KEIZAN HISADA 久田桂山 – 2nd Generation 二代 – Hisada Sadao 久田貞雄 – Seal only 印のみ - 常滑 - 47.0cm Rectangular Flared-Corners 隅張り長方形 – Unglazed 無釉

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 substantial 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 47.0cm, this is a large and imposing rectangular unglazed bonsai pot（長方形無釉鉢）, distinguished by its strongly articulated flared corners（隅張り） and carefully structured architectural profile.

The flared corners rise continuously from the lower structure of the vessel toward the upper perimeter, giving the rectangular body greater strength and definition without making the form appear heavy. This treatment creates an elegant vertical emphasis at each corner and contributes greatly to the pot's characteristic 安定感 (anteikan – stability) 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）. This treatment crisply frames the planting area while giving the mouth of the pot additional visual strength.

Around the lower body is a defined basal band（腰帯）, creating a strong horizontal counterpoint to the vertical movement of the 隅張り corners. The relationship between 内縁・縁立て・隅張り・腰帯 gives the vessel 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. The feet visually continue into the strengthened corners above, producing a coherent line from the base through the body and toward the rim. This continuity between 足・鉢身・口縁 is an especially attractive aspect of the design and demonstrates a sophisticated understanding of 造形美 (zokeibi – beauty of form).

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

The surface has developed attractive 経年変化 (kenen henka) and increasingly mature 景色 (keshiki). These subtle variations across the clay contribute to its natural 土味 (tsuchi-aji) and the quiet, understated quality described as 渋み (shibumi).

Continued cultivation should allow this surface character to mature further, gradually enriching the relationship between the clay and the tree planted 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 generous scale and strong yet restrained architecture would make it particularly suitable for a substantial pine, juniper or mature deciduous bonsai. The strength of the 隅張り corners provides visual authority, while the restrained unglazed surface ensures that the pot remains complementary to the tree rather than competing with it.

The overall composition reflects the traditional Japanese concept of 用の美 (yo no bi – beauty through function): a bonsai container whose aesthetic character is inseparable from its practical purpose.

Dimensions / 寸法

External Dimensions / 外寸: 47.0 × 35.5 × 9.7cm
Internal Dimensions / 内寸: 41.2 × 29.6 × 7.5cm

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 natural clay character, proportion and horticultural functionality are carefully balanced.

His work allows the qualities of Tokoname clay（常滑土） to remain central. Rather than relying upon glaze or elaborate surface decoration, the form, firing and natural character of the clay establish the visual identity of the vessel.

With age and cultivation, these unglazed surfaces develop individual 土味・経年変化・景色, gradually acquiring the restrained 渋み that is particularly appreciated in traditional Japanese bonsai ceramics.

Keizan's approach combines 調和 (chowa – harmony), 品格 (hinkaku – dignity) and the practical principle of 用の美 (yo no bi – beauty through function), qualities that have made his larger unglazed containers particularly appropriate for mature specimen bonsai.

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 substantial 47.0cm 隅張り長方形鉢 is an especially strong example of Keizan's architectural approach to the traditional unglazed rectangular container. The relationship between the stepped feet（段足）, pronounced flared corners（隅張り）, basal band（腰帯）, subtle internal rim（内縁） and refined raised border（縁立て） creates a continuous structure from the base to the mouth of the vessel.

At this larger scale, these details become particularly effective. The 隅張り corners give the pot authority and structural presence, while the shallow 9.7cm external height maintains an elegant horizontal proportion suitable for a substantial mature bonsai.

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 maturing 常滑土, with its developing 土味・経年変化・景色・渋み, adds another dimension to the piece. Unlike decorative pottery whose appearance is essentially complete when it leaves the kiln, an unglazed bonsai container such as this can continue to acquire character through decades of cultivation.

The combination of large scale, disciplined proportions, distinctive 隅張り construction, mature unglazed clay and the impressed 桂山 seal makes this a particularly compelling example of Keizan's traditional Tokoname work—equally appropriate for serious cultivation and for a collection devoted to important Japanese bonsai ceramics.