Primary text in Japanese with ancillary text in English. Presumed printed and bound in Japan. Paper hardboard binding, with crisp green-stamped lettering to the front board and to the spine. 10.25 x 7.25 inches. Unbumped spine head and tail, with sharp corners. Text block firmly bound in. 129 numbered pages. Heavy coated stock with 90 stunning colorplates, some full-page, numerous B&W illustrations, and small map indicating kiln sites. An immaculate copy, and very tight. Either unread or very gently read. Lovely full-pictorial DJ, unclipped. Just a hint of rubbing to the DJ. DJ in a clear Mylar DJ protector. A Near Fine copy in a Near Fine DJ. "Unglazed yakishime ware, which had centered on the production of jars and mortars since medieval times, began to receive more attention as the rustic wabi-cha style of tea became more popular. Shigaraki and Bizen ware were introduced to the tea ceremony from early on among the Japanese-style ware, and there are references to a Shigaraki Mizusashi (shigaraki water jar) and Mizusashi Hisen-mono (water jar of Bizen ware) in records of tea gatherings. In many cases, utensils made for everyday use were adopted in the tea ceremony, such as a domestic vessel known as an onioke (cylindrical jar) which was used as a water jar in the tea ceremony. There are many fine examples of water jars and flower vases of Bizen ware, which has been prized for a reddish tinge in the body color, earthy texture of the surface and the solid, dynamic form. Water jars and flower vases of lga ware, made in the area around Ueno and Ayama in Mie Prefecture, also drew people’s attention. They were valued for their bold style, the exact opposite of uniformity, and were one representative of the preference for the 'beauty of irregularity.' The natural ash glaze known as biidoro (derived from the Portuguese term vidro for glass) and burnt reddish black color of fired Iga clay is especially appealing."