{"product_id":"izumo-rakuzan-yaki-matcha-bowl-sea-glaze-three-footed-chawan-with-wooden-box-matsue-clan-kiln","title":"Izumo Rakuzan-yaki Matcha Bowl — Sea-Glaze Three-Footed Chawan with Wooden Box, Matsue Clan Kiln","description":"Experience Authentic Japan Art with this Izumo Rakuzan Matcha Bowl. This Antique Japanese Tea Bowl serves as a Wabi Sabi Chawan and Three Footed Tea Bowl, featuring Sea Glaze Blue Green Glaze and Shimane Pottery Collectible—a must-have for any Art Collector.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist \/ Kiln: Izumo Rakuzan-yaki (出雲楽山焼), Matsue, Shimane Prefecture\u003cbr\u003e• Technique: Namamoko-yu (sea-cucumber glaze) — iron-rich earth clay fired with layered blue-green ash glaze producing dramatic tidal variegation\u003cbr\u003e• Era: Showa–Heisei period (estimated 1970s–1990s)\u003cbr\u003e• Origin: Matsue, Shimane, Japan — one of the Three Great Kilns of Matsue, under the patronage of the Matsudaira clan since 1677\u003cbr\u003e• Dimensions: Height approx. 7.5 cm, Diameter approx. 11.5 cm\u003cbr\u003e• Box: Original wooden tomobako included (lid-cord missing)\u003cbr\u003e• Condition: Excellent — no significant damage or staining; glaze variations are intentional kiln effects, not flaws\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eRakuzan-yaki was founded in 1677 at the invitation of Matsudaira Tsunataka, lord of the Matsue domain and grandson of Tokugawa Ieyasu. Alongside Fujina-yaki and Sodeshi-yaki, it forms the celebrated Matsue no Sanyaki — the Three Great Kilns of Matsue — each sustained by samurai culture's devotion to the tea ceremony.\u003cbr\u003e\u003cbr\u003eWhat makes Rakuzan distinctive among Izumo wares is its namamoko-yu (海鼠釉), the sea-cucumber glaze: an iron-saturated clay body receives layered applications of wood-ash and feldspar glaze that, in the kiln's oxidizing atmosphere, run and pool to reveal deep turquoise rivers cutting across golden-ochre earth. The effect is geological — ancient, unhurried, as though the bowl had grown over centuries rather than been fired in hours.\u003cbr\u003e\u003cbr\u003eThis chawan carries that tradition intact. Three pronounced feet lift the bowl from the tatami with quiet authority, echoing the formal Karamono influence that shaped much of Matsue's tea culture. The mouth rim undulates gently — neither perfectly round nor conspicuously irregular — a balance that Japanese aesthetics call *en* (縁): the threshold between form and accident.\u003cbr\u003e\u003cbr\u003ePoetic Line: \"In the kiln's blue tide, earth remembers the sea — and the bowl holds that memory for those who drink from it.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eNamamoko-yu (literally \"sea cucumber glaze\") belongs to a family of high-iron, wood-ash glazes that emerged in Chinese Song-dynasty kilns and were later naturalized by Japanese potters of the Edo period. The characteristic result — blue-green streaks over a rusticated brown ground — owes its color to iron ions that shift from ferric (yellow-brown) to ferrous (blue-green) states depending on kiln atmosphere, temperature gradient, and glaze thickness. No two firings produce identical results; each piece is, in the strictest sense, unrepeatable.\u003cbr\u003e\u003cbr\u003eRakuzan-yaki exploited this volatility deliberately. The Matsudaira lords were accomplished practitioners of the Sekishū school of tea (石州流), a lineage that valued subdued, austere beauty over the flamboyant gold-flecked wares of Kyoto. Rakuzan bowls were commissioned to serve this aesthetic: heavy, grounded forms; glazes that evoke natural landscape rather than human artifice; a weight in the hand that slows the ritual.\u003cbr\u003e\u003cbr\u003eThe three-footed high foot ring (san-ashi kodai, 三足高台) on this bowl is a formal signal. It lifts the vessel visually and physically, creating a small shadow beneath the body — an interplay of presence and negative space that is fundamental to Japanese ceramic composition. In a formal tea gathering, this elevation marks the bowl as an object of contemplation, not mere utility.\u003cbr\u003e\u003cbr\u003eThe tomobako (共箱) — original wooden box with the kiln's calligraphic inscription — is integral to provenance in Japanese ceramics. Even with its lid-cord missing, the box authenticates the piece's identity and facilitates respectful storage and transport in the traditional manner. Collectors of Izumo ware prize intact tomobako because they connect the object to the kiln's own verification.\u003cbr\u003e\u003cbr\u003eFor the collector of regional Japanese ceramics, Rakuzan-yaki occupies a position both historically anchored and aesthetically distinctive: it is not a folk-kiln ware, nor is it court-level prestige porcelain. It sits precisely at the intersection — samurai-patronized, tea-ceremony-calibrated, and rooted in a landscape (the San'in coast) whose grey skies and iron-rich earth are legible in every glaze surface.\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：出雲楽山焼（島根県松江市）\u003cbr\u003e・技法：海鼠釉（なまこゆう）― 鉄分豊富な土に木灰・長石系釉を重ね掛けし、窯変により深い青緑と黄土色が溶け合う\u003cbr\u003e・年代：昭和〜平成（推定1970〜1990年代）\u003cbr\u003e・産地：島根県松江市 ― 松江三大焼の一つ。1677年、松平綱隆の招聘により創業\u003cbr\u003e・寸法：高さ約7.5cm、口径約11.5cm\u003cbr\u003e・箱：共箱付（蓋の結び紐欠）\u003cbr\u003e・状態：美品。大きなダメージ・汚れなし。釉薬の流れは窯変による意図的な景色\u003cbr\u003e\u003cbr\u003e■ 文化・芸術的背景\u003cbr\u003e楽山焼は1677年、松江藩主・松平綱隆（徳川家康の曾孫）の招きにより開窯。藤岡焼・袖師焼とともに「松江三大焼」を形成し、武家茶道の美的基準を体現する窯として歴史を刻んできました。\u003cbr\u003e\u003cbr\u003e最大の特色は海鼠釉です。鉄分の多い土を素地に、木灰釉を厚く重ねて焼成することで、深い青緑の流れが黄土色の地肌と溶け合い、まるで海底地形を写したような景色が生まれます。それは人工的な彩色ではなく、火と土と釉薬が一体となった、再現不可能な「一期一会」の結晶です。\u003cbr\u003e\u003cbr\u003eこの碗に刻まれた三足高台は、石州流茶道が好んだ格調ある造形。静かに卓上に立ち、茶席の空間を引き締めます。\u003cbr\u003e\u003cbr\u003e■ 深掘り解説\u003cbr\u003e海鼠釉の青緑は、鉄イオンが窯の焼成雰囲気（酸化・還元）と温度勾配によって三価鉄（黄褐色）と二価鉄（青緑色）に変化することで生じます。釉薬の厚み・流れ・窯の位置により毎回異なる景色が現れるため、同一の碗は二度と作れません。\u003cbr\u003e\u003cbr\u003e楽山焼はこの窯変の揺らぎを積極的に活用しました。松平家が信奉した石州流茶道は、煌びやかな京焼より、土の記憶を宿す「侘び」の器を好みました。楽山の碗はその美意識の具現です。\u003cbr\u003e\u003cbr\u003e三足高台（三ツ足高台）は単なる構造ではなく、茶席における「場」の演出。碗を床面から持ち上げ、胴の下に小さな影を生む。この光と陰の対話が、日本の器の造形哲学の核心です。\u003cbr\u003e\u003cbr\u003e共箱は楽山焼の証明書です。蓋の結び紐は欠けていますが、箱の墨書きと造りは本物。伝統的な保管・輸送の作法を守り、次の所有者へと物語を届けます。\u003cbr\u003e\u003cbr\u003e出雲・楽山焼のコレクションをお持ちの方、また日本の地方窯の歴史に関心をお持ちの方にとって、この碗は松江の武家茶道文化を今に伝える、静かで力強い一碗です。\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":61876312375666,"sku":"260524_a_2879","price":1278.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m31544025030_1.jpg?v=1779629389","url":"https:\/\/checkout.themodernzenarchive.com\/products\/izumo-rakuzan-yaki-matcha-bowl-sea-glaze-three-footed-chawan-with-wooden-box-matsue-clan-kiln","provider":"The Modern Zen Archive","version":"1.0","type":"link"}