{"product_id":"black-raku-tea-bowl-by-sasaki-shoraku-kyoto-kiln-tomobako-rain-drip-glaze","title":"Black Raku Tea Bowl by Sasaki Shoraku — Kyoto Kiln, Tomobako, Rain-Drip Glaze","description":"Experience Authentic Japan Art with this Raku tea bowl. This Japanese tea bowl serves as a black chawan and tea ceremony bowl, featuring Kyoto Raku ware and iron glaze texture—a must-have for any Art Collector. This Sasaki Shoraku chawan exemplifies traditional Shoraku kiln craftsmanship with rain-drip iron glaze and hand-shaped Raku technique.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Sasaki Shoraku (佐々木松楽) — head of the Shoraku kiln, Kyoto Raku-ware lineage\u003cbr\u003e• Technique: Kuro-chawan (black tea bowl); iron-rich black glaze with ame-mori (rain-drip) red glaze effects; hera-me (spatula marks) and glaze pooling characteristic of Raku hand-shaping\u003cbr\u003e• Era: 2000 – 2019\u003cbr\u003e• Origin: Kyoto, Japan (Raku-ware lineage)\u003cbr\u003e• Dimensions: Diameter approx. 11.6 cm, Height approx. 7.5 cm\u003cbr\u003e• Box: Tomobako (original wooden box with artist's inscription \/ 書付)\u003cbr\u003e• Condition: Excellent — no chips, cracks, or restoration\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Shoraku kiln occupies a particular position within Kyoto's ceramic world — adjacent to the Raku family tradition yet carrying its own lineage of authorship. Sasaki Shoraku's black tea bowls inherit the spirit of Chojiro's original vision: a bowl shaped not on the wheel but pressed and drawn by hand, meant to disappear into the act of drinking.\u003cbr\u003e\u003cbr\u003eThe ame-mori (雨漏り, literally \"rain-drip\") effect on this bowl — where reddish-amber tones bleed through the iron-black surface — is among the most admired phenomena in kuro-chawan. It does not announce itself. It is noticed slowly, across time, the way a watermark appears in old paper.\u003cbr\u003e\u003cbr\u003eThe hera-me marks (spatula grooves cut into the clay body before firing) give the bowl a directional weight — the sense that a decision was made here, and held. Glaze pooling at the foot reveals how the bowl stood in the kiln: present, unhurried.\u003cbr\u003e\u003cbr\u003e*The surface holds what the eye cannot follow. That is the nature of Raku.*\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eRaku ware (楽焼) was developed in sixteenth-century Kyoto by tile-maker Chojiro under the influence of tea master Sen no Rikyu. The defining characteristics — hand-shaping without the wheel, low-temperature firing, thick walls with soft thermal mass — were designed to serve a specific philosophy: tea as a practice of presence, not performance.\u003cbr\u003e\u003cbr\u003eKuro-chawan (black tea bowls) are fired with lead-based or iron-rich black glazes at relatively low temperatures (800–1000°C). The controlled imprecision of this process — where glaze behavior cannot be fully predicted — is not a defect but the method itself. Each bowl is shaped by its own firing. No two are identical.\u003cbr\u003e\u003cbr\u003eThe ame-mori (rain-drip) effect occurs when iron oxide in the glaze migrates during firing, creating irregular amber or rust-toned passages through the black surface. Among kuro-chawan collectors, this atmospheric quality is considered a mark of depth — evidence that the bowl has been fully through fire.\u003cbr\u003e\u003cbr\u003eSasaki Shoraku operates within the tradition of Kyoto's secondary Raku lineages — distinct from the Raku family itself, yet deeply fluent in its vocabulary. The Shoraku kiln produces work that is informed by the school's original principles while maintaining the individual authorship of its head. Tomobako with the artist's inscription (書付) confirms attribution and adds documentary weight for the collector.\u003cbr\u003e\u003cbr\u003eFor practitioners of chado (tea ceremony), a signed kuro-chawan of this caliber serves as a functional object and a focused point of contemplation. For collectors, it represents the continuity of a form that has not needed to change.\u003cbr\u003e\u003cbr\u003e🔹 [ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 【 基本情報 】\u003cbr\u003e• 作家：佐々木松楽（松楽窯当主、京都楽焼系）\u003cbr\u003e• 技法：黒茶碗。鉄分豊かな黒釉に雨漏りの景色、へら目と釉溜まりが楽の手びねりらしさを伝える\u003cbr\u003e• 年代：2000〜2019年代\u003cbr\u003e• 産地：京都（楽焼系譜）\u003cbr\u003e• 寸法：口径 約11.6cm、高さ 約7.5cm\u003cbr\u003e• 箱：共箱（書付）\u003cbr\u003e• 状態：良好。欠け・割れ・修復なし\u003cbr\u003e\u003cbr\u003e🔹 【 文化的・美的解説 】\u003cbr\u003e松楽窯は京都の陶芸世界において独自の位置を占める。楽家の伝統に隣接しながらも、独立した作家性を持ち、佐々木松楽はその当主として黒茶碗の本質を問い続けてきた。\u003cbr\u003e\u003cbr\u003e雨漏りの景色とは、鉄黒釉の表面に茶褐色や琥珀色が滲み出る現象で、古い紙に浮かぶ水染みのように、時間とともにゆっくりと気づかれる。へら目は手の決断の痕跡であり、釉溜まりは窯の中でこの茶碗が立っていた証である。\u003cbr\u003e\u003cbr\u003e*表面は目で追いきれないものを宿している。それが楽の本質である。*\u003cbr\u003e\u003cbr\u003e🔹 【 深層解説 】\u003cbr\u003e楽焼は十六世紀の京都、千利休の意を受けた瓦師・長次郎によって生み出された。轆轤を使わない手びねり、低温焼成、厚い器壁——これらはすべて「茶」を演技でなく在りかたとして捉える哲学のために設計された形式である。\u003cbr\u003e\u003cbr\u003e黒茶碗は800〜1000度の低温で焼かれ、釉薬の振る舞いは完全には制御されない。その制御不能さが欠陥ではなく手法であり、各茶碗はそれ自身の焼成によって形作られる。\u003cbr\u003e\u003cbr\u003e雨漏りは、釉薬中の酸化鉄が焼成中に移動することで生じる。黒茶碗の収集家にとって、この大気感は碗が火を潜り抜けた証拠であり、深みの印とされる。\u003cbr\u003e\u003cbr\u003e佐々木松楽は楽家とは異なる系譜に属しながら、その語彙に深く通じた作家である。書付のある共箱は帰属を確認し、収集の記録として重要な意味を持つ。茶道の実践者にとっては手に取る道具として、コレクターにとっては変わらずに続く形の証として、この黒茶碗は存在する。\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":61800224326002,"sku":"260424_a_2758","price":914.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m13010676846_1.jpg?v=1776992198","url":"https:\/\/checkout.themodernzenarchive.com\/products\/black-raku-tea-bowl-by-sasaki-shoraku-kyoto-kiln-tomobako-rain-drip-glaze","provider":"The Modern Zen Archive","version":"1.0","type":"link"}