{"product_id":"fukumori-hiroshi-gohon-tachizuru-tsutsu-chawan-standing-crane","title":"Fukumori Hiroshi Gohon Tachizuru Tsutsu Chawan — Standing Crane","description":"A cylindrical tea bowl (筒茶碗) by Fukumori Hiroshi (福森比路志) in the gohon technique, featuring a standing crane (立鶴) rendered in expressive brushwork over salmon-pink iron spots blooming through white slip. This Kyoto potter's tsutsu chawan carries the quiet density of Korean-inspired firing — each gohon spot a record of kiln atmosphere meeting iron and intention.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Fukumori Hiroshi (福森比路志)\u003cbr\u003e• Technique: Gohon-de (御本手) with iron brushwork\u003cbr\u003e• Era: 2010–2019\u003cbr\u003e• Origin: Kyoto, Japan\u003cbr\u003e• Dimensions: Approximately 10 cm diameter × 9 cm tall\u003cbr\u003e• Box: Signed wooden box (共箱)\u003cbr\u003e• Condition: Good — consistent with careful use in tea practice\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eGohon (御本) is a technique born from longing. In the early Edo period, Japanese tea masters sent wooden models (gohon) to Korean potters, requesting bowls shaped to Japanese taste. The Korean kilns responded with their own material intelligence: iron-rich clay beneath white slip, fired so that pink and salmon spots surfaced unpredictably — the kiln deciding what the potter could only invite.\u003cbr\u003e\u003cbr\u003eFukumori Hiroshi works within this lineage from his Kyoto studio, honoring the gohon tradition while bringing his own hand to the form. The tsutsu (cylindrical) shape is a winter form in tea practice — taller walls retain heat, cradling warmth against cold hands. It is architecture shaped by season.\u003cbr\u003e\u003cbr\u003eThe tachizuru (standing crane) is drawn with economy — a few strokes of iron pigment defining posture and presence. In Japanese culture, the crane carries associations of longevity and auspicious continuity. Here, the crane does not decorate the surface. It inhabits it.\u003cbr\u003e\u003cbr\u003e*\"The spots were not painted. They surfaced — called upward by fire and iron and time.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Gohon-de (御本手) Technique**: The distinctive salmon-pink spots of gohon ware result from a specific interaction: iron particles in the clay body migrate through the white slip coating during firing, blooming into warm patches where kiln atmosphere and temperature converge. No two bowls produce the same pattern. The potter prepares conditions; the kiln completes the work.\u003cbr\u003e\u003cbr\u003e**Tsutsu-chawan Form**: The cylindrical tea bowl is traditionally associated with winter tea gatherings (炉の季節). Its tall, straight walls hold heat longer than the wide, open summer forms. The prominent throwing rings on this piece are left intentionally — they provide grip and create subtle shadows that shift as the bowl is turned during temae (tea procedure).\u003cbr\u003e\u003cbr\u003e**Tachizuru (Standing Crane) Motif**: The crane in Japanese art is not merely decorative — it is a carrier of meaning. Standing cranes suggest dignity, patience, and the quiet passage of long years. Fukumori renders his crane in minimal iron brushwork, allowing the gohon surface to breathe around the motif rather than competing with it.\u003cbr\u003e\u003cbr\u003e**Fukumori Hiroshi's Practice**: Based in Kyoto, Fukumori Hiroshi has dedicated his practice to gohon-de wares — a focused commitment to a single technique that deepens with each firing. The exposed reddish clay at the foot ring reveals the iron-rich body beneath the slip, grounding the delicate surface effects in material honesty.\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：福森比路志\u003cbr\u003e• 技法：御本手（鉄絵付）\u003cbr\u003e• 時代：2010年代\u003cbr\u003e• 産地：京都\u003cbr\u003e• 寸法：約 直径10cm × 高さ9cm\u003cbr\u003e• 箱：共箱\u003cbr\u003e• 状態：良好 — 茶の湯での使用に相応しい状態\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e福森比路志氏による御本立鶴の筒茶碗です。御本手（ごほんで）は、白化粧の下から鉄分が焼成中に浮き上がり、独特のサーモンピンクの斑紋を生む技法です。朝鮮半島の陶工たちが日本の茶人のために焼いた「御本茶碗」に由来し、窯の中の偶然と作り手の意図が交差する場所に生まれます。\u003cbr\u003e\u003cbr\u003e筒形は冬の茶席で重用される形状で、高い側壁が湯の温度を保ちます。轆轤目がはっきりと残され、手に馴染む質感を生んでいます。\u003cbr\u003e\u003cbr\u003e立鶴の図は鉄絵による簡潔な筆致で描かれ、御本の斑紋と調和しながら静かな存在感を放っています。鶴は長寿と吉兆の象徴であり、この碗を手にするたびに、その佇まいが掌に伝わります。\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*Iron remembers its origin. Through white slip, it surfaces — patient, warm, inevitable.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61600691716466,"sku":"260123_a_1692","price":739.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m82496757453_1.jpg?v=1771302848","url":"https:\/\/checkout.themodernzenarchive.com\/products\/fukumori-hiroshi-gohon-tachizuru-tsutsu-chawan-standing-crane","provider":"The Modern Zen Archive","version":"1.0","type":"link"}