5cmhigh 6.3cm width
 
There are artists, and then there are Living Treasures—makers whose techniques are deemed so culturally significant that governments protect them as intangible heritage. Mizuno Norio occupies this rarefied stratum, designated by Seto City as holder of Intangible Cultural Property status for nerikomi (ceramic marbling). This guinomi represents not merely a sake cup but a tangible link to tradition that museums safeguard and collectors pursue with intensity.
Mizuno's nerikomi work demonstrates why he earned this prestigious designation. Unlike beginners whose marbled clays look accidental or chaotic, his patterns display deliberate composition—colours flow like textile weaving, creating rhythms and repetitions that feel intentional yet organic. The technique demands profound material understanding: different clay bodies shrink at different rates during drying and firing, meaning miscalculations result in cracks or warping. That this cup emerged perfectly formed testifies to decades of mastery.
The artist's credentials read like a ceramics hall of fame: 45 Nitten exhibition acceptances including the prestigious Chunichi Prize, Japanese New Craft Federation审查员, multiple awards including the Kato Takuo Prize, and four invitations to Italy's Faenza International Ceramics Exhibition—arguably the world's most important ceramic art competition. Museums across Japan house his work permanently. Acquiring a Mizuno piece means joining the rarefied company of serious institutional collectors.
The nerikomi tradition Mizuno preserves stretches back centuries, arriving in Japan from Tang China via Korean potters during the Nara period (710-794 AD). Nearly lost by the twentieth century, the technique experienced revival through artists like Matsuzaki Hanjiro before Mizuno refined and elevated it to fine art status. His colour palette—subtle earth tones rather than garish primaries—reflects deep engagement with historical ceramics while remaining unmistakably contemporary in sensibility.
For European collectors, owning work by a designated cultural property holder carries particular cachet. Display this guinomi where its importance can be appreciated—perhaps in a lit cabinet alongside other significant pieces, or as a centerpiece on a Japanese tansu chest. The signed wooden box (tomobako) provides unimpeachable provenance and should be preserved carefully; in Japanese collecting culture, box and object are inseparable. The cup itself shows the subtle irregularities that distinguish handwork: slight variations in marbling density, minute asymmetries in form—these "imperfections" actually prove authenticity and add value.
Condition throughout is near-perfect, described as "nearly unused." The marbled surface displays no fading, chips, or repairs. The rim is smooth and even, the foot cleanly finished. The tomobako shows light age-appropriate wear but retains Mizuno's signature and seal in excellent condition. This provenance documentation becomes increasingly crucial as authentication challenges plague the Japanese antiques market.
Mizuno turned 83 in 2024. While still active, the reality is that future opportunities to acquire work from this master will inevitably diminish. For collectors building serious Japanese ceramic holdings, or for those seeking a single exceptional piece to represent studio pottery at its highest level, this guinomi offers a rare entry point. Cultural Property designations tend to drive sustained value appreciation—these aren't trendy artists but makers whose importance is codified by governmental recognition.