{"product_id":"hagi-ware-matcha-bowl-by-tenpozan-gohon-glaze-with-iron-grass-motif-chawan-for-tea-ceremony","title":"Hagi Ware Matcha Bowl by Tenpozan — Gohon Glaze with Iron Grass Motif, Chawan for Tea Ceremony","description":"Experience Authentic Japan Art with this Hagi Ware Matcha Bowl. This Japanese Tea Ceremony Bowl serves as a Wabi Sabi Chawan and Handmade Ceramic Tea Bowl, featuring Gohon Glaze Pottery and Iron Brushwork Chawan—a must-have for any Art Collector seeking Hagi Pottery Tea Bowl craftsmanship.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Tenpozan (天鵬山) — Hagi ware kiln \/ potter\u003cbr\u003e• Technique: Hagi glaze (萩釉) with gohon patterning, hiiro (火色) blush, fine crazing (貫入); iron-pigment brushed grass motif (鉄絵草文)\u003cbr\u003e• Era: 2000s–2010s (estimated)\u003cbr\u003e• Origin: Hagi, Yamaguchi Prefecture, Japan\u003cbr\u003e• Dimensions: Diameter approx. 14 cm, Height approx. 8 cm\u003cbr\u003e• Box: Paper box (紙箱)\u003cbr\u003e• Condition: Good — no chips, cracks, or significant wear\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eHagi ware holds a singular place among Japan's tea ceramics: softer in body than Karatsu, warmer in tone than Bizen, it changes colour with use in a way that potters call \"七化け\" — the seven transformations. Tea drawn through the fine network of crazing stains the clay over years, darkening the pale blush of gohon into something alive and personal.\u003cbr\u003e\u003cbr\u003eTenpozan works within this living tradition. The gohon ground here — cream-white with scattered coral warmth — carries the gentle irregularity that wabi-sabi asks for. Thin iron lines describe grass in the brevity of a sketch: not botanical illustration, but felt movement, the way grass appears at the edge of attention.\u003cbr\u003e\u003cbr\u003ePoetic Line: \"Pale as morning fog on the inlet — the bowl holds warmth before the tea arrives.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eHagi ware (萩焼) originates in Hagi, Yamaguchi Prefecture, tracing its lineage to Korean potters brought to Japan during the Imjin War of the 1590s. Lord Mōri Terumoto established the kilns, and Hagi has produced tea ceramics in almost unbroken succession ever since. In the classical tea hierarchy — \"一楽二萩三唐津\" (first Raku, second Hagi, third Karatsu) — Hagi is positioned as the contemplative counterpart to Raku's expressive directness.\u003cbr\u003e\u003cbr\u003eThe defining material is the local Mishima clay, blended with feldspathic stone and fired at a relatively low temperature. The resulting body is porous and light-absorbent, which is why the crazing (貫入 kannyu) becomes so significant: it is not a defect but a channel for transformation over time. Each use deepens the presence of the object.\u003cbr\u003e\u003cbr\u003eGohon (御本), originally referring to Korean models requested by Japanese tea masters, describes a subtle mottling of the glaze — pinkish or buff patches distributed across the surface. Combined with hiiro (火色), the reddish blush from flame contact in the kiln, the surface of a fine Hagi bowl reads as a landscape rather than a glaze.\u003cbr\u003e\u003cbr\u003eThe iron-pigment grass motif (鉄絵草文) is executed with a single-hair brush in a tradition closer to ink painting than ceramic decoration. The economy of line — a few stems, a hint of leaf — reflects the tea ceremony's own aesthetic of sufficiency: nothing added that is not needed.\u003cbr\u003e\u003cbr\u003eFor collectors entering the world of wabi-sabi tea ceramics, Hagi represents one of the most accessible and rewarding starting points. The material's responsiveness to use means the bowl you acquire today is not the bowl you will own in five years.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 作家／窯元：天鵬山（萩焼）\u003cbr\u003e• 技法：萩釉（御本・緋色・貫入）、鉄絵草文\u003cbr\u003e• 年代：2000年代〜2010年代（推定）\u003cbr\u003e• 産地：山口県萩市\u003cbr\u003e• 寸法：直径約14cm、高さ約8cm\u003cbr\u003e• 箱：紙箱\u003cbr\u003e• 状態：良好。欠け・割れなし\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・美術的解説 ]\u003cbr\u003e萩焼は、楽焼・唐津と並ぶ茶陶三器のひとつ。「一楽二萩三唐津」という言葉が示すように、茶の湯における萩焼の地位は歴史的に高く、その柔らかな土肌と貫入の深さが使い込むほどに景色を変えていく。\u003cbr\u003e\u003cbr\u003e天鵬山の碗は、御本釉の淡いクリーム地に緋色のほのかな赤みが差し、釉薬の表情は見るたびに微妙に異なる。鉄絵で描かれた草文は、植物画ではなく草の気配を写したもの——一筆の線が、動きを留める。\u003cbr\u003e\u003cbr\u003e詩的な一文：「朝霧のような白さ。碗は、茶が届く前からすでに温かい。」\u003cbr\u003e\u003cbr\u003e🔹 [ コレクター向け詳細解説 ]\u003cbr\u003e萩焼の起源は、文禄・慶長の役（1590年代）で連行された朝鮮人陶工にまで遡る。毛利輝元が萩の地に窯を開いて以来、萩焼は途絶えることなく茶陶の系譜を継いできた。\u003cbr\u003e\u003cbr\u003e萩の土——三ヶ岳の白土と伊羅保土のブレンド——は吸水性が高く、使うたびに茶が貫入を通じて染み込む。これが「七化け」と呼ばれる変化であり、使い込むほど景色が深まる萩焼の最大の特徴である。\u003cbr\u003e\u003cbr\u003e御本とは、かつて日本の茶人が朝鮮に注文した見本（御本）に由来する釉調で、クリーム地に淡いピンクや斑が浮かぶ。これに窯変による緋色が加わることで、単なる釉薬でなく、炎と土と時間が作る風景となる。\u003cbr\u003e\u003cbr\u003e鉄絵草文は、一本の細筆で描かれた線描——茶の美学と同じく、必要なもの以外は加えない。萩焼は、侘び寂びの世界への入口として、国外のコレクターにも安定した関心を持たれている器種である。\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":61800227570034,"sku":"260424_a_2767","price":475.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m62334011570_1.jpg?v=1776992709","url":"https:\/\/checkout.themodernzenarchive.com\/products\/hagi-ware-matcha-bowl-by-tenpozan-gohon-glaze-with-iron-grass-motif-chawan-for-tea-ceremony","provider":"The Modern Zen Archive","version":"1.0","type":"link"}