{"product_id":"hagi-ware-ear-handled-vase-by-saka-koraizaemon-xii-himehagi-glaze-hanaire-with-signed-tomobako","title":"Hagi Ware Ear-Handled Vase by Saka Koraizaemon XII, Himehagi Glaze Hanaire with Signed Tomobako","description":"A tall Hagi ware ear-handled vase by Saka Koraizaemon XII, the twelfth head of the Hagi soke lineage, showing the luminous Himehagi glaze, soft pink blush, vertical hera-me spatula marks, twin ear handles, and a signed paulownia tomobako with yellow tomo-nuno cloth. The slender cylindrical form rises to a flared mouth, while the warm ochre foot reveals the coarse Daido clay beneath a milky white crackle surface. A quiet presence shaped by one of the most respected names in modern Hagi tradition.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Saka Koraizaemon XII\u003cbr\u003e• Origin: Hagi, Yamaguchi, Japan\u003cbr\u003e• Material: Hagi stoneware\u003cbr\u003e• Motif: Ear-handled hanaire with Himehagi glaze and hera-me spatula marks\u003cbr\u003e• Era: 1950s_1989\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◆ 日本語解説\u003cbr\u003e萎焼宗家・坂高麗左衛門家十二代による耳付花入。姫萎独特の白化粧と淡いピンクの発色、腰から流れる篦目が景色となり、胴体両脅に穏やかな耳を備える。共箱・共布揃い。\u003cbr\u003e\u003cbr\u003e🔹 [ Basic Details ]\u003cbr\u003e• Artist: Saka Koraizaemon XII (1912-1989)\u003cbr\u003e• Lineage: Hagi Soke, Saka family, twelfth generation\u003cbr\u003e• Technique: Himehagi white slip over Daido stoneware, hera-me spatula carving\u003cbr\u003e• Era: Showa period, mid-to-late 20th century\u003cbr\u003e• Origin: Hagi, Yamaguchi Prefecture, Japan\u003cbr\u003e• Dimensions: Height approx. 27 cm \/ Mouth diameter approx. 4.3 cm \/ Base diameter approx. 9.3 cm\u003cbr\u003e• Box: Signed paulownia tomobako with four-corner joinery\u003cbr\u003e• Accessories: Tomo-nuno (original yellow silk cloth)\u003cbr\u003e• Condition: Very good. No chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eHistorical Context\u003cbr\u003eThe Saka family has guided the Hagi soke tradition since the early Edo period, tracing its founding to Korean potters invited to Choshu domain after the Bunroku-Keicho campaigns. The twelfth Koraizaemon carried this four-century lineage into the postwar era, maintaining the quiet authority of Hagi while refining the Himehagi style that defines his generation.\u003cbr\u003e\u003cbr\u003eTechnique \u0026amp; Aesthetic\u003cbr\u003eThe vessel is shaped from coarse Daido clay, dressed in white slip, and finished with a transparent straw-ash glaze that breaks into a delicate crackle. Where the glaze pools, a faint rose blush appears, the signature of true Himehagi. Vertical hera-me marks draw the eye downward, and the raw foot is left exposed to speak for the clay itself.\u003cbr\u003e\u003cbr\u003ePhilosophical Reflection\u003cbr\u003eA vase that listens before it holds.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eHagi ware is often described through the phrase ichi-Raku, ni-Hagi, san-Karatsu, placing it second only to Raku in the traditional ranking of tea ceramics. Yet Hagi is never loud about its status. It earns presence through soft glaze, porous body, and the slow transformation called nanabake, the seven changes, as tea and water gradually seep into the surface over years of use. A Koraizaemon vase is made to participate in that long conversation, not to sit untouched.\u003cbr\u003e\u003cbr\u003eThe Himehagi style seen here is a refinement the twelfth generation carried to maturity. A white slip is applied over the darker Daido clay, and a straw-ash glaze is laid across it. As the piece cools, the glaze contracts into a fine kan-nyu crackle while iron in the clay bleeds gently upward, producing the pale pink flush that gives Himehagi its name. No two pieces blush in the same place, and the marks of the maker's spatula, carved while the clay was still soft, remain visible as vertical lines of intention running from shoulder to foot.\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThe form itself is a mimi-tsuki hanaire, an ear-handled flower vase, a shape with deep roots in the chanoyu tradition. The two small triangular ears are not for carrying. They are visual anchors, a quiet gesture toward the bronze and bamboo vessels of continental antiquity, translated into the softer vocabulary of Hagi clay. Placed in a tokonoma with a single branch of camellia or a stem of susuki grass, the vase becomes a frame for seasonal stillness rather than a display of itself.\u003cbr\u003e\u003cbr\u003eThe signed paulownia tomobako, inscribed in sumi ink and sealed by the artist's studio, confirms provenance and protects the piece across generations. The yellow tomo-nuno cloth that wraps it is part of the same gesture, a modest envelope that holds the object between uses. Together they carry the work from one keeper to the next without explanation.\u003cbr\u003e\u003cbr\u003eWhat remains is a vessel that does very little, and does it with great care. It holds a flower, catches the light, and lets the room grow quiet around it.\u003cbr\u003e\u003cbr\u003e◆ 日本語解説（詳細）\u003cbr\u003e【作家と歴史】\u003cbr\u003e坂高麗左衛門家は文禄・慶長の役以降、朝鮮から材えられた陶工の譜を引く萎焼宗家。十二代は1912年に生まれ、1989年に没するまで、戦後の萎焼を支えた中心的な存在であり、姫萎の作風を磨き上げた世代として知られる。\u003cbr\u003e\u003cbr\u003e【技法と美意識】\u003cbr\u003e大道土と呼ばれる萎特有の荷風を含んだ土に白化粧を掛け、藁灰系の透明釉をかけて焼成したもの。冷めの過程で豊かな貊のひびが生まれ、土中の鉄分が石火のような淡いピンクとなって浮き上がる。腰から流れる篦目は作者の手跡そのもので、柔らかい土に篦を引いた瞬間のリズムを残している。\u003cbr\u003e\u003cbr\u003e【形と茶の文脈】\u003cbr\u003e耳付花入という形は、唐銅や竹器に源を持つ伝統的な花器の形を、萎の土と釉で翻訳したもの。胴両側に添えられた小さな三角の耳は機能ではなく、床の間にしつらえた際の視覚的な軽い指標となる。巻一輪の椅や藏の穂を活ければ、季節の静寂を受け止める枠として機能する。\u003cbr\u003e\u003cbr\u003e【共箱と伝承】\u003cbr\u003e切り箱の桃共箱には「十二代坂高麗左衛門」の署名と印が入り、黄色の共布も揃う。作家の手から次の所蔵者へ、さらにその次へと無言のまま受け渡されていくための装いであり、花入そのものと同じくらい重要な構成要素である。\u003cbr\u003e\u003cbr\u003e【住まいを変えるひとつの器】\u003cbr\u003e萎は使い込むほどに表情を変える。水と花を受け、朝の光と夕の影を押し黙って受け止めることで、住まいの中に静けさの輪郭を結ぶ。楽しむより許す器。\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e萩焼宗家・坂高麗左衛門家十二世による耳付花入。姫萩独特の白化粧と淡いピンクの発色、腰から流れる箆目が景色となり、胴体両脇に穏やかな耳を備える。切箱の桐共箱には署名と印があり、黄色の共布も揃う。床の間の静寂を受け止める、静かな一器。\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":61741734166898,"sku":"260406_a_2644","price":958.0,"currency_code":"AED","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m67369359288_1.jpg?v=1775485576","url":"https:\/\/checkout.themodernzenarchive.com\/products\/hagi-ware-ear-handled-vase-by-saka-koraizaemon-xii-himehagi-glaze-hanaire-with-signed-tomobako","provider":"The Modern Zen Archive","version":"1.0","type":"link"}