{"product_id":"hagi-ware-uzura-de-chawan-quail-hide-matcha-bowl-by-keiho-tomobako","title":"Hagi Ware Uzura-de Chawan — Quail-Hide Matcha Bowl by Keihō, Tomobako","description":"Experience Authentic Japan Art with this Hagi Ware Chawan, a hand-thrown Uzura-de Matcha Bowl by Keihō. This Japanese Tea Ceremony Bowl serves as a Hagi Pottery Chawan and Wabi-Sabi Tea Bowl, featuring Hagi Uzura-de Glaze and Iron-Spot Speckle Texture—a considered choice for any Art Collector drawn to Yamaguchi Studio Pottery.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Keihō (渓峰), Hagi, Yamaguchi\u003cbr\u003e• Technique: Uzura-de (鶉手) — quail-hide glaze with iron-spot speckle clustering over a warm terracotta ground; pronounced kan'nyū (crackle) throughout\u003cbr\u003e• Era: 1990s–2006\u003cbr\u003e• Origin: Hagi, Yamaguchi, Japan\u003cbr\u003e• Dimensions: Height approx. 8 cm, Diameter approx. 11.5 cm\u003cbr\u003e• Box: Tomobako (signed wooden box) — inscribed by the artist, red seal present\u003cbr\u003e• Condition: Very good. No chips, cracks, or repairs. Surface crackle is intrinsic to the technique.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eHagi ware has been fired in Yamaguchi since the early seventeenth century, when the Mōri clan summoned Korean potters of the Ri family to establish a kiln tradition that would carry the weight of the tea world for four hundred years. The clay drawn from the Hagi region is famously porous — it breathes, it absorbs, it changes in the hands of each successive owner. That porosity is the source of Hagi's most defining quality: the way the vessel shifts colour over years of use, as tea oils seep through the body. Collectors speak of this as degassing, or nureru — the bowl becoming itself through encounter.\u003cbr\u003e\u003cbr\u003eUzura-de, the quail-hide ground, is one of Hagi's most visually charged surfaces. The iron-rich speckle concentrates in cloud-like formations against the warm straw-ochre base — the effect of deliberate clay blending and wood-fire reduction. In this bowl, Keihō has distributed the dark zones toward the lower body and foot, leaving the upper rim and inner face in a paler, speckled wash: the bowl holds two weathers at once. That duality is not decoration. It is a record of the kiln's internal atmosphere at the moment of firing, made permanent.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eUzura-de — literally \"quail patterning\" — describes a Hagi glaze variant in which iron oxide is introduced into or layered over the base glaze to produce concentrated dark speckle across a lighter ground. The name references the mottled plumage of the Japanese quail, and the visual analogy is precise: close-set dark flecks arranged in drifting clusters, neither uniform nor random.\u003cbr\u003e\u003cbr\u003eThe technique is achieved through the combination of two clay bodies or through the application of iron-bearing slip before a feldspathic overglaze. Wood firing introduces further unpredictability — the ash fall and flame path leave variation that no two bowls share. The result is that each uzura-de piece carries a distinct internal map.\u003cbr\u003e\u003cbr\u003eKan'nyū — the fine crackle network visible across the body — is not a flaw in Hagi ware. It is the mechanism through which the vessel changes. Tea oils enter through the crackle and accumulate in the porous body; over years, the bowl's ground shifts from pale ochre toward amber and then toward a deeper, tobacco warmth. Collectors who use their Hagi bowls describe this as one of the most intimate relationships in the tea world: the object tracks time spent in ceremony.\u003cbr\u003e\u003cbr\u003eFor the collector, what this bowl offers is a surface with genuine character density — the uzura patterning is strong, the tomobako confirms identity and authorship, and the proportions sit well for regular temae practice. The foot is clean, the rim even. Nothing has been forced. Keihō's work in this period shows the restraint of a potter who understood that the glaze needed room to speak.\u003cbr\u003e\u003cbr\u003eThe presence of a signed tomobako positions this piece within the tradition of proper attribution — not all Hagi studio bowls receive one. That the box survives in good condition alongside the bowl adds provenance weight without requiring further argument.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e萩焼の歴史は十七世紀初頭にまで遡る。毛利藩主が朝鮮の陶工・李家を招いて萩に窯を開いたことに始まり、以来この地は茶道の器の中心地として四百年の時を重ねてきた。萩の土は多孔質で柔らかく、使い込むほどに茶の脂が胎土に染み入り、色合いが深まっていく。これを「萩の七化け」と呼ぶ。器が使い手とともに変化し、育っていく——それが萩焼の本質的な魅力である。\u003cbr\u003e\u003cbr\u003e本作は渓峰による鶉手（うずらで）の抹茶碗。鶉手とは、うずらの羽毛に見立てた鉄斑が淡い橙土色の地に散りばめられた釉調を指す。鉄分を含む化粧土や上釉の重なりと、薪窯の火の流れが生み出す偶然の産物であり、同じ表情は二つとして生まれない。本碗では鉄斑が胴下部に凝集し、上部と内面は淡く疎らな散斑となっている——一つの器に二つの表情が宿る、静かな対比が見どころである。\u003cbr\u003e\u003cbr\u003e全体に走る貫入（かんにゅう）は欠陥ではなく、萩焼の本来の姿。茶を点てるたびに茶液が貫入を通じて胎土へと浸透し、年を経るごとに器の色合いが変化していく。その変化そのものが、この器を使い続ける理由になる。共箱には作家自筆の箱書きと落款が確認でき、作品の真性を裏付ける。状態は良好。口縁・高台ともに整い、使用上の難はない。\u003cbr\u003e\u003cbr\u003e• 作家：渓峰（萩・山口）\u003cbr\u003e• 技法：鶉手釉・貫入・薪窯焼成\u003cbr\u003e• 時代：1990年代〜2006年頃\u003cbr\u003e• 産地：山口県萩市\u003cbr\u003e• 寸法：高さ約8cm、口径約11.5cm\u003cbr\u003e• 箱：共箱（作家箱書・落款入り）\u003cbr\u003e• 状態：良好（貫入は技法による自然なもの）\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":61843719225714,"sku":"260511_a_2833","price":509.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m70144464121_1.jpg?v=1778469270","url":"https:\/\/checkout.themodernzenarchive.com\/products\/hagi-ware-uzura-de-chawan-quail-hide-matcha-bowl-by-keiho-tomobako","provider":"The Modern Zen Archive","version":"1.0","type":"link"}