{"product_id":"nakano-gyozan-中野-行山-hand-signed-爪描き-常滑-41-2cm-oval-unglazed-楕円形-無釉","title":"NAKANO GYOZAN 中野 行山 \"Hand signed 爪描き\" - 常滑 - 41.2cm Oval Unglazed (楕円形 無釉)","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eProduct Details \/ 鉢の詳細\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003eRegion \/ 産地: Tokoname, Aichi Prefecture（常滑市）\u003cbr\u003eKiln \/ 窯: Gyouzan Kiln（暁山窯）\u003cbr\u003ePotter \/ 作家: 2nd Generation Gyozan – Nakano Yuuji 中野裕二\u003cbr\u003eHand signed \/ (爪描き)\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Bahnschrift','sans-serif';\"\u003eDescription \/ 説明: \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eA substantial, beautifully crafted \u003cstrong\u003eJapanese Tokoname bonsai pot（常滑焼盆栽鉢）\u003c\/strong\u003e by \u003cstrong\u003eNakano Yuuji 中野勇二・裕士\u003c\/strong\u003e, successor to the celebrated Gyozan tradition of Tokoname.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFormed as a generously proportioned \u003cstrong\u003eoval pot（楕円鉢・だえんばち）\u003c\/strong\u003e, this piece has the quiet strength and disciplined refinement associated with the Gyozan school. The warm brown unglazed Tokoname clay \u003cstrong\u003e（無釉・泥物）\u003c\/strong\u003e possesses an attractive natural clay character, \u003cstrong\u003etsuchi-aji（土味）\u003c\/strong\u003e, with subtle tonal and firing variation across its surface.\u003c\/p\u003e\n\u003cp\u003eThe long oval silhouette is especially successful. The sides descend with a restrained inward inclination towards the base, while the uninterrupted curvature of the oval gives the pot a softer and more elegant character than a rectangular form. It achieves an excellent balance between \u003cstrong\u003estrength and refinement（力強さと品格）\u003c\/strong\u003e, giving the vessel a calm, dignified presence — \u003cstrong\u003eochitsuki no aru tatazumai（落ち着きのある佇まい）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe upper construction is particularly distinctive. A substantial rounded and projecting \u003cstrong\u003elip \/ kuchibuchi（口縁）\u003c\/strong\u003e crowns the vessel. Directly beneath it is a broad, shallow \u003cstrong\u003eupper band（上帯）\u003c\/strong\u003e, separated from the principal wall by a finely defined horizontal line.\u003c\/p\u003e\n\u003cp\u003eThis layered treatment of the \u003cstrong\u003e口縁 and 上帯\u003c\/strong\u003e creates a strong architectural frame around the mouth of the pot without disturbing the simplicity of the oval body. It is a subtle detail, but one which gives the pot considerable visual depth and demonstrates the precision of the maker.\u003c\/p\u003e\n\u003cp\u003eThe lower body is framed by a continuous and carefully defined \u003cstrong\u003ebasal band（下帯）\u003c\/strong\u003e. The wall draws gently inward before meeting this lower band, creating a controlled transition from the main body towards the feet.\u003c\/p\u003e\n\u003cp\u003eThe relationship between the \u003cstrong\u003eupper band（上帯）\u003c\/strong\u003e, body, \u003cstrong\u003elower band（下帯）\u003c\/strong\u003e and feet is particularly harmonious, producing the restrained balance traditionally described as \u003cstrong\u003eshibui（渋い）\u003c\/strong\u003e — refined and understated rather than decorative.\u003c\/p\u003e\n\u003cp\u003eThe vessel stands on four beautifully executed \u003cstrong\u003erecessed cut feet（切足・内込み足）\u003c\/strong\u003e. The feet are positioned substantially beneath the body rather than projecting beyond its silhouette, allowing the continuous oval line to remain dominant.\u003c\/p\u003e\n\u003cp\u003eEach foot follows the curvature of the vessel and is finished with a subtly angled cut. Their recessed position creates a controlled shadow line beneath the \u003cstrong\u003e下帯\u003c\/strong\u003e, visually lifting the substantial body while maintaining stability and strength.\u003c\/p\u003e\n\u003cp\u003eThis careful relationship between \u003cstrong\u003e鉢身 (pot body)\u003c\/strong\u003e and \u003cstrong\u003e足 (feet)\u003c\/strong\u003e is an important element of the overall design: the feet support the form without competing with it.\u003c\/p\u003e\n\u003cp\u003eThe underside \u003cstrong\u003e（鉢底）\u003c\/strong\u003e is equally characteristic of the Gyozan tradition.\u003c\/p\u003e\n\u003cp\u003eAt the centre is the distinctive arrangement of smaller apertures associated with Gyozan pots, accompanied by larger drainage holes \u003cstrong\u003e（排水穴）\u003c\/strong\u003e and additional smaller wiring holes \u003cstrong\u003e（針金穴）\u003c\/strong\u003e distributed around the base.\u003c\/p\u003e\n\u003cp\u003eThe principal drainage apertures are presently protected with mesh \u003cstrong\u003e（鉢底網）\u003c\/strong\u003e, secured using traditional copper wire \u003cstrong\u003e（銅線）\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eSuch deliberate arrangements of drainage and wiring holes are repeatedly seen in documented pots from both generations of the Gyozan kiln and have become one of the workshop's recognisable construction details. Specialist documentation of Gyozan pots specifically notes these unusually shaped and carefully arranged drainage and tie holes as a characteristic of the kiln. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMost importantly for the collector, the underside carries an individually \u003cstrong\u003ehand-incised signature \/ tsume-gaki mei（爪描き銘）\u003c\/strong\u003e, cut directly into the clay.\u003c\/p\u003e\n\u003cp\u003eThis hand-worked signature adds considerably to the character of the piece and identifies it as an individually marked artisan pot rather than simply a production vessel.\u003c\/p\u003e\n\u003cp\u003eOverall, this is a substantial and highly refined example of \u003cstrong\u003eTokoname unglazed bonsai pottery（常滑無釉盆栽鉢）\u003c\/strong\u003e, combining \u003cstrong\u003etsuchi-aji（土味）\u003c\/strong\u003e, carefully controlled proportions \u003cstrong\u003e（均整の取れた造形）\u003c\/strong\u003e, refined banding \u003cstrong\u003e（上下帯）\u003c\/strong\u003e, recessed \u003cstrong\u003ekiri-ashi（切足）\u003c\/strong\u003e, and the distinctive Gyozan treatment of the underside.\u003c\/p\u003e\n\u003cp\u003eIts restrained character may best be described as \u003cstrong\u003eshibui（渋い）\u003c\/strong\u003e, \u003cstrong\u003ehin-kaku（品格）\u003c\/strong\u003e and \u003cstrong\u003eyo no bi（用の美）\u003c\/strong\u003e — beauty created through function, proportion and craftsmanship rather than unnecessary ornamentation.\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eExternal Dimensions \/ 外寸:\u003c\/strong\u003e 41.2 × 32.0 × 11.0cm\u003cbr\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003cstrong\u003eInternal Dimensions \/ 内寸:\u003c\/strong\u003e 37.0 × 27.5 × 9.0cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition \/ 状態:\u003c\/strong\u003e Excellent.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFree Shipping \u003c\/strong\u003eto UK Mainland \/ 英国本土送料無料\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3 class=\"PDq2pG_selectionAnchorContainer\"\u003e\n\u003cspan role=\"text\"\u003e\u003cstrong\u003ePotter's History \u0026amp; Collector's Note \/ 作家略歴・収集家向け資料\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eNakano Yuuji（中野勇二）, ceramic name 裕士\u003c\/strong\u003e, was born in \u003cstrong\u003e1960\u003c\/strong\u003e. He entered the Nakano family as the adopted successor and son-in-law of the renowned Tokoname potter \u003cstrong\u003eNakano Gyozan\u003c\/strong\u003e, and it was through Gyozan that he became deeply involved in ceramics and the production of bonsai containers. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eGyozan kiln（行山窯）\u003c\/strong\u003e itself was established in Tokoname in \u003cstrong\u003e1972\u003c\/strong\u003e by the first generation. Nakano Yuuji subsequently learned the craft under Gyozan, continuing the family's approach to highly functional but exceptionally refined bonsai vessels. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe philosophy underlying the work is particularly important. Japanese specialist publisher Kindai Shuppan describes Yuuji as inheriting Gyozan's principle of \u003cstrong\u003e「用の美」– yo no bi\u003c\/strong\u003e, literally the \u003cstrong\u003ebeauty of utility or functional beauty\u003c\/strong\u003e, while developing forms with a sharper individual character. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eYuuji did not merely reproduce the first generation's work. Published Japanese information records differences in his \u003cstrong\u003eclay body（胎土）\u003c\/strong\u003e and firing methods \u003cstrong\u003e（焼成）\u003c\/strong\u003e, including the use of a large gas kiln. His work therefore belongs unmistakably to the Gyozan lineage while retaining its own technical identity. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHis craftsmanship received formal recognition through participation in the \u003cstrong\u003eBONSAI no Utsuwa exhibition（BONSAIの器展）\u003c\/strong\u003e, where Japanese sources record an Encouragement Award and other awards on six occasions. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAmong collectors, the Gyozan tradition is particularly admired for the precision of its \u003cstrong\u003elines（線）\u003c\/strong\u003e, \u003cstrong\u003efeet（足）\u003c\/strong\u003e, rim and band construction, and the unusual attention paid even to the underside of a vessel. Specialist collectors have specifically documented the unusual drainage and wiring-hole arrangements as a recurring signature of both generations. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis makes the underside of a Gyozan pot part of its craftsmanship rather than merely a functional surface — something especially apparent in this example with its \u003cstrong\u003e爪描き銘\u003c\/strong\u003e, characteristic central apertures, drainage arrangement and carefully recessed feet.\u003c\/p\u003e\n\u003cp\u003eJapanese specialist sources now state that \u003cstrong\u003eNakano Yuuji has withdrawn from pottery production（現在は作陶から離れている）\u003c\/strong\u003e. Consequently, existing signed examples represent a finite body of work from an important continuation of the Gyozan lineage. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor the collector, this pot therefore represents more than a high-quality Tokoname container. It belongs to the succession of one of the best-known modern lineages of Japanese unglazed bonsai pottery and embodies the Gyozan philosophy of \u003cstrong\u003e用の美 — functional beauty\u003c\/strong\u003e, where clay, proportion, feet, drainage and restrained decoration are treated as parts of a single coherent design.\u003c\/p\u003e","brand":"Sugi Bonsai","offers":[{"title":"Default Title","offer_id":58232538267979,"sku":null,"price":763.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0945\/4259\/4379\/files\/IMG_6112.jpg?v=1787498247","url":"https:\/\/sugibonsai.com\/products\/nakano-gyozan-%e4%b8%ad%e9%87%8e-%e8%a1%8c%e5%b1%b1-hand-signed-%e7%88%aa%e6%8f%8f%e3%81%8d-%e5%b8%b8%e6%bb%91-41-2cm-oval-unglazed-%e6%a5%95%e5%86%86%e5%bd%a2-%e7%84%a1%e9%87%89","provider":"Sugi Bonsai","version":"1.0","type":"link"}