{"product_id":"beni-shino-chawan-by-suzuki-osamu-living-national-treasure-inscribed-by-hounsai-15th-urasenke-iemoto-mino-tea-bowl-with-omono-bukuro","title":"Beni-Shino Chawan by Suzuki Osamu, Living National Treasure, Inscribed by Hounsai 15th Urasenke Iemoto, Mino Tea Bowl with Omono-bukuro","description":"A Beni-Shino chawan by Suzuki Osamu (b. 1934), designated Living National Treasure for Shino ware in 1994, accompanied by a kiri-wood box inscribed by Hounsai, the fifteenth iemoto of Urasenke. The bowl arrives with its original silk omono-bukuro pouch, a black-lacquered outer storage box, and the iemoto-signed inner kiri box bearing the title \"Beni-Shino Chawan\" in confident sumi brushwork, sealed in vermilion.\u003cbr\u003e\u003cbr\u003e— Authorship —\u003cbr\u003e\u003cbr\u003eSuzuki Osamu was born in Toki, Gifu Prefecture, in 1934, the son of the celebrated Mino potter Suzuki Uichi. He inherited a kiln in the heart of Mino's centuries-old ceramic country and devoted his life to a single, demanding question: how could the Shino ware of the late sixteenth century — the snow-fed white glaze of Momoyama Japan — be summoned again in the modern hand. Where Arakawa Toyozo, the first Living National Treasure of Shino, returned to the Momoyama kiln-mound and rebuilt the tradition through archaeology, Suzuki Osamu took the inheritance forward and made it speak in his own voice. In 1994 he was designated Important Intangible Cultural Property holder (Ningen Kokuho) for Shino ware, only the second potter in history to receive this honour for the genre.\u003cbr\u003e\u003cbr\u003eHis red Shino — Beni-Shino — is the most personal of his expressions. The base clay is a coarse Mino mogusa, and the iron slip beneath the feldspathic Shino glaze is brushed and bled in such a way that the firing pulls a deep persimmon-red through the surface, with snowdrift passages of milk-white feldspar where the glaze pooled thick. This is not decoration. It is a record of the kiln's breath.\u003cbr\u003e\u003cbr\u003e— The Object —\u003cbr\u003e\u003cbr\u003eThe form is a tsutsu-leaning hantsutsu chawan, gently waisted, the rim quietly undulating with the witness marks of a hand that has thrown thousands of these bowls and stopped pretending to control every line. The foot is cut crisply, the kodai exposing the warm Mino body. Inside the bowl, the glaze breaks into a soft pink with a single wide passage of crackle running like a mountain ridge across the wall — the sort of landscape (keshiki) that a tea master reads slowly, season by season.\u003cbr\u003e\u003cbr\u003eThe surface is alive with yuzu-hada — citrus-skin pitting where trapped gases left tiny dark pores — and with the scattered iron speckle that Mino collectors call goma. Where the glaze ran thin over the iron-rich slip, the colour deepens almost to oxblood; where it pooled, it cooled into the characteristic Shino white. Held in the hand, the bowl carries the weight of a serious tea utensil — substantial, grounded, warm to the palm.\u003cbr\u003e\u003cbr\u003e— The Inscription —\u003cbr\u003e\u003cbr\u003eThe inner kiri box bears the title \"Beni-Shino Chawan\" written by Hounsai Genshitsu, the fifteenth iemoto of Urasenke, with his kao and seal. To receive a hakogaki from a sitting iemoto is the formal recognition of a piece into the lineage of chanoyu — the moment a bowl ceases to be a maker's work alone and is admitted into the language of the tea room. For a Suzuki Osamu Shino to carry an Urasenke iemoto inscription is the meeting of two of the twentieth century's defining authorities: the maker of modern Shino, and the head of the largest school of tea.\u003cbr\u003e\u003cbr\u003eThe accompanying omono-bukuro is the silk pouch reserved for chawan of consequence — its presence is itself a statement of how this bowl was held within its previous collection.\u003cbr\u003e\u003cbr\u003e— Condition —\u003cbr\u003e\u003cbr\u003eIn fine collected condition. No chips, no restoration, no losses. The crackle and pitting visible across the surface are intrinsic to Shino firing and were intended by the maker. The kiri box and outer black box are sound; the silk pouch is clean and supple.\u003cbr\u003e\u003cbr\u003e— Provenance —\u003cbr\u003e\u003cbr\u003eFrom a Japanese private tea collection. Sold with original double box and silk pouch as photographed.\u003cbr\u003e\u003cbr\u003e— Dimensions —\u003cbr\u003e\u003cbr\u003eHeight approx. 8.6 cm \/ 3.4 in\u003cbr\u003eDiameter approx. 12.5 cm \/ 4.9 in\u003cbr\u003e\u003cbr\u003e— A Note from the Archive —\u003cbr\u003e\u003cbr\u003eA Beni-Shino by Suzuki Osamu is, for the serious student of Mino, a document. It records what Shino became after Momoyama, after Arakawa, after the long postwar reckoning with tradition. With Hounsai's hand on the box, the document is countersigned. We hold it briefly. The next caretaker will hold it longer.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e人間国宝・鈴木蔵による紅志野茶碗。裏千家十五代鵬雲斎による御書付の桐共箱、御物袋、黒塗外箱を伴う。志野釉の白いビードロ景色と緋色に焼き上がった土肌、口縁の景色は作家の代表的な仕事ぶりを示す。傷・直しなし、状態良好。茶人による旧蔵品。\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e人間国宝・鈴木蔵による紅志野茶碗。裏千家十五代鵬雲斎による御書付の桐共箱、御物袋、黒塗外箱を伴う。志野釉の白いビードロ景色と緋色に焼き上がった土肌、口縁の景色は作家の代表的な仕事ぶりを示す。傷・直しなし、状態良好。茶人による旧蔵品。\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":61839095038322,"sku":"260508_a_2804","price":3529.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m47264960064_1.jpg?v=1778232236","url":"https:\/\/checkout.themodernzenarchive.com\/products\/beni-shino-chawan-by-suzuki-osamu-living-national-treasure-inscribed-by-hounsai-15th-urasenke-iemoto-mino-tea-bowl-with-omono-bukuro","provider":"The Modern Zen Archive","version":"1.0","type":"link"}