{"title":"Raku Lineage","description":"\u003cp\u003eThe Raku family has shaped tea bowls in Kyoto since the late sixteenth century. The first Chōjirō, working with Sen no Rikyū, hand-formed bowls without the wheel and pulled them from a low-fired kiln by hand. The discipline has continued across generations, each head taking the name Kichizaemon upon succession.\u003c\/p\u003e\n\u003cp\u003eThis collection brings together work across the lineage — including Raku Kichizaemon and earlier heads who worked under their own art names: Sonyū (V), Ryōnyū (IX), Keinyū (XI), and Seinyū (XIII). Each piece carries the family's hand-formed character and low-fired surface.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor the full lineage and history of the Raku family — its origin with Chōjirō and Rikyū, the succession of the Kichizaemon name, and how to read a Raku bowl — see our \u003ca href=\"\/pages\/raku-family\"\u003eessay on the Raku family\u003c\/a\u003e.\u003c\/em\u003e\u003c\/p\u003e","products":[{"product_id":"raku-kichizaemon-black-raku-tea-bowl-kuro-raku-chawan-kyoto-tomobako","title":"Raku Kichizaemon Black Raku Tea Bowl Kuro-Raku Chawan Kyoto Tomobako","description":"A Black Raku Tea Bowl by Raku Kichizaemon — the Raku Family Lineage that defines Japanese Tea Bowl tradition. This Kuro-Raku Chawan in Kyoto Raku Ware bears a Hand Formed Chawan body with Goko Rim Tea Bowl silhouette, housed in a Tomobako Signed Box. A Tea Ceremony Bowl of Wabi Sabi Ceramic character in Japanese Stoneware — Chanoyu Raku Ware at its most essential.\u003cbr\u003e\u003cbr\u003e_\"What the fire gave, the hand already knew. Three hundred years of silence, condensed into black.\"_\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Raku Kichizaemon (楽吉左衛門) — head of the Raku family\u003cbr\u003e• Technique: Kuro-raku (black Raku) — hand-formed, individually fired\u003cbr\u003e• Era: Showa–Heisei period\u003cbr\u003e• Origin: Kyoto, Japan\u003cbr\u003e• Dimensions: W 11 cm × H 8.5 cm (4.3\" dia × 3.3\" h), 291 g\u003cbr\u003e• Box: Tomobako with \"楽吉左衛門\" inscription and kao (花押\/artist cipher). Box shows age-consistent wear.\u003cbr\u003e• Condition: Good — bowl itself in solid condition; tomobako shows some wear and minor damage consistent with age\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eThe name Raku Kichizaemon is not merely a signature. It is a continuity — an unbroken chain of ceramic thought stretching from Chojiro, who shaped the first Raku tea bowls under the direct guidance of Sen no Rikyu in the sixteenth century, to the present day. Each generation inherits not only the name but the philosophical mandate: to create vessels that embody the wabi-cha ideal of restraint, presence, and the dissolution of ornament in favor of pure form.\u003cbr\u003e\u003cbr\u003eThis bowl demonstrates the hallmarks of that inheritance. The deep, glossy black glaze — achieved through the Raku family's proprietary firing technique of pulling the bowl from the kiln at peak temperature — possesses a density that absorbs light rather than reflecting it. The surface is not uniform but alive with subtle tonal shifts visible only at close range, a quality that emerges from the interaction between glaze, fire, and the specific Raku clay body.\u003cbr\u003e\u003cbr\u003eThe form is han-tsutsu — a semi-cylindrical shape that sits with quiet mass in the hands. The walls carry a deliberate thickness that retains heat during the preparation of koicha (thick tea), fulfilling the functional mandate that has governed Raku form since its inception. The goko rim — five gentle peaks that break the perfect circle — is a signature element of Raku tea bowls, introducing asymmetry that prevents the eye from settling and invites the hands to explore.\u003cbr\u003e\u003cbr\u003eThe kodai (foot ring) reveals the unglazed clay body and bears a hand-carved character — a mark of individual authorship within a collective tradition. This is where the private gesture meets the public form.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**The Raku Lineage**: No ceramic family in Japan — perhaps in the world — carries the cultural weight of the Raku house. Founded in the late sixteenth century at the intersection of ceramic innovation and the tea revolution led by Sen no Rikyu, the Raku workshop has maintained its Kyoto location and its commitment to hand-forming and individual firing for over four hundred years. The name Kichizaemon passes from father to son (or adopted successor), each generation contributing to a body of work that is at once deeply personal and irreducibly collective.\u003cbr\u003e\u003cbr\u003e**Kuro-Raku Process**: Unlike most ceramics, Raku tea bowls are fired individually — pulled from the kiln with iron tongs at approximately 1,200°C and cooled rapidly in the open air. This process produces the characteristic surface: a glaze that is simultaneously glassy and organic, with micro-textures created by thermal shock. The glossy black of this bowl indicates a well-controlled firing where the iron-bearing glaze achieved full maturation before extraction.\u003cbr\u003e\u003cbr\u003e**Han-Tsutsu Form**: The semi-cylindrical shape is one of the foundational Raku forms, favored for koicha service. Its proportions — wider than tall, with walls that curve gently inward toward the rim — create a vessel that centers tea within its interior space. The weight (291 grams) speaks to the substantial clay body that is essential to the Raku thermal experience: the bowl warms gradually in the hands, creating an intimacy between object and user that thinner vessels cannot achieve.\u003cbr\u003e\u003cbr\u003e**The Tomobako**: The accompanying wooden box bears the inscription \"楽吉左衛門\" and the artist's kao (cipher) — a personalized mark that functions as both signature and seal. The tomobako in the Raku tradition is not mere packaging but an integral component of provenance, linking the physical object to the specific individual who created it.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家：楽吉左衛門（楽家当主名）\u003cbr\u003e• 技法：黒楽（手捏ね・個別焼成）\u003cbr\u003e• 時代：昭和〜平成期\u003cbr\u003e• 産地：京都\u003cbr\u003e• 寸法：口径約11cm × 高さ約8.5cm、重量291g\u003cbr\u003e• 付属：共箱（「楽吉左衛門」箱書・花押あり。箱にやや経年の傷みあり）\u003cbr\u003e• 状態：良好 — 茶碗本体は堅実な状態\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e楽吉左衛門の名は、千利休の指導のもと初代長次郎が楽茶碗を創始して以来、楽家当主のみが名乗る一子相伝の号である。本作は深い光沢を持つ黒楽釉、手削りの高台、五岳の口縁という楽茶碗の本質的要素を備えた一碗。\u003cbr\u003e\u003cbr\u003e半筒形の端正な器形は、濃茶点前に適した重厚感と保温性を有する。黒釉の表面は一見均一に見えるが、近接すると微妙な色調変化が認められ、窯から引き出す一瞬の判断が生む表情が刻まれている。高台裏には手彫りの文字が確認でき、集団の伝統の中にある個の署名を見て取ることができる。\u003cbr\u003e\u003cbr\u003e共箱には「楽吉左衛門」の箱書と花押が記されており、楽家作品としての来歴を裏付けている。\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61606147916146,"sku":"260130_1973","price":659.85,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m46769977082_1.jpg?v=1771401919"},{"product_id":"raku-sonyu-v-black-tea-bowl-edo-period-kuro-raku-chawan-with-shifuku-and-box","title":"Raku Sonyu V Black Tea Bowl - Edo Period Kuro-Raku Chawan with Shifuku and Box","description":"Experience authentic Japanese tea culture with this Raku Sonyu Black Tea Bowl. This Japanese Matcha Chawan serves as an Edo Period Raku Ware and Fifth Generation Kichizaemon masterwork, featuring Hand-formed Black Glaze and Kyoto Raku tradition—a must-have for any Art Collector seeking Museum Quality Tea Ceramics and Historical Japanese Art.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Attributed to Raku Kichizaemon V — Sonyu (五代 楽吉左衛門 宗入, 1664–1716)\u003cbr\u003e• Technique: Hand-formed kuro-raku (black Raku) with single firing\u003cbr\u003e• Era: Edo period (Genroku–Shōtoku era, attributed)\u003cbr\u003e• Origin: Kyoto, Japan — Raku family kiln\u003cbr\u003e• Dimensions: 11 cm (4.3\") diameter × 7.8 cm (3.1\") height\u003cbr\u003e• Box: Tomobako with Raku seal, silk shifuku pouch with cord, inner cloth wrapper\u003cbr\u003e• Condition: Good — consistent with age; minor wear from centuries of use\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eSonyu, the fifth-generation Raku master, occupies a pivotal position in the 450-year Raku lineage. Working during the culturally efflorescent Genroku period (1688–1704), when the decorative arts reached peak extravagance, Sonyu chose the opposite direction. He turned backward to Chōjirō, the founding ancestor, stripping away the accumulated embellishments of intervening generations to rediscover the essential nature of Raku.\u003cbr\u003e\u003cbr\u003eThis act of deliberate return—rejecting the fashionable to recover the fundamental—defines Sonyu's contribution to Japanese ceramic history. His black tea bowls are characterized by quiet dignity, restrained form, and a depth of glaze that seems to absorb light rather than reflect it.\u003cbr\u003e\u003cbr\u003e*\"Three generations of elaboration, then the fifth master remembered: the first bowl was already complete.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**The Sonyu Aesthetic**: Where his predecessors Ichinyu (IV) and Dōnyu\/Nonkō (III) had expanded the Raku vocabulary with increasingly dynamic forms and varied glazes, Sonyu reversed course. His bowls return to the quiet, almost austere simplicity of Chōjirō's original vision—straight walls, modest proportions, and an emphasis on the inherent character of the black glaze itself.\u003cbr\u003e\u003cbr\u003e**Black Glaze Character**: The kuro-raku glaze on this bowl displays the characteristic transition from deep, lustrous black at the rim and upper body to a textured grey-white zone toward the base. This effect results from the single dramatic firing: the bowl is pulled from the kiln at peak temperature and exposed to the atmosphere, creating differential cooling that produces these tonal variations. No two firings produce identical results.\u003cbr\u003e\u003cbr\u003e**Provenance and Attribution**: The tomobako bears the inscription \"黒茶\" (black tea bowl) and \"楽吉左衛門\" (Raku Kichizaemon) with the Raku family seal. The complete presentation—tomobako, silk shifuku, and inner cloth—indicates this bowl has been treasured and transmitted through the formal protocols of tea culture. Attribution to historical Raku generations requires careful scholarly assessment; this listing presents the box inscription faithfully.\u003cbr\u003e\u003cbr\u003e**The Bowl in Hand**: At 11 cm diameter and 7.8 cm height, this bowl possesses the substantial presence characteristic of Sonyu's black tea bowls. The slightly undulating rim and the weight of the hand-formed Raku clay create a meditative tactile experience. The centuries of use visible in the surface add cultural weight that no reproduction can possess.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家：五代 楽吉左衛門 宗入（伝）（1664–1716）\u003cbr\u003e• 技法：手捏ね黒楽・一度焼成\u003cbr\u003e• 時代：江戸時代（元禄〜正徳年間）\u003cbr\u003e• 産地：京都（楽家窯）\u003cbr\u003e• 寸法：径約11cm × 高さ約7.8cm\u003cbr\u003e• 付属：共箱（楽印あり）・仕覆・古帛紗\u003cbr\u003e• 状態：時代相応の良好な状態\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e五代楽吉左衛門・宗入（1664–1716）は楽焼450年の歴史において転換点となった陶工である。元禄の華やかな時代にあって、あえて初代長次郎への回帰を志し、装飾を削ぎ落とした本質的な黒楽茶碗を追求した。\u003cbr\u003e\u003cbr\u003e本作は深い黒釉が上部から裾にかけて灰白に変化する宗入の特徴を示す。窯から引き出された瞬間の劇的な温度差が生み出すこの景色は、二度と同じものが現れない一回性の美である。\u003cbr\u003e\u003cbr\u003e仕覆・古帛紗・共箱の完全な付属品は、本碗が茶の湯の正式な伝来の中で大切に受け継がれてきたことを示している。楽印入り箱書きに基づく伝承品。\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials\u003cbr\u003e\u003cbr\u003e*Five generations of hands, one return to the beginning—the black glaze still holds the silence of the first firing.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61609871147378,"sku":"260220_2023","price":671.28,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m45809160434_1.jpg?v=1771571801"},{"product_id":"kuro-raku-chawan-kokon-by-raku-seinyu-xiii-inscribed-by-urasenke-hounsai-kyoto-black-raku-tea-bowl-with-tomobako","title":"Kuro Raku Chawan 'Kokon' by Raku Seinyu XIII, Inscribed by Urasenke Hounsai - Kyoto Black Raku Tea Bowl with Tomobako","description":"A black Raku tea bowl (kuro raku chawan) by Raku Kichizaemon XIII, known as Seinyu (1887-1944), the thirteenth-generation head of the Raku family of Kyoto. The bowl bears the poetic name 'Kokon' (Ancient and Modern), inscribed on the tomobako by Urasenke Hounsai Soshitsu Sen XV (1923-2023), the fifteenth-generation grand master of the Urasenke school of tea, together with his kao (personal cipher). Four centuries of unbroken Raku lineage meet the authority of modern Urasenke in a single object.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Raku Kichizaemon XIII (Seinyu) \/ Urasenke Hounsai inscription\u003cbr\u003e• Origin: Kyoto, Japan\u003cbr\u003e• Material: Raku ware with black (kuro) glaze\u003cbr\u003e• Motif: Kokon (Ancient and Modern)\u003cbr\u003e• Era: Before 1950\u003cbr\u003e• Box: Tomobako (artist's wooden presentation box)\u003cbr\u003e• Condition: Good, carefully inspected\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003e🔹 [ THE OBJECT ]\u003cbr\u003eThe form is a classic kuro raku silhouette - hand-shaped without the wheel, slightly irregular at the rim, standing on a low, quietly trimmed foot. The body is covered in the deep, matte-to-satin black glaze that defines the Raku tradition, built up in layers that hold the heat of the kiln within them. Across the upper wall, a broad band of copper-crimson breaks through the black like embers beneath ash - a natural landscape born of the low-temperature raku firing, where the glaze is pulled from the kiln at peak heat and allowed to cool in open air. The surface carries the soft tooling marks of the maker's spatula (hera) and the warmth of hands that shaped it directly from a single lump of clay.\u003cbr\u003e\u003cbr\u003eInside, the well deepens into quiet black, catching the green of matcha in a way that only Raku ware can. The foot ring is small and assured, the kodai cleanly carved, the overall weight light in the hand - the signature of a bowl made for drinking, not for display.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Raku family begins in the late sixteenth century with Chojiro, a tile-maker in Kyoto who, under the direct guidance of tea master Sen no Rikyu, created the first chawan conceived specifically for wabi-cha - the austere, inward-turning tea of Rikyu's vision. Rikyu sought a bowl stripped of ornament, stripped of the foreign glamour of imported Chinese ware, stripped even of the potter's wheel. Chojiro answered with hand-formed bowls of dark, quiet presence. From that moment, Raku ware became inseparable from the practice of tea itself, and the Raku line - passing from father to son, generation to generation - became the oldest continuous ceramic family in Japan.\u003cbr\u003e\u003cbr\u003eSeinyu, the thirteenth generation, stood at the threshold between the old world and the modern one. He inherited the kiln in 1919, following the line of Kakukakusai, Ryonyu, Tannyu, Konyu, and Keinyu - names carried like torches through the Edo and Meiji eras. Seinyu worked through the Taisho and early Showa periods, years of upheaval in which many traditional crafts were tested by industrialisation and war. His response was to hold the center: to return, again and again, to the fundamental gesture of kuro raku - black glaze on hand-formed clay - and to let the firing speak. His bowls are known for their dense, thickly layered black glaze and for landscapes of warm red and copper where the oxidation breaks through, as it does across the rim of this piece.\u003cbr\u003e\u003cbr\u003eThe inscription on the tomobako raises the object onto a second plane of meaning. Hounsai Soshitsu Sen XV, the fifteenth grand master of Urasenke, led the largest school of Japanese tea for over half a century and carried chanoyu into the modern international world. A box signed and named by Hounsai is not a certificate of authenticity in the Western sense - it is a transmission. The master looked at the bowl, felt it in the hand, and gave it a name: 'Kokon' - ko (old) and kon (now), ancient and modern. The name turns the object into a statement. Here is a bowl made by the thirteenth Raku in a line that begins with Rikyu; here is a name given by the fifteenth Urasenke master in a line that descends from the same root. Old and now, held together in one vessel.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eTo understand why a Raku bowl is made the way it is, one has to understand what it refuses. It refuses the wheel, which would make it symmetrical and fast. It refuses the high-fired stoneware kiln, which would make it hard and bright. It refuses glaze that pools and flows decoratively. What remains, after all these refusals, is the essential act: clay pressed and carved by hand, coated in lead-based black glaze, fired quickly in a small internal kiln, and lifted out while still glowing so that the glaze sets in the open air. The result is a body that is relatively soft and porous, a glaze that is matte and deep, and a surface that holds temperature gently against the palm.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eFor chanoyu, these qualities are not compromises. They are the reason. A Raku bowl warms slowly and cools slowly, so the drinker can hold it comfortably. The matte black absorbs light instead of reflecting it, so the bright green of whisked matcha appears against the surface like moss against wet stone. The hand-formed irregularity means no two bowls feel identical in the grip, and the bowl's orientation in the hand becomes part of the encounter. Every bowl is, in this sense, a one-person instrument.\u003cbr\u003e\u003cbr\u003eOn this bowl, the crimson band across the rim deserves particular attention. In kuro raku firing, the black glaze contains iron and manganese; when the bowl is pulled from the kiln at peak heat and exposed to oxygen, certain areas oxidise differently and flush with red, copper, or amber. The potter cannot fully control where this happens - he can only prepare the ground. Seinyu's generation inherited and refined a tradition of reading these firings almost as if they were weather: learning to coax a band of red across the rim, to leave the foot a quieter black, to let the inside remain deep. The 'landscape' (keshiki) of this bowl - a horizon of fire above a field of black - is exactly the kind of reading Hounsai would have recognised when he gave the bowl its name. Kokon: what is old about tea is the fire, what is new is the way we meet it today.\u003cbr\u003e\u003cbr\u003e🔹 [ PROVENANCE \u0026amp; CONDITION ]\u003cbr\u003eAccompanied by the original paulownia wood tomobako (storage box) with calligraphy and kao of Urasenke Hounsai Soshitsu Sen XV, naming the bowl 'Kokon.' A red silk shifuku-style cushion is included as pictured. The bowl itself is in fine preserved condition consistent with careful tea-ceremony storage, retaining the warmth and character of Seinyu's original firing. Please refer to the photographs as part of the description.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e楽家十三代・惺入（せいにゅう、1887-1944）作の黒楽茶碗。裏千家十五代・鵬雲斎大宗匠（1923-2023）による共箱書付、銘「古今」、花押入。長次郎を祖とする四百年の楽家の宗家作と、現代裏千家の最高権威が一碗に重なります。\u003cbr\u003e\u003cbr\u003e惺入は楽家十三代として大正八年に家督を継ぎ、大正・昭和初期の激動の中で、黒楽の根幹である手捏ね成形と低温本窯焼成を守り続けた近代楽家の中心人物です。厚く重ねられた黒釉と、口縁に走る赤銅色の景色は、惺入の黒楽が最も得意とした表情のひとつ。火中から鋏で引き出された瞬間に生まれる酸化の景色が、まさに「古今」の銘にふさわしい時間の痕跡として定着しています。\u003cbr\u003e\u003cbr\u003e銘「古今」は、利休以来の古き心と、今この瞬間に点てる一服の茶を同時に受けとめる言葉。鵬雲斎大宗匠の箱書と花押は、この茶碗が茶の湯の現場で確かに用いられ、伝えられてきた器であることの証です。共箱・仕覆付。コレクターの方、または本格的な茶会でお使いになる方にふさわしい一碗です。\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e楽家十三代・惺入（1887-1944）作の黒楽茶碗。長次郎より連なる四百年の京楽家宗家作に、裏千家十五代・鵬雲斎大宗匠による銘「古今」の箱書と花押を伴う一碗です。手捏ね成形、低温本窯焼成による楽焼独特の温かな質感と、口縁に走る赤銅色の景色が惺入らしい表情を湛えています。古と今、利休以来の心と今点てる一服の茶が重なる銘にふさわしい存在感。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61741755859314,"sku":"260406_a_2665","price":1281.76,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m50635034109_1.jpg?v=1775486798"},{"product_id":"antique-ryonyu-aka-raku-cylindrical-tea-bowl-signed-tsutsu-chawan-certified-by-tannyu-x-edo-period-kyoto-raku-ware-with-tomobako","title":"Antique Ryonyu Aka-Raku Cylindrical Tea Bowl, Signed Tsutsu Chawan Certified by Tannyu X, Edo Period Kyoto Raku Ware with Tomobako","description":"Antique Ryonyu Aka-Raku Cylindrical Tea Bowl, a tsutsu chawan shaped in the quiet hand of Raku Ryonyu IX and sealed beneath the foot with his authentic mark. A signed tsutsu chawan from Edo Period Kyoto Raku ware, accompanied by the original tomobako and a certification box inscribed by Raku Tannyu X, his son and successor. The warm reddish-orange aka-Raku glaze rises from the base into cream and beige firing variations near the rim, breathing like the winter sky over Rakuchu. An Edo period Kyoto Raku chawan carrying the density of intention that defined the ninth generation, entering the archive as a cultural weight rather than an object. Winter tea bowl, low-fired lead-glazed Kyoto ware, preserved in original paulownia wood box.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Raku Ryonyu IX (1756-1834), the 9th head of the Raku family lineage\u003cbr\u003e• Technique: Aka-Raku ware, hand-formed and low-fired at approximately 800°C with a lead-flux white glaze over Jurakudai clay\u003cbr\u003e• Era: Late Edo period, early 19th century (circa 1800s)\u003cbr\u003e• Origin: Kyoto, Japan\u003cbr\u003e• Dimensions: Approximately 10.2 cm in width × 9.1 cm in height\u003cbr\u003e• Box: Original tomobako (signed artist box) from Ryonyu IX, accompanied by a kiwame-bako (certification box) inscribed by the 10th head, Raku Tannyu (1795-1854)\u003cbr\u003e• Condition: Intact. No chips, no cracks, no repairs. The vessel retains its original surface, seal, and presence as it left the ninth-generation kiln.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eRyonyu IX is counted among the great revivalists of the Raku house, the generation that reawakened the lineage of Chojiro and Koetsu after a long quiet period. Inheriting the seat young, after the early death of his father Tokunyu, he carried the family forward through the late Edo renaissance of Kyoto ceramics, deepening the expression of aka-Raku with a force and assurance that still defines how the ninth generation is read today.\u003cbr\u003e\u003cbr\u003eThis vessel is a tsutsu chawan, the cylindrical winter tea bowl of the chanoyu tradition. Its tall, narrow form was shaped since the time of Sen no Rikyu to preserve warmth during the coldest months, holding the tea close to its center so that the final sip remains as warm as the first. To hold a tsutsu chawan in winter is to feel the season distilled in the palms.\u003cbr\u003e\u003cbr\u003eThe surface is aka-Raku, one of the two great glazes of Raku ware alongside kuro-Raku. Formed from Juraku clay gathered within old Kyoto and finished with a lead-flux white glaze, it is fired at a temperature far lower than most ceramics, allowing the earth itself to remain soft, breathing, close to the hand. Long ago, Chojiro shaped the first of these bowls at the request of Rikyu; Ryonyu, two centuries later, continued that quiet conversation between clay and silence.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe Raku lineage is unlike any other ceramic house in Japan. It does not work in kilns of great fire or in factories of repetition. Each generation shapes each bowl by hand, without the wheel, and fires them one at a time in a small internal kiln, withdrawing each piece at the moment it speaks. From Chojiro in the sixteenth century, through Jokei, Donyu, and onward, the seat of head potter has passed from father to son across more than four hundred years. Ryonyu, the ninth, stands at the point where this tradition meets the refinement of the late Edo era — a moment when Kyoto ceramics reached toward both ancestral spirit and a new quiet confidence.\u003cbr\u003e\u003cbr\u003eJurakudai clay, drawn from the old grounds of Hideyoshi's vanished palace in central Kyoto, gives aka-Raku its particular warmth. It is a soft, porous earth that accepts the low-fire glaze without forcing it, allowing oxidation and reduction to pass through the body rather than be sealed by it. The firing, at roughly 800 degrees, is short — minutes rather than hours — and the bowl is lifted from the kiln glowing, cooled in air. This is why aka-Raku carries such a living surface: no two firings behave alike, and each vessel remembers the exact breath of its making.\u003cbr\u003e\u003cbr\u003eIn Ryonyu's hand, this process became unmistakable. His forms are grounded, his walls shaped with a quiet architectural clarity, and his glaze surfaces move between warm red, cream, and beige as the fire decides. This cylindrical bowl carries those qualities openly: a tall, unhurried silhouette, a glaze that deepens from orange near the foot to soft cream near the rim, and the subtle traces of firing where heat and air passed across the body.\u003cbr\u003e\u003cbr\u003eBeneath the foot, the authentic Raku seal remains. Inside the original paulownia box, Ryonyu himself inscribed and sealed the vessel — a tomobako signed by the maker. Accompanying it is a second box, a kiwame-bako, inscribed by his son Raku Tannyu, the tenth generation. In the Raku house, authentication by the succeeding head carries an authority no outside appraisal can equal: it is the lineage itself confirming the lineage. To own a Ryonyu bowl certified by Tannyu is to hold the direct voice of both father and son, the ninth and tenth generations speaking together through a single winter tea bowl.\u003cbr\u003e\u003cbr\u003eThe vessel comes to the archive intact. Unbroken, unrepaired, unaltered — carrying two centuries of careful guardianship into its next quiet room.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e・作家: 楽 九代 了入 (1756-1834)、楽家九代目当主\u003cbr\u003e・技法: 赤楽、手捏ね成形、聚楽土に鉛白釉、約800°Cの低温焼成\u003cbr\u003e・時代: 江戸後期（19世紀初頭、1800年代）\u003cbr\u003e・産地: 京都\u003cbr\u003e・寸法: 幅約10.2cm × 高さ約9.1cm\u003cbr\u003e・箱: 了入自身による共箱、ならびに十代 旦入（1795-1854）による極め箱\u003cbr\u003e・状態: 無傷。欠け・ひび・直しなし。高台脇に了入印が明瞭に残る。\u003cbr\u003e\u003cbr\u003e🔹 [ 文化的・芸術的背景 ]\u003cbr\u003e楽 九代 了入は、長次郎・光悦以来の楽家の伝統を再活性化させた中興の祖の一人として知られる。父・得入の早世により若くして家督を継ぎ、江戸後期の京焼ルネサンスの中で、独自の力強い造形と赤楽表現を深化させた、楽家の歴史における重要な当主である。\u003cbr\u003e\u003cbr\u003e本器は筒茶碗。利休以来の茶道伝統の中で、冬季に湯冷めを防ぐために用いられる細長い器形であり、冬の季節感そのものを手の内に宿す形である。両手に包まれるその静かな立ち姿は、冬の侘びを最も深く語る器のひとつといえる。\u003cbr\u003e\u003cbr\u003e釉は赤楽。黒楽と並ぶ楽焼の二大様式の一つで、京の聚楽土を用い、鉛白釉をかけ、低温で短時間焼成することによって生まれる。土の呼吸がそのまま器に残る技法であり、長次郎が千利休の依頼で創始した、日本茶陶の原点の一つである。\u003cbr\u003e\u003cbr\u003e🔹 [ 深層解説 ]\u003cbr\u003e楽家は、日本陶芸の中でも特異な家系である。ろくろを使わず、大窯を持たず、一つの器を一つずつ手で捏ね、一つずつ内窯で焼き上げる。長次郎から始まり、常慶、道入、そして了入へと、四百余年にわたり父子相伝で当主の座が引き継がれてきた。九代 了入はその長い系譜の中で、江戸後期という時代の静謐と格式を受け止めた世代にあたる。\u003cbr\u003e\u003cbr\u003e聚楽土は、かつての聚楽第の地から採られた京都の土であり、低温焼成に適した柔らかな土質を持つ。赤楽が持つ温かみと、手に伝わる柔らかな質感は、この土とこの焼成温度の関係によって生まれる。焼成は数時間ではなく数分、器は窯から引き出されて空気中で冷まされる。二つとして同じ景色が生まれない理由がここにある。\u003cbr\u003e\u003cbr\u003e了入の手は、造形の落ち着きと、釉の静かな振る舞いに特徴を持つ。本筒茶碗は、高台近くの深い赤から口縁部のクリーム・ベージュへと流れる釉調、そして揺るぎない筒形の立ち姿によって、九代了入の様式を素直に伝えている。\u003cbr\u003e\u003cbr\u003e高台脇には了入の印が明瞭に残り、共箱は了入自身の箱書きを伴う。さらに十代 旦入による極め箱が付属する。楽家において、次代当主による極めは外部鑑定の及ばない最高権威である。これは、血統そのものによる血統そのものの確認である。九代と十代、父と子の声が一つの冬の茶碗の上で重なり合う、希有な一碗である。\u003cbr\u003e\u003cbr\u003e無傷のまま、二世紀の静かな守護を経て、archive の次の静かな部屋へ迎えられる。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61744769925490,"sku":"260408_a_2694","price":844.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m43647906475_1.jpg?v=1775621391"},{"product_id":"antique-keinyu-ame-raku-tea-bowl-with-shifuku-signed-by-raku-xi-keinyu-1817-1902-konyu-xii-authenticated-box-meiji-era-kyoto-chawan","title":"Antique Keinyu Ame-Raku Tea Bowl with Shifuku, Signed by Raku XI Keinyū (1817-1902), Konyū XII Authenticated Box, Meiji Era Kyoto Chawan","description":"A Keinyu ame-raku tea bowl from 19th century Kyoto — signed by Raku XI Keinyū (1817-1902), authenticated by Raku XII Konyū in a hakogaki certification box, and preserved with its original silk shifuku pouch. An amber glaze chawan bearing the density of intention carried from the Bakumatsu through the Meiji transition, entrusted by the Raku lineage itself. Cultural weight resides here in quiet presence — a wabi sabi Kyoto tea ceremony vessel of authored lineage.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Raku XI Keinyū (楽十一代 慶入, 1817-1902)\u003cbr\u003e• Technique: Ame-yu (amber iron-rich glaze), hand-formed Raku ware, low-temperature oxidation firing\u003cbr\u003e• Era: Bakumatsu to Meiji period (mid-to-late 1800s)\u003cbr\u003e• Origin: Raku family kiln, Kyoto, Japan\u003cbr\u003e• Dimensions: Approx. 11.8 cm diameter × 7.5 cm height\u003cbr\u003e• Signature: Raku (楽) seal impressed beside the foot\u003cbr\u003e• Box: Original tomobako (common box) — accompanied by a kiwame-bako (authentication box) hand-inscribed by Raku XII Konyū (弘入, 1857-1932), the artist's own son\u003cbr\u003e• Accessories: Shifuku — original silk pouch (blue checked textile) preserved with the bowl, indicating the former keeper regarded this chawan as a treasured meibutsu-class object\u003cbr\u003e• Condition: Excellent antique condition commensurate with age, with the quiet patina of use expected of a Raku tea bowl over 120 years old\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eKeinyū, the eleventh head of the Raku family, inherited the kiln in 1845 and carried the Sen family's tea aesthetic through one of Japan's most violent cultural ruptures — the collapse of the Tokugawa shogunate, the Meiji Restoration, and the sudden modernization that threatened to erase the chanoyu world entirely. He did not merely survive. He worked. Longevity gave him time; conviction gave him direction. The bowls he left are witnesses of a tradition that refused to disappear.\u003cbr\u003e\u003cbr\u003eAme-yu — the amber glaze — is the rarer third voice of Raku ware, standing beside the canonical red (aka-raku) and black (kuro-raku). Iron oxide carried in the glaze, fired in oxidation at low temperature, matures into a deep caramel hue with translucent runs where the glaze thickens and pools. On this bowl the amber pours and gathers along the lip and the lower wall in the manner Raku potters call yōhen — kiln-born transformation that no hand can plan.\u003cbr\u003e\u003cbr\u003eThe shifuku — a silk pouch normally reserved for treasured chaire (tea caddies) — was tailored for this chawan by a previous custodian. Its presence is not decoration. It is testimony. Someone, at some point in this bowl's long life, recognized it as meibutsu-class and chose to protect it the way one protects a named object.\u003cbr\u003e\u003cbr\u003eAn amber bowl. A son's authentication of his father's hand. A silk pouch shaped to hold silence.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe Raku lineage is the oldest continuous pottery dynasty in Japan, founded in the late 16th century by Chōjirō under the direct guidance of Sen no Rikyū. For over four centuries the family has passed the kiln from father to son, each generation bearing the single character seal — 楽 — that Toyotomi Hideyoshi granted them. To hold a Raku bowl is to hold a fragment of the unbroken chanoyu tradition that runs from Rikyū to the present day.\u003cbr\u003e\u003cbr\u003eKeinyū, the eleventh head, occupies a singular position in that line. Born in 1817, he became head of the family in 1845 and lived until 1902 — meaning his working life spanned the final decades of the Edo shogunate, the upheaval of the Boshin War, the abolition of the samurai class, the dismantling of daimyo patronage, and the full arrival of Meiji modernization. Most traditional crafts lost their footing in those decades. Keinyū held the kiln steady. He produced prolifically and taught his son Kōnyū with the discipline of a man who understood that tradition is not inherited — it is re-earned, generation by generation.\u003cbr\u003e\u003cbr\u003eThe ame-yu technique itself deserves attention. Raku glaze is compounded from lead flux and iron oxide, applied thickly, and drawn from the kiln at temperatures around 800°C — far lower than stoneware. The amber coloration arises when iron is fired in a purely oxidizing atmosphere rather than the reduction atmosphere that yields black raku. The result is a warm, translucent caramel tone that shifts under light: honey where the glaze runs thin, deep brown where it pools, occasional darker specks where iron has migrated and concentrated. No two ame-raku bowls are alike. Each is a single event in the kiln.\u003cbr\u003e\u003cbr\u003eThe kiwame-bako — authentication box — inscribed by Kōnyū (Raku XII, 1857-1932) is the highest possible provenance for a Keinyū work. Kōnyū was Keinyū's son and direct successor. He inherited the kiln, the seals, the techniques, and the visual memory of his father's hand. When the son of a Raku head authenticates a work by his father, no authority in the Japanese tea world stands above it. The hakogaki is not a certificate of opinion. It is a bloodline speaking.\u003cbr\u003e\u003cbr\u003eThe shifuku closes the object's biography. Silk pouches are traditionally made for chaire — the precious tea caddies used in koicha (thick tea) ceremony. To commission a shifuku for a chawan is an unusual act, one reserved for bowls a collector has come to regard as beyond ordinary use. The blue checked textile of this pouch, softened by time, tells us that somewhere in the last century a keeper of this bowl quietly decided it deserved the protection usually given only to named masterpieces. That decision was theirs. The recognition now falls to you.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e・作家: 楽 十一代 慶入（けいにゅう, 1817-1902）\u003cbr\u003e・技法: 飴釉（鉄分を多く含む釉薬の酸化焼成による琥珀色発色）、手捏ね成形、低温楽焼\u003cbr\u003e・時代: 幕末〜明治期（1800年代中〜後期）\u003cbr\u003e・産地: 京都 楽家窯\u003cbr\u003e・寸法: 幅約11.8cm × 高さ約7.5cm\u003cbr\u003e・銘: 高台脇に「楽」印\u003cbr\u003e・箱: 共箱付き／さらに十二代 弘入（こうにゅう, 1857-1932）による極め箱（箱書き付き）\u003cbr\u003e・付属: 仕覆（青系市松裂地の絹袋）— 前の所持者がこの茶碗を「名物格」として大切に扱ってきた証\u003cbr\u003e・状態: 120年以上の時を経た楽茶碗として良好、使い込まれた静かな景色あり\u003cbr\u003e\u003cbr\u003e【文化的・芸術的解説】\u003cbr\u003e慶入は楽家十一代目として幕末から明治維新という文化的激動期を生き抜いた重要な作家である。弘化二年（1845）に家督を継ぎ、明治三十五年（1902）まで長命をもって作陶を続けた。維新前後の混乱の中で千家茶道の美学を支え、楽家の伝統を次代へ繋いだその仕事は単なる継承ではなく、崩壊しかけた文化を再び立て直す行為であった。\u003cbr\u003e\u003cbr\u003e飴釉は赤楽・黒楽と並ぶ楽焼第三の様式で、鉄分を含む釉薬を酸化雰囲気で焼成することで深い琥珀色を発する。この茶碗では口縁から胴下部にかけて飴釉が流れ、窯変による釉だまりが景色を成している。人が意図して作れるものではなく、窯が決める。\u003cbr\u003e\u003cbr\u003e仕覆は本来、濃茶の茶入を包む絹袋であり、茶碗に仕覆を設えるのは前所持者がこの器を特別なものとして認識していた証となる。青系の市松裂で仕立てられた本作の仕覆は、時を経て柔らかく馴染んでいる。\u003cbr\u003e\u003cbr\u003e【深い解説】\u003cbr\u003e楽家は長次郎（初代）が千利休の指導のもと興した、日本で最も古く続く陶芸家系である。豊臣秀吉から下賜されたと伝わる「楽」の一字印を、十六代目の現当主に至るまで四百年以上絶えることなく受け継いできた。茶の湯の世界で楽茶碗を手にするということは、利休から現代まで切れ目なく続く一本の糸に触れるということである。\u003cbr\u003e\u003cbr\u003e慶入は文化十四年（1817）生まれ、弘化二年（1845）に十一代を襲名、明治三十五年（1902）に没した。その生涯は幕末・維新・明治という、日本の伝統工芸が最も足元を揺さぶられた時代とほぼ完全に重なっている。大名の庇護を失い、武家社会が解体され、西洋化の波が押し寄せる中で、多くの伝統工芸が衰退した。慶入は楽家の窯を守り抜き、長子 弘入へと技と精神を伝えた。\u003cbr\u003e\u003cbr\u003e飴釉の技法そのものも特筆に値する。楽釉は鉛釉に鉄分を加え、厚く掛けて約800度という低温で引き出す。酸化雰囲気で焼くと、鉄分は還元焼成の黒ではなく、温かみのある琥珀色に発色する。釉の薄い部分は蜂蜜色、厚く溜まった部分は濃い茶褐色、鉄分が移動した箇所には黒い斑点が現れる。同じ飴楽は二つとない。一碗一碗が窯の中で起きた一度きりの出来事である。\u003cbr\u003e\u003cbr\u003e十二代 弘入による極め箱は、慶入作品に与えられ得る最高の極めである。弘入は慶入の実子であり、直接の後継者として窯・印・技法、そして何より父の手の記憶を受け継いだ人物である。息子が父の作を極めるとき、その権威を上回るものは楽家の血統以外には存在しない。箱書きは意見の証明書ではなく、血脈が語る言葉である。\u003cbr\u003e\u003cbr\u003e仕覆がこの器の物語を閉じる。通常、濃茶用の茶入に設える絹袋を茶碗のために仕立てるのは、所持者がその茶碗を日常の器を超えた「名物格」と認めた時の行為である。青の市松裂で仕立てられ、時間を経て柔らかく馴染んだこの仕覆は、過去百年のどこかの時点で、誰かがこの碗を静かに特別なものとして扱った証である。その認識は、今あなたに引き継がれる。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61744770515314,"sku":"260408_a_2695","price":844.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m35486749751_1.jpg?v=1775621455"},{"product_id":"antique-ryonyu-aka-raku-tea-bowl-sakura-shimo-cherry-frost-omotesenke-jimyosai-authenticated-tomobako-edo-kyoto-chawan-9th-raku-master","title":"Antique Ryonyu Aka-Raku Tea Bowl 'Sakura-shimo' Cherry Frost, Omotesenke Jimyosai Authenticated Tomobako, Edo Kyoto Chawan, 9th Raku Master","description":"A ninth-generation Raku aka-chawan by Ryōnyū (1756-1834), named \"Sakura-shimo\" — Cherry Frost. Authenticated by Omotesenke 14th iemoto Jimyōsai with a dedicated kiwame tomobako. A sculptural Edo-period Kyoto tea bowl carrying the density of intention that defines the Raku lineage, where authorship, mei culture, and iemoto endorsement converge into a single object of cultural weight. Warm sakura-pink, cream, and grey landscapes settle across the lead-flux glaze, and the Raku seal remains crisp beside the foot. This is not a decorative piece; it is a working chawan of the highest register.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Raku Ryōnyū IX (楽 九代 了入, 1756-1834)\u003cbr\u003e• Technique: Aka-Raku (red Raku), hand-formed (tezukune), low-fired at roughly 800°C with lead-flux glaze\u003cbr\u003e• Era: Late Edo period, late 18th to early 19th century\u003cbr\u003e• Origin: Kyoto, Japan — Raku family kiln\u003cbr\u003e• Dimensions: Approx. 11.8 cm width × 7.4 cm height\u003cbr\u003e• Mei (銘): \"Sakura-shimo\" (桜霜 \/ Cherry Frost) — a poetic name evoking a thin frost settling over cherry buds at dawn in early spring\u003cbr\u003e• Box: Tomobako (original paulownia storage box) with kiwame (authentication inscription) by Omotesenke 14th iemoto Jimyōsai Sōsa (表千家十四代 而妙斎)\u003cbr\u003e• Seal: Raku mark impressed beside the foot, clearly legible\u003cbr\u003e• Condition: No chips, no cracks, no restoration. Natural kiln landscapes and quiet surface patina consistent with careful use and centuries of storage.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eRyōnyū is remembered as one of the great revivers of the Raku lineage — the ninth head of the family, working in the late Edo period, who reached back toward the quiet gravity of Chōjirō and the sculptural freedom of Kōetsu and brought them forward into a new century. His bowls are not imitations of the past. They are a conversation with it, held in clay.\u003cbr\u003e\u003cbr\u003eThis chawan carries the mei \"Sakura-shimo\" — Cherry Frost — a single phrase that tells you how the bowl is meant to be seen. In Japanese tea culture, a mei is not a label. It is a reading. Someone, at some point, held this bowl, watched the way pale pink drifted across grey and cream like frost on early cherry buds, and gave that landscape a name. Once named, the bowl enters a different register: it is no longer only ceramic, it is a small season.\u003cbr\u003e\u003cbr\u003eThe weight of this particular piece comes from a second hand as well. The tomobako carries a kiwame — an authentication inscription — by Jimyōsai Sōsa, the 14th iemoto of Omotesenke, one of the three great schools of tea descending from Sen no Rikyū. A living iemoto's written endorsement functions, in the Western collector market, as the final proof of authorship. Tomobako plus iemoto kiwame is a double certificate of origin, and it places this bowl at the top register of what a Raku chawan can be.\u003cbr\u003e\u003cbr\u003eEarly spring, before the petals open, frost settles on the buds and is gone by mid-morning. The bowl holds that hour.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe Raku lineage begins in the late sixteenth century, when the potter Chōjirō, working under the direction of Sen no Rikyū, produced the first hand-formed tea bowls intended specifically for wabi-style chanoyu. From that point forward, the Raku family has passed its name and its kiln from generation to generation, each head inheriting not a style but a responsibility. Ryōnyū, the ninth generation, inherited that responsibility during a period when Kyoto's ceramic culture was broadening outward, and his work is often described as a return to essentials — thicker walls, a fuller hand, a quieter surface.\u003cbr\u003e\u003cbr\u003eAka-Raku, the red variant, is made from Kyoto's jurakudo clay and finished with a lead-flux glaze, then fired at a temperature low enough that the potter can lift the bowl directly out of the kiln with iron tongs while it is still glowing. This process is intimate and unforgiving. Every bowl records, in its surface, the exact hand that shaped it and the exact moment it left the fire. This is why authorship in Raku ware is not a biographical detail — it is visible in the object itself.\u003cbr\u003e\u003cbr\u003eIn tea culture, the practice of giving a bowl a mei belongs to a different discipline entirely. A mei is usually bestowed by a tea master or a collector after long observation. It is not decorative. It is a record of recognition. \"Sakura-shimo\" — Cherry Frost — is a seasonal name of particular refinement: it locates the bowl in a specific hour of a specific week of early spring, when frost and blossom briefly share the same branch. A bowl with such a name is expected to be used in that season, and it is expected to be worthy of the name every time.\u003cbr\u003e\u003cbr\u003eThe kiwame box by Jimyōsai carries its own cultural weight. Omotesenke is the senior branch of the three Sen schools, and its iemoto speaks with institutional authority within the tea world. When a living iemoto inscribes a bowl, the inscription is not a souvenir. It is a formal act that places the object within the school's recognized canon of utensils. For collectors outside Japan, this is the closest equivalent to a museum certificate — and in the Japanese market, it carries more weight.\u003cbr\u003e\u003cbr\u003eTaken together — ninth-generation authorship, Edo-period provenance, a poetic mei, and a contemporary iemoto endorsement — this chawan sits at the intersection of every axis that defines value in Japanese tea ceramics. It is, quite literally, a working object of cultural weight. The only question is who is ready to receive it.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 作家: 楽 九代 了入 (1756-1834)\u003cbr\u003e• 技法: 赤楽 — 聚楽土を手捏ねで成形し、鉛白釉を用いて約800度で低温焼成\u003cbr\u003e• 時代: 江戸後期（18世紀後半〜19世紀前半）\u003cbr\u003e• 産地: 京都・楽家窯\u003cbr\u003e• 寸法: 幅約11.8cm × 高さ約7.4cm\u003cbr\u003e• 銘: 「桜霜」(Sakura-shimo) — 早春の朝、桜の蕾に降りる薄霜を想起させる詩的な銘\u003cbr\u003e• 箱: 共箱（桐箱）— 表千家十四代 而妙斎宗左による極め書付\u003cbr\u003e• 印: 高台脇に楽印が明瞭に残る\u003cbr\u003e• 状態: 無傷・無ヒビ・無修理。自然な景色と落ち着いた肌合い、丁寧に用いられてきた気配\u003cbr\u003e\u003cbr\u003e🔹 [ 文化的・芸術的背景 ]\u003cbr\u003e了入は楽家の中でも「中興の祖」の一人として位置づけられる九代目です。長次郎の静けさと光悦の造形的自由を、江戸後期の京都でもう一度呼び戻した人物であり、その作風は過去の模倣ではなく、過去との対話として現れます。この茶碗が持つ厚みのある造形、落ち着いた赤楽の景色、静謐な高台周りは、まさに了入の手の記憶をとどめています。\u003cbr\u003e\u003cbr\u003e銘「桜霜」は、この器に与えられた詩的な読みです。日本の茶道における銘は単なる名前ではなく、器の景色や季節感、時間の一瞬を一語に凝縮する行為です。淡い桜色と灰、温かな黄白が溶け合うこの器の景色を見て、誰かが「早春の朝、桜の蕾に降りる薄霜」を見出し、その情景を一語で封じ込めた — それが「桜霜」という銘です。名を得た瞬間、器はひとつの季節そのものになります。\u003cbr\u003e\u003cbr\u003eそしてこの器を最高位へと押し上げているのが、表千家十四代 而妙斎宗左による極め箱です。現役の家元による極め書付は、欧米のコレクター市場においても「真贋の最終証明」として機能し、共箱との二重鑑定は楽茶碗の格を最上位へと引き上げます。\u003cbr\u003e\u003cbr\u003e🔹 [ 深掘り解説 ]\u003cbr\u003e楽家は十六世紀末、千利休の指導のもとで長次郎が侘び茶のための手捏ね茶碗を焼き始めたことに始まります。以来、楽家は代々その名と窯を受け継ぎ、それぞれの当主は「様式」ではなく「責務」を継承してきました。九代 了入はその責務を、京都の焼き物文化が外へと広がりつつあった時代に引き受け、厚みのある造形、量感ある手取り、静かな釉肌で「本質への回帰」を示した陶工として知られています。\u003cbr\u003e\u003cbr\u003e赤楽は京都・聚楽の土と鉛白釉を用い、低温で焼成されます。器が赤く輝いたまま鉄鋏で窯から取り出されるこの工程は親密で、やり直しがききません。だからこそ一碗一碗に、作り手の手と、火から離れた瞬間がそのまま刻まれます。楽茶碗における「作家性」とは経歴の話ではなく、器そのものに見える事実なのです。\u003cbr\u003e\u003cbr\u003e銘の文化は、それとはまた別の規律に属します。銘は通常、茶人や所持者が長い時間をかけて観察した末に与えるものであり、装飾ではなく「認識の記録」です。「桜霜」という銘は特に洗練された季銘のひとつで、早春の特定の一週間、特定の朝の一時間 — 霜と蕾が同じ枝に並ぶ短い時間 — を器の中に封じ込めます。その銘を持つ器は、その季節にこそ用いられるべきであり、名に値し続けることを期待されます。\u003cbr\u003e\u003cbr\u003e而妙斎による極め箱もまた、独自の重みを持ちます。表千家は三千家の本家筋にあたり、その家元は茶の湯世界における制度的権威を担います。現役の家元が一碗を極めるという行為は記念品ではなく、その器を学校の正典に正式に位置づける行為です。海外の蒐集家にとっては、これは美術館証明に最も近いものであり、日本国内の市場においてはそれ以上の重みを持ちます。\u003cbr\u003e\u003cbr\u003e九代という作家性、江戸期の出自、詩的な銘、そして現代家元の極め — これらが重なるとき、この茶碗は日本の茶陶において「価値」を定義するすべての軸が交差する一点に立ちます。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61744770679154,"sku":"260408_a_2696","price":883.63,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m78825209237_1.jpg?v=1775621523"},{"product_id":"raku-kichizaemon-xiii-seinyu-red-chawan-crane-motif-sokuchusai-attestation-tomobako","title":"Raku Kichizaemon XIII Seinyu Red Chawan — Crane Motif, Sokuchusai Attestation, Tomobako","description":"🔹 [ BASIC DETAILS ]\u003cbr\u003eRaku clay · Red glaze (aka-chawan) · Overglaze enamels · Paulownia tomobako · Shifuku silk pouch · Sokuchusai kakitsuke · Raku seal impressed · Kyoto, Japan · 13th generation · Omotesenke iemoto inscription · Crane and pine motif · Mid-20th century\u003cbr\u003e\u003cbr\u003e📐 Width approx. 12 cm · Height approx. 8.5 cm\u003cbr\u003e🏷 SKU: 260412_a_2721\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eTo hold this bowl is to hold four centuries of intention.\u003cbr\u003e\u003cbr\u003eRaku Kichizaemon XIII — known by his artist name Seinyu (惺入, 1887–1944) — was the thirteenth head of the Raku family, the lineage that Chojiro founded in the sixteenth century at the request of Sen no Rikyu himself. Each generation of the Raku house has produced tea bowls by hand, one at a time, in the tradition of tezukuri: formed without the wheel, fired in a small kiln at low temperature, shaped by the maker's palms alone. Seinyu carried that lineage into the twentieth century with disciplined fidelity.\u003cbr\u003e\u003cbr\u003eThis bowl is finished in the warm coral-red of aka-chawan — a glaze tradition distinct from Raku's more familiar black. The surface carries the characteristic soft crackle of raku firing: a skin that breathes, that holds the memory of heat. On the front face, Seinyu painted a crane (tsuru) among pine trees in overglaze enamels — greens, blacks, and cream white applied with deliberate restraint. The crane does not fill the bowl; it inhabits it. The reverse carries a painted landscape in dark pigment, quieter, a counterpoint. At the foot ring, the deeply impressed '楽' seal — circular, scalloped-bordered — marks this as authentic Raku house work.\u003cbr\u003e\u003cbr\u003eThe paulownia tomobako is inscribed in Seinyu's own hand. Inside the lid, a kakitsuke (attestation inscription) by Sokuchusai — Iemoto XIII of the Omotesenke school of tea — carries his kao (personal monogram). When two thirteenth-generation masters — one the maker, one the witness — are bound together in a single set of documents, the object becomes something beyond craft. It becomes testimony.\u003cbr\u003e\u003cbr\u003eThe seller notes that no formal external authentication has been conducted (正式鑑定は受けておりません). The seal, the box inscription, and the attestation are consistent with known Raku house and Omotesenke examples. Serious collectors will wish to conduct independent verification.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe crane-and-pine combination (tsurukomatsu) is among the most durable auspicious pairings in Japanese visual culture — longevity, fidelity, constancy. On a tea bowl, it carries the specific weight of chakai seasons: the motif appears most naturally in new-year gatherings (hatsugama) and formal celebrations. Seinyu's choice to render the crane in overglaze enamels on red Raku ground — rather than in the underglaze iron pigment more common to his black bowls — reflects a deliberate tonal decision. Warmth meeting warmth. The coral-red ground does not recede beneath the crane; it participates.\u003cbr\u003e\u003cbr\u003eSokuchusai (即中斎, 1901–1979) served as the thirteenth grand master of Omotesenke from 1936 until his death. His reign spanned the war years and the reconstruction of chado culture in postwar Japan. A kakitsuke bearing his hand is not merely an endorsement — it is a record of transmission, of a bowl entering the formal vocabulary of a school. That this attestation connects the thirteenth Raku generation to the thirteenth Omotesenke generation is not coincidence the connoisseur will overlook.\u003cbr\u003e\u003cbr\u003eThe shifuku (silk pouch) and accompanying cloth (共布) are present and intact, completing the transmission set. In formal chado context, the shifuku is not peripheral; it is part of the object's identity.\u003cbr\u003e\u003cbr\u003e---\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語説明 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e楽吉左衛門十三代 惺入（1887〜1944年）による鶴文赤茶碗。共箱・仕覆・共布付き。幅約12cm、高さ約8.5cm。箱蓋裏に表千家十三代 即中斎の書付・花押あり。\u003cbr\u003e\u003cbr\u003e【文化的背景と芸術的解説】\u003cbr\u003e十六世紀、千利休の依頼により長次郎が創始した楽家。その十三代目・惺入が手づくりで制作した赤茶碗。赤樂釉の温かみある珊瑚色の地に、上絵具で鶴と松を描く。足裏には「楽」印（丸形、刻印）。共箱は惺入自筆。箱蓋裏に即中斎の書付・花押が記される。\u003cbr\u003e\u003cbr\u003e即中斎（1901〜1979年）は表千家十三代家元として、戦中から戦後にかけて茶道文化を支え続けた。楽家十三代と表千家十三代、二人の「十三代」が一つの茶碗に結びついている。\u003cbr\u003e\u003cbr\u003e鶴松の取り合わせは長寿と吉祥の象徴として、初釜など改まった茶会に用いられる意匠。赤樂の地に上絵で描かれた鶴は、静かな存在感を放つ。\u003cbr\u003e\u003cbr\u003e【補足】出品者より「正式鑑定は受けておりません」との記載あり。印章・箱書・書付の様式は既知の楽家・表千家資料と整合しています。真剣にお求めの方は独自に鑑定されることをお勧めします。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61770752983410,"sku":"260412_a_2721","price":589.37,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m44256531808_1.jpg?v=1775987657"},{"product_id":"kuro-raku-chawan-by-raku-kichizaemon-black-raku-tea-bowl-with-signed-tomobako-and-shifuku","title":"Kuro-Raku Chawan by Raku Kichizaemon — Black Raku Tea Bowl with Signed Tomobako and Shifuku","description":"Experience Authentic Japan Art with this Raku Kichizaemon Chawan. This Kuro Raku Tea Bowl serves as a Matcha Tea Bowl and Senke Jisshoku heirloom, featuring Hand Formed Pottery and Signed Tomobako Box—a must-have for any Japanese Art Collector. Wrapped in its original Yellow Silk Shifuku, this Antique Tea Ceremony vessel carries the lineage of Kyoto Raku Ware.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Family \/ Maker: Raku Kichizaemon — the fifteen-generation tea pottery lineage of Kyoto, founded in the late 16th century by Chōjirō under the patronage of Sen no Rikyū.\u003cbr\u003e• Object: Kuro-raku chawan (black raku tea bowl) for matcha — the canonical form of Japanese tea ceremony pottery.\u003cbr\u003e• Technique: Hand-formed by tezukune (pinched and pared by hand, not thrown), finished with low-fire kuro-raku black glaze.\u003cbr\u003e• Origin: Kyoto, Japan — Raku family kiln.\u003cbr\u003e• Dimensions: Height approx. 7.8 cm (3.07 in), Width approx. 11.5 cm (4.53 in).\u003cbr\u003e• Box: Signed wooden tomobako with Raku seal (rakuin) and inscription \"黒楽茶碗 樂吉左衛門\"; accompanied by the original yellow silk shifuku (cloth pouch) bearing the Raku seal.\u003cbr\u003e• Condition: Excellent. The characteristic kuro-raku glaze shows a deep, oily luster broken by matte passages, the hand-formed silhouette retains soft fingertip impressions, and the generous foot (kōdai) is left unglazed in the orthodox manner.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Raku family stands at the centre of the senke jisshoku — the ten craftsmen lineages that have served the three Senke tea schools since the time of Sen no Rikyū. Of these ten, the Raku potters hold a singular position: their bowls are not adornments to the tea ceremony, they are the form in which Rikyū's wabi was first made tactile.\u003cbr\u003e\u003cbr\u003eThis vessel belongs to the kuro-raku tradition begun by Chōjirō in the 1580s. The body is hand-pinched from a coarse Kyoto clay, dipped in a glaze derived from Kamogawa-ishi (the black stone of the Kamo River), and lifted from the kiln glowing red before being quenched — a process that fixes the carbon-rich surface and the small, bubbled \"kairagi\" textures visible across the wall.\u003cbr\u003e\u003cbr\u003eA black raku bowl is not a black bowl. It is a bowl in which stillness has been given a surface.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe origin of Raku ware lies in the meeting of two men in late-16th-century Kyoto: Sen no Rikyū, who was reshaping tea away from imported Chinese splendour toward a quieter, native sensibility, and Chōjirō, a tile-maker of continental descent who was asked to throw bowls of a wholly different scale. The kuro-raku chawan that emerged — small, hand-shaped, deliberately unrefined — became the physical signature of Rikyū's tea reform.\u003cbr\u003e\u003cbr\u003eFifteen generations have followed Chōjirō, each Raku head taking the name Kichizaemon and inheriting both the kiln and the responsibility of the form. From Jōkei and Donyū through Tannyū, Ryōnyū and Kakunyū, into the modern lineage of Kakunyū, Seinyū and Jikinyū (the fifteenth, Raku Kichizaemon XV), the family has guarded a quiet ethos: ichigo — one bowl, one firing, one moment.\u003cbr\u003e\u003cbr\u003eThe kuro-raku technique itself is unlike any other Japanese ceramic. The clay body is soft and porous, the glaze is built up in heavy layers and fired low, and the bowl is drawn from the kiln while still incandescent and cooled in open air. The matte-and-gloss interplay across this bowl, the small surface pittings, and the warm earthen edge at the foot are the direct fingerprints of that process.\u003cbr\u003e\u003cbr\u003eFor a Raku chawan, the tomobako and shifuku are not accessories — they are evidentiary. The signed and sealed wooden box, accompanied here by the original yellow silk pouch bearing the Raku seal, is the framework through which a Raku bowl is read, dated and authenticated. The set as it stands here — bowl, signed box, sealed shifuku — is the form in which Raku ware has been transmitted between collectors for four centuries.\u003cbr\u003e\u003cbr\u003eIn the tea room, a kuro-raku chawan is the bowl the host prepares with the greatest care and places, with both hands, before the guest. It is the vessel Rikyū chose. To hold one is to stand, briefly, inside the lineage of Japanese tea itself.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 家系・作者: 樂吉左衛門 — 千利休のもと十六世紀末に長次郎が興した、京都・楽家十五代の茶陶系譜。\u003cbr\u003e• 品目: 黒楽茶碗（抹茶用）。日本の茶の湯における原型ともいえる碗形。\u003cbr\u003e• 技法: 手捏ね（てづくね）成形、低火度の黒楽釉。轆轤を用いず、手で挟みながら姿を造る。\u003cbr\u003e• 産地: 京都・楽家窯。\u003cbr\u003e• 寸法: 高さ約7.8cm、幅約11.5cm。\u003cbr\u003e• 箱: 共箱（杉箱）に「黒楽茶碗 樂吉左衛門」の箱書、楽印あり。共布（黄絹の仕覆）に楽印捺印。\u003cbr\u003e• 状態: 良好。黒釉特有の深い照りと、所々に残るマット質との対比、手捏ねによる柔らかな姿、無釉の高台に至るまで、樂家本流の手仕事を伝える。\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・美術的考察 ]\u003cbr\u003e樂家は、千家十職の中でも別格に位置する茶陶の家である。彼らの茶碗は茶席を飾るための器ではなく、利休の侘びそのものに姿を与えた「形」として伝えられてきた。\u003cbr\u003e\u003cbr\u003e本碗は、長次郎が天正期に始めた黒楽の系譜に属する。京都の粗土を手で捏ね、鴨川石を主成分とする黒釉を厚く掛け、窯から赤熱のまま引き出して急冷する——この製法によって、碒面の炭素を含んだ深い黒と、肌に走る微細な梅華皮（かいらぎ）の景色が定着する。\u003cbr\u003e\u003cbr\u003e黒楽茶碗は「黒い碗」ではない。「静けさに肌を与えた碗」である。\u003cbr\u003e\u003cbr\u003e🔹 [ 詳細解説 ]\u003cbr\u003e樂焼の起源は、十六世紀末の京都における千利休と長次郎の出会いにある。中国陶への憧れから侘び茶へと茶の湯を組み替えていた利休が、瓦師であった長次郎に「これまでとは異なる茶碗」を依頼したところに始まる。そこから生まれた、手で捏ねられた小さな黒楽茶碗こそ、利休の茶の最も具体的な姿となった。\u003cbr\u003e\u003cbr\u003e長次郎以後、樂家は十五代を重ねている。代々が「吉左衛門」の名を継ぎ、窯と「形」の責任を引き受けてきた。常慶、道入（ノンコウ）、宗入、長入、覚入、惺入、直入（十五代）に至るまで、家全体の倫理として「一期一会・一椀一焼」が守られている。\u003cbr\u003e\u003cbr\u003e黒楽の技法は、他のいかなる日本陶とも異なる。柔らかく多孔質な土に、厚く掛けられた釉を低火度で焼き、赤熱の状態で窯から引き出して空冷する。本碗の照りとマットの混在、表面に残る小さな鬲、そして高台際の温かな素地の色は、すべてその工程の直接的な痕跡である。\u003cbr\u003e\u003cbr\u003e樂家茶碗において、共箱と仕覆は単なる付属ではなく、伝来そのものを証す装置である。「黒楽茶碗 樂吉左衛門」と書かれ楽印が捺された共箱、楽印を持つ黄絹の仕覆——この三点（碗・箱・仕覆）が揃っている形こそ、樂焼が四世紀にわたり伝えられてきた本来の姿である。\u003cbr\u003e\u003cbr\u003e茶席において、亭主が最も心を込めて据え、両手で客の前に置くもの——それが黒楽茶碗である。利休が選んだ器を手にすることは、日本の茶そのものの系譜の中に、ひととき身を置くということに等しい。\u003cbr\u003e\u003cbr\u003e※本作の代別については、箱書および楽印の精査による正式鑑定を推奨します。本ページでは「樂吉左衛門 銘・印 共箱」までを所見として記し、代の特定は将来の鑑定に委ねます。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61823973294450,"sku":"260502_a_2801","price":666.78,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m21171563484_1.jpg?v=1777721664"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/collections\/m50635034109_1.jpg?v=1778114450","url":"https:\/\/checkout.themodernzenarchive.com\/collections\/lineage-raku.oembed","provider":"The Modern Zen Archive","version":"1.0","type":"link"}