KEIZAN HISADA 久田桂山 – 2nd Generation 二代 – Hisada Sadao 久田貞雄 – Seal only 印のみ - 常滑 - 37.7cm Rectangular unglazed Flared-corners

Product Details / 鉢の詳細 

Region / 産地: Tokoname 常滑市, Aichi Prefecture 愛知県
Kiln / 窯元: Hisada Kiln 久田窯
Potter / 作家: Second Generation Hisada Keizan 二代 久田桂山
Personal Name / 本名: Hisada Sadao 久田貞雄
Form / 形状: Rectangular with Flared-Corners 隅張り長方形鉢
Finish / 仕上げ: Unglazed 無釉
Marking / 陶印: Seal Only 印のみ – Impressed Keizan seal 桂山印

Description / 商品説明

A refined vintage, artisan-made Japanese bonsai pot by Second Generation Hisada Keizan（二代 久田桂山）, Hisada Sadao 久田貞雄, from the Hisada Kiln（久田窯） of Tokoname 常滑市.

At 37.7cm, this medium-sized rectangular unglazed bonsai pot（長方形無釉鉢） has a strong yet restrained architectural character, distinguished particularly by its elegant flared corners（隅張り）.

The corners form a continuous vertical line from the lower structure of the pot towards the upper perimeter. This subtle outward emphasis gives greater definition to the rectangular body without making the vessel appear excessively heavy, creating an attractive combination of 力強さ (chikarazuyosa – strength) and 品格 (hinkaku – dignity).

The upper perimeter is finished with a refined raised border（縁立て）, accompanied by a subtle internal rim（内縁）. Together they neatly frame the planting area and provide a crisp architectural finish to the mouth of the pot.

Around the lower body is a defined basal band（腰帯）, establishing a strong horizontal line beneath the otherwise restrained walls. Its relationship with the vertical 隅張り corners creates a particularly successful sense of 均衡 (kinko – balance) and 調和 (chowa – harmony).

The pot is supported by carefully formed stepped feet（段足） with subtle incised definition. Their structure flows naturally into the strengthened corners above, visually connecting the 足 (ashi – feet), 鉢身 (hachi-mi – body) and 口縁 (koen – rim).

This continuous relationship between the 段足・隅張り・腰帯・内縁・縁立て is one of the most distinctive aspects of the design and gives the vessel an especially coherent sense of 造形美 (zokeibi – beauty of form).

The pot is formed from natural Tokoname clay（常滑土） and fired unglazed（無釉）, allowing the inherent qualities of the clay to remain central to its appearance.

Its surface has developed attractive 経年変化 (kenen henka) and subtle 景色 (keshiki), adding depth and individuality to the natural clay. These qualities contribute to the pot's developing 土味 (tsuchi-aji) and the restrained, mature character expressed by 渋み (shibumi).

With continued cultivation, the unglazed surface can continue to acquire further depth and character, strengthening the visual relationship between the vessel, its clay and the bonsai cultivated within it.

The underside carries Keizan's impressed maker's seal（桂山印）. This is specifically a Seal Only（印のみ） example.

Its medium-large proportions, relatively shallow 7.6cm height, strengthened 隅張り corners and restrained unglazed finish make this a particularly versatile container for a mature bonsai. It would pair especially well with pines, junipers or substantial deciduous material where the pot requires sufficient visual strength while remaining subordinate to the tree.

The overall design demonstrates the traditional Japanese principle of 用の美 (yo no bi – beauty through function), combining horticultural purpose, proportion and restrained ceramic craftsmanship.

Dimensions / 寸法

External Dimensions / 外寸: 37.7 × 27.2 × 7.6cm

Condition / 状態

Excellent vintage condition / 非常に良好なヴィンテージコンディション

Shipping / 配送

Free Shipping to UK Mainland / 英国本土送料無料

About the Potter / 作家について

Hisada Sadao 久田貞雄, born in 1930 in Tokoname, is the Second Generation Hisada Keizan（二代 久田桂山）. He is the son of Hisada Shizuo 久田静夫, who established the Hisada workshop in Tokoname in 1929.

Sadao continued the family's ceramic tradition and became particularly associated with traditional Tokoname bonsai containers, especially refined unglazed pots（無釉盆栽鉢） in which the natural character of the clay, carefully considered proportions and horticultural functionality are brought together.

Keizan's unglazed work allows the qualities of Tokoname clay（常滑土） to remain central. Form and proportion take precedence over unnecessary ornamentation, while structural elements such as 口縁・内縁・帯・隅・足 are carefully integrated into the overall composition.

Through firing, age and continued bonsai cultivation, these unglazed surfaces gradually develop individual 土味・経年変化・景色, acquiring the understated 渋み and 品格 particularly appreciated in traditional Japanese bonsai ceramics.

His work combines 調和 (chowa – harmony), 均衡 (kinko – balance) and the traditional principle of 用の美 (yo no bi – beauty through function).

Collector's Note / コレクターズノート

Born in 1930, Hisada Sadao 久田貞雄 is now in his mid-nineties and remains a living representative of one of the senior generations associated with traditional Tokoname bonsai-pot craftsmanship. His exceptionally long connection with Tokoname places his work within an important period of post-war Japanese bonsai-pot history.

This 37.7cm 隅張り長方形鉢 is a particularly attractive example of Keizan's more architectural unglazed work. The flared corners（隅張り） provide the principal vertical emphasis, while the basal band（腰帯） anchors the lower body horizontally. Above, the subtle internal rim（内縁） and refined raised border（縁立て） complete the structure.

Of particular interest is the way the stepped feet（段足） relate directly to the flared corners above. Rather than functioning as visually isolated elements, the feet and corners form part of one continuous design, giving the pot a strong sense of structural unity.

Its relatively shallow proportions of 37.7 × 27.2 × 7.6cm further enhance the horizontal character of the vessel, making the stronger corner treatment particularly effective without overwhelming the overall form.

This particular pot is a Seal Only（印のみ） example, carrying Keizan's impressed 桂山印 as its identifying maker's mark, distinguishing it from examples carrying an additional hand-incised 銘.

The naturally ageing 常滑土, with its developing 土味・経年変化・景色・渋み, adds another dimension to the pot. These qualities can continue to mature through cultivation, giving an unglazed container an individual surface character that becomes increasingly connected to its history of use.

For the collector, the combination of 隅張り, 段足, 腰帯, 内縁, 縁立て, mature unglazed Tokoname clay and the impressed 桂山 seal makes this an excellent representation of Keizan's disciplined approach to traditional 用の美—a bonsai container in which form, material, craftsmanship and function remain carefully balanced.