KEIZAN HISADA 久田桂山 – 2nd Generation 二代 – Hisada Sadao 久田貞雄 – Seal only 印のみ - 常滑 - 28.2cm Rectangular Unglazed 長方形 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 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.

This 28.2cm rectangular unglazed bonsai pot（長方形無釉鉢） has a particularly attractive architectural construction, combining softly rounded corners, a substantial body, carefully articulated horizontal bands and distinctive recessed rounded stepped feet（内込み丸段足）.

The upper section is broad and cleanly formed, with gently rounded corners and a subtle internal rim（内縁） defining the planting area. The upper edge is restrained and smoothly finished, giving the mouth of the pot a clean, controlled profile.

A particularly distinctive feature is the treatment of the body. A finely defined double horizontal band（双線帯） runs continuously around the vessel. The two closely spaced raised lines create a deliberate visual division between the upper and lower sections of the body and introduce a strong horizontal rhythm without disturbing the otherwise restrained design.

A further defined lower basal band（下帯） runs around the pot immediately above the feet. This lower line visually anchors the vessel and creates a clear transition between the body and its supporting structure.

The relationship between the 双線帯 and 下帯 gives the pot a layered architectural character while maintaining the understated quality expected of a traditional unglazed Tokoname container.

Particularly attractive are the four recessed rounded stepped feet（四足・内込み丸段足）. The feet are positioned inward from the outer perimeter of the vessel, creating a clear recess beneath the lower body. Their stepped construction provides a deliberate transition from the basal structure into the softly rounded foot profile.

This combination of 内込み (recessed positioning), 丸 (rounded form) and 段足 (stepped construction) visually lifts the pot from the display surface while maintaining an excellent sense of 安定感 (anteikan – stability).

The relationship between the 内縁・双線帯・下帯・内込み丸段足 is particularly successful. Each architectural element is clearly defined but remains connected to the overall form, creating a strong sense of 均衡 (kinko – balance), 調和 (chowa – harmony) and 造形美 (zokeibi – beauty of form).

The vessel is formed from warm earthy Tokoname clay（常滑土） and fired unglazed（無釉）. The clay has a fine but naturally granular texture, with subtle inclusions contributing to an attractive 土味 (tsuchi-aji).

Its muted earthy brown to olive-brown coloration displays subtle tonal variation across the surface. Natural 経年変化 (kenen henka) and developing 景色 (keshiki) are beginning to give the clay additional depth and individuality.

With continued cultivation, these qualities should mature further, gradually enriching the surface with the quiet 渋み (shibumi) so highly appreciated in traditional Japanese unglazed bonsai ceramics.

The horticultural construction is equally well considered. The base incorporates two principal drainage holes（排水穴） together with four additional drainage/wiring holes（排水・針金穴）, giving a total of six functional openings for effective drainage and secure anchoring of the tree.

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

At 28.2 × 23.0 × 8.9cm, this is a versatile medium-sized Keizan container. Its substantial rectangular body and pronounced horizontal banding provide visual strength, while the rounded corners and recessed 内込み丸段足 soften and visually lift the architecture.

The overall composition expresses 安定感・均衡・調和・品格, together with the traditional Japanese principle of 用の美 (yo no bi – beauty through function).

Dimensions / 寸法

External Dimensions / 外寸: 28.2 × 23.0 × 8.9cm
Internal Dimensions / 内寸: 24.2 × 19.0 × 6.5cm

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 inherent qualities of Tokoname clay（常滑土） to remain central. Rather than relying upon elaborate decoration, Keizan's unglazed vessels derive much of their character from carefully controlled silhouettes, subtle structural details and the changing appearance of the clay itself.

Through firing, age and continued bonsai 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 approach combines 調和 (chowa – harmony), 均衡 (kinko – balance), 品格 (hinkaku – dignity) and the traditional concept 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 28.2cm 長方形鉢 is particularly interesting for the disciplined treatment of its horizontal architecture. The closely spaced double band（双線帯） provides definition across the body, while the separate lower basal band（下帯） visually anchors the vessel immediately above the feet.

Of particular interest are the four recessed rounded stepped feet（四足・内込み丸段足）. Their inward positioning creates a distinct shadow beneath the lower body, while the stepped transition and softly rounded profile give the vessel a lighter stance without sacrificing stability. This is a subtle but highly effective element of the pot's construction.

The arrangement of six functional openings（排水穴・針金穴） demonstrates that the vessel remains firmly rooted in practical bonsai cultivation, while the naturally ageing 常滑土 is beginning to acquire the 土味・経年変化・景色 that give traditional unglazed containers their individual character.

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

For the collector, the combination of 双線帯・下帯・内込み丸段足, the six-hole horticultural arrangement, naturally maturing Tokoname clay and impressed 桂山印 makes this a distinctive example of Keizan's traditional approach to 用の美—where proportion, structure, material and horticultural function are resolved as one coherent design.