KEIZAN HISADA 久田桂山 – 2nd Generation 二代 – Hisada Sadao 久田貞雄 – Seal only 印のみ - 常滑 - 47.8cm Rectangular 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 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 47.8cm, this is a large and powerful rectangular unglazed bonsai pot（長方形無釉鉢）, with deep proportions and a restrained architectural design characteristic of traditional Tokoname bonsai ceramics.

The walls are strong and relatively straight through the body, opening subtly outward toward the top. They terminate in a substantial raised lip（口縁）, giving the upper silhouette a strong horizontal emphasis while maintaining a calm and understated 渋い (shibui) character.

The lip is broad and cleanly formed, with a refined outer edge that gives definition to the upper profile without unnecessary decoration.

The corners are gently softened, allowing the transition between each face to flow naturally and preventing the substantial rectangular form from appearing overly rigid.

The interior is finished with a clearly defined internal rim（内縁）, creating a strong and carefully framed planting area.

The broad exterior walls remain deliberately restrained, allowing the natural character of the clay and the proportions of the pot to become the principal visual features.

The vessel is supported by four substantial recessed stepped feet（四足・内込み段足）. Their inward positioning beneath the body creates a pronounced shadow line, while the stepped construction gives a clear architectural transition from the lower body into the feet.

This treatment visually lifts the substantial container from the display surface while retaining excellent 安定感 (anteikan – stability) and 均衡 (kinko – balance).

The pot is made from attractive Tokoname clay（常滑土） and fired unglazed（無釉）. Its muted grey-brown to olive-grey coloration is accompanied by subtle tonal variation and a fine natural texture, giving the surface an understated 土味 (tsuchi-aji).

Natural age and previous cultivation have begun to produce attractive 経年変化 (kenen henka) and individual 景色 (keshiki) across the surface. These characteristics contribute to the mature 渋み (shibumi) associated with older unglazed Japanese bonsai containers and should continue to deepen through future use.

Drainage & Wiring / 排水穴・針金穴

The base incorporates one large rectangular main drainage opening（角形主排水穴） together with four smaller circular wiring/drainage holes（針金・排水穴）.

This provides excellent drainage for a large rootball while also allowing the tree to be securely anchored within the container.

The underside carries the impressed square Keizan maker's seal（桂山印）. This is specifically a Seal Only（印のみ） example, with no additional hand-incised signature.

At 47.8 × 35.9 × 13.0cm, with an internal planting area of 41.1 × 29.1 × 9.5cm, this is a substantial Keizan container with considerable visual and horticultural presence.

Its combination of 口縁・内縁・内込み段足, deep rectangular proportions, muted 常滑土, and practical 角形主排水穴 arrangement creates a strong but restrained vessel expressing 安定感・均衡・調和・品格 and the traditional principle of 用の美 (yo no bi – beauty through function).

Dimensions / 寸法

External Dimensions / 外寸: 47.8 × 35.9 × 13.0cm
Internal Dimensions / 内寸: 41.1 × 29.1 × 9.5cm

Condition / 状態

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

There are two minor chips to the feet, one positioned toward the side of the pot and the second toward the back. Both are small and localised to the foot area; hence, a price reduction has been made.

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

His unglazed work allows the inherent character of Tokoname clay（常滑土） to remain central. Rather than relying on elaborate ornamentation, the pots derive much of their character from carefully controlled silhouettes, subtle architectural details and the changing appearance of the clay itself.

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

His work reflects the principles of 調和 (harmony), 均衡 (balance), 品格 (dignity) and 用の美 (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.

This 47.8cm 長方形鉢 is an imposing example of Keizan's larger-scale work. Its generous depth and broad planting area give it considerable horticultural capability, while the overall architecture remains deliberately restrained.

The substantial 口縁 establishes a strong upper line, the broad walls provide visual mass, and the four recessed stepped feet（内込み段足） create a controlled shadow beneath the vessel and visually lift the substantial body.

The drainage arrangement is equally distinctive, with one large rectangular main drainage opening（角形主排水穴） accompanied by four smaller circular wiring/drainage holes（針金・排水穴）.

This particular pot is Seal Only（印のみ）, carrying the impressed 桂山印 as its identifying maker's mark.

The muted grey-brown 常滑土, developing 土味・経年変化・景色, substantial rectangular proportions and strong 内込み段足 give the pot a particularly quiet and authoritative 渋み.

For the collector, it is a fine example of Keizan's ability to maintain 均衡・安定感・品格 at a considerably larger scale, bringing together ceramic architecture, mature clay character and practical bonsai function through 用の美.