{"product_id":"aiba-koyo-mr-aiba-kouichirou-相場-恒一郎-常滑-32-5cm-round-drum-丸形-太鼓形-unglazed-無釉","title":"AIBA KOYO – Mr. AIBA Kouichirou（相場 恒一郎）– 常滑 - 32.5cm Round Drum 丸形・太鼓形 – Unglazed 無釉","description":"\u003cp\u003e\u003cstrong\u003eProduct Details \/ 商品詳細\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRegion \/ 産地:\u003c\/strong\u003e Tokoname, Aichi Prefecture, Japan – 常滑市・愛知県\u003cbr\u003e\u003cstrong\u003eKiln \/ 窯元:\u003c\/strong\u003e KOYO Kiln – 鴻陽窯\u003cbr\u003e\u003cstrong\u003ePotter \/ 作家:\u003c\/strong\u003e AIBA KOYO 鴻陽 – AIBA Kouichirou 相場恒一郎 (1944–2015)\u003c\/p\u003e\n\u003cp\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eDescription \/ 作品説明\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA vintage, artisan-made Japanese bonsai pot（日本製・職人作の盆栽鉢 \/ 和鉢）by \u003cstrong\u003eAIBA KOYO 鴻陽\u003c\/strong\u003e, real name \u003cstrong\u003eAIBA Kouichirou 相場恒一郎\u003c\/strong\u003e, produced in \u003cstrong\u003eTokoname 常滑市, Aichi Prefecture 愛知県\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis distinctive piece is formed in the traditional \u003cstrong\u003eround drum style（丸形・太鼓形 \/ taiko-gata）\u003c\/strong\u003e, with a low cylindrical profile, near-vertical walls and beautifully controlled proportions. The simplicity of the upper body contrasts with the more architectural treatment of the lower section, creating a powerful yet restrained appearance with an excellent sense of \u003cstrong\u003e均衡（kinko – balance）\u003c\/strong\u003e and \u003cstrong\u003e安定感（anteikan – stability）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe upper edge is exceptionally understated. Rather than having a projecting external lip, the opening is finished with a \u003cstrong\u003esubtle internal rim（内縁 – uchi-beri）\u003c\/strong\u003e, preserving the clean and uninterrupted silhouette of the exterior wall.\u003c\/p\u003e\n\u003cp\u003eOne of the most distinctive characteristics of this pot is its traditional \u003cstrong\u003edrum-inspired decoration（太鼓意匠 – taiko isho）\u003c\/strong\u003e. Two staggered rows of individually formed raised rivet-like studs \u003cstrong\u003e（鋲飾り – byo-kazari）\u003c\/strong\u003e encircle the body, creating a strong rhythmic pattern around the circumference.\u003c\/p\u003e\n\u003cp\u003eOn the principal face, this regular rhythm develops into a distinctive \u003cstrong\u003etriangular arrangement of studs（三角形の鋲飾り）\u003c\/strong\u003e, creating a subtle focal point within the otherwise continuous decorative treatment. The irregularity and individuality of the raised elements retain an attractive sense of \u003cstrong\u003e手仕事（teshigoto – hand craftsmanship）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThese features are particularly appropriate to the \u003cstrong\u003eTaiko form（太鼓形）\u003c\/strong\u003e. Rather than functioning merely as decorative dots, the raised \u003cstrong\u003e鋲（byo）\u003c\/strong\u003e evoke the metal fastenings traditionally associated with drum construction, strengthening the relationship between the ceramic vessel and the traditional Japanese drum from which the form takes its name.\u003c\/p\u003e\n\u003cp\u003eBelow the rivet decoration is a pronounced \u003cstrong\u003eincised reinforcing band（胴帯 – do-obi）\u003c\/strong\u003e, followed by a finer horizontal band towards the base. These bands are an important part of the overall \u003cstrong\u003e太鼓意匠\u003c\/strong\u003e, reproducing in ceramic form the appearance of the \u003cstrong\u003emetal reinforcing bands or hoops used to bind and strengthen the wooden body of a traditional drum\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe relationship between the \u003cstrong\u003e鋲飾り（studs）\u003c\/strong\u003e and \u003cstrong\u003e胴帯（reinforcing bands）\u003c\/strong\u003e gives the pot a convincing architectural resemblance to traditional drum construction rather than simply decorating an otherwise plain round vessel.\u003c\/p\u003e\n\u003cp\u003eThe lower structure terminates in \u003cstrong\u003ethree integrated cut feet（三ヶ所の切足）\u003c\/strong\u003e, evenly positioned around the circular base. The feet are formed directly from the basal structure and are neither separately applied nor recessed. Sections of the continuous lower structure have been carefully cut away to create the three supporting points.\u003c\/p\u003e\n\u003cp\u003eThe pronounced incised \u003cstrong\u003e胴帯\u003c\/strong\u003e immediately above the feet creates a deep horizontal shadow line which, when viewed from certain angles, can make the feet appear recessed. Examination of the underside, however, shows their \u003cstrong\u003eintegrated cut construction（切足）\u003c\/strong\u003e clearly.\u003c\/p\u003e\n\u003cp\u003eThe unglazed clay \u003cstrong\u003e（無釉土 – muyu-tsuchi）\u003c\/strong\u003e is another particularly attractive characteristic of this piece. It presents a subdued \u003cstrong\u003eolive-grey to grey-green coloration（灰緑色・灰色系の土肌）\u003c\/strong\u003e, with a fine granular, almost stone-like surface texture（細かな土肌）.\u003c\/p\u003e\n\u003cp\u003eUnder different lighting conditions, the colour moves subtly between grey, olive and muted green. This restrained tonal variation gives the surface considerable depth while allowing the form and decoration to remain dominant.\u003c\/p\u003e\n\u003cp\u003eThe naturally textured surface expresses an attractive \u003cstrong\u003e土味（tsuchi-aji – character of the clay）\u003c\/strong\u003e, while age and previous cultivation have contributed subtle \u003cstrong\u003e経年変化（keinen henka）\u003c\/strong\u003e and \u003cstrong\u003e経年の風合い（keinen no fuai – character acquired through age）\u003c\/strong\u003e. Together these qualities give the pot a particularly appealing sense of \u003cstrong\u003e渋み（shibumi – understated refinement）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eDrainage \u0026amp; Wiring \/ 排水穴・針金穴\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe interior and underside feature \u003cstrong\u003eone large central drainage hole（中央排水穴）\u003c\/strong\u003e, accompanied by \u003cstrong\u003ethree smaller peripheral drainage and wiring holes（周囲三ヶ所の排水・針金兼用穴）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThese three peripheral holes are deliberately \u003cstrong\u003edual-purpose\u003c\/strong\u003e, providing additional drainage（排水）while also allowing the root mass and tree to be securely anchored with wire（針金固定）.\u003c\/p\u003e\n\u003cp\u003eTheir evenly spaced radial arrangement provides excellent practical functionality while maintaining the visual symmetry and carefully considered construction of the \u003cstrong\u003eround drum form（丸形・太鼓形）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eSeal \/ 落款・窯印\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe underside bears a clearly impressed square \u003cstrong\u003eKOYO kiln seal（鴻陽角印）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe deeply impressed and well-preserved \u003cstrong\u003e鴻陽印\u003c\/strong\u003e provides an important point of identification and adds further collector interest（収集価値）to the piece.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExternal Dimensions \/ 外寸:\u003c\/strong\u003e 32.5 × 32.5 × 7.7cm\u003cbr\u003e\u003cstrong\u003eInternal Dimensions \/ 内寸:\u003c\/strong\u003e 28.0 × 28.0 × 6.7cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition \/ 状態:\u003c\/strong\u003e Excellent condition \/ \u003cstrong\u003e状態良好\u003c\/strong\u003e. No cracks or repairs. The surface and interior display natural evidence of age and previous cultivation consistent with a vintage Japanese bonsai container.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFree Shipping to UK Mainland \/ 英国本土送料無料\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eAbout the Potter \/ 作家について – AIBA KOYO 鴻陽 \/ AIBA Kouichirou 相場恒一郎\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Bahnschrift','sans-serif';\"\u003eMr. AIBA Kouichirou (\u003c\/span\u003e\u003cspan lang=\"JA\" style=\"font-size: 11.0pt; font-family: 'MS Gothic'; mso-ascii-font-family: Bahnschrift; mso-hansi-font-family: Bahnschrift; mso-bidi-font-family: 'MS Gothic';\"\u003e相場\u003c\/span\u003e\u003cspan lang=\"JA\" style=\"font-size: 11.0pt; font-family: 'Bahnschrift','sans-serif';\"\u003e \u003c\/span\u003e\u003cspan lang=\"JA\" style=\"font-size: 11.0pt; font-family: 'MS Gothic'; mso-ascii-font-family: Bahnschrift; mso-hansi-font-family: Bahnschrift; mso-bidi-font-family: 'MS Gothic';\"\u003e恒一郎\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Bahnschrift','sans-serif';\"\u003e, 1944–2015)\u003c\/span\u003e, known in the bonsai world as \u003cstrong\u003eKOYO（鴻陽）\u003c\/strong\u003e, was a respected Tokoname bonsai-pot craftsman working in \u003cstrong\u003eTokoname, Aichi Prefecture（愛知県常滑市）\u003c\/strong\u003e, one of Japan's historically important ceramic centres and one of the \u003cstrong\u003eSix Ancient Kilns of Japan（日本六古窯 – Nihon Rokkoyo）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eKOYO's work is recognised for its command of traditional bonsai-pot forms（伝統的な盆栽鉢の造形）, carefully controlled proportions（均整）, practical construction（実用性）and refined surface treatments. His pots demonstrate a strong understanding of the relationship between \u003cstrong\u003etree and container（樹と鉢の調和）\u003c\/strong\u003e, seeking \u003cstrong\u003e調和（chowa – harmony）\u003c\/strong\u003e rather than allowing the container to dominate the bonsai.\u003c\/p\u003e\n\u003cp\u003eHis repertoire included both glazed（施釉）and unglazed（無釉）containers across numerous traditional forms. Particular attention was given to the relationship between \u003cstrong\u003erim（縁）\u003c\/strong\u003e, \u003cstrong\u003ebody（胴）\u003c\/strong\u003e, \u003cstrong\u003edecorative or structural bands（帯）\u003c\/strong\u003e, and \u003cstrong\u003efeet（足）\u003c\/strong\u003e, giving many of his pots a carefully considered architectural quality.\u003c\/p\u003e\n\u003cp\u003eKOYO died in \u003cstrong\u003e2015\u003c\/strong\u003e, meaning his surviving pots now represent the completed body of work of an established Tokoname craftsman. Distinctive examples displaying unusual forms, clay treatments or decorative features are consequently of particular interest to collectors of Japanese bonsai ceramics（日本盆栽陶芸）.\u003c\/p\u003e\n\u003cp\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eCollector's Note \/ コレクターズノート\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003e32.5cm AIBA KOYO 鴻陽\u003c\/strong\u003e is particularly interesting because the \u003cstrong\u003eTaiko concept（太鼓意匠）\u003c\/strong\u003e extends beyond the basic round shape and is expressed throughout the construction and decoration of the vessel.\u003c\/p\u003e\n\u003cp\u003eThe two staggered rows of \u003cstrong\u003e鋲飾り\u003c\/strong\u003e, the unusual \u003cstrong\u003etriangular stud composition（三角形の鋲飾り）\u003c\/strong\u003e, and the incised reinforcing \u003cstrong\u003e胴帯\u003c\/strong\u003e work together to reference the metal fastenings and reinforcing bands associated with traditional drum construction. The design therefore has a clear relationship between \u003cstrong\u003e形（katachi – form）\u003c\/strong\u003e and \u003cstrong\u003e意匠（isho – decorative concept）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe lower construction is equally noteworthy. The three \u003cstrong\u003eintegrated cut feet（三ヶ所の切足）\u003c\/strong\u003e emerge directly from the basal structure rather than being separately attached or recessed, allowing the strong circular silhouette to remain visually dominant.\u003c\/p\u003e\n\u003cp\u003eCombined with the unusual muted \u003cstrong\u003egrey-green unglazed clay（灰緑色の無釉土）\u003c\/strong\u003e, granular \u003cstrong\u003e土肌\u003c\/strong\u003e, mature \u003cstrong\u003e経年変化\u003c\/strong\u003e, and clearly impressed \u003cstrong\u003e鴻陽角印\u003c\/strong\u003e, the pot has considerable individuality and \u003cstrong\u003e鑑賞価値（kansho kachi – aesthetic\/collector interest）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is a particularly attractive example of the Japanese principle of \u003cstrong\u003e用と美の調和（yo to bi no chowa – harmony between function and beauty）\u003c\/strong\u003e, combining the practical requirements of a bonsai container with the traditional visual language of the \u003cstrong\u003e太鼓（taiko）\u003c\/strong\u003e in a restrained and highly distinctive form.\u003c\/p\u003e","brand":"Sugi Bonsai","offers":[{"title":"Default Title","offer_id":58226253103435,"sku":"v1205062736  71","price":261.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0945\/4259\/4379\/files\/IMG_6074_89e27278-a035-4300-862d-0ddcf5f45e39.jpg?v=1787410398","url":"https:\/\/sugibonsai.com\/products\/aiba-koyo-mr-aiba-kouichirou-%e7%9b%b8%e5%a0%b4-%e6%81%92%e4%b8%80%e9%83%8e-%e5%b8%b8%e6%bb%91-32-5cm-round-drum-%e4%b8%b8%e5%bd%a2-%e5%a4%aa%e9%bc%93%e5%bd%a2-unglazed-%e7%84%a1%e9%87%89","provider":"Sugi Bonsai","version":"1.0","type":"link"}