, and the cong with the earth. Bi disks are consistently found with heaven and earth-like imagery, suggesting that the disk's circular shape also bears symbolic significance as this description explains:
It is found that these objects testify to early stages of development of cosmological concepts that remained important in Chinese culture during the Warring States and Han periods: the notion of a covering sky (gaitian) that revolves around a central axis, the cycle of the Ten Suns, and the use of an early form of the carpenter's square. These objects were handled by shamans who were the religious leaders of Liangzhu (Lanzhou) society and the transmitters of cosmological knowledge.
The original function and significance of the bi are unknown, as the Neolithic cultures have left no written history. From these earliest times they were buried with the dead, as a sky symbol, accompanying the dead into the after world or "sky", with the cong which connected the body with the earth. They were placed ceremonially on the body in the grave of persons of high social status. Bi are sometimes found near the stomach and chest in Neolithic burials.
Jade, like bi disks, has been used throughout Chinese history to indicate an individual of moral quality, and has also served as an important symbol of rank. They were used in worship and ceremony – as ceremonial items they symbolised the ranks of emperor, king, duke, marquis, viscount, and baron with four different kweis and two different bi disks.
In war during the Zhou dynasty period (11th to 250 bc), bi disks belonging to the leaders of the defeated forces were handed over to the victor as a sign of submission.
We have two others in a similar yellow fat Jade.

Porcelain Notes;

Dehua County in central Fujian Province in southeast China is known as one of the Three Porcelain Capitals in China, together with Jingdezhen in Jiangxi Province and Liling in Hunan Province.

Dehua porcelain dates back to the Song Dynasty (960-1279). Solid and smooth, Dehua porcelain is resistant to both heat and cold. One type of "Jianbai" porcelain in particular has a sparkle and lustre even more stunning than white jade. Its ivory-white colour and superb workmanship make it a favourite of art lovers.

Dehua Kiln was a famous kiln specialized in white porcelain making. Its sites spread about within the scope of today's Dehua County, Fujian Province. Its white porcelain became a representative genre of Chinese porcelain industry. The body of its while porcelain was low in iron content and high in potassium content, the colour of the glazed surface was of bright, smooth lustre, and milky as frozen fat. It was thus often called as "lard white" or "ivory white". Dehua white porcelain used to be one of the major varieties for export in various dynasties. In the West it was named as "Chinese white porcelain" or "Marco Polo porcelain". Its common shapes were burner, cup, bottle, plate, tin, Zun (a kind of wine vessels), and Ding (an ancient cooking vessel), which are often decorated with appliqués and stamps, and the porcelain figurine was also remarkably exquisite. The masterpiece of Dehua porcelain is white porcelain figure of Buddha.

Dehua porcelain gradually developed its own techniques and styles and enjoyed big development during the Ming Dynasty (1368-1644). During the Song and Yuan dynasties (960-1368), Dehua porcelain had already been exported to other countries and regions. In modern times, quite a few Dehua porcelains of the Qing Dynasty (1644-1911) have won gold prizes in expositions held both at home and abroad, such as Shanghai, Taiwan, Japan and Britain, and Dehua porcelain is one of the main products of the national porcelain export, exporting to more than 80 countries and regions.


Fencai (famile rose)

It was a new variety of porcelain colour based on the five-colours, created under the influence of cloisonné, belonging to the variety of over glaze colours because of its colours added over the glaze. The characteristics was that it had changed the stiff relations between five colours since it was first of all filled with a layer of "glassy white" and then drawn patterns on the "glassy white" with the pigments in need, which made the bright and black distinctive, and the transition of the colours with the washing way made each colour rich in gradation, soft, pretty and charming, thus it was also called "soft colours". Fencai was a result of the further development of five-colours, and a new achievement in the porcelain production in Qing Dynasty. It was create in the Jingdezhen kiln in Kangxi Reign and prevailed in Yongzheng Reign, and still saw remarkable development in Qianlong Reign with more varieties and more sophistic patterns.



Bronze censer large size in the shape of a lotus, of globular form, the base cast in the form of a dragon and phoenix, 14cm diameter sold



19th Century Blue and White Bowl decorated with Reeds. Two small nibbles on rim and hardly noticeable. Diameter 6 inx3.5 /15.5cmx8.9cm with stand

Satsuma Vase

Rare Korean Crane Porcelain

18thC Ming Bud Vase

19th Century Japanese Blue and White bowl in god condition with makers mark on base. Diameter 7 inx3.25 /17.5cmx8.5cm with stand


Japanese Picture Bowl: This style of bowl is actually meant to be displayed on a stand. In this case with pretty finches amongst spring flowering blossom.

This is a beautiful 19th century Japanese Export Bowl in a raised, cloisonné style enamelled pattern. White background with a rich
green rim hand painted in blue, red and yellow
with an almost jewel like blue raised pattern.
Other areas in a similar jewel like pattern in colours and black.
Width 6.25 inches by 1.5 inches (with wood box)


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  On the left are two vintage Japanese Shippo Cloisonné's vases in green, which were made about 40-50 years ago. The original wooden stands & wooden boxes are also included..
About shippo cloisonné craft The shippo cloisonné craft was centred around Tojima Village (now Shippo-cho), in Owari Province (now Aichi Prefecture). One of the oldest known piece of Owari cloisonné is a sake cup from 1833.
Early pioneers in Japanese Owari cloisonné techniques were Owari's craftsmen Kaji Tsunekichi (1808 to 1883), Hayashi Kodenji (1831 to 1915), Ando Jubei, and Kawade Shibataro. Both Ando and Kawade introduced the French art of Plique-a-jour cloisonné

Ducks & Geese

Blue Ducks-Length 4.75 ins. Height 4 ins Width 3 ins Chinese mid 20th C


Pewter and brass decorated Duck
Pot from China. A heavy pot 11cm
tall. Temporary image

Brush Washer in the form of a pool 11.4x9.3x 5.6cm       


Ceramic Duck: China 19th century. This is a deeper green than the picture shows which is much rarer than the blue.

The ducks mouth is slightly open with tongue showing and stands approximately 22cms / 8.6 inches tall

Although this is a vintage item there are no chips or cracks £75


Korean Jade Green vase with flying stork and cloud decoration 7.5cm high 7.5cm diameter
in very good condition, makers mark to base, which would date this to c 1930 so  at least 70
years old £75 includes wood base.


Chinese early 20th century Ceramic Brush Pot with tubed decoration 11 cms tall and has a diameter of 5.5 cms AC




Unusual colour Red Brown Soapstone Brush pot-Chinese dating from 19th century.
4.25 inches wide and 2.75 inches high


Yifan Zhang
a Cat goddess who lead a legion of cats to uphold righteousness before the Shang Era. Descendant of Huang Di ,the Yellow Emperor a part-real, part-legendary personage who is credited with founding the Chinese nation around 4,000 BC

teacups dating from 1700 Chinese.
A beautiful and elegant Chinese bud vase with Leaf Markings. Dating from around 1905 in an art nouveau style. Probably following the European fashion. It has been made in quite a thick porcelain and is quite heavy for its size.
This was collected in China from an antique store. It has a leaf mark on the base which refers to a pottery I assume so not a mass produced item by any means. Entirely hand painted.
5 inches tall and 3.5 inches wide. ob
Unusual hand painted Chinese censer approx 13cm across and 7.5cm high. There is no mark on the base

Each side has a different scene - one interior scene of a figure seated behind a table with two others moving away (shown) and the other showing a single figure in a country setting looking up at a kite and carrying a parasol across his shoulder.

Each end has a lion's head with a ring in its mouth.

The colours are fresh and bright and the figures painted with great detail
I have another one almost identical.
Perfect condition £35


Antique Chinese Bulb Pots
click above for page

Japanese porcelain marks See bottom of this page

This is a stand for Sake cups, called Kagetsudai to serve Sake to guests Width;7.1 in : Length 7.1 in : Height 7.1 in



Pure snow white Bowl Spun from  quartz crystal which makes a wonderful soundThis amazing and one off  bowl is 8 inches tall and comes with a special beater and silk box £210
The above group of pictures are from our section on Tea accessories-A selection  of tea bowls, scrolls and teapots gathered from China and Japan- click this line to go there


The item is solid carved, beautifully coloured. Collected in China.


We recently found a what I think could be Moss Agate stone brush pot similar to the agate5 inches wide. £95

A selection of Dai-Display tables, will soon be shown here









Another gorgeous Korean Celadon Glaze ceramic vase,. This is a two handled vase.
Decorated in jade green with a white spot pattern, with baluster shaped vase. Handles have red glaze button tops.
Two character mark on the base.
It is in excellent condition with no damage or restoration.
While in a 19th century style this is early 20th century
Height: 4.1/8 inches, Width: 2.3/4 inches £35


















Chinese Blue & White 19th century Tea Caddy In perfect condition, this lovely piece is decorated With a Mountain and River scene, the lid has a stylised floral motif, in an oblong form , it stands 6" tall and 3.75" across. OB

This is a brush pot /censer or bulb bowl which has been hand painted Prunus 'UME' blossom design. The unique thing about this marvellous pot is the beautiful shape of the  inner rim. Its signed with a three character mark on the base.

The item is in fine order. Although there is an expected amount of age associated wear , no chips, nor cracks , the under well foot does have a pictured spider hairline on the base glaze across the signature  but dos not affect the sides of the pot. Height at 4.5 inches, diameter is at 7 inches. This comes with a pot base in wood.  £120


Cicadas carved from Amber

5x3 inches

In Japan, the cicada is associated with the summer season. The songs of the cicada are often used in Japanese film and television to indicate the scene is taking place in the summer. The song of a particular cicada, called "tsuku-tsuku boshi", is said to indicate the end of summer, and it is called so because of its particular call. During the summer, it is a pastime for children to collect both cicadas and the shells left behind when moulting.

In Japan, the cicada carries further philosophical connotations of re-birth. Since the cicada emerges from the ground to sing every summer, it is a symbol of reincarnation. Of special importance is the fact that the cicada moults, leaving behind an empty shell. But furthermore, since the cicada only lives for the short period of time long enough to attract a mate with its song and complete the process of fertilization, they are seen as a symbol of evanescence.

In the Japanese novel The Tale of Genji, the title character poetically likens one of his many love interests to a cicada for the way she delicately sheds her scarf the way a cicada sheds its shell when moulting. A cicada shell also plays a role in the manga Winter Cicada. They are also a frequent subject of haiku, where, depending on type, they can indicate spring, summer, or fall. Also, in the series Higurashi no Naku Koro ni, cicadas (or higurashi) are a major subject.

In China, the phrase 'to shed off the golden cicada skin'(金蝉脱壳) is the poetic name of the tactic of using deception to escape danger, specifically of using decoys (leaving the old shell) to fool enemies. It became one of the 36 classic Chinese stratagems. In the Chinese classic Romance of the Three Kingdoms, Diaochan also got her name from the sable (diào) tails and jade decorations in the shape of cicadas (chán), which at the time adorned the hats of high-level officials. In the Chinese classic Journey to the West, the protagonist Priest of Tang was named the Golden Cicada; in this context the multiple shedding of shell of the cicada symbolizes the many stages of transformation required of a person before all illusions have been broken and one reaches enlightenment. This is also referred to in Japanese mythical ninja lore, as the technique of utsusemi (i.e., literally cicada), where ninjas would trick opponents into attacking a decoy.

This Japanese ceramic vase is from the 1930's and is made to resemble bamboo in shape if not colour. the colour is like celadon and very beautiful and delicate with the bamboo leafs in the same colour. Modelled in the same porcelain colour then fired. There are no maker's marks. It was probably used as a censer for burning incense as the inside is quite dark from what looks like burning. This is fine as the vase is small and teh right size It an also be used as a brush washer ,

This vase in good condition, with no cracks, chips, or other damage, and only a little wear, although there is quite a lot of stuck-on dust on the inside. 2 1/2" (6.3cm) x 4.3/4 (12cm). £60


Vintage Japanese Insence Case, Kogo, Kyo ware, Cow
It's very good condition. No cracks, No chips.

L 1.8"(4.6cm) x W 2.6"(6.5cm) x H1.5 (3.8cm)
This is a vintage Japanese Incense Case of Kyo ware. A cow is moulded.
The seal of the potter is put on the bottom. I can make out

Japanese incense case is called "Kogo". This was made about 70 years ago. £65

This is an antique Japanese Sake bottle of Old Imari ware, which was made in early Meiji Era (about 100-110 years ago).

This is originally a Sake bottle to offer Japanese Sake on altar in the time of Shinto-style wedding ceremony, etc.

Overglaze pictures are painted by the technique of "Inban". Inban is very intricated hand-finished stamp work. Inban was already used in early Imari.

Dia. 2.6"(6.5cm) x H 6.4"(16.3cm) £55


Japanese HANDPAINTED Sake bottle, Kutani ware,19c

it's excellent condition. No chips, no cracks.

Dia. max. 2.8"(7.2cm) x H 5.9"(14.9cm)

Age-around the end of 19C

This is an antique Japanese Kuwani ware's Sake bottle, on which a pair of cranes with pine trees are completely HANDPAINTED.

This Sake bottle was made around the end of 19C.

The signature of "Kutani" is written on the bottom. sold
The notes were of inyteresyt which is why I left these for reference

About Kutani ware

Kutani ware is Japanese porcelain made in Kaga province (now in Ishikawa prefecture). The name “Old Kutani” refers to porcelain decorated with heavily applied overglaze enamels and produced in the Kaga mountain village of Kutani.
The powerful Maeda family had established a kiln there by 1656. The clay bodies used were gray and coarse-grained. On most pieces—dishes and bowls were especially common—a white or blue-white matte glaze was decorated in dark, restrained colours, initially greens, yellows, and some reds, and later purples and dark blues. Some items had cobalt blue decoration under a white glaze.

The most noted Old Kutani pieces are “Green Kutani,” in which most of the surface is covered in a green or blue-green glaze to which one or two colours have been added (or the glaze is applied evenly over a design executed in black).

The bold designs of Kutani ware drew freely from Chinese ceramics, paintings, and textiles. They are renowned for their rich pictorial ornament executed in lively, intense lines.


Handcrafted Japanese wooden Dry Tea bowl in contrasting woods. Beautifully crafted and patterned with several different textures and measuring 10cms across by 9cms tall . Excellent condition, no chips or cracks £35


This is a vintage Japanese Insence Case of Kyo ware. Various patterns are hand painted on it.

Japanese incense case is called a "Kogo". This was made about 80 years ago. A Kogo is often used to burn a little incense during the tea ceremony
Good condition. No chips, no cracks.
Dia. 1.6-1.8"(4.0-4.5cm) x W 2.0"(5.0cm)


Small Japanese exquisitely made Satsuma Sensor-for incense. Circa 1920 £65

Character mark on base 6 x 10 cm £165


Two small Imari blue under glaze vases. Not quite a pair as these are hand made. One is slightly wider than the other although both have the same design. These are offering sake bottles used in ceremonies for Buddhist festivals

Dating to the late 19th century. The design is of houses and farmers with a mountain scene in the background. Partially this may refer to the original way that Sake was fermented before the discovery of the enzyme that allowed fermentation. (see below)
6 inches tall £45 each or £75 for both. Including stands

Sake was used for many different purposes in the Shinto religion, including as an offering to the Gods and to purify the temple. The bride and groom each consume sake in a Shinto wedding ceremony in a process known as Sansankudo. There were many other uses for sake in Shinto, most of which are still in practice today. Because it is meant to be enjoyed with friends and family, tradition holds that a person must never pour their own sake; instead another person pours for you, and you do the same for them. Sake is served eiter cold or warm although there are specific sake types for cold and warm drinking. Generally warm sake is served around 92 degrees

The basic process of making sake involves "polishing" or milling the rice kernels, which were then cooked in good, clean water and made into a mash. The earliest "polishing" was done by a whole village: each person would chew rice and nuts and then spit the mixture into a communal tub – the sake produced was called "kuchikami no sake," which is Japanese for "chewing the mouth sake."

Bizen Pottery


"Bizen Pottery is not glazed or painted. It is simply shaped and fired. Given the blunt appearance, where does its infinite appeal come from?
This special soil is dug up and refined, to become the raw material used to provide many beautiful creations. After the potter forms the clay into a shape, which is then fired at about 1,300oC. During the firing, it goes through various changes and turns into a piece of pottery. The pattern on its surface is an ensemble created by nature and the potter. Yes, Bizen Pottery is a collaboration of nature and man. That's the beauty of it. It has no ornate decoration. That's exactly why Bizen Pottery speaks volumes."Bizen City Home Page

Bizen ware (備前焼 Bizen-yaki) is a type of Japanese pottery most identifiable by its ironlike hardness, reddish brown colour, absence of glaze, and markings resulting from wood-burning kiln firing.

Bizen is named after the village of Imbe in Okayama prefecture, formerly known as Bizen province. This artwork is Japan's oldest pottery making technique, introduced in the Heian period. Bizen is one of the six remaining kilns of medieval Japan.

Bizen clay bodies have a high iron content and, traditionally, much organic matter that is unreceptive to glazing. The clay can take many forms.

The surface treatments of Bizen wares are entirely dependent on yohen, or "kiln effects." Pine ash produces goma, or "sesame seed" glaze spotting. Rice straw wrapped around pieces creates red and brown scorch marks. The placement of pieces in a kiln causes them to be fired under different conditions, with a variety of different results. Considering that one clay body and type of firing is used, the variety of results is remarkable.

Because of the clay composition, Bizen wares are fired slowly over a long period of time. Firings take place only one or two times a year. They require the wood fire to be kept burning for 10-14 days involving long hours and tons of wood..