{"product_id":"hagi-ware-tea-bowl-by-kaneko-nobuhiko-shiroyama-gama-chawan-with-tomobako","title":"Hagi Ware Tea Bowl by Kaneko Nobuhiko — Shiroyama-gama Chawan with Tomobako","description":"Experience authentic Japanese tea ceramics with this Hagi Ware Tea Bowl by Kaneko Nobuhiko. This Shiroyama-gama Chawan serves as a Traditional Hagi Chawan and Japanese Matcha Bowl, featuring Warm Biwa Tone Glaze and Hagi Clay Foot Ring—a must-have for any collector seeking Yamaguchi Pottery and Tea Ceremony Ceramics.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Kaneko Nobuhiko (金子信彦), Shiroyama-gama (城山窯 \/ Castle Mountain Kiln)\u003cbr\u003e• Technique: Hagi-yaki (萩焼) — high-fire stoneware with characteristic Hagi glaze\u003cbr\u003e• Era: Contemporary (Heisei–Reiwa period)\u003cbr\u003e• Origin: Hagi, Yamaguchi Prefecture, Japan\u003cbr\u003e• Dimensions: W 14 cm × H 8 cm (5.5\" × 3.1\")\u003cbr\u003e• Box: Tomobako inscribed 萩 茶碗 with signature 信彦 and red seal\u003cbr\u003e• Condition: Good (美品) — no chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eHagi occupies a position of singular weight in the hierarchy of Japanese tea ceramics. The saying \"First Raku, Second Hagi, Third Karatsu\" (一楽二萩三唐津) places Hagi among the three most revered ceramic traditions for the tea room. Where Raku offers directness and Karatsu offers presence, Hagi offers transformation — a surface that changes with use, absorbing tea over years until the vessel becomes a record of every gathering it has witnessed.\u003cbr\u003e\u003cbr\u003eThis tea bowl by Kaneko Nobuhiko at Shiroyama-gama demonstrates the classic Hagi palette: warm biwa (loquat) tones shifting to pale green across the body, the colors emerging from the interaction between Hagi’s distinctive clay and the kiln’s atmosphere. The glaze is smooth and glossy, carrying subtle gradations — warm pink and peach at the rim dissolving into green-grey along the lower body. Nothing is painted. Everything is yielded to the fire.\u003cbr\u003e\u003cbr\u003eThe foot ring (kodai) is left rough and unglazed, exposing the sandy Hagi clay beneath. In tea practice, turning the bowl to examine the foot is an intimate act — the place where earth and intention are most honestly visible.\u003cbr\u003e\u003cbr\u003e*\"The color of loquat skin in autumn light — warmth that does not declare itself.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Hagi Ware — The Seven Transformations**: Hagi is celebrated for nanabake (七化け) — the \"seven changes\" that occur as tea gradually penetrates the porous clay body through fine crazing in the glaze. Over decades of use, the surface evolves in color and texture, making each Hagi bowl a collaboration between maker and user that unfolds across time. This bowl’s smooth, luminous glaze will develop its own patina through the continuity of practice.\u003cbr\u003e\u003cbr\u003e**Shiroyama-gama — Castle Mountain Kiln**: Kaneko Nobuhiko fires at Shiroyama-gama (城山窯) in Hagi, a kiln named for the castle mountain that overlooks the old samurai district. Hagi’s ceramic tradition dates to the early Edo period, when Korean potters brought to Japan by the Mōri clan established kilns that would define the region’s identity for centuries. Contemporary Hagi potters like Kaneko inherit this lineage while developing their own voice within its parameters.\u003cbr\u003e\u003cbr\u003e**The Biwa Palette**: The warm loquat (biwa) coloring of this bowl is among the most prized tones in Hagi ware — a color produced not by pigment but by the chemistry of iron-bearing clay, feldspar-rich glaze, and controlled kiln atmosphere. The gradual shift from pink-peach to green-grey across the body records the fire’s movement through the kiln.\u003cbr\u003e\u003cbr\u003e**Form and Proportion**: At 14 cm wide and 8 cm tall, this bowl presents a classic deep chawan form — generous enough for winter use (fuyu-chawan), with walls that hold heat and a depth that cradles the tea. The proportions feel settled, resting in the hand with the quiet weight of a vessel that knows its purpose.\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：金子信彦（城山窯）\u003cbr\u003e• 技法：萩焼（高温焼成陶器・萩釉）\u003cbr\u003e• 時代：現代（平成〜令和）\u003cbr\u003e• 産地：山口県萩市\u003cbr\u003e• 寸法：幅約14cm × 高さ約8cm\u003cbr\u003e• 付属：共箱（「萩 茶碗」の書付、署名「信彦」、朱印）\u003cbr\u003e• 状態：美品（欠け・ひび・修理なし）\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e「一楽二萩三唐津」と称されるように、萩焼は茶の湯において最も重んじられる陶の一つです。楽が親密さを、唐津が存在感を表すなら、萩が表すのは「変容」——使い込むほどに茶が素地に染み入り、器が持ち主との時間を記録していく、生きた表面です。\u003cbr\u003e\u003cbr\u003e金子信彦氏の城山窯による本作は、萩焼の典型的な色調を見せています。枝枇色（びわいろ）と呼ばれる温かな黄褐色が口縁付近では桃色を帯び、胴部にかけて淡い緑灰色へと移ろいます。\u003cbr\u003e\u003cbr\u003e高台は荒々しく削り出され、無釉のまま砂気のある萩の土を露わにしています。萩焼の「七化け」——使い込むことで貫入に茶が沁み、七度色が変わるとされる現象——がこれから始まる、育てる楽しみを持った茶碗といえます。\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*Loquat warmth held in clay — the seven changes have not yet begun.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61597085434226,"sku":"260121_a_1638","price":908.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m32782295281_2.png?v=1771225110","url":"https:\/\/checkout.themodernzenarchive.com\/products\/hagi-ware-tea-bowl-by-kaneko-nobuhiko-shiroyama-gama-chawan-with-tomobako","provider":"The Modern Zen Archive","version":"1.0","type":"link"}