Japan is the site of some of the most exciting developments in the world of contemporary sculptural and functional glassware. The term studio glass is often used in the specific sense of glass produced by artists such as, Kazumi Tsuji, who operate in small workshops, and are personally involved in every level of the design and construction process. The origins of Japanese studio glass can be traced to the 1920s and 1930s. Fujita Koyhei, (b.1921), is widely regarded as the father of Japan’s contemporary glass movement.
This collection of amber polka-dot glassware is blown and cut by Japanese glass artist Kazumi Tsuji from Kanazawa, Japan. She was born there in 1964. She established her glass studio, the “factory zoomer” in 1999, (see accompanying images). She has been engaged in design and production aimed at a new standard of glassware, to develop pieces in the style of their own that do not care about the genre of off-the-shelf.
Each piece is individually blown and shaped using wood paddles. There is an interesting small dimple on the rim of each cup giving each piece a unique, hand-formed quality. Both are free from any damage and repairs. Only sold as a pair. Dimensions: 2-0” dia. x 2-1/4”h.
SAKE CUPS: There are two primary ways to serving sake. The first, and easiest way is simply to treat it like a white wine — serve it in glass as you would any crisp white wine. I recommend making smaller pours only because the Japanese feel this is more social, and supports long conversation.
The other enjoyable way of serving sake celebrates it’s role as part of the aesthetic experience of a Japanese meal. Like many aspects of traditional eating and drinking in Japan, sake consumption has its own particular aesthetic and set of specialized serving, (Tokkuri), and drinking vessels, (Guinomi).
From priceless, century-old handmade pottery to modern hand-blown glass, sake cups and bowls are celebrated, (and collected), as a core part of the Japanese experience of drinking sake, especially as part of a formal dining experience like the multi-course kaiseki meal.
On occasion, (in restaurants, mostly), sake can also be served in a square wooden box, (masu), with or without a glass sitting inside of it, overflowing with sake. This over-pouring is done to wish prosperity. If served in a box, (usually for some celebratory reason), the box is simply treated like a cup that is most easily drunk from the corner. If the box contains a glass brimming with sake, it is best sipped without hands until the glass can safely be picked up and used without fear of spilling. Once the glass is empty, the overflow can be drunk from the box and the process begins again. This overflow of sake is a wish for prosperity, so it not unusual for the server to pour a generous amount of sake.
Excellent Condition- In unused, or like-unused condition. No visual or structural or surface wear or damage shown. Pristine. As good as the day it was made.
Great Condition- Appears in slightly used condition but looks "Like New". Some minor wear, but retains the original craft/workmanship. May show minor wear, that does not affect the main design, or associated motif. No cracks, dents, chips or missing elements.
Good Condition- Minor wear which can be restored or repaired; may have surface flaws, like staining or soiling, confined to a small area. The flaw(s) are counterbalanced by another feature, like brilliant color or innovative design. Some fading or the piece may have been altered in some fashion.
Fair Condition- Main aesthetic/design showing damage. Excessive noticeable wear or damage. Worth buying if can be restored/repaired because of its aesthetic or design appeal or rarity. Note: wear/damage consistent with age/use can often enhance the 'Antique' qualities of a piece, giving it a desirable second chance in one's collection