{"id":526,"date":"2026-05-31T22:12:32","date_gmt":"2026-05-31T13:12:32","guid":{"rendered":"https:\/\/ruma22degrees.com\/?page_id=526"},"modified":"2026-06-12T17:03:03","modified_gmt":"2026-06-12T08:03:03","slug":"furniture-asset","status":"publish","type":"page","link":"https:\/\/ruma22degrees.com\/?page_id=526","title":{"rendered":"Furniture Asset"},"content":{"rendered":"\n

<\/p>\n\n\n\n

Furniture Assets preserves furniture as tangible design and cultural assets.<\/p>\n\n\n\n

This collection includes furniture created by renowned designers, anonymous craftsmen, traditional makers, and cultural traditions from different periods and regions. Each piece is documented and preserved as a physical object that reflects its design, materials, craftsmanship, construction methods, historical background, and cultural significance.<\/p>\n\n\n\n

The collection currently includes works such as Eames chairs, a large hexagonal rosewood dining set, a Black Walnut live-edge table, The Chair, and other significant furniture pieces collected throughout a lifetime of observation and appreciation.<\/p>\n\n\n\n

Within 22degrees Digital Museum, Furniture Assets focuses on the furniture itself. The purpose of this collection is to preserve and document the physical characteristics, provenance, design value, materials, construction, and cultural importance of each piece for future generations.<\/p>\n\n\n\n

Experiences, memories, observations, interpretations, and research related to these objects are preserved separately within the archive system.<\/p>\n\n\n\n


Traditional Large Hexagonal Rosewood Meeting Table and Chair Set<\/strong><\/p>\n\n\n\n

Eames Chairs<\/p>\n\n\n\n

The Okinawa Collection Table<\/p>\n\n\n\n

Black Walnut Live-Edge Slab Table<\/p>\n\n\n\n

The Chairs and The Longest-Serving Chairs<\/p>\n\n\n\n

The Artist created Green Chair<\/p>\n\n\n\n

Furniture Assets \u306f\u3001\u30c7\u30b6\u30a4\u30f3\u30fb\u8077\u4eba\u6280\u30fb\u6587\u5316\u30fb\u8a18\u61b6\u30fb\u4eba\u9593\u4f53\u9a13\u304c\u4ea4\u5dee\u3059\u308b\u5bb6\u5177\u3092\u4fdd\u5b58\u3059\u308b\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u306e\u65c5\u3067\u3059\u3002
\u5bb6\u5177\u3092\u5358\u306a\u308b\u9053\u5177\u3067\u306f\u306a\u304f\u3001\u305d\u306e\u6642\u4ee3\u306e\u601d\u60f3\u3001\u7d20\u6750\u3001\u6280\u8853\u3001\u66ae\u3089\u3057\u65b9\u3001\u4fa1\u5024\u89b3\u3092\u4f1d\u3048\u308b\u6587\u5316\u8cc7\u7523\u3068\u3057\u3066\u8a18\u9332\u3057\u307e\u3059\u3002
\u30a4\u30fc\u30e0\u30ba\u30c1\u30a7\u30a2\u3001\u516d\u89d2\u5f62\u7d2b\u6a80\u30c6\u30fc\u30d6\u30eb\u30bb\u30c3\u30c8\u3001\u30d6\u30e9\u30c3\u30af\u30a6\u30a9\u30eb\u30ca\u30c3\u30c8\u4e00\u679a\u677f\u30c6\u30fc\u30d6\u30eb\u3001The Chair \u306a\u3069\u3092\u542b\u307f\u3001\u5bb6\u5177\u305d\u306e\u3082\u306e\u3092\u516c\u958b\u4fdd\u5b58\u3059\u308b\u3068\u3044\u3046\u65c5\u3092\u60f3\u5b9a\u3057\u3066\u3044\u307e\u3059\u3002<\/p>\n\n\n\n

\u5927\u578b\u516d\u89d2\u5f62\u7d2b\u6a80\u7cfb\u4f1a\u5408\u30c6\u30fc\u30d6\u30eb\u30fb\u6905\u5b50\u30bb\u30c3\u30c8<\/strong><\/h2>\n\n\n\n

\u30a4\u30fc\u30e0\u30ba \u30c1\u30a7\u30a2<\/strong><\/p>\n\n\n\n

The Okinawa collection Tab<\/strong>le<\/p>\n\n\n\n

\u30d6\u30e9\u30c3\u30af\u30a6\u30a9\u30fc\u30eb\u30ca\u30c3\u30c8\u4e00\u679a\u677f\u30c6\u30fc\u30d6\u30eb<\/strong><\/p>\n\n\n\n

The Chair( the long oldest one, green artist one,,,,)<\/strong><\/p>\n\n\n\n

\n\n\n\n
\n\n\n\n
\"\"
Screenshot<\/figcaption><\/figure>\n\n\n\n

22degrees Furniture Asset
ID-22-FA-001
Hexagonal Chinese \/ Taiwanese Meeting Table Set
Provenance Research Log Vol.1<\/p>\n\n\n\n

Related Assets
\u30fbFurniture Asset
\u30fbFurniture Archive
\u30fbMaterial Archive
\u30fbArchitecture Archive
\u30fbResearch Archive
\u30fbHuman Experience Archive
\u30fbCultural Asset Archive<\/p>\n\n\n\n


\u516c\u958b\u30ed\u30b0 \u7b2c1\u7248<\/p>\n\n\n\n

ID
22-FA-001<\/p>\n\n\n\n

Title
\u516d\u89d2\u5f62\u7d2b\u6a80\u7cfb\u5927\u578b\u4f1a\u5408\u30c6\u30fc\u30d6\u30eb\u30fb\u6905\u5b50\u30bb\u30c3\u30c8
Chinese \/ Taiwanese Hexagonal Meeting Table and Chair Set
Provenance Under Research<\/p>\n\n\n\n

\u516c\u958b\u65e5
2026\u5e746\u67087\u65e5<\/p>\n\n\n\n

\u5206\u985e
Furniture Archive
Cultural Asset Archive
Material Archive
Research Archive
Human Experience Archive<\/p>\n\n\n\n

\u6982\u8981
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\u305f\u3060\u3057\u3001\u6240\u6709\u8005\u306e\u8a18\u61b6\u3001\u8cfc\u5165\u7d4c\u7def\u3001\u5199\u771f\u78ba\u8a8d\u3001\u904e\u53bb\u306b\u5b9f\u7269\u3092\u898b\u305f\u5b66\u8853\u7814\u7a76\u8005\u3089\u306e\u53cd\u5fdc\u3001\u305d\u3057\u3066\u6a2a\u6cb3\u5065\u5148\u751f\u8a2d\u8a08\u306e\u65e5\u672c\u6a4b\u4f4f\u5b85\u300c\u516b\u4e01\u5800\u30fb\u6afb\u5eb5\u300d\u306b\u304a\u3044\u3066\u9577\u671f\u4f7f\u7528\u30fb\u4fdd\u5b58\u3055\u308c\u3001\u65b0\u5efa\u7bc9\u793e\u64ae\u5f71\u5199\u771f\u306b\u3082\u5199\u3063\u3066\u3044\u308b\u4e8b\u5b9f\u3092\u7dcf\u5408\u3059\u308b\u3068\u3001\u672c\u5bb6\u5177\u30bb\u30c3\u30c8\u306f\u5358\u306a\u308b\u4e2d\u53e4\u5bb6\u5177\u3067\u306f\u306a\u304f\u3001\u672a\u8abf\u67fb\u306e\u6587\u5316\u8cc7\u7523\u5019\u88dc\u3068\u3057\u3066\u8a18\u9332\u30fb\u4fdd\u5b58\u30fb\u7814\u7a76\u3092\u9032\u3081\u308b\u4fa1\u5024\u304c\u3042\u308b\u3068\u8003\u3048\u308b\u3002<\/p>\n\n\n\n

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\u4fdd\u5b58\u65b9\u91dd
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\u4eca\u5f8c\u306e\u8abf\u67fb\u4e88\u5b9a
\u7b2c1\u6bb5\u968e
\u73fe\u72b6\u5199\u771f\u30a2\u30fc\u30ab\u30a4\u30d6\u306e\u4f5c\u6210\u3002
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\u7b2c2\u6bb5\u968e
\u904e\u53bb\u5199\u771f\u306e\u767a\u6398\u3002
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\u7b2c3\u6bb5\u968e
\u6765\u6b74\u8abf\u67fb\u3002
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\u7b2c4\u6bb5\u968e
\u5c02\u9580\u5bb6\u76f8\u8ac7\u3002
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\u7b2c5\u6bb5\u968e
22degrees Digital Museum\u3067\u306e\u7d99\u7d9a\u516c\u958b\u3002
\u65b0\u305f\u306b\u5224\u660e\u3057\u305f\u60c5\u5831\u3092\u516c\u958b\u30ed\u30b0\u3068\u3057\u3066\u8ffd\u8a18\u3057\u3001\u4fa1\u5024\u767a\u898b\u306e\u904e\u7a0b\u305d\u306e\u3082\u306e\u3092\u4fdd\u5b58\u3059\u308b\u3002<\/p>\n\n\n\n

22degrees Digital Museum\u306b\u304a\u3051\u308b\u4f4d\u7f6e\u3065\u3051
\u672c\u5bb6\u5177\u30bb\u30c3\u30c8\u306f\u3001Furniture Archive\u306b\u53ce\u8535\u3059\u308b\u3002
\u305f\u3060\u3057\u3001\u5358\u306a\u308b\u5bb6\u5177\u8a18\u9332\u3067\u306f\u306a\u304f\u3001\u4ee5\u4e0b\u306eRelated Assets\u3068\u63a5\u7d9a\u3059\u308b\u3002
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Architecture Archive
Human Experience Archive
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This record is Version 1 of a public research log documenting a large hexagonal furniture set currently owned and preserved by the owner. The set was purchased from Hontoku Shoten, located in the Akasaka and Keyaki-dori area of Chuo-ku, Fukuoka, between approximately 1995 and 1997, with 1996 considered the most likely year of purchase.<\/p>\n\n\n\n

The furniture set consists of one large table based on a hexagonal structure and eight chairs.<\/p>\n\n\n\n

The table was designed to accommodate six users and features six drawers, six individually decorated sides, a central hexagonal pedestal support, and an eighteen-sided tabletop form.<\/p>\n\n\n\n

The chairs are also decorated with motifs including birds, flowers, phoenixes, and plants. As a whole, the set may have originally served not merely as a dining table but as furniture intended for meetings, reception spaces, or ceremonial environments.<\/p>\n\n\n\n

At present, no formal appraisal has been conducted. The date of manufacture, place of production, and precise material composition remain unverified.<\/p>\n\n\n\n

However, considering the owner\u2019s memories, the circumstances of purchase, photographic documentation, reactions from academic researchers who examined the furniture in the past, and the fact that the set was used and preserved for many years in \u201cHatchobori Ouan,\u201d a residence designed by architect Ken Yokogawa and photographed by Shinkenchiku-sha, the owner believes that this furniture set should be regarded not as ordinary second-hand furniture but as a candidate cultural asset worthy of documentation, preservation, and research.<\/p>\n\n\n\n

Provenance<\/p>\n\n\n\n

The owner was 59 years old as of 2026.<\/p>\n\n\n\n

The furniture set was purchased during the owner\u2019s years working in Fukuoka. Based on the owner\u2019s recollection, it was most likely acquired approximately one year after moving to Momochihama.<\/p>\n\n\n\n

Based on the owner\u2019s employment and residential history, the estimated purchase period is between 1995 and 1997, with 1996 being the most likely year.<\/p>\n\n\n\n

The furniture was purchased from Hontoku Shoten.<\/p>\n\n\n\n

The owner clearly remembers the store name and is certain that the furniture set was purchased there.<\/p>\n\n\n\n

Hontoku Shoten is a specialist dealer in antiques, fine art objects, and historical artifacts established in 1967. Official information confirms that the shop operated in the Akasaka and Keyaki-dori area of Chuo-ku, Fukuoka during the period when the purchase was made.<\/p>\n\n\n\n

The owner also clearly remembers seeing multiple historical wooden storage chests similar to traditional Japanese nagamochi, which may have dated from the Edo or Meiji periods, being sold at the store.<\/p>\n\n\n\n

While this memory does not directly prove the age of the furniture set itself, it supports the understanding that Hontoku Shoten was not merely a second-hand furniture store but a dealer handling historical objects and items with cultural and artistic value.<\/p>\n\n\n\n

The owner recalls the purchase price as approximately 600,000 to 800,000 Japanese yen.<\/p>\n\n\n\n

For the mid-1990s, this was a substantial amount for furniture and suggests that the set may already have been regarded as a high-end antique or fine craft object at the time of purchase.<\/p>\n\n\n\n

Structure<\/p>\n\n\n\n

The central element of the furniture set is a large table based on a hexagonal form.<\/p>\n\n\n\n

However, the tabletop is not a simple hexagon. Each side is further chamfered, creating an overall eighteen-sided appearance when viewed from above.<\/p>\n\n\n\n

Immediately after purchase, the owner commissioned a custom-made glass top approximately 1 cm thick, specially manufactured to match the unique eighteen-sided tabletop profile.<\/p>\n\n\n\n

For more than thirty years, this glass has protected the surface while the table remained in active use and preservation.<\/p>\n\n\n\n

The table is supported by a single central pedestal, itself based on a hexagonal multi-sided structure.<\/p>\n\n\n\n

Each of the six sides of the pedestal is decorated with different ornamental motifs.<\/p>\n\n\n\n

The table contains six drawers, allowing six users to independently use the table.<\/p>\n\n\n\n

Even the drawer handles are decorative and appear to have been designed as part of the overall artistic composition rather than merely functional hardware.<\/p>\n\n\n\n

The set includes eight chairs.<\/p>\n\n\n\n

This is not merely based on memory but is confirmed by both the original purchase and present-day physical verification.<\/p>\n\n\n\n

The backs of the chairs display individual decorative motifs, including highly detailed and elegant phoenix imagery.<\/p>\n\n\n\n

Materials<\/p>\n\n\n\n

According to the owner\u2019s understanding, the primary material of the furniture set is zitan (rosewood).<\/p>\n\n\n\n

Photographic examination reveals dark striped grain patterns, dense hardwood characteristics, and a substantial visual presence that does not resemble inexpensive mass-produced furniture materials.<\/p>\n\n\n\n

However, no formal wood identification has yet been conducted.<\/p>\n\n\n\n

Future investigation should compare the materials against zitan, hongmu, suanzhi, huanghuali, ironwood, and huali.<\/p>\n\n\n\n

Lighter-colored woods appearing in the decorative sections may include boxwood, huali, walnut, or other hardwood species.<\/p>\n\n\n\n

Particularly important for future study are the areas that appear to incorporate openwork carving, inlay, or marquetry-like construction techniques.<\/p>\n\n\n\n

Decorative Motifs<\/p>\n\n\n\n

One of the most distinctive characteristics of this furniture set is the combination of a hexagonal structure and six individually decorated sides.<\/p>\n\n\n\n

Based on the owner\u2019s observations and photographic evidence, motifs include phoenixes, peonies, bamboo, plum blossoms, orchids, birds, flowers, cloud patterns, and plant imagery.<\/p>\n\n\n\n

The fact that each of the six sides features a different decorative composition was one of the primary reasons the owner purchased the furniture.<\/p>\n\n\n\n

The chair backs also incorporate phoenix and floral-bird motifs, suggesting that the table and chairs may have been conceived as a unified artistic ensemble.<\/p>\n\n\n\n

The combination of a hexagonal structure, six seating positions, six drawers, six individually decorated sides, eight chairs, floral-bird imagery, and phoenix motifs suggests that the furniture may have possessed specific symbolic, ceremonial, or social significance beyond simple decoration.<\/p>\n\n\n\n

(continued in future research logs)<\/p>\n\n\n\n

<\/p>\n\n\n\n

Construction Methods<\/strong><\/p>\n\n\n\n

According to the owner\u2019s understanding, the furniture set was constructed without the use of nails or metal fasteners and instead relies primarily on traditional wooden joinery.<\/strong><\/p>\n\n\n\n

This understanding applies to the table, chairs, and drawers as a unified furniture system.<\/strong><\/p>\n\n\n\n

Photographic examination reveals no obvious exposed screws, simple brackets, or visible modern hardware commonly found in inexpensive mass-produced furniture.<\/strong><\/p>\n\n\n\n

The joints, chamfered edges, and transitions between components appear carefully executed.<\/strong><\/p>\n\n\n\n

The decorative sections, which resemble openwork carving, inlay, or marquetry, display a high degree of detail and craftsmanship.<\/strong><\/p>\n\n\n\n

Rather than appearing as printed or surface-applied decoration, these elements appear to possess physical depth and dimensional construction.<\/strong><\/p>\n\n\n\n

However, a definitive assessment of the construction methods requires direct examination by specialists.<\/strong><\/p>\n\n\n\n

Memories Regarding Original Function<\/strong><\/p>\n\n\n\n

When the owner first acquired the furniture set, it was understood primarily as a large dining table.<\/strong><\/p>\n\n\n\n

However, while the furniture was being used and preserved in the Nihonbashi residence, an individual believed to be knowledgeable in East Asian history and historical furniture examined the piece and expressed strong interest.<\/strong><\/p>\n\n\n\n

The owner recalls that this individual suggested the furniture may not originally have been intended as an ordinary dining table, but rather as a meeting table used in formal gatherings, reception rooms, or ceremonial settings.<\/strong><\/p>\n\n\n\n

The combination of a hexagonal structure, six seating positions, six drawers, and six individually decorated sides appears more consistent with a formal social or ceremonial function than with everyday dining.<\/strong><\/p>\n\n\n\n

At present, however, the original function remains unconfirmed and requires further research.<\/strong><\/p>\n\n\n\n

Memories Concerning China and Taiwan<\/strong><\/p>\n\n\n\n

The owner retains fragmentary memories of conversations with a researcher who examined the furniture in the past.<\/strong><\/p>\n\n\n\n

According to those recollections, the researcher discussed historical connections between China and Taiwan and suggested the possibility that the furniture may have traveled from China to Taiwan and later from Taiwan to Japan.<\/strong><\/p>\n\n\n\n

The owner also recalls references to the Ming or Qing periods being mentioned during those discussions.<\/strong><\/p>\n\n\n\n

These recollections remain unverified and should not be interpreted as established facts.<\/strong><\/p>\n\n\n\n

Within this public research log, they are recorded only as memories and possibilities rather than conclusions.<\/strong><\/p>\n\n\n\n

Preservation History in Nihonbashi<\/strong><\/p>\n\n\n\n

After its acquisition in Fukuoka, the furniture set was eventually relocated to the owner\u2019s residence in Nihonbashi, Tokyo.<\/strong><\/p>\n\n\n\n

The residence was \u201cHatchobori Ouan,\u201d a house designed by architect Ken Yokogawa.<\/strong><\/p>\n\n\n\n

The project is introduced on the architect\u2019s official website, where photographs clearly show the furniture positioned at the center of the interior space.<\/strong><\/p>\n\n\n\n

The published images are credited to Shinkenchiku-sha.<\/strong><\/p>\n\n\n\n

These photographs demonstrate that the furniture was not simply stored in a private residence but functioned as a central furnishing element within a documented architectural work.<\/strong><\/p>\n\n\n\n

The furniture occupied a highly visible position beneath the central atrium and served as a focal point within the spatial composition of the house.<\/strong><\/p>\n\n\n\n

Its placement suggests that it played an important role in shaping the atmosphere and identity of the residence.<\/strong><\/p>\n\n\n\n

This aspect of its history forms a significant part of its provenance.<\/strong><\/p>\n\n\n\n

The furniture was purchased from Hontoku Shoten in Fukuoka and subsequently preserved for many years within Hatchobori Ouan, where it became part of a documented architectural environment.<\/strong><\/p>\n\n\n\n

Memories of Third-Party Observations<\/strong><\/p>\n\n\n\n

During a magazine interview and residential documentation project, an individual accompanying the editorial team examined the furniture.<\/strong><\/p>\n\n\n\n

The owner recalls that this person possessed academic expertise related to East Asian history, East Asian culture, or historical furniture.<\/strong><\/p>\n\n\n\n

Upon seeing the furniture, the individual reportedly expressed considerable surprise and suggested that it could be an object of substantial significance.<\/strong><\/p>\n\n\n\n

The owner also remembers references to possible Chinese or Taiwanese origins, possible arrival in Japan prior to World War II, and potential connections to older historical periods such as the Ming or Qing dynasties.<\/strong><\/p>\n\n\n\n

No written appraisal or formal evaluation exists.<\/strong><\/p>\n\n\n\n

Nevertheless, the strong reaction of a knowledgeable observer remains an important part of the furniture\u2019s documented history.<\/strong><\/p>\n\n\n\n

Verified Information as of June 7, 2026<\/strong><\/p>\n\n\n\n

\u2022 Purchased from Hontoku Shoten in the Akasaka and Keyaki-dori area of Chuo-ku, Fukuoka.<\/strong><\/p>\n\n\n\n

\u2022 Hontoku Shoten was established in 1967 and specializes in antiques, fine art objects, and historical artifacts.<\/strong><\/p>\n\n\n\n

\u2022 Estimated purchase period: 1995\u20131997, with 1996 being the most likely year.<\/strong><\/p>\n\n\n\n

\u2022 Estimated purchase price: approximately \u00a5600,000\u2013\u00a5800,000.<\/strong><\/p>\n\n\n\n

\u2022 One table.<\/strong><\/p>\n\n\n\n

\u2022 Eight chairs.<\/strong><\/p>\n\n\n\n

\u2022 Six drawers.<\/strong><\/p>\n\n\n\n

\u2022 Continuously owned for more than thirty years.<\/strong><\/p>\n\n\n\n

\u2022 Protected by a custom-made glass top since acquisition.<\/strong><\/p>\n\n\n\n

\u2022 Preserved and used in Hatchobori Ouan, a residence designed by Ken Yokogawa.<\/strong><\/p>\n\n\n\n

\u2022 Appears in photographs published on the architect\u2019s website and photographed by Shinkenchiku-sha.<\/strong><\/p>\n\n\n\n

\u2022 Currently owned and preserved in Chiba Prefecture as of June 7, 2026.<\/strong><\/p>\n\n\n\n

Items Not Yet Verified<\/strong><\/p>\n\n\n\n

\u2022 Exact date of manufacture.<\/strong><\/p>\n\n\n\n

\u2022 Exact place of manufacture.<\/strong><\/p>\n\n\n\n

\u2022 Precise wood species.<\/strong><\/p>\n\n\n\n

\u2022 Whether the furniture was made in China or Taiwan.<\/strong><\/p>\n\n\n\n

\u2022 Whether it traveled from China to Taiwan and subsequently to Japan.<\/strong><\/p>\n\n\n\n

\u2022 Whether it arrived in Japan before World War II.<\/strong><\/p>\n\n\n\n

\u2022 Whether it belongs to the Ming, Qing, Republican, postwar, or later periods.<\/strong><\/p>\n\n\n\n

\u2022 Original intended function.<\/strong><\/p>\n\n\n\n

\u2022 Workshop, maker, or place of production.<\/strong><\/p>\n\n\n\n

\u2022 Acquisition route prior to its arrival at Hontoku Shoten.<\/strong><\/p>\n\n\n\n

\u2022 Existence of original sales records or receipts.<\/strong><\/p>\n\n\n\n

\u2022 Identity and formal opinion of the researcher who examined the furniture.<\/strong><\/p>\n\n\n\n

Current Assessment<\/strong><\/p>\n\n\n\n

At present, the furniture has not undergone formal appraisal.<\/strong><\/p>\n\n\n\n

Therefore, its age, materials, place of manufacture, and historical significance remain unconfirmed.<\/strong><\/p>\n\n\n\n

However, when considering its purchase history, price, structure, decoration, long-term preservation, documented presence within a significant architectural work, photographic records, and the reactions of knowledgeable observers, the furniture appears to warrant serious study.<\/strong><\/p>\n\n\n\n

The combination of a hexagonal structure, six drawers, six individually decorated sides, eight chairs, East Asian symbolic motifs, possible rosewood construction, traditional joinery, and documented preservation history makes it an unusual and potentially important object.<\/strong><\/p>\n\n\n\n

Its significance may ultimately derive not only from the furniture itself but also from its provenance, preservation history, architectural context, and ongoing research.<\/strong><\/p>\n\n\n\n

Temporary Conclusion<\/strong><\/p>\n\n\n\n

This furniture set was most likely purchased in approximately 1996 from Hontoku Shoten, a long-established antique dealer founded in 1967 in the Akasaka area of Fukuoka.<\/strong><\/p>\n\n\n\n

The set consists of one table, eight chairs, six drawers, six individually decorated sides, a central hexagonal pedestal, an eighteen-sided tabletop, phoenix and floral motifs, intricate openwork and inlay-like decoration, and possible rosewood construction.<\/strong><\/p>\n\n\n\n

Following its acquisition, it was preserved for many years in Hatchobori Ouan, a residence designed by architect Ken Yokogawa, and appears in photographs taken by Shinkenchiku-sha.<\/strong><\/p>\n\n\n\n

Although no formal appraisal has yet been conducted, the owner believes that the furniture should be regarded as a candidate cultural asset worthy of continued preservation, research, and public documentation.<\/strong><\/p>\n\n\n\n

This document is not intended as a final appraisal.<\/strong><\/p>\n\n\n\n

Rather, it serves as the first public research log in an ongoing effort to document, preserve, and better understand the significance of this furniture set over time.<\/strong><\/p>\n\n\n\n

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