– Work by Ando Chizan (安藤知山), a Mino ceramic artist with Nitten exhibition history – Glossy black exterior contrasting with dynamic golden-brown brushwork inside the bowl – Wide, shallow form on a compact foot; unglazed base reveals warm clay body Summary: This guinomi (sake cup) is the work of Ando Chizan, a ceramicist rooted in the Mino tradition of Gifu Prefecture, one of Japan's most storied ceramic-producing regions. Born in 1909, Ando gained recognition through the Nitten exhibitions in the mid-20th century, a period when Japanese ceramics were navigating the tension between tradition and modernity. The piece features a striking contrast: the exterior is cloaked in a lustrous black glaze, while the interior reveals bold, expressive brushwork in gold and brown tones that swirl across the surface like a miniature landscape. The unglazed foot shows the natural clay body, grounding the piece in tactile honesty. It comes with a signed wooden box (tomobako), confirming authenticity and provenance. There's something quietly theatrical about this cup. At first glance, it appears restrained – a simple black bowl, perhaps even austere. But tilt it towards the light, peer inside, and you're met with a burst of visual energy: abstract patterns that suggest calligraphy, brushstrokes arrested in motion, perhaps even a glimpse of distant mountains or stormy skies. It's the kind of object that rewards attention, that reveals itself slowly, that refuses to be understood in a single moment. Ando Chizan was part of a generation of Mino potters who inherited centuries of ceramic knowledge and worked to make it relevant in a post-war Japan. Mino has been a ceramic centre since at least the 15th century, producing everything from humble everyday wares to tea ceremony utensils prized by collectors. Ando's career spanned the mid-20th century, a period when Japanese ceramics were undergoing rapid change. The old studio system was giving way to individual artist-potters; the Western notion of 'fine art' was being grafted onto traditions that had always valued function as much as form. Ando exhibited at the Nitten, one of Japan's most prestigious juried exhibitions, which speaks to his technical skill and his standing within the ceramic community. The form of this guinomi is classic: a wide, shallow bowl that sits comfortably in the palm, supported by a small, stable foot. The proportions suggest confidence – this is not a timid cup. The black glaze on the exterior is applied evenly and fired to a high gloss, creating a surface that's almost mirror-like in certain light. It's a restrained backdrop, a deliberate choice that throws the interior decoration into sharp relief. And what decoration it is. Inside the bowl, Ando has applied bold brushstrokes in tones of gold and brown, overlaying them in a way that creates depth and movement. These are not timid dabs; they're confident, sweeping gestures that suggest years of practice and an intimate understanding of how glaze behaves in the kiln. Some areas are dense and opaque, others translucent, allowing the underlying black to show through. The effect is somewhere between abstract expressionism and traditional Japanese ink painting – a fusion of impulses that feels entirely natural in the context of mid-century Japanese ceramics. The unglazed foot is warm brown clay, slightly rough to the touch. This is the potter's signature honesty: showing the material in its unadorned state, reminding you that this elegant object began as earth and water and human hands. It's a tactile contrast to the glassy smoothness of the glazed surfaces, and it adds a note of grounding to what might otherwise feel too polished, too precious. For collectors, this guinomi sits at an interesting intersection. It's functional – absolutely designed to be used for sake – but it's also sculptural enough to stand on its own as a display piece. The interior decoration means that it performs differently depending on context: empty on a shelf, it's a black bowl; filled with sake and raised to eye level, it becomes a miniature artwork, the liquid catching and refracting light, the brushwork alive beneath the surface. In a modern interior, it brings warmth and depth. It pairs beautifully with natural wood, stone, handmade textiles. It's the kind of piece that elevates a casual drink into something more considered, more mindful. The signed tomobako adds provenance and confirms authenticity. For a mid-century Mino piece by a Nitten-exhibiting artist, this represents accessible entry into serious Japanese studio ceramics – a work with historical weight, individual character, and the kind of visual drama that makes you pause mid-pour and simply look. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in authentic Japanese ceramics and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.