Yamaaki 山秋 — 2nd Generation Kataoka Sadamitsu / Koshousen 山秋二代 片岡貞光・小松泉 — Tokoname, Aichi（常滑市）— 39.9cm Rectangular Bag-Form Unglazed Bonsai Pot（長方袋式鉢・無釉）

Yamaaki 山秋 — 2nd Generation Kataoka Sadamitsu / Koshousen 山秋二代 片岡貞光・小松泉 — Tokoname, Aichi（常滑市）— 39.9cm Rectangular Bag-Form Unglazed Bonsai Pot（長方袋式鉢・無釉）

Product Details / 鉢の詳細
Region / 産地: Tokoname, Aichi Prefecture（常滑市）
Kiln / 窯: Yamaaki Kiln（山秋窯）
Potter / 作家: 2nd Generation Kataoka Sadamitsu（山秋二代 片岡貞光）
Artist Name / 雅号: Koshousen / Koshosen（小松泉）
Style / 形式: Handmade rectangular bag-form unglazed bonsai pot（手作り長方袋式無釉鉢）
Clay / 土味: Dark green-grey unglazed Tokoname clay finish（深緑灰色系・常滑無釉土）
Signature / Mark: Yamaaki 2nd Generation / Koshousen seal to the base（山秋二代・小松泉落款あり）

Description / 説明
A distinctive handmade Japanese bonsai pot by Yamaaki（山秋）, made by second-generation Kataoka Sadamitsu（山秋二代 片岡貞光）, who used the artist name Koshousen / Koshosen（小松泉）. This piece comes from the Tokoname ceramic tradition of Aichi Prefecture（常滑市） and bears a seal associated with the second generation Yamaaki line.

The pot is made in an unusual rectangular bag-form style, choho fukuro-shiki bachi（長方袋式鉢）, with soft rounded volume, sculptural sides, and a strong individual presence. The surface is unglazed, muyu（無釉）, with a dark green-grey tone and a quiet, mature Tokoname clay character. The colour is restrained and atmospheric, giving the pot a deep, subdued feeling with excellent shibui（渋い）presence. The surface shows natural tonal variation, age-related patina, and a softened clay texture that gives the pot depth and character.

The body has a highly unusual design. The rectangular form is softened by rounded edges and a bag-like swelling to the walls, creating a sense of weight, movement, and quiet strength. Each side is decorated with a raised curvilinear panel design, kumo-gata gawa-moyo（雲形側文様）, almost cloud-like in shape, flowing across the body and tying into the corner structure. This rare side treatment gives the pot a sculptural quality and makes it stand apart from more standard Tokoname rectangular forms.

The corner and foot treatment is especially distinctive. The feet are integrated into the rounded corner design, sumi-tsuki ashi（隅付き足）, continuing the same flowing line from the body into the base. This creates a unified sculptural form, giving the pot stable support while keeping the overall design refined and highly individual.

The base includes one central drainage hole, mizunuki-ana（水抜き穴）, with additional drainage and wiring holes, harigane-ana（針金穴）, making the pot practical for bonsai cultivation. The underside bears the Yamaaki / Koshousen seal, 「山秋」 / 「小松泉」, confirming its connection to second-generation Yamaaki, Kataoka Sadamitsu, and adding strong collector interest.

A highly characterful Tokoname bonsai pot with an unusual rectangular bag-form body, dark green-grey unglazed surface, flowing raised side panels, and distinctive integrated corner feet. Its quiet strength and individual design would suit a refined bonsai that requires a container with presence, restraint, and traditional Tokoname character.

External dimensions: 39.9 x 28.0 x 9.0cm
Internal dimensions: 34.0 x 23.1 x 6.0cm

Condition: Excellent condition. There is some watermarking, but it disappears with a light application of oil, as shown. Light age-related patina, surface variation, and natural clay character are present, consistent with a handmade unglazed Tokoname bonsai pot.

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Collector’s Note / 収集家向け解説
Yamaaki（山秋窯）is one of the most respected and historically important bonsai pot kilns of Tokoname（常滑）. The kiln was established by the Kataoka family and continued through three generations, becoming one of the most recognisable Tokoname bonsai pot kilns.

This example is attributed to the second generation, Kataoka Sadamitsu（片岡貞光）, who used the artist name Koshousen / Koshosen（小松泉）. The seal corresponds with known Tokoname reference material for Sadamitsu Kataoka / Koshousen, making this pot especially interesting for collectors of Yamaaki and Tokoname ceramics.

The form itself is also notable as an early and now discontinued Yamaaki design（初期・廃番意匠）. The unusual bag-form body, flowing raised side panels, and integrated corner feet are not commonly seen, giving the piece stronger collector appeal than a standard production form. Its restrained unglazed surface, sculptural side treatment, and quiet shibui（渋い）presence make it a distinctive example of second-generation Yamaaki craftsmanship.