{"title":"Kanazawa","description":"\u003cp\u003eKanazawa produces nearly all of Japan's gold leaf. This single fact has shaped an entire city's relationship with surface, light, and material precision. The craft traditions here — from lacquerware to ceramics to metalwork — share an understanding that refinement is not excess, but exactness.\u003c\/p\u003e\n\u003cp\u003eObjects from Kanazawa carry an unmistakable quality: the confidence of a place that has worked with precious materials long enough to use them with restraint.\u003c\/p\u003e","products":[{"product_id":"murata-hyakusen-kaga-maki-e-hira-natsume-shimekazari-gold-lacquer-tea-caddy","title":"Murata Hyakusen Kaga Maki-e Hira-Natsume 'Shimekazari' - Gold Lacquer Tea Caddy","description":"A masterful flat tea caddy (hira-natsume) by renowned Kaga maki-e artisan Murata Hyakusen, featuring an exquisite shimekazari (sacred New Year rope decoration) motif in gold maki-e on deep black lacquer. This museum-quality piece showcases pine needle fans and shimenawa rope elements rendered in fine gold work, with a luxurious nashiji (pear-skin gold) interior. A magnificent New Year or celebratory tea ceremony piece from the prestigious Kaga lacquer tradition. Ships with tracking from Japan.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e[ PRODUCT DETAILS ]\u003cbr\u003e• Artist: Murata Hyakusen (村田百川)\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture, Japan (Kaga maki-e tradition)\u003cbr\u003e• Type: Flat Tea Caddy (Hira-Natsume \/ 平棗)\u003cbr\u003e• Style: Kaga Maki-e \/ Traditional Japanese \/ Celebratory\u003cbr\u003e• Dimensions: 8.0 cm diameter × 6.0 cm height (3.1\" × 2.4\") – Compact ceremonial form\u003cbr\u003e• Materials: Wood core, natural urushi lacquer, gold powder (maki-e), nashiji gold interior\u003cbr\u003e• Packaging: Signed wooden box (tomobako) with artist's signature \"百川\", silk fukusa (purple) included\u003cbr\u003e• Condition: Excellent condition. Mirror-like lacquer finish with no scratches or damage. Gold maki-e design crisp and fully intact.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e[ ABOUT THIS PIECE ]\u003cbr\u003eThis hira-natsume is a tour de force of the Kaga maki-e tradition — one of Japan's most celebrated schools of lacquer art. The flattened, rounded form (hira-natsume, 'flat jujube') sits low and elegant, its deep black lacquer ground polished to a mirror finish that reflects light with glass-like clarity.\u003cbr\u003e\u003cbr\u003eThe design depicts 'shimekazari' (〆かざり) — the sacred decorative rope hung during Japanese New Year to invite good fortune and ward off evil spirits. Rendered in gold maki-e, clusters of radiating pine needle fans emerge from the lower portion of the body, their fine lines fanning outward with botanical precision. Above them, a gold horizontal line represents the shimenawa rope, with hanging shide (zigzag paper streamers) descending in geometric regularity. The composition wraps around the entire body, creating a continuous ceremonial tableau.\u003cbr\u003e\u003cbr\u003eThe interior reveals another level of luxury — nashiji (梨地), a technique where fine gold flakes are suspended in translucent amber lacquer, creating a surface that glows like the skin of a golden pear. This interior treatment alone represents significant additional labor and material cost.\u003cbr\u003e\u003cbr\u003e[ WHY CHOOSE THIS NATSUME? ]\u003cbr\u003eMurata Hyakusen is a respected master of Kaga maki-e, the lacquer tradition of Kanazawa (Ishikawa Prefecture) that has been designated as a Traditional Craft of Japan. Kaga maki-e is distinguished from other lacquer schools by its emphasis on pictorial realism, elaborate layering techniques, and the use of multiple gold tones to create depth and dimension.\u003cbr\u003e\u003cbr\u003eThis piece demonstrates several hallmarks of master-level Kaga work: the flawless mirror-finish base lacquer, the precise yet naturalistic gold rendering of the pine motif, the geometric precision of the shide streamers, and the opulent nashiji interior. Each element requires separate application stages, with days of drying between layers.\u003cbr\u003e\u003cbr\u003e[ CULTURAL SIGNIFICANCE ]\u003cbr\u003eThe shimekazari motif carries deep spiritual significance in Japanese culture. During the New Year period (shogatsu), shimenawa ropes and shimekazari decorations are hung at entrances to mark sacred space and welcome the toshigami (year deity). The pine elements represent longevity and constancy — the evergreen that endures through winter.\u003cbr\u003e\u003cbr\u003eIn tea ceremony, a natsume with auspicious imagery such as shimekazari would be selected for New Year gatherings (hatsugama — the first tea ceremony of the year) or other celebratory occasions. The flat form (hira-natsume) is particularly associated with formal, elegant tea ceremonies.\u003cbr\u003e\u003cbr\u003e[ PROVENANCE \u0026amp; AUTHENTICITY ]\u003cbr\u003eAccompanied by the artist's signed wooden box (tomobako) with brush calligraphy and the artist's name \"百川\" (Hyakusen). Includes a purple silk fukusa cloth for display. The tomobako serves as a certificate of authenticity.\u003cbr\u003e\u003cbr\u003e[ SUGGESTED USES ]\u003cbr\u003e• Tea ceremony use — holds matcha powder for formal thin tea (usucha) preparation, ideal for New Year celebrations\u003cbr\u003e• Museum-quality display piece for Japanese lacquerware collections\u003cbr\u003e• Perfect gift for serious tea practitioners, collectors of Kaga lacquer art, or anyone who appreciates the pinnacle of Japanese craftsmanship\u003cbr\u003e• Exceptional New Year or milestone gift with profound cultural meaning\u003cbr\u003e\u003cbr\u003e[ FREQUENTLY ASKED QUESTIONS ]\u003cbr\u003eQ: What is Kaga maki-e?\u003cbr\u003eA: Kaga maki-e is the lacquer art tradition of the former Kaga domain (present-day Ishikawa Prefecture), centered in Kanazawa. It is one of Japan's most prestigious lacquer schools, known for elaborate gold work, realistic designs, and techniques that have been refined over 400 years.\u003cbr\u003e\u003cbr\u003eQ: What is nashiji?\u003cbr\u003eA: Nashiji (梨地) means 'pear-skin ground.' Fine gold flakes are embedded in translucent amber lacquer, creating a luminous, golden interior that resembles the skin of an Asian pear. It is a hallmark of high-quality lacquerware.\u003cbr\u003e\u003cbr\u003eQ: How should I care for this piece?\u003cbr\u003eA: Wipe gently with a soft, dry cloth. Avoid direct sunlight and extreme temperature changes. Never use water, detergent, or a dishwasher on lacquerware. Store in its wooden box when not in use. The silk fukusa should be kept dry.\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","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61566202184050,"sku":"260127_1845","price":893.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/row_513_img_1_strict_1769578694796.jpg?v=1770108313"},{"product_id":"ohi-ware-black-tea-bowl-by-izumi-kisen-shoun-kiln-kanazawa-chawan","title":"Ohi Ware Black Tea Bowl by Izumi Kisen - Shoun Kiln Kanazawa Chawan","description":"Experience authentic Japanese tea ceremony art with this Ohi Ware Tea Bowl in black ame glaze. This Black Glaze Chawan by Izumi Kisen of Kanazawa Pottery tradition serves as a Hand Built Pottery masterwork and Matcha Bowl, featuring Raku Tradition lineage and Studio Pottery Japan craftsmanship—a must-have for any Art Collector seeking a Contemporary Chawan with Black Glaze Ceramic depth and Signed Tomobako Box provenance.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Izumi Kisen (泉喜泉)\u003cbr\u003e• Technique: Hand-built (tezukune), black ame glaze\u003cbr\u003e• Era: Contemporary (Heisei–Reiwa period)\u003cbr\u003e• Origin: Shoun Kiln (松雲窯), Kanazawa, Ishikawa Prefecture\u003cbr\u003e• Dimensions: Height approx. 8 cm (3.1 in), Diameter approx. 12 cm (4.7 in)\u003cbr\u003e• Box: Signed tomobako (共箱) with two-box configuration\u003cbr\u003e• Condition: Excellent — no chips or cracks\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eOhi ware exists as a direct descendant of the Raku tradition — when the son of the 5th Raku master relocated to Kanazawa with the Maeda clan in the Edo period, he established what would become the Ohi kiln lineage. Where Raku developed in Kyoto under Sen no Rikyu's aesthetic guidance, Ohi evolved in Kanazawa's distinct cultural climate, serving tea masters of one of Japan's wealthiest and most culturally sophisticated domains.\u003cbr\u003e\u003cbr\u003eThe black glaze of Ohi ware differs from Raku black in its thicker, more viscous character — a lustrous depth that moves from jet black to subtly matte surfaces. This bowl shows that density: the glaze pools and thickens, creating variations in light absorption across the form. The hand-built construction produces the irregular rim and heavy walls characteristic of both traditions.\u003cbr\u003e\u003cbr\u003eShoun kiln, under Izumi Kisen, continues this four-century lineage. The signed tomobako confirms authorship and provenance — the artist's seal validates the work's place within this unbroken tradition.\u003cbr\u003e\u003cbr\u003e*\"Black glaze holds memory — each firing, each tea gathering, each hand that lifts the bowl adds invisible weight.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Ohi Lineage and Raku Connection**: When the 5th Raku master Sonyu's son Chozaemon moved to Kanazawa in 1666, he brought Raku techniques to serve the Maeda clan's tea culture. His descendants became the Ohi family, maintaining the hand-building methods and low-fire aesthetic while developing their own glaze palette. This bowl represents that continuous line — Raku principles adapted to Kanazawa's refined aesthetic.\u003cbr\u003e\u003cbr\u003e**Black Ame Glaze Character**: Ohi black differs from Raku black. Where Raku black (kuro-raku) tends toward matte surfaces with orange-peel texture, Ohi black ame glaze flows thicker and more lustrous. This bowl shows the characteristic depth — the upper portion holds a deep, reflective black while the lower section reveals a slightly granular surface where the glaze thins. These variations create visual interest and tactile complexity.\u003cbr\u003e\u003cbr\u003e**Hand-Built Construction**: The tezukune (hand-built) method produces the thick walls and substantial weight. The rim shows subtle undulations — not perfectly circular but shaped by the maker's hands as the clay was formed. This irregularity is intentional, valued in tea ceremony aesthetics as a mark of human presence rather than mechanical perfection. The semi-cylindrical profile provides comfortable grip and visual balance.\u003cbr\u003e\u003cbr\u003e**Signed Tomobako Authentication**: The double-box configuration — an inner drop-lid box and outer standard box — both signed by the artist, provides complete provenance documentation. The tomobako inscription includes the artist's seal and the work's title, placing the bowl definitively within Kisen's body of work and the broader Ohi tradition.\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：泉喜泉\u003cbr\u003e• 技法：手捏ね、黒飴釉\u003cbr\u003e• 時代：平成〜令和\u003cbr\u003e• 産地：松雲窯、石川県金沢市\u003cbr\u003e• 寸法：高さ約8cm、口径約12cm\u003cbr\u003e• 付属：共箱（二重箱）\u003cbr\u003e• 状態：無傷・良好\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e大樋焼は、江戸時代初期に五代楽長次郎の息子・長左衛門が加賀藩前田家に招かれ金沢に移住したことに始まります。楽焼の技法を受け継ぎながら、加賀の洗練された茶の湯文化の中で独自の発展を遂げました。楽焼の黒釉とは異なり、大樋の黒飴釉はより厚く、粘性のある質感が特徴です。\u003cbr\u003e\u003cbr\u003eこの茶碗は泉喜泉による松雲窯の作品です。手捏ねによる厚手の造形、口縁の微妙な歪み、そして上部の漆黒から下部のやや粗い質感へと変化する釉調が、400年続く大樋の伝統を現代に伝えています。共箱には作家の署名と印章があり、作品の真正性を保証しています。\u003cbr\u003e\u003cbr\u003e金沢の茶の湯文化は、前田家の庇護のもと京都とは異なる独自の美意識を育みました。大樋焼はその中心的存在として、茶人たちに愛用されてきました。この茶碗は、その伝統の重みと現代作家の感性が融合した一碗です。\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*The weight of glaze — centuries compressed into black.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61585035297138,"sku":"251106_a_1364","price":264.96,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m29423102564_1.jpg?v=1770786657"},{"product_id":"ohi-toshiro-x-chozaemon-amber-glaze-chawan-with-kiln-variation","title":"Ohi Toshiro X Chozaemon Amber Glaze Chawan with Kiln Variation","description":"Experience Authentic Japanese Tea Ceremony Ceramics with this Ohi Toshiro Amber Glaze Tea Bowl. This Japanese Chawan serves as an Ohi Ware Masterwork and Kanazawa Pottery Heritage, featuring Ame-yū Amber Glaze and Dramatic Kiln Variation—a must-have for any Tea Ceremony Collector seeking Urasenke Tradition and Cultural Heritage.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ohi Toshiro \/ X Ohi Chozaemon (大樋年朗 \/ 十代大樋長左衛門, b. 1927)\u003cbr\u003e• Type: Chawan (茶碗) — tea bowl\u003cbr\u003e• Technique: Hand-built Ohi ware with ame-yū (飴釉) amber glaze\u003cbr\u003e• Glaze: Amber glaze with extensive green-grey yōhen (窯変) kiln variation\u003cbr\u003e• Approximate dimensions: Dia ~12 cm × H ~7.5 cm\u003cbr\u003e• Condition: Excellent; no chips, cracks, or repairs\u003cbr\u003e• Provenance: Comes with tomobako (signed wooden box), cloth wrapper, and pamphlet\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eOhi ware traces its origin to 1666, when Raku IV (一入) guided the first Chozaemon in Kanazawa at the invitation of the Maeda clan. The lineage has continued unbroken for over 350 years, each generation inheriting the amber glaze recipe and the obligation to serve Urasenke tea practice. Ohi Toshiro, as the tenth-generation head, carried this weight with particular gravity — he was also a member of the Japan Art Academy and a figure of national cultural significance.\u003cbr\u003e\u003cbr\u003eThe amber glaze of Ohi ware is not a color choice. It is a material identity. The specific iron-bearing clay of Kanazawa, fired with a lead-flux glaze, produces that distinctive warm orange-amber that no other kiln replicates. On this bowl, the yōhen zone — where kiln atmosphere shifted from oxidation to reduction — creates a contrasting field of muted green and grey that interrupts the amber with geological force.\u003cbr\u003e\u003cbr\u003e*\"Three hundred and fifty years of the same glaze. Yet every bowl the kiln returns is a bowl no one has seen before.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Ame-yū: The Defining Glaze**\u003cbr\u003eOhi amber glaze achieves its characteristic depth through a lead-based flux over iron-rich local clay. The resulting surface is warm, slightly translucent, and alive with tonal variation even within a single pour. It absorbs and reflects light differently depending on the angle — a quality that tea practitioners have valued for centuries as the bowl moves from hand to hand during temae.\u003cbr\u003e\u003cbr\u003e**Yōhen as Authorship Shared with Fire**\u003cbr\u003eThe green-grey kiln variation covering roughly half this bowl is not defect but dialogue. Yōhen occurs when volatile ash deposits and shifting kiln atmosphere alter the glaze chemistry in unplanned ways. The potter sets conditions; the kiln decides. In Ohi tradition, these marks are welcomed — they prove the bowl survived a conversation with forces beyond human control.\u003cbr\u003e\u003cbr\u003e**Kanazawa and Urasenke**\u003cbr\u003eOhi ware exists because of tea. The Maeda lords of Kaga domain invited Raku lineage knowledge to Kanazawa specifically to produce tea utensils for Urasenke practice. This functional origin remains embedded in every Ohi bowl — the proportions, the weight in the hand, the lip profile are all calibrated for the gestures of chanoyu.\u003cbr\u003e\u003cbr\u003e**Tenth-Generation Responsibility**\u003cbr\u003eOhi Toshiro assumed the Chozaemon name and with it, the obligation to honor inherited technique while allowing personal expression. His bowls tend toward bold, earthy forms — less refined than Raku ware, more muscular. The texture of this piece, heavily worked and unapologetic, reflects his approach: tradition held in a strong hand.\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：大樋年朗（十代大樋長左衛門）（1927年生）／日本芸術院会員\u003cbr\u003e種類：茶碗\u003cbr\u003e技法：大樋焼・飴釉\u003cbr\u003e産地：石川県金沢市\u003cbr\u003e付属品：共箱・布・栞\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e大樋焼は寛文六年（1666年）、楽家四代一入の指導のもと加賀藩前田家の招きにより初代長左衛門が金沢で開窯した茶陶です。以来350年以上、飴釉を家伝の技法として裏千家との深い結びつきの中で茶碗を作り続けてきました。十代長左衛門（大樋年朗）は日本芸術院会員として、大樋焼の伝統を守りながら力強く土味豊かな造形を追求しました。本作は飴釉の温かみある琥珀色に、窯変による緑灰色の景色が大胆に現れ、火と土の対話を鮮やかに伝える茶碗です。\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e\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*Amber glaze, three and a half centuries old. The kiln still finds new ways to answer.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61591608951154,"sku":"260113_a_1473","price":704.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m88562190467_11.jpg?v=1770948820"},{"product_id":"ohi-ware-ame-yu-tea-bowl-by-ohi-choami-amber-glaze-chawan-raku-lineage-with-tomobako","title":"Ohi Ware Ame-yu Tea Bowl by Ohi Choami - Amber Glaze Chawan Raku Lineage with Tomobako","description":"Experience authentic Japanese tea culture with this Ohi Ware Ame-yu Tea Bowl by Ohi Choami. This Japanese Matcha Bowl serves as a Kanazawa Pottery masterwork and Raku Lineage ceramic, featuring Amber Glaze Bowl artistry and Wabi Sabi Chawan form—a must-have for any Tea Practitioner seeking authentic Kaga Domain Ceramic and Urasenke Tea Ware.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ohi Choami (大樋長阿弥)\u003cbr\u003e• Technique: Ohi ware (大樋焼) — hand-formed with ame-yu (飴釉) amber glaze\u003cbr\u003e• Era: Contemporary (Heisei–Reiwa period)\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture, Japan\u003cbr\u003e• Dimensions: Diameter approx. 11 cm × Height approx. 8.5 cm (4.3\" × 3.3\")\u003cbr\u003e• Box: Tomobako (artist-signed wooden box) inscribed \"大樋 茶盌\" with signature and seal\u003cbr\u003e• Condition: Excellent – no cracks, chips, or repairs\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eOhi ware was established in 1666 when Raku Chozaemon I traveled from Kyoto to Kanazawa at the invitation of the Maeda clan, bringing Raku techniques to the Kaga domain. What emerged was not imitation but transformation — the ame-yu (飴釉) amber glaze became the defining signature of Ohi, a color born from local materials and regional temperament. No other kiln in Japan produces this precise amber — deep as autumn honey, warm as firelight held in clay.\u003cbr\u003e\u003cbr\u003eThe Ohi kiln holds a singular position in Japanese tea culture as the official tea ware of the Urasenke school in the Kaga region. This is not ceremonial title alone — it reflects generations of potters shaping bowls in direct response to the requirements of chanoyu as practiced by one of its most influential schools.\u003cbr\u003e\u003cbr\u003eThis bowl by Ohi Choami carries that accumulated understanding. The thick walls hold warmth in the hands. The amber glaze pools and thins, creating passages of deep caramel alongside lighter honey tones. Darker areas accumulate where the glaze gathers in depressions, lending the surface a geological depth — as though the bowl had absorbed warmth over decades of use.\u003cbr\u003e\u003cbr\u003e*\"Amber holds the warmth of every hand that came before — three and a half centuries of touch, concentrated in clay.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**The Ohi-Raku Connection**: The founding of Ohi ware in 1666 represents one of the most significant transfers of ceramic knowledge in Japanese tea history. When the fifth-generation head of the Raku family sent his student Chozaemon to Kanazawa, he carried with him the hand-forming techniques and low-fire glazing methods that define Raku ware. In Kanazawa, these techniques met local clays and the aesthetic preferences of the Maeda domain, producing something distinct: Ohi's characteristic ame-yu glaze replaced Raku's signature black and red.\u003cbr\u003e\u003cbr\u003e**Ame-yu (Amber Glaze)**: The amber glaze that defines Ohi ware derives from a lead-based flux combined with iron oxide, producing the warm caramel-to-honey spectrum visible in this bowl. Like all Ohi glazes, it is fired at relatively low temperatures (approximately 800°C), which preserves the glaze's depth and luminosity. The variation in color across the surface — from dark caramel to light amber — results from differences in glaze thickness and kiln atmosphere, each bowl recording its unique passage through fire.\u003cbr\u003e\u003cbr\u003e**Form and Touch**: This bowl's robust, cylindrical form with thick walls is characteristic of Ohi chawan designed for winter use. The taller-than-wide proportions concentrate the warmth of whisked matcha, while the thick walls retain heat in the hands — a functional consideration that becomes aesthetic when experienced during a cold-weather gathering. The slight irregularity of the rim — achieved through hand-forming rather than wheel-throwing — is central to the Raku-descended aesthetic, where each bowl is understood as a unique event rather than a reproducible form.\u003cbr\u003e\u003cbr\u003e**Urasenke Affiliation**: The Ohi kiln's historical role as the official tea ware provider for the Urasenke school in the Kaga region means that these bowls were shaped in dialogue with some of the most demanding practitioners of chanoyu. This relationship — potter and tea master in continuous conversation — has refined Ohi form and glaze over generations, producing bowls that are deeply attuned to the requirements of the tea room.\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：大樋長阿弥\u003cbr\u003e• 技法：大樋焼（手捻り・飴釉）\u003cbr\u003e• 時代：現代（平成〜令和）\u003cbr\u003e• 産地：石川県金沢市\u003cbr\u003e• 寸法：直径約11cm × 高さ約8.5cm\u003cbr\u003e• 付属：共箱（「大樋 茶盌」箱書・落款あり）\u003cbr\u003e• 状態：良好（ヒビ・カケなし）\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e大樋焼は寛文六年（1666年）、京都の楽家から加賀藩前田家に招かれた初代長左衛門に始まる、金沢を代表する茶陶です。楽焼の手捏ね技法を受け継ぎながら、地元の土と飴釉（あめゆう）を用いることで、楽焼とは異なる独自の境地を切り開きました。\u003cbr\u003e\u003cbr\u003e大樋焼の代名詞である飴釉は、鉛を媒溶剤とし鉄分を発色剤とする低火度釉です。本作では深い琥珀色から蜂蜜色まで豊かな色の変化が見られ、釉薬の厚薄が生む陰影が立体的な表情を作り出しています。厚手の胴は冬場の茶席で抹茶の温もりを逃さず、手に包み込むような安心感があります。\u003cbr\u003e\u003cbr\u003e大樋焼は裏千家と深い結びつきを持ち、加賀における裏千家御用窯として歴代の茶人と対話を重ねてきました。その伝統の中で磨かれた造形と釉調は、使うほどに味わいを増す、茶人のための一碗です。\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*Amber holds the warmth of every hand that came before — three and a half centuries of touch, concentrated in clay.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61591837770098,"sku":"260113_a_1521","price":272.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m75635845979_1.jpg?v=1770961123"},{"product_id":"ohi-ware-tea-bowl-with-amber-glaze-by-ohi-cho-faceted-mentori","title":"Ohi Ware Tea Bowl with Amber Glaze by Ohi Cho - Faceted Mentori","description":"Experience authentic Japanese tea ceramics with this Ohi Ware Ceramics Tea Bowl by Ohi Cho. This Matcha Chawan Bowl serves as Kanazawa Ohi Pottery and Artisan Tea Bowl, featuring Faceted Bowl Form and Rich Amber Glaze—a must-have for any collector seeking Mentori Technique mastery and Geometric Tea Bowls.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ohi Cho (大樋長) at Chorakudo (長楽堂)\u003cbr\u003e• Type: Ohi Ware Tea Bowl (大樋焼茶碗)\u003cbr\u003e• Origin: Kanazawa, Japan\u003cbr\u003e• Era: Contemporary (Heisei–Reiwa period)\u003cbr\u003e• Dimensions: Diameter approx. 12 cm × Height approx. 8 cm (4.7\" × 3.1\")\u003cbr\u003e• Condition: Excellent\u003cbr\u003e• Box: Tomobako (artist-signed wooden box) with certificate\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eThis Ohi ware tea bowl represents a ceramic tradition born from the intersection of two great tea cities. In 1666, Chozaemon I—trained in Kyoto's raku techniques—was invited to Kanazawa by the ruling Maeda clan. There, he adapted the raku tradition to local materials and sensibilities, establishing the Ohi lineage that continues today at Chorakudo workshop.\u003cbr\u003e\u003cbr\u003eThe bowl's most striking feature is its architectural form: bold, hand-carved facets (mentori) transform the vessel into a sculptural object. Each angular plane catches light differently, creating shifting shadows as the bowl is turned. This geometric assertiveness contrasts with the flowing, organic nature of the signature amber glaze—a dialogue between structure and fluidity.\u003cbr\u003e\u003cbr\u003eThe ame-yu (amber glaze) is Ohi ware's signature surface, developed from local Kanazawa materials. Here it appears in deep chestnut tones with visible brush texture, the glaze pooling in carved recesses and thinning on sharp edges. The surface carries tactile richness—not perfectly smooth, but alive with the marks of making.\u003cbr\u003e\u003cbr\u003e*\"Carved planes hold amber light—geometry meeting the kiln's liquid breath.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Mentori: The Carved Planes**: The faceted form (mentori) is this bowl's defining characteristic. After throwing the basic cylindrical form on the wheel, the potter carved bold angular planes into the leather-hard clay. This technique requires confidence and precision—each cut is irreversible, and the carved surfaces must maintain structural integrity through drying and firing. The result is a bowl that feels sculptural, almost architectural, yet remains fully functional for tea preparation.\u003cbr\u003e\u003cbr\u003e**Ohi Cho and the Chorakudo Tradition**: Ohi Cho works at Kanazawa's Chorakudo (長楽堂), a workshop maintaining the Ohi lineage since the 17th century. The name \"Chorakudo\" itself connects to the Choraku tradition of Kyoto raku pottery, acknowledging the lineage's origins while asserting its distinct Kanazawa identity. His amber glazes show the subtle color variations and textural richness that define accomplished Ohi ware.\u003cbr\u003e\u003cbr\u003e**Ame-Yu: Kanazawa's Amber**: The amber glaze (ame-yu) is Ohi pottery's most recognizable feature. Unlike the smooth, uniform glazes of some ceramic traditions, Ohi amber appears deliberately textured, with visible brush marks and tonal variations from deep chocolate-brown to lighter chestnut. On this bowl, the glaze responds to the carved form—pooling in recesses, creating darker accents, and thinning on the sharp faceted edges to reveal clay beneath.\u003cbr\u003e\u003cbr\u003e**Historical Context: Raku Beyond Kyoto**: The Ohi tradition represents an important chapter in Japanese ceramic history: the adaptation of Kyoto raku techniques to regional contexts. When Chozaemon I arrived in Kanazawa, he brought raku firing methods but had to work with different clays and aesthetic preferences. The result—Ohi ware—maintained raku's hand-building heritage while developing distinct characteristics: the amber glaze palette and the integration of carved sculptural elements.\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：大樋長（長楽堂）\u003cbr\u003e• 種類：大樋焼茶碗\u003cbr\u003e• 産地：金沢\u003cbr\u003e• 制作年代：現代（平成〜令和）\u003cbr\u003e• 寸法：直径約12cm × 高さ約8cm\u003cbr\u003e• 状態：良好\u003cbr\u003e• 付属：共箱・共栞\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e金沢の長楽堂で制作された大樋焼茶碗です。大樋焼は、1666年に初代長左衛門が京都から金沢に招かれ、楽焼の技法を金沢の地に根付かせたことに始まる伝統ある焼物です。\u003cbr\u003e\u003cbr\u003eこの茶碗の最大の特徴は、大胆な面取り（めんとり）による彫刻的な造形です。轆轤で挽いた後、革のように硬くなった粘土に幾何学的な平面を彫り込んでいます。各面が光を異なる角度で受け止め、回転させるたびに表情が変化します。この構築的な形態と、流動的な飴釉の対比が独特の緊張感を生み出しています。\u003cbr\u003e\u003cbr\u003e大樋焼の特徴である飴釉（あめゆう）は、深い琥珀色から栗色まで微妙な色調変化を見せ、表面には刷毛目の質感が残されています。釉薬は彫り込まれた面の窪みに溜まり、稜線では薄くなって下地の土を覗かせています。伝統と現代性が融合した、金沢大樋焼の真髄を示す一碗です。\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*Faceted planes and amber flow—where geometry meets the kiln's intention.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61593276023154,"sku":"260113_a_1565","price":250.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m71825396718_4.jpg?v=1771045164"},{"product_id":"ohi-toshiro-black-tea-bowl-kuro-chawan-10th-ohi-chozaemon-early-work-kanazawa","title":"Ohi Toshiro Black Tea Bowl Kuro Chawan 10th Ohi Chozaemon Early Work Kanazawa","description":"A black tea bowl by Ohi Toshiro — the pre-succession name of the 10th Ohi Chozaemon, one of the most consequential figures in modern Japanese tea ceramics. Created during his formative years before assuming the hereditary title, this bowl carries the concentrated intensity of an artist approaching the full weight of a 350-year lineage. Deep black glaze saturates the upper body with volcanic presence, yielding to matte grey stoneware below. Kanazawa’s singular Raku tradition made visible.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ohi Toshiro (大樋年朗) — later succeeded as 10th Ohi Chozaemon (十代大樋長左衛門)\u003cbr\u003e• Technique: Ohi-yaki black glaze (大樋黒釉) — hand-built, Raku-lineage firing\u003cbr\u003e• Era: Showa–Heisei period (early career work)\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture, Japan\u003cbr\u003e• Dimensions: 12.0 cm × 8.0 cm (4.7\" dia × 3.1\" h)\u003cbr\u003e• Box: Tomobako signed \"黒茶碗 大樋年朗\" with seal\u003cbr\u003e• Includes: Cloth wrapper with kiln seal, artist CV document\u003cbr\u003e• Condition: Excellent — complete, no chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eThe Ohi ceramic lineage is unlike any other in Japan. It began in 1666 when Chojiro’s descendant in the Raku tradition, Ohi Chozaemon I, accompanied the Maeda lord from Kyoto to Kaga Province. From that moment, Ohi ware became the tea ceramic of the Maeda domain — a parallel Raku tradition that developed independently for over three and a half centuries in the cultural hothouse of Kanazawa.\u003cbr\u003e\u003cbr\u003eThis black tea bowl was made by Ohi Toshiro during his years before succeeding as the 10th-generation head. The period is significant: these early works often reveal an artist working with particular urgency, the weight of succession already present but the title not yet conferred. The freedom and intensity of this transitional moment are palpable in the bowl’s form — broad, grounded, with a physicality that speaks to direct engagement between hand and clay.\u003cbr\u003e\u003cbr\u003eThe black glaze is applied with characteristic Ohi density. The upper half of the bowl is saturated in deep, glossy black with a pronounced texture — a surface alive with volcanic pitting and subtle undulation that catches light at every angle. Below the glaze line, the exposed clay body reveals a matte grey surface, rough and mineral, the earth from which the darkness emerged.\u003cbr\u003e\u003cbr\u003e*“Before the name, the hands already knew. The bowl carries what the title would later confirm.”*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Ohi Ware and the Maeda Legacy**: Kanazawa under the Maeda clan was one of the wealthiest domains in Edo-period Japan, and its patronage of the arts rivaled Kyoto itself. The Ohi kiln occupied a unique position within this cultural ecosystem — the designated tea ceramic workshop for the domain’s official tea ceremonies. This institutional role shaped Ohi ware’s character: powerful, substantial forms designed for the formal tea gatherings of a warrior aristocracy. This bowl inherits that gravity.\u003cbr\u003e\u003cbr\u003e**Glaze Character**: Ohi black glaze differs from Kyoto Raku black in both chemistry and temperament. Where Kyoto Raku pursues a smooth, mirror-like black, Ohi’s interpretation allows for greater textural expression. The surface of this bowl exhibits a lava-like quality — fine pitting, cratering, and tonal variation from obsidian black to dark amber where the glaze thins over ridges. This is not imperfection but a deliberate engagement with the kiln’s transformative energy.\u003cbr\u003e\u003cbr\u003e**The Pre-Succession Period**: Works signed “Ohi Toshiro” rather than “Ohi Chozaemon” hold a particular fascination for collectors and scholars. They represent the artist at a moment of maximum creative tension — deeply schooled in the family tradition yet not yet formally bound to it. The bowl’s confident proportions and bold glaze application suggest an artist already in possession of mastery, working with the concentrated energy that precedes a life’s most consequential threshold.\u003cbr\u003e\u003cbr\u003e**Foot and Interior**: The underside shows a carefully articulated foot ring with an impressed seal, the base fully glazed in the same black — a characteristic of Ohi ware that distinguishes it from many other Raku traditions. The interior is uniformly glazed to a deep, lustrous black, creating a dark pool that will beautifully offset the green of whisked matcha. The bowl’s weight and wall thickness communicate substantiality in the hands, the kind of presence that transforms the act of tea preparation into something approaching ritual.\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：大樋年朗（後の十代大樋長左衛門）\u003cbr\u003e• 技法：大樋黒釉（手捻り・楽系焼成）\u003cbr\u003e• 時代：昭和〜平成（若作・襲名前）\u003cbr\u003e• 産地：金沢、石川県\u003cbr\u003e• 寸法：口径約12.0cm × 高さ約8.0cm\u003cbr\u003e• 付属：共箱（「黒茶碗 大樋年朗」箱書・印）、共布（窯印入）、陶歴\u003cbr\u003e• 状態：完品 — 傷・ヒビ・直しなし\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e十代大樋長左衛門が襲名前、大樋年朗として作陶していた時期の黒茶碗。上半にたっぷりとかかった漆黒の釉薬は火山的な質感を持ち、下半の灰色の素地との対比が力強い存在感を生んでいる。\u003cbr\u003e\u003cbr\u003e大樋焼は寛文六年（1666年）、楽家の系譜に連なる初代大樋長左衛門が前田家に従い京都から加賀に移ったことに始まる。以来三百五十余年、金沢の地で独自の発展を遂げた楽の分流である。\u003cbr\u003e\u003cbr\u003e襲名前の「年朗」銘の作品は、家統の重みを既に背負いながらも自由な造形が許された時期の作として、特有の緊張感と集中力を実えている。手に取ればその重厚な壁と確かな重量感が、武家茶道の気概を静かに伝える。黒の深い見込に抜茶を点てれば、緑の色が漆黒に浮かぶ。その景色を知るものだけが、この碗の真価を理解する。\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\u003cbr\u003e\u003cbr\u003e*Three hundred and fifty years between Kyoto and Kanazawa. The distance is measured not in miles but in the darkness of the glaze.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61606341411186,"sku":"260130_1977","price":1008.71,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m27848992329_1.jpg?v=1771410874"},{"product_id":"wajima-nuri-yanagi-maki-e-o-natsume-by-miyakita-weeping-willow-gold","title":"Wajima-nuri Yanagi Maki-e Ō-Natsume by Miyakita | Weeping Willow Gold","description":"An ō-natsume of flowing grace — weeping willow branches in gold maki-e wrap the entire body of this Wajima-nuri tea caddy, crafted by the Miyakita atelier of Kanazawa's Kōrinbō district. The interior reveals gin-tame-nuri, a silver-tinted transparent lacquer finish that speaks to the continuity of Wajima's uncompromising craft tradition. Japanese lacquer tea caddy, gold maki-e willow design, Wajima lacquerware with tomobako.\u003cbr\u003e\u003cbr\u003e▪ Maker: Miyakita (宮北謹製), Kanazawa Kōrinbō\u003cbr\u003e▪ Tradition: Wajima-nuri (輪島塗)\u003cbr\u003e▪ Form: Ō-natsume (large tea caddy)\u003cbr\u003e▪ Technique: Gold maki-e on black urushi lacquer\u003cbr\u003e▪ Interior: Gin-tame-nuri (silver-tinted transparent lacquer)\u003cbr\u003e▪ Motif: Yanagi (weeping willow)\u003cbr\u003e▪ Dimensions: H approx. 7.4 cm × Ø approx. 7.3 cm\u003cbr\u003e▪ Includes: Tomobako (wooden presentation box)\u003cbr\u003e▪ SKU: 260227_a_2102\u003cbr\u003e\u003cbr\u003e— Cultural Insight —\u003cbr\u003eThe weeping willow — yanagi — occupies a place of deep resonance in Japanese culture. It is the embodiment of yielding strength: roots anchored, branches surrendering to wind and gravity with effortless grace. In tea aesthetics, the willow speaks to the ideal of flexibility within discipline, beauty that does not resist the passage of time but moves with it. Kanazawa's connection to tea culture runs through centuries of Maeda clan patronage, and Wajima-nuri represents the apex of Japan's lacquer traditions.\u003cbr\u003e\u003cbr\u003e— Deep-Dive —\u003cbr\u003eThe Miyakita atelier of Kōrinbō, Kanazawa's cultural heart, brings the density of intention expected from a workshop operating within one of Japan's great lacquer-producing regions. The designation 謹製 (kinsei — respectfully made) signals the care and craft consciousness embedded in every layer of this piece.\u003cbr\u003e\u003cbr\u003eThe yanagi maki-e is masterfully composed — willow branches flow around the natsume's curved form in varying gold tones, from bold trunk lines to the finest trailing tendrils. The maki-e artist has captured the willow's essential character: movement frozen in gold, perpetual falling that never reaches the ground.\u003cbr\u003e\u003cbr\u003eThe gin-tame-nuri interior is a hallmark of distinguished Wajima work. Silver particles suspended beneath transparent lacquer create a warm, luminous glow when the lid is lifted — a quiet revelation reserved for the moment of use. This interior treatment elevates the piece beyond decoration into the realm of total craft consciousness.\u003cbr\u003e\u003cbr\u003eAt 7.4 cm tall and 7.3 cm in diameter, this ō-natsume carries substantial presence. The proportions are generous — appropriate for the grandeur of the willow motif and the authority of the Wajima tradition.\u003cbr\u003e\u003cbr\u003e— 日本語解説 —\u003cbr\u003e金沢香林坊・宮北謹製の輪島塗柳蒔絵大棗。黒漆地に金蒔絵で柳を全面に描いた優美な薄茶器。内部は銀溜塗仕上げで、蓋を開けた際の銀色の輝きが格別です。輪島塗の伝統技法と加賀の茶文化が結実した逸品。高さ約7.4cm、直径約7.3cm。共箱付。\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":61623596155250,"sku":"260227_a_2102","price":831.19,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m96707890676_1.jpg?v=1772158014"},{"product_id":"9th-gen-ohi-chozaemon-amber-glaze-chawan-totsusai-japan-craft-society-member-signed-box","title":"9th-Gen Ohi Chozaemon Amber Glaze Chawan | Toudosai | Japan Craft Society Member | Signed Box","description":"A chawan by the 9th-generation Ohi Chozaemon, designated a Japan Craft Society full member and bearer of the honorific name Toudosai — given by Urasenke Grandmaster Houunsai. This amber glaze tea bowl by Ohi Chozaemon 9th generation carries the signature warmth of the Ohi tradition: a glaze of deep amber-red that glows like lacquer, a quietly irregular lip, a powerful cut at the waist. No damage, no repairs. The original signed tomobako accompanies the piece.\u003cbr\u003e\u003cbr\u003e🔹 [ Basic Details ]\u003cbr\u003e• Artist: 9th-generation Ohi Chozaemon (九代 大樋長左衛門), honorific name Toudosai (陶土斎)\u003cbr\u003e• Ware: Ohi-yaki (大樋焼), Kanazawa, Ishikawa Prefecture\u003cbr\u003e• Form: Amber-glaze chawan (飴釉茶碗)\u003cbr\u003e• Dimensions: Mouth approx. 10.6 cm, body diameter approx. 12 cm, height 7.9 cm, foot diameter 5.5 cm\u003cbr\u003e• Box: Original signed wooden box (共箱) with artist inscription and seal\u003cbr\u003e• Condition: No chips, no cracks, no repairs — excellent condition\u003cbr\u003e• Provenance: Japan Craft Society (日本工芸会) full member; awarded Tantansai Tea Culture Prize (1970); honorific name Toudosai bestowed by the 15th Urasenke grandmaster Houunsai\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eThe Ohi lineage was founded in the 1670s under the patronage of the Maeda clan of Kaga (present-day Kanazawa), at the request of Urasenke tea master Senso Soshitsu. Ohi ware is inseparable from the Ura Senke tradition of tea. The amber glaze — rich, transparent, warm — is the defining characteristic of the school, achieved through a lead-free amber oxide formula that has been maintained across generations. The 9th generation, working under the name Toudosai, brought technical refinement and institutional recognition that placed him among the foremost tea-ware makers of the postwar era.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThe 9th-generation Ohi Chozaemon is widely regarded as the potter who brought the Ohi lineage to its modern height. His mastery of the amber glaze — a formula that demands precise temperature control and a deep understanding of the lead-oxide-free recipe — produced surfaces of luminous depth that earlier generations had rarely achieved with such consistency. Where 5th-generation Kanbei (the school's acknowledged revival master) established the form vocabulary, the 9th generation refined the surface to museum-level articulation.\u003cbr\u003e\u003cbr\u003eThis bowl's proportions merit attention. At 12 cm body diameter against a 7.9 cm height, it sits low and wide — a form that invites the hands to cradle rather than grip. The mouth at 10.6 cm opens generously, presenting the inner surface to the eye when the bowl is held at rest. This openness is characteristic of Ohi work intended for thick tea (koicha), where the full interior is visible in the preparation.\u003cbr\u003e\u003cbr\u003eThe foot (5.5 cm diameter) is deliberate and small relative to the body — a feature that concentrates the bowl's visual weight upward and creates a characteristic Ohi instability, a feeling of the bowl resting lightly rather than sitting planted. This quality is considered aesthetically correct in the Ura Senke context.\u003cbr\u003e\u003cbr\u003eThe tomobako is signed in the artist's own hand, with the Toudosai seal confirmed. The calligraphy on the box lid is assured and characteristic. This is a piece that can move directly into a formal tea practice or a serious collection without ceremony.\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家：九代 大樋長左衛門（号：陶土斎）\u003cbr\u003e• 産地：大樋焼（石川県金沢市）\u003cbr\u003e• 形状：飴釉茶碗\u003cbr\u003e• 寸法：口径10.6cm、胴径12cm、高さ7.9cm、高台径5.5cm\u003cbr\u003e• 箱：共箱（作者自筆・落款入り）\u003cbr\u003e• 状態：キズ・お直しなし、状態良好\u003cbr\u003e• 略歴：日本工芸会正会員。昭和45年（1970年）淡々斎茶道文化賞受賞。裏千家15世鵬雲斎より「陶土斎」の号を受ける。26歳で長左衛門を襲名。中興の祖・五代勘兵衛に匹敵すると評される名工。\u003cbr\u003e\u003cbr\u003e【文化・芸術的背景】\u003cbr\u003e大樋焼は1670年代、加賀藩主前田家の庇護のもと、裏千家仙叟宗室の要請で始まった由緒ある茶陶です。飴釉は同家の代名詞であり、世代を超えて継承されてきた秘伝の釉薬です。九代長左衛門はその技術を最高水準に高め、日本工芸会の正会員として制度的にも認められた作家です。\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":61625019597170,"sku":"260227_a_2139","price":1020.13,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m28070366300_1.jpg?v=1772239269"},{"product_id":"9th-gen-ohi-chozaemon-amber-glaze-chawan-deep-koicha-bowl-artist-signed-box-authenticated","title":"9th-Gen Ohi Chozaemon Amber Glaze Chawan | Deep Koicha Bowl | Artist-Signed Box | Authenticated","description":"A second amber glaze chawan from the 9th-generation Ohi Chozaemon, where the glaze descends in dark vertical rivulets over a body of amber-brown — a Japanese tea ceremony bowl of considerable depth and authority. This Ohi chawan authenticated tomobako piece bears the artist's own signature and seal on the original box, with accompanying fabric (共布). The form is wide and generous, the cutting at the hip powerful; this is a bowl made for thick tea.\u003cbr\u003e\u003cbr\u003e🔹 [ Basic Details ]\u003cbr\u003e• Artist: 9th-generation Ohi Chozaemon (九代 大樋長左衛門)\u003cbr\u003e• Ware: Ohi-yaki (大樋焼), Kanazawa, Ishikawa Prefecture\u003cbr\u003e• Form: Amber-glaze chawan (飴釉茶碗), koicha-size\u003cbr\u003e• Dimensions: Mouth approx. 10.5 cm, height approx. 8.5 cm\u003cbr\u003e• Box: Original signed wooden box (共箱) with artist autograph and personal seal; accompanying fabric (共布) included\u003cbr\u003e• Condition: No chips, no repairs; excellent overall condition\u003cbr\u003e• Authentication note: The 9th-generation's characteristic deep amber with vertical dark striations; tomobako bears confirmed autograph\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eWithin the Ohi school, each generation's amber glaze is subtly differentiated — the temperature of the orange, the depth of the brown, the presence or absence of surface texture. The 9th generation is known for a particular quality of darkness within the amber field: the glaze does not simply sit on the surface but appears to pool and deepen, giving the bowl an interior luminosity. The hip cutting (腰の削り込み) is a technical signature — bold, confident strokes that define the transition from base to body and make the bowl feel deliberately constructed rather than simply thrown.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThis bowl and the companion piece (row 626) demonstrate the range within a single generation's output. Where that piece is more restrained in glaze movement, this example shows the full amber field broken by dark vertical drips — the kiln atmosphere having pulled the iron oxide into motion at a critical moment. The result is a surface that reads differently from every angle, the dark lines creating a dynamic around the bowl's circumference.\u003cbr\u003e\u003cbr\u003eAt 10.5 cm mouth and 8.5 cm height, this bowl is slightly taller relative to its width than the companion piece — a proportion that increases the sense of enclosure, making the interior more present in the tea practitioner's field of view. The hip cutting at the waist is the maker's most explicit formal statement: the strong diagonal lines announce authorship without signature.\u003cbr\u003e\u003cbr\u003eThe accompanying fabric (共布) is an element that serious collectors note: it indicates the bowl was stored with care from the time of completion, and that the original presentation set is intact. The tomobako autograph is in the artist's hand, the seal is the Ohi workshop seal — provenance is complete.\u003cbr\u003e\u003cbr\u003eFor a collector assembling a working tea collection or a display-quality set of Ohi work, the pairing of this bowl with its companion from the same generation presents a rare opportunity to study the range of a single master's output across two distinct kiln moments.\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家：九代 大樋長左衛門\u003cbr\u003e• 産地：大樋焼（石川県金沢市）\u003cbr\u003e• 形状：飴釉茶碗（濃茶用）\u003cbr\u003e• 寸法：口径10.5cm、高さ8.5cm\u003cbr\u003e• 箱：共箱（作者自筆サイン・落款入り）、共布付\u003cbr\u003e• 状態：キズ・お直しなし、良好\u003cbr\u003e\u003cbr\u003e【文化・芸術的背景】\u003cbr\u003e九代特有の、飴釉の中に走る暗色の縦縞は、窯内の還元雰囲気が釉薬を動かした痕跡です。腰から高台にかけての力強い削り込みは、この世代の技術的特徴であり、真作の証でもあります。共布が揃うことで、完品としての価値が高まります。\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":61625020842354,"sku":"260227_a_2140","price":873.52,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m33408868822_1.jpg?v=1772239330"},{"product_id":"ohi-choami-ohi-ware-chawan-tea-bowl-deep-amber-glaze-kaga-lineage-tomobako-大樋長阿弥造-大樋焼茶碗","title":"Ohi Choami Ohi Ware Chawan Tea Bowl — Deep Amber Glaze, Kaga Lineage, Tomobako | 大樋長阿弥造 大樋焼茶碗","description":"The amber glaze of Ohi ware has its own gravity — warm, thick, alive with a depth that shifts in low light as though something moves beneath it. This chawan by Ohi Choami carries that tradition without apology: the glaze pools and breaks across the surface in a landscape that was never planned and could not have been invented.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e- Artist\/Maker: Ohi Choami (大樋長阿弥)\u003cbr\u003e- Title: Ohi Ware Chawan (大樋焼茶盌)\u003cbr\u003e- Dimensions: Approx. diameter 11 cm, height 7.5 cm\u003cbr\u003e- Condition: Good antique condition\u003cbr\u003e- Comes with: Original tomobako (wooden box) inscribed \"大樋 茶盌\" with \"長阿弥\" signature and seal\u003cbr\u003e\u003cbr\u003eOhi ware was established in Kanazawa in 1666, at the invitation of Ura Senke tea master Senso Soshitsu, to produce tea wares for the Maeda clan — lords of Kaga Province and patrons of culture on a scale rivaled only by the Tokugawa shogunate. The ame-yu (candy glaze) that defines Ohi ware was an act of deliberate choice: a glaze that refuses transparency, that accumulates rather than reveals, that speaks in the warm register of firelight and autumn.\u003cbr\u003e\u003cbr\u003eThe keshiki — the landscape of lighter, near-white passages where the amber breaks — is not decoration. It is evidence of the kiln's own participation in the work. The hand-built form beneath shows the subtle irregularity of the rim, the gentle compression of the foot, the density of a wall that has absorbed heat over centuries of use and firing. In the tea room, this bowl's warmth belongs to winter — held in both hands, the amber deepens, the temperature of the tea sustains in the thick walls, and the bowl becomes what Ohi ware was always intended to be: a vessel for the full weight of the moment.\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• Insurance: Included for all shipments\u003cbr\u003e• Note: Import duties and taxes may apply depending on your country's regulations\u003cbr\u003e\u003cbr\u003e---\u003cbr\u003e\u003cbr\u003e大樋長阿弥による大樋焼の茶碗。飴釉の深い琥珀色が、器全体を内側から照らすように輝いている。白い景色が部分的に現れ、釉の変化が自然の地形のように展開している。\u003cbr\u003e\u003cbr\u003e大樋焼は1666年、裏千家仙叟宗室の招きによって加賀・金沢に開かれた窯で、以来前田家御用窯として加賀文化圏の中核を担ってきた。飴釉はその始まりから大樋焼の象徴であり、煮詰めた砂糖を思わせる深い琥珀色は、茶室のローソクの明かりの下でいっそう輝きを増す。\u003cbr\u003e\u003cbr\u003e手捻りによる成形の痕跡が口縁のわずかな揺れに残り、分厚い器壁は保温性に優れ、冬の茶席において本領を発揮する。共箱に「大樋 茶盌」の銘と「長阿弥」の署名・印あり。加賀の茶文化の系譜を継ぐ、存在感のある一椀。","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61627502788978,"sku":"260228_a_2218","price":216.66,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m53000057832_1.jpg?v=1772378512"},{"product_id":"ohi-cho-ami-tea-bowl-ame-yu-amber-glaze-kanazawa-tradition","title":"Ohi Cho-ami Tea Bowl — Ame-yu Amber Glaze, Kanazawa Tradition","description":"A tea bowl from the Ohi kiln lineage, glazed in the characteristic ame-yu — amber, warm, and translucent at the lip. The rounded form settles with quiet authority into the hand. Ohi ware was created for the tea culture of Kanazawa, and that continuity is visible here.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Ohi Cho-ami\u003cbr\u003e• Technique: Ohi-yaki ame (amber) glaze\u003cbr\u003e• Era: Contemporary\u003cbr\u003e• Origin: Kanazawa, Ishikawa\u003cbr\u003e• Dimensions: Height approx. 7.8 cm, Diameter approx. 11.3 cm\u003cbr\u003e• Box: Not confirmed from images\u003cbr\u003e• Condition: Excellent — no chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003eDiameter 11.3 cm, height 7.8 cm. The amber glaze pools and thins naturally across the surface, each passage different. The form is deliberate: low center, generous foot, soft walls.\u003cbr\u003e\u003cbr\u003eKanazawa tea culture produced one of Japan's most sustained ceramic traditions. This bowl carries that weight without announcing it.\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":61629568057714,"sku":"260302_a_2273","price":232.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m51184494128_1.jpg?v=1772548867"},{"product_id":"ohi-ware-chawan-by-kimura-masaki-deep-amber-glaze-tea-bowl-with-box","title":"Ohi Ware Chawan by Kimura Masaki — Deep Amber Glaze Tea Bowl with Box","description":"A tea bowl that holds darkness inside warmth. The amber-brown Ohi glaze descends the outer walls in layered depth — toffee where the glaze thickens, cooling to ash-grey at the base, interrupted by an unexpected band of deep cobalt blue that flashes like water seen through autumn leaves. The interior pools in deep caramel, pooling at the center where matcha will gather. Kimura Masaki worked in the Ohi tradition that has held the tea bowl as its singular form for three centuries.\u003cbr\u003e\u003cbr\u003e[ BASIC DETAILS ]\u003cbr\u003e• Artist: Kimura Masaki (木村正樹)\u003cbr\u003e• Ware: Ohi-yaki (大樋焼)\u003cbr\u003e• Dimensions: height 7.8 cm, width 12.2 cm\u003cbr\u003e• Condition: Good vintage condition, no chips or cracks\u003cbr\u003e• Provenance: Signed wooden box (tomobako) included\u003cbr\u003e\u003cbr\u003e[ CULTURAL CONTEXT ]\u003cbr\u003eOhi ware originates from Kanazawa, the domain of the Maeda clan and the city that preserved Kyoto's cultural heritage during the Edo period. The first Ohi Chozaemon was a student of Sen Sotan — grandson of Rikyu — and the Ohi kiln has maintained a familial succession for over three centuries. The characteristic amber glaze, achieved through a distinctive low-fire technique, carries a softness that no other ware replicates. The color seen here — layered amber shifting to slate and blue — reflects the glaze's behavior in the kiln: unpredictable, alive.\u003cbr\u003e\u003cbr\u003e[ DEEP DIVE ]\u003cbr\u003eWhat distinguishes this bowl visually is the blue band that crosses the middle register. In Ohi ware, additional colorants are used with restraint; this cobalt presence gives the bowl a quality of landscape — hill, sky, and earth compressed into a single circumference. The interior glaze, seen from above, forms a deep mirror with a white cloud at center — the surface that will hold the whipped green tea. The foot is trim and red-clay, characteristic of Ohi's earthenware base.\u003cbr\u003e\u003cbr\u003e【日本語説明】\u003cbr\u003e木村正樹作の大樋焼茶碗です。深い飴釉と青みを帯びた景色が重厚な存在感を放つ一碗。大樋焼特有の低温焼成による柔らかな質感と、予測不能な窯変が魅力です。共箱付き。\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":61633048084850,"sku":"260304_a_2308","price":211.51,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m30079295154_1.jpg?v=1772666075"},{"product_id":"ohi-yaki-tea-bowl-by-ohi-ippei-amber-ame-glaze-chawan-signed-box-kaga-tradition","title":"Ohi-Yaki Tea Bowl by Ohi Ippei | Amber Ame Glaze Chawan | Signed Box | Kaga Tradition","description":"The amber is not applied — it inhabits the clay. An Ohi-yaki tea bowl by Ohi Ippei, carrying the warm caramel depth that has defined this lineage since the seventeenth century. Signed wooden box. The form is quietly authoritative: deep, rounded, unhurried.\u003cbr\u003e\u003cbr\u003eOhi-yaki ame-yu — candy glaze — is among the most recognizable surfaces in Japanese ceramics. Against the low-fired, yielding clay body, the amber glaze pools with a warmth that photographs cannot fully render. The bowl must be held to be understood.\u003cbr\u003e\u003cbr\u003e[ ITEM DETAILS ]\u003cbr\u003e• Form: Chawan (tea bowl for matcha)\u003cbr\u003e• Dimensions: Diameter approx. 11.5 cm, Height approx. 7.7 cm\u003cbr\u003e• Glaze: Ame-yu (amber candy glaze), characteristic Ohi orange-caramel\u003cbr\u003e• Kiln: Ohi-yaki (大樋焼), Kanazawa\u003cbr\u003e• Artist: Ohi Ippei (大樋一平)\u003cbr\u003e• Box: Signed wooden presentation box (共箱) inscribed 大樋焼 茶碗 大樋一平造\u003cbr\u003e• Condition: No noted damage\u003cbr\u003e\u003cbr\u003e[ CULTURAL CONTEXT ]\u003cbr\u003eOhi-yaki was founded in 1666 by Chozaemon, invited to Kanazawa by the Kaga domain lord Maeda Toshitsune to create tea wares for the Ura Senke school. For over three hundred and fifty years, the kiln has remained in family hands — one of the most continuous ceramic lineages in Japan. The amber glaze, the soft hand-forming, the warmth that seems to hold light rather than reflect it: these are not stylistic choices. They are the memory of a specific tradition of hospitality.\u003cbr\u003e\u003cbr\u003eOhi Ippei represents a contemporary generation of this lineage, working within the inherited forms while bringing his own hand to the clay.\u003cbr\u003e\u003cbr\u003e[ FOR THE COLLECTOR ]\u003cbr\u003eA named-line Ohi-yaki bowl with signed box represents both a functional tea object and a document of one of Japan's most storied ceramic traditions. The ame-yu glaze on this piece is particularly rich — the caramel depth characteristic of the finest Ohi work.\u003cbr\u003e\u003cbr\u003e【日本語説明】\u003cbr\u003e大樋焼・大樋一平造の抹茶碗です。伝統的な飴釉が美しく、端正な形が茶の湯に相応しい一碗。直径約11.5cm、高さ約7.7cm。四方桟共箱付。加賀藩御用窯の名門・大樋焼の正統作品です。\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":61661581345138,"sku":"260316_a_2440","price":211.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m70310643417_1.jpg?v=1773638483"},{"product_id":"kanazawa-lacquerware-koma-nuri-chunatsume-tea-caddy-by-nosaku-tomobako","title":"Kanazawa Lacquerware Koma-nuri Chūnatsume Tea Caddy by Nōsaku, Tomobako","description":"Concentric rings of red, green, yellow, and black hold their silence — each layer laid by hand, each color a rotation of the lacquer wheel.\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003e\u003cbr\u003eKoma-nuri — spinning top lacquer — is among the most demanding decorative techniques within the Kanazawa lacquer tradition. The artisan applies successive bands of differently colored lacquer to the vessel as it rotates, then polishes the surface until the rings emerge with absolute clarity. No masking, no stencil: only timing, pressure, and the knowledge passed through generations of Kanazawa craftsmen.\u003cbr\u003e\u003cbr\u003eKanazawa has been Japan's lacquerware capital since the Edo period, sustained by the patronage of the Maeda domain, which rivaled Edo itself in cultural expenditure. Today the city maintains official designation for its traditional crafts, and koma-nuri remains one of the most visually distinctive among them — its geometric pattern carrying both mathematical precision and a quiet, festival energy.\u003cbr\u003e\u003cbr\u003eNōsaku, the maker named on this piece, works within that living tradition. The chūnatsume — medium-sized tea caddy — is the form most often seen on the host's tatami during a formal tea gathering. It holds the powdered matcha, passed between hands, opened and closed with deliberate attention. The form itself is unremarkable by design; the lacquer is the conversation.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003e\u003cbr\u003eWhat distinguishes this natsume is the color field. Four colors — red, green, yellow, black — are not the somber palette of wabi tea; they carry the vitality of Kaga aesthetics, rooted in the Maeda lords' taste for richness restrained by discipline. The concentric circles do not compete. They accumulate, ring by ring, into something that reads as both modern and deeply historical.\u003cbr\u003e\u003cbr\u003eThe tomobako (original box) bears Nōsaku's inscription, providing both provenance and continuity of custody. At 51 grams the piece sits lightly in the hand — the lacquer shell over wood doing what all good lacquerwork does: disappearing as material so the surface becomes the only fact.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e金沢漆器の独楽塗技法による中棗。能作銘、共箱付き。赤・緑・黄・黒の同心円が轆轤の回転によって一筆一筆重ねられており、マスキングなし、型なし、職人の手と時間だけが模様を生む。加賀藩前田家の文化的庇護のもとで発展した金沢漆器の最も特徴的な技法のひとつ。\u003cbr\u003e\u003cbr\u003e中棗は正式な茶会において抹茶を納める器。客と亭主の間で静かに手渡され、開かれ、また閉じられる。この棗の場合、その所作の中心にあるのは独楽塗の鮮やかな色彩の輪。51グラムの軽さは漆と木の純粋な結合が生む。能作銘の共箱が出所の確かさを保証する。\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e- Dimensions: H 7 cm × W 7 cm\u003cbr\u003e- Weight: 51 g\u003cbr\u003e- Condition: Good overall; lacquer surface intact with natural age-related patina consistent with use\u003cbr\u003e- Technique: Koma-nuri (spinning top lacquer), Kanazawa lacquerware\u003cbr\u003e- Maker: Nōsaku (能作)\u003cbr\u003e\u003cbr\u003e🔹 [ Includes ]\u003cbr\u003e\u003cbr\u003e- Chūnatsume (medium tea caddy)\u003cbr\u003e- Original tomobako (wooden storage box with maker's inscription)\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":61738079977842,"sku":"260404_a_2624","price":288.77,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m68969372424_1.jpg?v=1775316762"},{"product_id":"ohi-chozaemon-ix-chawan-ame-glaze-hanashobu-iris-tea-bowl-kanazawa-ohi-ware-urasenke-hand-built-matcha-chawan-with-tomobako","title":"Ohi Chozaemon IX Chawan Ame Glaze Hanashobu Iris Tea Bowl Kanazawa Ohi Ware Urasenke Hand-Built Matcha Chawan with Tomobako","description":"A hand-built matcha tea bowl by Ohi Chozaemon IX (1927-1986), ninth-generation head of the Ohi family of Kanazawa. Amber ame glaze pools across the body in translucent strata, and an abstracted hanashobu (Japanese iris) is incised beneath the surface, half-dissolved in light. Signed tomobako included.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Ohi Chozaemon IX\u003cbr\u003e• Origin: Kanazawa, Japan\u003cbr\u003e• Material: Ohi ware with amber (ame) glaze\u003cbr\u003e• Motif: Japanese Iris (Hanashobu)\u003cbr\u003e• Era: 1970s\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\u003e\u003cbr\u003eThe form is built entirely by hand. No wheel. The walls carry the slow memory of the potter's palms, and the rim rises and falls in a quiet, uneven line. The foot is low, carved with restraint. The body holds the weight of a bowl made to be lifted in both hands.\u003cbr\u003e\u003cbr\u003eThe ame glaze — the signature amber of Ohi ware — is laid thickly, and where it runs it catches the light like aged honey held against a winter window. In the deeper zones the color turns to dark rust and burnt caramel; where it thins, flecks of the clay beneath show through like embers. Inside the bowl, the glaze pools into a still, reflective plane, waiting for the green of matcha to rise against it.\u003cbr\u003e\u003cbr\u003eThe hanashobu — Japanese iris — is not painted. It is drawn into the clay itself, incised with a few confident strokes before firing, then buried beneath the amber glaze. You see it the way you see a flower through shoji paper: present, but held back. The petals open toward one face of the bowl, the leaves sweep around the body, and the whole composition turns quietly as the bowl is rotated in the hand.\u003cbr\u003e\u003cbr\u003e[ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eOhi ware (Ohi-yaki) begins in 1666. In that year, the fifth lord of the Kaga domain, Maeda Tsunanori, invited the Urasenke tea master Senso Soshitsu IV to Kanazawa to establish the way of tea in the castle town. Senso did not travel alone. He brought with him a potter named Chozaemon, a disciple of the Raku family of Kyoto, to make the chawan that the new tea culture of Kaga would require. Chozaemon settled in the village of Ohi, just outside Kanazawa, discovered a fine local clay, and built a kiln. From that moment, the Ohi line began — and it has continued, father to son, in the same city, for over three hundred and fifty years.\u003cbr\u003e\u003cbr\u003eFrom the very beginning, Ohi ware was bound to Urasenke tea. The bowls were hand-built in the Raku manner — pinched and carved, never thrown on the wheel — but instead of the black and red of Kyoto Raku, Ohi developed its own signature: ame-gusuri, the amber glaze. The name means simply \"candy glaze,\" and it captures a color that is neither brown nor gold nor red, but something closer to the light held inside aged amber, or the last hour of an autumn afternoon. This amber became the visual language of Kaga tea — warm enough for the long Hokuriku winters, quiet enough for the Urasenke spirit of restraint.\u003cbr\u003e\u003cbr\u003eThe ninth-generation head, Ohi Chozaemon IX (1927-1986), inherited the name in 1966 and led the kiln through the postwar decades, when Japanese tea culture was re-examining itself and searching for continuity. He was known for bowls of deep, unhurried presence — forms that kept the hand-built softness of the Ohi tradition while carrying a more contemporary awareness of negative space and drawing. His incised work, like the hanashobu seen on this bowl, brought a painterly sensibility into the amber surface without ever breaking the meditative quiet of the form. He served as a central figure in the Ohi lineage during a period when the ninth generation was expected both to preserve the tradition and to breathe into it.\u003cbr\u003e\u003cbr\u003eThe hanashobu itself carries weight in Japanese seasonal poetics. The iris blooms in the rainy weeks of early summer, when the light is silver and the garden is heavy with water. It is the flower of the fifth month, of passage and quiet renewal. To incise it into an amber tea bowl is to gather two seasons into one object: the warm amber of late autumn in the glaze, and the cool green silence of early summer in the drawing. The bowl holds both, and hands it to the guest.\u003cbr\u003e\u003cbr\u003e[ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003eTo hold this chawan is to feel the full weight of the Ohi decision — the decision, made three and a half centuries ago, to never use the wheel. The wheel is fast. The wheel is symmetrical. The wheel flatters the maker. Hand-building is slow, uneven, and unforgiving, and it leaves every thought of the potter legible in the wall of the bowl. Ohi Chozaemon IX built this bowl the way his ancestors built theirs in 1666: palm against clay, thumb into the foot, the rim rising where the hand lifted it and settling where the hand relaxed. That slowness is not technique. It is a stance toward time.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThe amber glaze rewards long looking. Under raking light, the surface breaks into three readings at once. There is the highest layer — glassy, almost wet-looking — where the glaze pooled and crawled. There is the middle layer, where it turns translucent and you begin to see the texture of the clay body like the grain of wood under varnish. And there is the deepest layer, the base, where the glaze thinned over the incised lines of the iris and the drawing surfaces as a ghost. This three-layered depth is what separates Ohi ame from an ordinary brown glaze. It is not a color. It is a distance.\u003cbr\u003e\u003cbr\u003eAnd then there is the drawing itself — the hanashobu, cut into the clay with a single tool, probably in a few seconds, probably without hesitation. The iris does not describe. It suggests. A few strokes carry the leaf, a few more the blossom, and the rest is left to the amber and to the eye. This is the same economy that governs the best sumi-e paintings: the brush sets down enough, and stops. When this bowl is used in tea, the guest, after drinking, turns the bowl in both hands to admire it. The iris appears, disappears, and appears again. The bowl does not announce its drawing. It lets it be discovered.\u003cbr\u003e\u003cbr\u003e[ CONDITION ]\u003cbr\u003e\u003cbr\u003eNo conspicuous damage. Glaze and body in sound condition throughout, with the natural depth and pooling expected of hand-built Ohi ware. Signed tomobako included; the box shows very slight age-darkening (yake) consistent with its years — a quiet mark of authenticity.\u003cbr\u003e\u003cbr\u003eDimensions: approx. 12.7 cm diameter x 7.2 cm height.\u003cbr\u003e\u003cbr\u003e[ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e加賀茶陶の宗家、九代 大樋長左衛門（1927-1986）による手捏ねの茶碗です。大樋焼の代名詞である飴釉が厚くかかり、見込みには澄んだ琥珀の池がひろがります。胴には花菖蒲が線彫りで描かれ、飴釉の下にそっと沈んで、光の加減でゆっくりと姿を現します。\u003cbr\u003e\u003cbr\u003e大樋焼は寛文六年（1666年）、加賀藩五代藩主・前田綱紀が裏千家四世・仙叟宗室を金沢に招いた折に始まりました。仙叟に同行した楽家の職人・長左衛門が、金沢郊外の大樋村で良土を見出し、窯を築いたのが初代。以来三百五十余年、大樋の名は一度も途切れることなく金沢の地で継承されてきました。轆轤を使わず、手捏ねで茶碗をつくるという楽焼の流儀を守りながら、京の黒楽・赤楽とは異なる「飴釉」という独自の道を選んだ――この一点が、大樋を加賀茶陶の中心に据えました。\u003cbr\u003e\u003cbr\u003e九代長左衛門は昭和四十一年に襲名。戦後の茶陶に静かな骨格を与えた作家として知られ、伝統の手捏ねの柔らかさを保ちながら、線彫りの絵付けに現代的な余白感覚を持ち込みました。本碗の花菖蒲も、描写ではなく気配の描き方で、飴釉の奥にしずかに閉じこめられています。花菖蒲は五月――移ろいと静謐の花。琥珀色の秋と、翡翠色の初夏を、ひとつの碗のなかに収めた一客です。\u003cbr\u003e\u003cbr\u003e寸法：径約12.7cm／高さ約7.2cm。共箱あり、箱にわずかなヤケがございますが、本体に目立つ傷はございません。\u003cbr\u003e\u003cbr\u003e[ SIZE ]\u003cbr\u003e\u003cbr\u003eDiameter: approx. 12.7 cm (5.0 in)\u003cbr\u003eHeight: approx. 7.2 cm (2.8 in)\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e加賀茶陶の宗家・九代大樋長左衛門（1927-1986）による手捏ねの茶碗。大樋焼を象徴する飴釉が厚くかかり、見込みには澄んだ琥珀の池がひろがる。胴には花菖蒲が線彫りで描かれ、釉薬の下にしずかに沈む。裏千家四世・仙叟宗室が金沢に招いた初代長左衛門以来、三百五十余年続く大樋の正統。九代は戦後の茶陶に静かな骨格を与えた作家として知られる。\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":61741736264050,"sku":"260406_a_2651","price":751.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m86954565952_1.jpg?v=1775486005"},{"product_id":"ohi-ware-ame-glaze-bowl-by-ohi-chozaemon-kanazawa-kaga-raku-tradition-tomobako","title":"Ohi Ware Ame-Glaze Bowl by Ohi Chozaemon Kanazawa Kaga Raku Tradition Tomobako","description":"An Ohi ware ame-glaze bowl by Ohi Chozaemon, the hereditary kiln of Kanazawa and the Kaga domain's answer to the Raku tradition of Kyoto. A Japanese tea ceremony kashiki confection bowl in hand-formed amber-glazed earthenware, housed in its original paulownia tomobako with the artist's signature — a Tier 1 regional lineage piece carrying three and a half centuries of authorship and cultural weight.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Ohi Chozaemon (大樋長左衛門) — hereditary name of the Ohi ware kiln, Kanazawa\u003cbr\u003e• Technique: Ame-gusuri (飴釉) — amber glaze hand-applied over hand-formed Raku-tradition earthenware\u003cbr\u003e• Form: Hachi (鉢) — bowl form suited to kashiki (confection service) or as a tea room display vessel\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture — former Kaga domain, Japan\u003cbr\u003e• Era: Showa period, mid-to-late 20th century\u003cbr\u003e• Dimensions: Approx. 19 cm diameter × 8.5 cm height\u003cbr\u003e• Box: Original paulownia tomobako, inscribed 飴釉鉢 (Ame-yu Hachi) with the artist's signature and seal\u003cbr\u003e• Condition: Very good vintage condition with the patina appropriate to a carefully kept utensil\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eOhi ware was founded in 1666, when the first Ohi Chozaemon was invited from Kyoto to Kanazawa by Maeda Tsunanori, the fifth lord of the Kaga domain. He came as a student of Raku Ichinyu, the fourth-generation master of the Raku family, carrying with him the direct hand of the most intimate tea ceramic lineage in Japan. Settled in the village of Ohi on the outskirts of Kanazawa, he established a kiln that would serve the Maeda clan as its goyogama (御用窯) — a domain-appointed workshop standing in parallel to Kyoto's Raku family, producing tea utensils under the patronage of one of Japan's wealthiest feudal houses.\u003cbr\u003e\u003cbr\u003eFrom this single transplanted root, the Ohi family developed their own signature: ame-gusuri, the amber glaze. Where Raku offered black and red, Ohi answered with translucent caramel and warm honey — a low-temperature lead glaze tinted with iron oxide that thins over raised throwing ridges and deepens into pools within the low relief, turning the bowl's own surface into the painted landscape (景色) that traditional Japanese aesthetics calls keshiki. The lineage has continued unbroken from the first Chozaemon to the present eleventh, with the tenth and eleventh generations designated as major cultural figures of Japanese ceramics.\u003cbr\u003e\u003cbr\u003eAmber deepens like the honey of three centuries, carrying the domain's quiet insistence on continuity.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe Kaga-Maeda clan was among the most culturally ambitious of the Edo period daimyo. Holding a domain so wealthy it was nicknamed Kaga Hyakumangoku (加賀百万石 — the million-koku domain), the Maeda lords deliberately cultivated Kanazawa as a northern capital of refinement, building an ecosystem of crafts that rivaled Kyoto and Edo. Kutani porcelain, Kaga maki-e lacquer, Kaga yuzen silk dyeing, Kanazawa gold leaf, and Ohi ware all grew from the same soil — the conviction that craft was a form of governance, that beauty was a civic obligation. To hold an Ohi bowl is to hold one of the named pillars of that ecosystem, the one that directly answered the tea room's demand for tactile authorship.\u003cbr\u003e\u003cbr\u003eTechnically, ame-gusuri is a low-fired lead glaze carrying iron oxide as its coloring element. Unlike stoneware glazes matured at 1,200°C or higher, ame-gusuri belongs to the Raku family of soft earthenware fired at around 750–900°C, which is why Ohi bowls retain the quiet density and hand-warm tactility of Raku itself. The glaze, brushed or dipped over a hand-formed body, flows downward during firing and pools in any low area — between throwing ridges, at the inside of a curve, along the bottom of the rim. The result is that the bowl's landscape is drawn by the glaze itself, not by the painter. No two Ohi bowls can ever be identical, because the glaze is doing the composing. Look closely at this piece and the horizontal tool-marks on the outer wall remain legible beneath the amber; the glaze catches them and thickens, writing the record of the potter's hand into the finished surface.\u003cbr\u003e\u003cbr\u003eIn the formal family tree of Japanese tea ceramics, Ohi ware sits as one of the clearest collateral branches of the Raku tradition: Raku Chojiro (1st) → ... → Raku Ichinyu (4th) → Ohi Chozaemon I (his direct student) → the unbroken Ohi line to the present eleventh generation. This is not a stylistic imitation of Raku; it is Raku's own hand moved north, allowed to develop regionally under different patronage. Collectors and curators who work seriously with Japanese tea ceramics place Ohi alongside the Raku branches when tracing the genealogy of tea bowls and tea-room utensils.\u003cbr\u003e\u003cbr\u003eOhi amber-glazed bowls of this form are prized at the intersection of function and display. As kashiki (菓子器 — a confection bowl for wagashi served during chanoyu), the warmth of the amber glaze frames the colors of seasonal sweets — spring's sakuramochi pink, autumn's chestnut ochre — the way a picture frame is chosen to deepen the picture. Set on a tana shelf in the tea room or on a dark wooden surface in a collector's display, the same bowl functions as a standalone object: its profile is low and sculptural, its surface alive under any light source. The bowl enters both uses without contradiction, which is the signature of a properly resolved tea utensil. For collectors outside Japan, acquiring an Ohi piece is also an act of moving past the Kyoto-centric narrative of Japanese ceramics — an acknowledgement that the regional domain kilns carry equivalent cultural weight to the central ones.\u003cbr\u003e\u003cbr\u003eIn contemporary international collecting circles, the 10th and 11th Ohi Chozaemon have shown internationally, with works held in major museum collections, and the name itself has become one of the recognized hallmarks by which serious buyers of Japanese tea ceramics orient themselves. This bowl enters the hands of its next keeper with its tomobako intact — the signed paulownia box that is, in the Japanese system, inseparable from the object's identity.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e加賀藩御用窯・大樋焼の飴釉鉢、大樋長左衛門作。共箱には自筆の「飴釉鉢」の書付と落款が伴い、三百五十余年にわたる大樋家の系譜を背負う作品です。\u003cbr\u003e\u003cbr\u003e大樋焼は寛文六年（1666年）、加賀藩五代藩主・前田綱紀の招きにより、京都の楽家四代・一入のもとで学んだ初代大樋長左衛門が金沢に下り、郊外の大樋村に窯を開いたことに始まります。楽焼の直系でありながら、京都の黒釉・赤釉に対して加賀の飴釉をもって応えた——この独自の道筋こそが大樋焼の精神です。現在の十一代まで途切れることなく続き、十代・十一代長左衛門は日本陶芸界を代表する存在として位置づけられています。\u003cbr\u003e\u003cbr\u003e飴釉は鉄分を含む低火度の鉛釉で、楽焼と同じ柔らかな土味を持ちながら、焼成中に流れ、轆轤目や低い窪みに溜まり、高い部分では薄くなって、釉そのものが景色を描きます。この鉢の外側にも、指と箆が残した水平の跡が釉の下に明瞭に浮かび、作り手の手の記録が琥珀のなかに封じ込められています。手で包み込める寸法、低く落ち着いた腰のかたち、光を受けて深まる飴色——いずれも茶席の菓子器として、また床や棚の上の独立した景色として、静かに佇みます。\u003cbr\u003e\u003cbr\u003e加賀百万石の前田家は、九谷焼、加賀蒔絵、加賀友禅、金沢箔と並べて大樋焼を育て、工芸を藩の文化政策として扱いました。そのなかで大樋焼は、茶席という最も親密な空間を担った一脈であり、京都中心の陶磁史には収まりきらない地方性の重みを持っています。共箱付きで次の持ち主へと渡るこの一碗は、単なる器ではなく、加賀藩御庭焼の系譜そのものを静かに継承する証です。\u003cbr\u003e\u003cbr\u003e侘びの感覚でいえば、主張せず、けれども確かに在る——その佇まいを体現する作品です。\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":61748341571954,"sku":"260409_a_2704","price":211.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m28546220670_1.jpg?v=1775738409"},{"product_id":"kuro-raku-chawan-matcha-tea-bowl-by-ohi-rakutaro-kanazawa-ohi-ware-black-raku-japanese-ceremonial-bowl-with-signed-tomobako","title":"Kuro Raku Chawan Matcha Tea Bowl by Ohi Rakutaro — Kanazawa Ohi Ware Black Raku Japanese Ceremonial Bowl with Signed Tomobako","description":"Experience Authentic Japan Art with this Kuro Raku Chawan Matcha Tea Bowl. This Ohi Ware Black Raku Bowl serves as a Japanese Ceremonial Bowl and Urasenke Tea Ceremony Vessel, featuring Hand Molded Raku Pottery and Signed Tomobako Wooden Box — a must-have for any Art Collector seeking Museum Quality Japanese Antique.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Ohi Rakutaro (pre-succession name of the 11th generation Ohi Chozaemon, Toshio Ohi)\u003cbr\u003e• Technique: Hand-molded black Raku (kuro-raku), low-fired glaze with oil-spot variegation (yuteki-like landscape)\u003cbr\u003e• Era: Late Showa to Heisei (circa 1980s–2000s)\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture — Ohi Ware, official kiln to the Urasenke school of tea\u003cbr\u003e• Dimensions: Height approx. 8.0 cm, Diameter approx. 12.0 cm\u003cbr\u003e• Box: Original signed kiri-wood tomobako with purple silk cord (sanada-himo)\u003cbr\u003e• Condition: Excellent pre-owned condition. No chips, no cracks, no restorations. Natural kiln variation and glaze pooling are intrinsic to the Raku tradition.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eOhi ware (大樋焼) was founded in 1666 when the potter Chozaemon accompanied the tea master Senso Soshitsu — the 4th generation Urasenke — from Kyoto to the Maeda domain in Kaga. From that moment, the Ohi lineage has served as the official chawan-shi (tea bowl maker) to Urasenke, an unbroken line now spanning more than three and a half centuries.\u003cbr\u003e\u003cbr\u003eOhi Rakutaro is the artist name used by Toshio Ohi before his succession as the 11th generation Ohi Chozaemon. Pieces signed \"Rakutaro\" therefore capture a particular interior moment — the work of an heir already shaped by tradition, yet still writing under his own hand, not yet bearing the full weight of the headship.\u003cbr\u003e\u003cbr\u003eThis bowl is hand-shaped (tezukune) without a wheel, carved with a spatula, and fired at the low temperatures characteristic of Raku. The black glaze is layered until it carries depth rather than surface, and across the rim you can read a landscape of oil-spot-like variegation — golden-brown crystallizations rising through the black like moss emerging on wet stone.\u003cbr\u003e\u003cbr\u003eThe form is quiet and slightly inward-leaning, sized to rest in two palms during koicha (thick tea). The foot is small, the body full, the lip gently uneven — the kind of imperfection wabi-sabi does not correct but honors.\u003cbr\u003e\u003cbr\u003eThe black glaze holds the winter light the way still water holds breath — present, and unwilling to explain itself.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eRaku is less a ware than a philosophy. Developed in 16th-century Kyoto under the guidance of Sen no Rikyu, it rejected the symmetry of the wheel and the hardness of high-fired stoneware in favor of hand-molded bowls that carry the maker's pulse. Ohi ware is the Kaga branch of this lineage — founded as the Urasenke chawan-shi in Kanazawa — and it diverges most visibly in its signature amber-ochre glaze (ame-gusuri). Kuro-raku, the black variant seen here, follows the Kyoto tradition more closely, yet retains the Ohi sense of density and deliberate weight.\u003cbr\u003e\u003cbr\u003eTo achieve kuro-raku, the bowl is glazed with a lead-and-iron pigment, fired in a charcoal kiln at around 1000°C, and removed at peak heat to cool in open air. This thermal shock is what creates the characteristic surface — matte in recession, glossy at the ridges, and often speckled with oil-spot or tea-dust inclusions where iron crystallizes during cooling. Each bowl is unrepeatable; the kiln authors half of the work.\u003cbr\u003e\u003cbr\u003eFor collectors, an Ohi Rakutaro piece occupies a specific niche: it is authored by the current headmaster of the kiln, but signed before his succession. That pre-succession window is finite by definition. For those building a reference collection of 20th–21st century chawan, this is the kind of document that closes a lineage rather than simply adding to it.\u003cbr\u003e\u003cbr\u003eThe signed tomobako (共箱) — the original kiri-wood presentation box signed by the artist — is not a container. It is part of the work. In Japanese tea culture the box carries authorship, provenance, and the right to be used; a chawan without its tomobako is a chawan in exile.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 作家: 大樋 楽太郎（十一代 大樋長左衛門・大樋年雄の襲名前銘）\u003cbr\u003e• 技法: 手捏ね黒楽、低火度釉、油滴状の景色を伴う窯変\u003cbr\u003e• 時代: 昭和後期〜平成（1980年代〜2000年代頃）\u003cbr\u003e• 産地: 石川県金沢市 — 大樋焼、裏千家御用達\u003cbr\u003e• 寸法: 高さ約 8.0 cm、口径約 12.0 cm\u003cbr\u003e• 箱: 桐製共箱（紫真田紐付）完備\u003cbr\u003e• 状態: 中古美品。欠け・割れ・直しなし。釉溜まりや窯変は楽焼本来の景色。\u003cbr\u003e\u003cbr\u003e🔹 [ 文化的・芸術的考察 ]\u003cbr\u003e大樋焼は寛文六年（1666年）、裏千家四代仙叟宗室が加賀藩前田家に招かれた折、京より同道した陶工・長左衛門によって開窯されました。以後、三百五十年以上にわたり裏千家御用達の茶碗師として連綿と続く、数少ない家元直系の窯です。\u003cbr\u003e\u003cbr\u003e大樋楽太郎は、現・十一代大樋長左衛門（大樋年雄）氏の襲名前銘です。楽太郎銘の作は、継承の重みを背負う前の、なお「自らの手」で書かれた一筆を封じ込めた時期の仕事と言えます。\u003cbr\u003e\u003cbr\u003e本作は手捏ねで成形され、篦（へら）で削り出され、低火度で焼成された黒楽茶碗。黒釉は奥行きをもって幾重にも重ねられ、口縁部には金褐色の油滴状の景色が、濡れた石に浮かぶ苔のように立ち上がります。\u003cbr\u003e\u003cbr\u003e形は内へとわずかに抱かれ、濃茶を両掌で受けるに適した寸法。高台は小さく、胴は豊かで、口縁はわずかに揺らぐ — 侘び寂びが正さず、むしろ讃える類の不完全さです。\u003cbr\u003e\u003cbr\u003e黒釉は、冬の光を静かな水が息を含むように受け止める — そこに在り、語ろうとしない。\u003cbr\u003e\u003cbr\u003e🔹 [ 深層解説 ]\u003cbr\u003e楽焼は様式である以前に、思想です。十六世紀、千利休の指導のもと京で生まれ、轆轤の対称性と高火度炻器の硬さを退け、作り手の脈を宿す手捏ね茶碗として結晶しました。大樋焼はこの系譜の加賀分流であり、裏千家の茶碗師として金沢で開窯。最も可視的な差異は飴釉にありますが、ここに見る黒楽は京楽の伝統により近く、しかし大樋独特の密度と意図的な重みを保っています。\u003cbr\u003e\u003cbr\u003e黒楽は鉛・鉄系の釉薬を掛け、炭窯中で千度前後に焼成し、最高温で窯から引き出して外気で急冷します。この熱衝撃が表面の景色を生む — 凹部はマット、稜線は艶やか、冷却時の鉄結晶により油滴や茶塵状の斑文が散る。同じ一碗は二度と生まれず、窯が作品の半分を著す。\u003cbr\u003e\u003cbr\u003eコレクターにとって、大樋楽太郎銘の作は特定の位置を占めます — 現当主の作でありながら、襲名前の署名を帯びている。この「襲名前」の時間幅は定義上、有限です。二十〜二十一世紀の茶碗史を一つのリファレンスとして編むなら、これは系譜に追加する一碗ではなく、系譜の一節を閉じる一碗となります。\u003cbr\u003e\u003cbr\u003e共箱は収納箱ではなく、作品の一部です。日本の茶の湯において、箱は作者性・伝来・使用される権利を担う。共箱を伴わない茶碗は、流浪の茶碗です。\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":61795316400498,"sku":"260422_a_2741","price":319.18,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m29245478458_1.jpg?v=1776868335"},{"product_id":"kaga-maki-e-natsume-tea-caddy-raden-heron-reed-by-maehata-shunsai-ii-signed-tomobako","title":"Kaga Maki-e Natsume Tea Caddy — Raden Heron \u0026 Reed by Maehata Shunsai II, Signed Tomobako","description":"Experience Authentic Japan Art with this Kaga Maki-e Tea Caddy. This Japanese Lacquer Natsume serves as a Tea Ceremony Caddy and Antique Lacquerware, featuring Raden Mother of Pearl Inlay and Heron Reed Maki-e—a must-have for any Art Collector. Crafted by a master of Kaga Lacquer Art, this Vintage Maki-e Natsume exemplifies the tradition of Japanese Maki-e Gold Lacquer at its most refined.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Maehata Shunsai II (二代 前端春斎), a distinguished master of Kaga maki-e lacquer, Kanazawa\u003cbr\u003e• Technique: Uchi-nashiji interior ground (内梨地 — inner surface finished with gold-flake nashiji lacquer), yuki-fuki form (雪吹 — a classic cylindrical natsume silhouette); exterior decorated with ashi-ni-sagi (芦に鷺 — herons among reeds) motif combining gold taka-maki-e reed grasses and raden (螺鈿) mother-of-pearl inlay for the heron\u003cbr\u003e• Era: Late Showa – early Heisei (estimated 1980s–1990s); original retail value approximately ¥350,000 at time of sale\u003cbr\u003e• Origin: Kanazawa, Ishikawa Prefecture — the historic heartland of Kaga maki-e, a lacquer tradition patronized by the Maeda domain for over four centuries\u003cbr\u003e• Dimensions: Height approx. 8 cm, Diameter approx. 7.4 cm\u003cbr\u003e• Box: Original signed wooden tomobako with yomo-san lid (四方桟蓋); artist's brushed signature and seal on box lid\u003cbr\u003e• Condition: Very good overall. One area of raden (mother-of-pearl) on the heron's back has been professionally restored; this is fully disclosed and does not affect the compositional integrity or visual impact. All remaining surfaces — body, lid, interior nashiji — are intact and unblemished.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eThe yuki-fuki natsume is one of the most architecturally spare forms in the chado object vocabulary. Its cylindrical body and domed lid carry no excess — every surface becomes a canvas, and every mark counts. Here, Maehata Shunsai II has chosen the ashi-ni-sagi composition: reed grasses rendered in gold maki-e swaying across the full 360-degree body, and a solitary heron inlaid in raden that shimmers with blue, violet, and white iridescence against the dark lacquer ground. The contrast is not decorative — it is meteorological. The gold reeds read as late-autumn light; the raden heron reads as the still water below.\u003cbr\u003e\u003cbr\u003eThe interior is finished in uchi-nashiji — a field of suspended gold flakes sealed beneath translucent lacquer, producing a depth that seems to glow from within. This interior ground is invisible when the lid is on. It exists only for the moment of preparation: when the host lifts the lid and reaches for the powdered tea, the gold interior surfaces briefly to the guest's gaze. It is a gift hidden inside a gift.\u003cbr\u003e\u003cbr\u003eKaga maki-e emerged from the patronage of the Maeda clan, lords of Kaga domain (modern Kanazawa), who from the seventeenth century onward employed master lacquerers to produce objects of cultural ambition matching the Kyoto court. Kaga maki-e developed its own identity — a preference for naturalistic motifs, precise botanical rendering, and the integration of raden into maki-e compositions in ways that differ from the more geometric or abstracted traditions of Edo lacquer. Maehata Shunsai is one of the lineage names most associated with the modern continuation of this tradition.\u003cbr\u003e\u003cbr\u003ePHILOSOPHICAL LINE: The heron waits without urgency. The reeds remember the wind. Between them, the lacquer holds the silence that makes a room feel real.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003eRaden (螺鈿) is among the most demanding decorative techniques in East Asian lacquerwork. Thin sections of abalone, awabi, or other iridescent shell are cut — sometimes to sub-millimeter thickness — and inlaid into prepared lacquer grounds with precision instruments. The optical behavior of raden changes with viewing angle: a piece seen in raking light reads differently from the same piece seen in ambient light, which is why raden objects reward handling and close observation in ways that purely maki-e pieces do not. In this natsume, the raden is concentrated in the heron's body, creating a focal point that appears almost luminous against the matte-dark ground.\u003cbr\u003e\u003cbr\u003eMaki-e (蒔絵 — literally \"sprinkled picture\") encompasses several distinct techniques. The reed motif on this piece uses taka-maki-e (高蒔絵 — raised maki-e), in which gold powder is built up in relief over multiple lacquer layers to create a three-dimensional texture. The fine lines of individual reed leaves have been articulated with a brush technique called kirigane-bori or fine-line drawing, giving the grasses a delicate botanical accuracy. This level of detail is characteristic of Kaga maki-e at its most accomplished, where the lacquerer approaches the botanical precision of a Rinpa painter.\u003cbr\u003e\u003cbr\u003eThe nashiji interior (梨地 — pear-ground) is produced by sprinkling irregularly shaped gold and silver flakes into wet lacquer, then sealing with multiple transparent topcoats. The result is a surface that suggests depth, as though the gold is suspended within the material rather than applied to its surface. In tea ceremony objects, nashiji interiors signal a kind of invisible generosity: the interior is finished to the same standard as the exterior, even though it is seen only fleetingly.\u003cbr\u003e\u003cbr\u003eThe yuki-fuki form takes its name from the image of snow blowing horizontally — the slight outward flare at the base and the rounded shoulder of the lid evoke that horizontal movement. It is a form associated with winter temae in the tea calendar. Paired with the ashi-ni-sagi motif — herons and reeds are a canonical autumn-winter compositional pair in Japanese decorative arts — this natsume situates itself precisely in the transitional season, the point where autumn cold becomes the silence of winter.\u003cbr\u003e\u003cbr\u003eFor collectors, a piece by a named second-generation master (二代) of a recognized Kaga maki-e lineage, accompanied by a tomobako with a brushed signature and seal, represents a documented provenance that anchors the object in a specific workshop tradition. The disclosed raden restoration on the heron's back is professionally executed and typical of the careful stewardship applied to working tea ceremony objects that have been in active use.\u003cbr\u003e\u003cbr\u003e【日本語解説】\u003cbr\u003e\u003cbr\u003e🔹 [ 作品詳細 ]\u003cbr\u003e• 作家：二代 前端春斎。加賀蒔絵の正統を継ぐ金沢の名工\u003cbr\u003e• 技法・形状：雪吹形（吹雪の横なびきを想起させる古典的な棗形）、外面は芦に鷺蒔絵（高蒔絵による金色の葦と螺鈿による鷺）、内面は梨地仕上げ（内梨地）\u003cbr\u003e• 年代：昭和後期〜平成初期（推定1980年代〜90年代）。新品時の小売価格は約35万円\u003cbr\u003e• 産地：石川県金沢市（加賀前田藩以来、四百年の蒔絵伝統の中心地）\u003cbr\u003e• 寸法：高さ約8cm、径約7.4cm\u003cbr\u003e• 付属品：共箱（四方桟蓋）、箱蓋に作家の草書銘と印\u003cbr\u003e• 状態：全体的に良好。蓋の螺鈿（鷺の背部）に一箇所の補修跡あり（出品時に明記）。それ以外の部位——胴部、蓋、内梨地——は無傷。補修は丁寧に施されており、全体の意匠と鑑賞価値を損なうものではない\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・芸術的考察 ]\u003cbr\u003e\u003cbr\u003e雪吹形の棗は、茶道具の中でも最も構造的に簡潔な形式のひとつである。余分を持たない円筒の胴と丸みを帯びた蓋は、そのまま絵画の支持体となる。ここに前端春斎二代は「芦に鷺」という構図を選んだ——秋草を思わせる芦を金の高蒔絵で360度にわたって描き、その中に一羽の鷺を螺鈿で嵌め込んでいる。アワビ貝の虹色の光が、暗い漆地の中で青、紫、白と揺れる様は、単なる装飾を超えて気象的な印象を宿す。金の葦は晩秋の光であり、螺鈿の鷺は静止した水面そのものである。\u003cbr\u003e\u003cbr\u003e内面を彩る梨地は、蒔絵金粉を透明漆の中に封じ込めることで、表面ではなく素材の内側から光が発しているかのような奥行きを生む。この内梨地は、蓋をした状態では見えない。主人が蓋を持ち上げて抹茶を掬う一瞬だけ、客の視野に入る。それは器の中に隠された、もうひとつの贈り物である。\u003cbr\u003e\u003cbr\u003e詩的な一節：鷺は急がない。葦は風を覚えている。その間に、漆は沈黙を保ち、空間をして現実たらしめる。\u003cbr\u003e\u003cbr\u003e🔹 [ 深層解説 ]\u003cbr\u003e\u003cbr\u003e螺鈿は東アジアの漆芸における最も技術的な難度を誇る技法のひとつである。アワビや夜光貝などの貝殻を薄く切り出し——時にはサブミリ単位の厚さまで——、専用の道具で漆地に嵌め込む。螺鈿の光学的特性は観察角度によって変化し、斜めの光では異なる色彩が現れる。この棗では螺鈿が鷺の胴体に集中しており、暗い地の中で発光するかのような焦点をつくり出している。\u003cbr\u003e\u003cbr\u003e蒔絵（「まき絵」——蒔き散らした絵）は複数の技法を内包する。本作の芦紋には高蒔絵が用いられており、金粉を漆の重ね塗りの上に盛り上げることで立体的なテクスチャが生まれている。個々の葦の葉の細線描写は蒔絵筆による精密な線引き技術によるもので、加賀蒔絵が最も充実した段階で示す植物画的な精度を反映している。\u003cbr\u003e\u003cbr\u003e内梨地は不規則な形の金箔・銀箔片を湿漆に振りかけ、透明な上塗りで封じることで生まれる。その結果、金が表面に貼られているのではなく、素材の中に浮かんでいるかのような奥行きが生じる。茶道具における梨地の内面仕上げは、外からは見えない部分にまで誠実に向き合う作者の姿勢——不可視の誠実さ——を象徴する。\u003cbr\u003e\u003cbr\u003e加賀蒔絵は、17世紀以降、加賀藩主前田家の庇護のもとで育まれた。金沢の蒔絵師たちは江戸の抽象的・幾何学的な傾向とは異なる独自の路線を歩み、写実的な植物描写と螺鈿の統合を得意とした。前端春斎はその伝統を現代に継ぐ系譜名である。二代目を銘する作家の作品が共箱・銘入りで揃うことは、工房の伝統に裏づけられた出所を意味し、コレクターにとって重要な文脈をなす。\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":61795327508850,"sku":"260422_a_2745","price":555.58,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m86948523174_1.jpg?v=1776868562"},{"product_id":"ohi-ware-tea-bowl-by-ohi-choami-kanazawa-amber-glaze-chawan-with-cascading-katsuragi-signed-tomobako-japanese-matcha-bowl","title":"Ohi Ware Tea Bowl by Ohi Choami - Kanazawa Amber Glaze Chawan with Cascading Katsuragi - Signed Tomobako Japanese Matcha Bowl","description":"Experience authentic Japanese tea culture with this Ohi Ware Tea Bowl by Ohi Choami. This Japanese Matcha Bowl serves as a Kanazawa Ohi-yaki masterpiece and Handmade Tea Ceremony Chawan, featuring Amber Ame Glaze artistry and Cascading White Katsuragi—a must-have for any Art Collector seeking authentic Zen Tea Accessories.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ohi Choami (大樋長阿弥)\u003cbr\u003e• Technique: Ohi-yaki amber ame glaze with cascading white katsuragi (kakewake) overglaze, hand-formed (tezukune)\u003cbr\u003e• Era: Showa-Heisei period (late 20th century)\u003cbr\u003e• Origin: Kanazawa, Ishikawa, Japan – Ohi ware tradition (since 1666)\u003cbr\u003e• Dimensions: Diameter approx. 11 cm × Height approx. 7.3 cm (4.3\" × 2.9\")\u003cbr\u003e• Box: Tomobako (artist-signed wooden box, light staining on exterior)\u003cbr\u003e• Condition: Excellent – no cracks, chips, or repairs to the bowl itself\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eOhi ware (大樋焼) was founded in 1666 in Kanazawa when the fifth Maeda lord, Tsunanori, invited Raku tea master Senso Soshitsu IV from Kyoto, who in turn brought with him a young potter named Chozaemon. From that single transplanted seed grew one of the most distinctive low-fired tea wares in Japan – defined not by Kyoto's blacks and reds, but by a warm amber ame (caramel) glaze unique to the Hokuriku region. The Ohi Choami line continues this lineage in the spirit of the main family, producing hand-formed chawan that retain the quiet intimacy of Raku while announcing themselves with a colour the Kaga court found irresistible.\u003cbr\u003e\u003cbr\u003eWhat distinguishes this bowl is the deliberate kakewake – the dramatic split between the deep amber field and the milky white katsuragi glaze that has been poured down the body and frozen mid-descent. The white runs like spring snowmelt over autumn leaves, gathering thickness near the foot, thinning into translucent veils above. Each drip is a single irreversible gesture; the kiln decided the rest.\u003cbr\u003e\u003cbr\u003e*\"Where amber holds the warmth of late afternoon, white snow remembers the shape of falling.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**The Ohi Lineage**: Unlike most Japanese pottery towns, Ohi ware has been continued by a single family across more than three and a half centuries, and the kiln still stands in central Kanazawa. The amber ame glaze – a low-fire lead glaze coloured with iron – became inseparable from Kaga tea culture, favoured by daimyo and tea masters who wanted the softness of Raku in a colour that recalled Kanazawa's gilded interiors.\u003cbr\u003e\u003cbr\u003e**Hand-Formed Construction**: True to its Raku heritage, this chawan is tezukune – built without a wheel, shaped entirely by palm and fingers. You can feel the maker's grip in the slight asymmetry of the rim, the warm fullness of the wall, the considered weight in the foot. It is a bowl made for the hand, by the hand.\u003cbr\u003e\u003cbr\u003e**Reading the Katsuragi**: Katsuragi (白釉のかつらぎ) refers to the deliberate cascading application of a contrasting glaze – a technique that demands the potter resist the impulse to control the result. Once poured, the glaze finds its own descent. Over decades of use, tea oils will deepen the amber and bring out a subtle haze along the white edges, gifting the piece a patina no kiln can fake.\u003cbr\u003e\u003cbr\u003e**Contemporary Practice**: The bowl is fully functional and well-suited to the autumn and winter chaji, where its earth tones answer the season. It carries equally well as a tokonoma object, a contemplative still life that needs no flower beside 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：大樋長阿弥（おおひちょうあみ）\u003cbr\u003e• 技法：大樋飴釉に白釉のかつらぎ掛け分け、手捏ね\u003cbr\u003e• 時代：昭和〜平成\u003cbr\u003e• 産地：石川県金沢 - 大樋焼（1666年創始）\u003cbr\u003e• 寸法：直径約11cm × 高さ約7.3cm\u003cbr\u003e• 付属：共箱（箱に汚れあり）\u003cbr\u003e• 状態：本体は良好（ヒビ・カケ・直しなし）\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e大樋焼は1666年、加賀藩五代藩主前田綱紀が裏千家四世仙叟宗室を金沢に招いた際、共に下った楽焼の陶工・長左衛門に始まる、北陸唯一の脇窯です。京都楽の血脈を継ぎながら、加賀の風土に呼応するように生まれたのが、あの独特の飴釉。深い琥珀色は金沢の金箔文化に通じる温度を持ち、加賀の茶人が深く愛してきました。本作の作者・大樋長阿弥は、本家の意を汲んで作陶を続ける名手です。\u003cbr\u003e\u003cbr\u003e見どころは、飴釉の深い茶色に、白釉を意図的に流し掛けた「かつらぎ」の景色。釉薬は流れ落ちる途中で凍り、雪解け水が秋の岩肌を伝うような瞬間を留めています。手捏ね特有の腰のふくらみと、てのひらに馴染む口造りが、楽の系譜を確かに伝える一椀です。秋冬の侘び茶に最も似合い、床の景物としても静謐な存在感を放ちます。\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*Where Kyoto's Raku traveled north, it stopped wearing red and learned the colour of late afternoon light on Kanazawa walls.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61818833994098,"sku":"260429_a_2777","price":254.44,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m90012805946_1.jpg?v=1777478256"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/collections\/m71825396718_4.jpg?v=1771460886","url":"https:\/\/checkout.themodernzenarchive.com\/collections\/origin-kanazawa.oembed","provider":"The Modern Zen Archive","version":"1.0","type":"link"}