The impotance of a good pot cannot be underestimated in Bonsai.  To write Bonsai in Japanese requires two characters, the first of which means "pot".  This is 50% of the whole and should not be ignored.  A beautiful tree deserves an equally beautiful pot, not just in terms of shape and colour but also age.

All of the items I have on offer are antique, they have that one quality that is so desireable, a rich, deep and characterful patina which only comes with use over tens of years.  Until now most people in the west most people have concentrated only on the tree, the pot is almost irrelevant.  To fully appreciate the beauty of Bonsai, it is important to gain an appreciation of the beauty of pots.  This includes their past, both in usage and who made them.  You will find full descriptions of all of the pots available.

If you are searching for a specific pot for a specific tree then please contact me. I will make enquiries in Japan and the perfect pot will be found for your tree.  This is common practice and I want to offer the same service to the non Japanese speaking bonsai enthusiasts around the world.

Collectable small pots are also on offer, these can either be used (with care!) or simply collected and appreciated for their intrinsic beauty.  I have many books on the subject available for purchase.  The pots on offer are part of my private collection and I can give full and detailed descriptions of the pots and their creators.

Haruyoshi ryoku-yuu chohou
$150

17 x 13 x 3 cm

A beautifully green glazed pot from renowned potter Kuroyanagi Haruyoshi, a specialist in shohin bonsai pots.  This is from approximately 15 years ago and has been used for some of that time.  It still has some of the initial lustre but the patina is beginning to develop and it is at an ideal age.  The colour and dimensions lend itself ideally to a tall, thin and graceful deciduous tree, or a broom style zelkova.  It is quite shallow so it will suit a refined tree that will be happy to grow in small grade soil particles.


Imae Kyo-yaki Sometsuke Sansui zu maru

$135

6.5 x 2.9 cm

A beautifully painted small pot, and it is very small, from the artist Imae.  This type of pot is very traditional, blue ink on a perfectly sculpted white pot fired in the kilns around Kyoto.  The picture is a "sansui", a landscape in the traditional Chinese fashion.  This is one of Imae's most recent works and is yet to be used, although pots of this type and value are usually just collected.  Comes complete with furoshiki and protective wooden box.  This is the ideal pot to start a collection and begin to enjoy the beauty of Japanese ceramics.



Itou Shigou Nanban Maru

$125

 8 x 2 cm

Hailing from the famous Tokoname area of Aichi prefecture, Itou Shigou is the wife of Itou Gekkou, one of the most prolific and talented creators of small pots alive today.  She was taught by her father-in-law Itou Tankyo the techniques of Rokuro (using a wheel).  As her husband is famous for bonsai pots, she usually sticks to more traditional ceramic wares, so it is very rare to find examples of her work.  
Made in an irregular "nanban" style, a copy of the original Chinese imports normally associated with literati style trees this little pot would be ideal for a tall accent planting.  

This is a wonderfully made and painted pot in the Kutani tradition, which is one of the most well known outside of Japan.  This particular artist, Kinsei, (real name Honda Jun-ichi) is the most popular of the modern era.  Born in 1948 in Ishikawa prefecture, the home of Kutani pottery he apprenticed to the famous ceramicist Nakata Kingkoku for 18 years before starting work himself.  He moved into bonsai pots later on in his career after he discovered the joys of bonsai.
This is one of the better pieces of his work, a beautifully crafted round pot with a traditional landscape picture painted in a brilliant red aniline dye.
This is a classic example of Kutani bonsai pottery and a must for any serious collector.

Hyouzan Sometsuke Sansui zu Soto-en Seihou

$100

76 x 43 mm

An interestingly shaped pot from the prolific Hyouzan, one of his more difficult to find shapes.   As is typical of his pots, the picture is much less formulaic and he paints with a free hand.  The picture continues around the pot on all faces.  What is particular about this example of his work is the way in which he has used the cloud shaped feet as part of the picture, re-inforcing the mountain image which is a common theme in Chinese and Japanese art.
Hyouzan is a well collected artist and this is an example of his less formal work.