{"product_id":"beni-shino-tea-bowl-by-kato-kizan-kairagi-crawl-glaze-mino-ware-matcha-bowl-wabi-chawan-japanese-ceramic-art","title":"Beni-Shino Tea Bowl by Kato Kizan | Kairagi Crawl Glaze | Mino Ware Matcha Bowl | Wabi Chawan | Japanese Ceramic Art","description":"Experience Authentic Japanese Ceramic Art with this Beni-Shino Tea Bowl. This Mino Ware Chawan serves as a Wabi Tea Bowl and Matcha Bowl, featuring Kairagi Crawl Glaze and Iron-Rich Shino Glaze—a must-have for any Art Collector drawn to the depth of Japanese Ceramics.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Kato Kizan (加藤貴山) — Mino Shino lineage\u003cbr\u003e• Technique: Beni-shino \/ nezumi-shino hybrid glaze; kairagi (crawl) surface texture\u003cbr\u003e• Era: 2010 – 2019\u003cbr\u003e• Origin: Mino, Gifu Prefecture, Japan\u003cbr\u003e• Dimensions: Diameter approx. 12 cm, Height approx. 8.7 cm\u003cbr\u003e• Box: Paper box\u003cbr\u003e• Condition: Excellent — no chips, cracks, or significant wear\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eShino is the oldest of Japan's feldspathic white glazes — born in the Mino kilns of Gifu during the Momoyama period, at the precise moment the tea ceremony was reaching its philosophical peak under Sen no Rikyu.\u003cbr\u003e\u003cbr\u003eThis bowl speaks in a particular dialect of Shino: the beni-shino voice. The iron-saturated ground clay bleeds warm red through a crawling, crazed white feldspar glaze — a surface condition known as kairagi (梅華皮), named for the gnarled bark of the ume plum tree. The result is neither clean nor rough. It occupies a third state: structured disorder. A lace of fire.\u003cbr\u003e\u003cbr\u003eThe unglazed foot reveals the red Mino clay without mediation. The rim departs from perfect circularity. These are not imperfections. They are the bowl's authorship.\u003cbr\u003e\u003cbr\u003ePoetic Line: \"The glaze did not settle — it arrived, as weather arrives, leaving a mark of its passage.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eShino glaze is achieved by applying a thick layer of feldspar-heavy white glaze over a clay body that holds iron. During the high-temperature wood kiln firing, the glaze melts unevenly — crawling, pulling back, and crazing in patterns that cannot be scripted. Each firing produces unrepeatable surface events.\u003cbr\u003e\u003cbr\u003eKairagi — the crawl pattern central to this bowl's character — occurs when surface tension in the molten glaze causes it to contract and fracture against the clay beneath. The exposed red ground shows through in irregular patches and veins, creating the beni (red) element of beni-shino. In nezumi-shino, iron washes darken areas of the glaze to charcoal grey; here, both registers are present in dialogue.\u003cbr\u003e\u003cbr\u003eKato Kizan works within the Mino tradition, the same tradition that produced Oribe, Shino, and Ki-Seto ware in the 16th and 17th centuries. Mino remains one of the most historically consequential ceramic regions in Japan. A Shino chawan from this lineage carries not only aesthetic presence but cultural continuity — the same glaze chemistry, the same kiln geography, the same philosophical inheritance that shaped the Japanese tea ceremony.\u003cbr\u003e\u003cbr\u003eFor Western collectors drawn to wabi aesthetics, kairagi-surface Shino bowls occupy a specific position: they are visually immediate — the texture reads as geological, almost coral-like — while remaining conceptually rooted in centuries of Japanese restraint. The bowl does not ask to be admired. It asks to be held.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本仕様 ]\u003cbr\u003e• 作家：加藤貴山（美濃・志野系）\u003cbr\u003e• 技法：紅志野と鼠志野の中間的表情。梅華皮（かいらぎ）状の釉薬景色\u003cbr\u003e• 年代：2010年代\u003cbr\u003e• 産地：岐阜県、美濃\u003cbr\u003e• 寸法：直径約12cm、高さ約8.7cm\u003cbr\u003e• 箱：紙箱\u003cbr\u003e• 状態：良好。目立つ疵なし\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・芸術的解説 ]\u003cbr\u003e志野釉とは、桃山期に美濃窯が生み出した長石質の白釉である。その誕生は、千利休が茶の湯を思想の高みへと引き上げた時代と重なる。\u003cbr\u003e\u003cbr\u003eこの碗は志野の中でも特殊な語法で語る——梅華皮（かいらぎ）の語法で。鉄分を含む赤土の素地が、這いあがる白長石釉の下から滲み出す。溶けた釉が縮れ、罅割れ、収縮していく過程で生まれる景色は、梅の古木の肌に似た構造化された乱れである。整然でも荒々しくもなく、そのあいだに静止している。\u003cbr\u003e\u003cbr\u003e露胎の高台は、媒介なく美濃の赤土を見せる。口縁のわずかな歪みは欠陥ではなく、碗の署名である。\u003cbr\u003e\u003cbr\u003e🔹 [ 深層解説 ]\u003cbr\u003e志野釉は、長石を多量に含む白釉を厚くかけ、鉄分を持つ素地とともに薪窯で高温焼成することで生まれる。釉は不均一に溶け、予測不能な経路で縮れ、亀裂を走らせる。同じ景色は二度と生まれない。\u003cbr\u003e\u003cbr\u003eかいらぎは、溶融した釉の表面張力が素地との間で収縮・亀裂を引き起こすことで発生する。素地の赤が不規則に覗く部分が「紅志野」の紅を成し、釉の鉄染みが炭灰色に沈む部分が「鼠志野」の鼠を語る。この碗はその両者を同時に抱えている。\u003cbr\u003e\u003cbr\u003e加藤貴山は、織部・志野・黄瀬戸を16〜17世紀に産み落とした美濃の陶芸的系譜の中に立っている。美濃は日本陶芸史において最も重要な産地のひとつであり、この系譜から生まれた志野茶碗は、美的存在としてだけでなく、文化的連続体として意味を持つ。侘び美学に惹かれる欧米のコレクターにとって、かいらぎの志野碗は視覚的な即時性——地質的とも珊瑚状とも言える表情——と、日本的な抑制の思想的深度を同時に持ち合わせた存在である。碗は称賛を求めない。手に取られることを静かに待っている。\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":61800227602802,"sku":"260424_a_2768","price":509.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m16003944481_1.jpg?v=1776992764","url":"https:\/\/checkout.themodernzenarchive.com\/products\/beni-shino-tea-bowl-by-kato-kizan-kairagi-crawl-glaze-mino-ware-matcha-bowl-wabi-chawan-japanese-ceramic-art","provider":"The Modern Zen Archive","version":"1.0","type":"link"}