{"product_id":"hagi-ware-matcha-bowl-by-harada-ryuho-shiro-hagi-nadare-glaze-signed-wooden-box","title":"Hagi Ware Matcha Bowl by Harada Ryuho — Shiro-Hagi Nadare Glaze, Signed Wooden Box","description":"Experience Authentic Japan Art with this Hagi Ware Matcha Bowl. This Japanese Tea Ceremony Bowl serves as a Wabi-Sabi Ceramic Art piece and Signed Studio Pottery, featuring Shiro-Hagi White Glaze Drip and Nadare Flowing Glaze Effect—a must-have for any Art Collector seeking Harada Ryuho Pottery, Hagi Kiln Ceramic, or a Hand-Thrown Stoneware Bowl with Original Wooden Box.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Harada Ryuho (原田隆峰) — documented Hagi kiln potter, working in the classical Hagi tradition\u003cbr\u003e• Technique: Shiro-hagi (white Hagi) glaze with nadare (flowing drip) effect; hand-thrown on the wheel with visible rokume (wheel-mark) texture\u003cbr\u003e• Era: Post-2000 (contemporary studio work)\u003cbr\u003e• Origin: Hagi, Yamaguchi Prefecture, Japan — one of Japan's three great kilns for tea ceramics\u003cbr\u003e• Dimensions: Diameter approx. 15.2 cm, Height approx. 9.2 cm\u003cbr\u003e• Box: Tomobako (artist's original signed wooden box) included — brush inscription and red seal by the artist\u003cbr\u003e• Condition: Excellent — no chips (kake), no cracks (hibi); glaze rivers and surface texture in pristine state\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eHagi-yaki occupies a singular place in the world of Japanese tea ceramics. Originating in the castle town of Hagi during the early Edo period under the patronage of the Mori clan, its rough feldspar-rich clay and signature milk-white or blush glazes have made it the preferred ware of tea masters for over four centuries. Sen no Rikyu's dictum that placed Hagi second only to Raku in the order of preferred tea bowls — \"ichi-Raku, ni-Hagi, san-Karatsu\" — still resonates in every serious tea room today.\u003cbr\u003e\u003cbr\u003eThis bowl by Harada Ryuho embodies that tradition with quiet conviction. The exterior displays the classic nadare — white shiro-hagi glaze applied thickly at the rim and allowed to flow freely downward, leaving three distinct rivulets frozen mid-descent against the warm sandy-terracotta body. This is not decoration; it is controlled accident, the potter's willingness to surrender final authority to fire and gravity. The opposite face shows the equally celebrated phenomenon of Hagi glaze shifting into a soft lavender-blush — a hint of what tea masters call \"hagi no nana-ke,\" the seven transformations of Hagi, as the glaze evolves with use.\u003cbr\u003e\u003cbr\u003eThe rokume — horizontal wheel-marks left intentionally across the midsection — catch the light and echo the slow spiral of the throwing process. The kodai (foot ring) is small and confidently cut, exposing the warm red-orange clay beneath, a signature of Hagi's local feldspar-bearing earth.\u003cbr\u003e\u003cbr\u003ePoetic Line: \"White glaze rivers pause mid-fall, as if the mountain mist itself chose to rest here — unhurried, complete.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eHagi-yaki is produced from a unique local clay found in the Hagi region of Yamaguchi Prefecture, characterized by its high feldspar and silica content, which produces the distinctive sandy, porous surface. This porosity is central to the philosophy of Hagi ceramics: over years of tea use, the clay absorbs the tannins and oils of matcha, staining the body in gradual, unrepeatable ways — the aging process the Japanese call \"yakimonono nanahenge\" or the transformations of fired clay. A bowl used in tea ceremony for decades becomes, in the eyes of a collector, more beautiful than the day it was made.\u003cbr\u003e\u003cbr\u003eThe shiro-hagi glaze is achieved by applying a high-feldspathic ash glaze over the unfired body, which, during wood-fire or gas-reduction firing at approximately 1,250–1,280°C, melts and flows downward under gravity — creating the nadare rivulets visible on this bowl. The glaze pools and thins unpredictably, giving each piece an irreproducible landscape. No two Hagi bowls with nadare are identical.\u003cbr\u003e\u003cbr\u003eIn tea ceremony context, the chawan holds a role that transcends utility. It is the focal object of the temae (procedure), held in both hands by the guest, rotated to honor its \"front\" face, drunk from at the side. Its texture, weight, and temperature — all qualities Hagi excels in — become part of a meditative, embodied experience. The porous clay warms quickly and retains heat gently, making matcha taste subtly different from porcelain.\u003cbr\u003e\u003cbr\u003eHarada Ryuho works within the mainstream Hagi tradition, producing wheel-thrown wares that honor the aesthetic of the Saka and Miwa kiln lineages while bringing his own restraint to form and glaze application. The tomobako — the original wooden box signed and sealed by the artist — is considered essential provenance for serious collectors and for formal use in the tea room.\u003cbr\u003e\u003cbr\u003eFor collectors, this bowl represents an accessible entry into signed, documented Hagi-yaki: the nadare glaze effect is one of the most visually compelling expressions of the tradition, the tomobako confirms authenticity, and the excellent condition ensures immediate usability in tea practice or display.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家：原田隆峰（萩焼・伝統技法を継承する窯元）\u003cbr\u003e• 技法：白萩釉のなだれ景色。ろくろ成形、ろくろ目が美しく残る\u003cbr\u003e• 年代：現代作（2000年代以降）\u003cbr\u003e• 産地：山口県萩市 — 「一楽二萩三唐津」と称される茶陶の名産地\u003cbr\u003e• 寸法：口径 約15.2cm、高さ 約9.2cm\u003cbr\u003e• 箱：共箱（作家直筆の箱書き・落款付き）完備\u003cbr\u003e• 状態：優良。ヒビ・カケなし。景色・釉調ともに完全な状態\u003cbr\u003e\u003cbr\u003e【景色と美的解説】\u003cbr\u003e萩焼は江戸時代初期、毛利氏の庇護のもと萩の城下に生まれた茶陶です。千利休が「一楽二萩三唐津」と称して以来、茶人が最も愛した器のひとつとして現代まで続く伝統を持ちます。この茶碗は原田隆峰による作で、白萩釉の「なだれ」景色が見どころです。口縁から厚く掛けられた白萩釉が重力に従って自然に流れ落ち、三筋の白い川が温かみのある土色の胴に刻まれています。これは偶然ではなく、作家が釉薬と炎と重力に身を委ね、意図を超えた景色を引き出す「制御された偶然」の美です。反対側では、萩焼特有の「萩の七化け」の一端として、釉薬が薄く藤色がかった桃白色に変容しており、同一の器でありながら表と裏で全く異なる景色を見せます。胴部に残るろくろ目は成形の痕跡であり、職人の手仕事の証です。\u003cbr\u003e\u003cbr\u003e【深層解説 — 上級コレクター向け】\u003cbr\u003e萩焼の最大の特徴は、地元産の長石質・珪石質の粘土が生む多孔質な素地にあります。この多孔性こそが「萩の七化け」の源であり、茶で使い込むうちに抹茶の成分が素地に染み込み、釉薬の貫入を通じて器が経年変化していく現象です。これは欠点ではなく、時間とともに育つ美——所有者との対話の記録です。白萩釉のなだれは、高長石質の灰釉を未焼成の素地に厚く施し、約1250〜1280℃で焼成する際に重力の引きで釉薬が流れ落ちることで生じます。この流れは毎回異なり、二つと同じなだれは存在しません。茶道の点前においてこの茶碗は単なる道具ではなく、主客の間に置かれた美的対象です。萩焼の保温性と手に伝わるざらりとした素地の感触は、磁器とは異なる茶の味わいをもたらすと茶人は言います。共箱の存在は、コレクションの記録として、また茶室での正式な使用において、作品の来歴を証明する不可欠な要素です。\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":61954412118386,"sku":"260618_a_2976","price":670.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m52651858834_1.jpg?v=1781796038","url":"https:\/\/checkout.themodernzenarchive.com\/products\/hagi-ware-matcha-bowl-by-harada-ryuho-shiro-hagi-nadare-glaze-signed-wooden-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}