{"product_id":"kiseto-sake-cup-attributed-to-kitaoji-rosanjin-japanese-stoneware-guinomi-with-signed-tomobako-wooden-box","title":"Kiseto Sake Cup attributed to Kitaoji Rosanjin, Japanese Stoneware Guinomi with Signed Tomobako Wooden Box","description":"Experience Authentic Japan Art with this Kiseto Sake Cup attributed to Kitaoji Rosanjin. This Japanese Stoneware Guinomi serves as a Wabi Sabi Sake Vessel and Tea Ceremony Object, featuring Mino Ware Pottery and Hand Thrown Yellow Glaze—a must-have for any Art Collector or Japanese Ceramic Enthusiast seeking a Vintage Showa Era Piece with original Signed Tomobako Box.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Attributed to Kitaoji Rosanjin (1883–1959) — signed tomobako with brushed \"Rosanjin\" inscription and red kaō seal\u003cbr\u003e• Technique: Hand-thrown stoneware with kiseto-style yellow glaze; visible rokurome (wheel ridges) and irregular rim\u003cbr\u003e• Era: Showa period, mid-20th century\u003cbr\u003e• Origin: Mino tradition, Japan (associated with Rosanjin's Hoshigaoka and Kita-Kamakura kilns)\u003cbr\u003e• Dimensions: Height approx. 5.5 cm, Diameter approx. 7.3 cm\u003cbr\u003e• Box: Original signed paulownia tomobako (wooden storage box) with brushwork signature and seal\u003cbr\u003e• Condition: Excellent original condition with natural kiln character; no chips, no cracks, no repairs observed under careful inspection\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e• Historical Context: Kiseto (黄瀬戸) is one of the four classical Mino glaze families that flowered in the Momoyama period (late 16th century), alongside Shino, Setoguro, and Oribe. Tea masters of the Furuta Oribe circle prized its soft yellow tonality for sake vessels and small dishes, where the warmth of the glaze complemented the cool clarity of cold sake. In the 20th century, Kitaoji Rosanjin — restaurateur, calligrapher, and self-taught potter — revived these Mino traditions at his Hoshigaoka kiln, treating ceramic vessels as living tools for the table rather than display objects.\u003cbr\u003e\u003cbr\u003e• Technique \u0026amp; Aesthetic: The glaze here reads as a quiet, oxidation-fired kiseto with a subtle ash-green drift, gathering thicker around the foot and thinner across the throwing ridges where the bare clay breathes through. A small blue-grey blush near the body suggests a touch of tanpan (copper) or a kiln accident — a moment of keshiki (景色, glaze landscape) that traditional tea taste celebrates. The rokurome are unhurried and slightly off-axis, and the lip carries a gentle, hand-shaped irregularity. The piece embodies wabi-sabi in its acceptance of asymmetry and quiet imperfection.\u003cbr\u003e\u003cbr\u003e• Philosophical Reflection: The pale yellow rim catches the light like late autumn grass after rain — still, weathered, and quietly alive.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e• On Kiseto as a tradition: True classical kiseto is a feldspathic glaze fired in oxidation to a soft mustard-yellow, often punctuated by tanpan copper accents and aburage-de (deep-fried tofu) surface texture. Rosanjin and his circle re-read this language through a 20th-century studio-pottery lens, producing kiseto guinomi that sit between historical reference and personal expression. The present cup belongs to that conversation rather than to literal Momoyama revivalism.\u003cbr\u003e\u003cbr\u003e• On attribution: Kitaoji Rosanjin is among the most studied — and most imitated — figures in modern Japanese ceramics, and even specialists are known to divide on individual pieces. The tomobako here carries the characteristic \"ろさんじん\" brush signature with kaō seal, and the throwing rhythm, glaze handling, and proportions are consistent with Rosanjin-school work of the Showa period. We present the piece honestly as attributed, with full original box, leaving final connoisseurship to the collector and their advisors.\u003cbr\u003e\u003cbr\u003e• Why collectors care: Rosanjin guinomi are foundational objects for any serious collection of post-war Japanese ceramics, sake culture, or modern wabi taste. Even at the cautious end of attribution, a signed-box kiseto cup of this character is a teaching object — a tactile reference for how Mino glaze, throwing rhythm, and tomobako documentation hang together.\u003cbr\u003e\u003cbr\u003e• Contemporary use: This is a working vessel as much as a study piece. It accepts cold junmai or daiginjo beautifully, and it sits naturally on a small kaiseki tray, beside a tokkuri, or as a quiet companion on a writing desk.\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🔹 [ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【 基本情報 】\u003cbr\u003e• 作家: 北大路魯山人（1883–1959）に伝（共箱に「ろさんじん」墨書と朱の花押印）\u003cbr\u003e• 技法: 手轆轤による炻器、黄瀬戸風釉、明瞭な轆轤目と微妙な歪みのある口縁\u003cbr\u003e• 時代: 昭和期（20世紀中葉）\u003cbr\u003e• 産地: 美濃系（魯山人の星岡窯・北鎌倉窯系譜と関連）\u003cbr\u003e• 寸法: 高さ 約5.5cm、直径 約7.3cm\u003cbr\u003e• 共箱: 桐製共箱付（墨書署名・印あり）\u003cbr\u003e• 状態: 自然な窯味を残しつつ、欠け・ヒビ・直しは確認されず良好\u003cbr\u003e\u003cbr\u003e【 文化的・美的考察 】\u003cbr\u003e黄瀬戸は、桃山期に花開いた美濃四釉（志野・瀬戸黒・織部・黄瀬戸）の一つで、古田織部周辺の茶人たちが酒器や向付の景色として愛したやわらかな黄釉です。20世紀においては、料亭人・書家・陶芸家であった北大路魯山人が、星岡窯を拠点としてこの美濃の系譜を蘇らせ、器を「飾る対象」ではなく「使うための生きた道具」として捉え直しました。\u003cbr\u003e\u003cbr\u003e本作の釉景は、酸化焼成による落ち着いた黄瀬戸調で、灰緑のドリフトを伴いながら、高台周辺に釉だまりを作り、轆轤目の稜線では素地が呼吸するように薄く抜けています。胴部の青みがかった景色は、丹礬（銅）か窯中の偶然による発色と考えられ、茶味でいう「景色」として鑑賞に堪えるものです。轆轤目は急がず、口縁にはわずかな手取りの歪み——侘び寂びが、非対称と静かな不完全さの受容として現れています。\u003cbr\u003e\u003cbr\u003e薄黄の口縁は、雨上がりの晩秋の草を思わせます。静まり、風化し、それでも静かに息づいている——そうした幽玄の佇まいを湛えた酒盃です。\u003cbr\u003e\u003cbr\u003e【 深掘り解説 】\u003cbr\u003e古典的な黄瀬戸は、長石質の釉を酸化焼成し、芥子色の素地に丹礬の緑斑や「油揚手」と呼ばれる肌合いが現れることを理想とします。魯山人とその周辺は、この語彙を20世紀のスタジオ陶芸の視点から読み直し、桃山の写しに留まらない個性的な黄瀬戸盃を残しました。本作もまた、この対話の延長線上にあると言えます。\u003cbr\u003e\u003cbr\u003e魯山人は、近代日本陶芸において最も研究され、同時に最も贋作の多い作家の一人であり、専門家の間でも個別作品の判定が分かれることが知られています。共箱には特徴的な「ろさんじん」墨書と花押印が確認でき、轆轤のリズム、釉調、寸法バランスはいずれも昭和期の魯山人系仕事と矛盾しないものです。当方では「伝・北大路魯山人」として誠実に提示し、最終的な鑑識は所蔵者ご自身と専門家の判断に委ねます。\u003cbr\u003e\u003cbr\u003e魯山人の酒盃は、戦後日本陶芸、酒文化、近代の侘び趣味を扱うコレクションにおいて基礎的な存在です。慎重な伝来評価のもとであっても、共箱付の黄瀬戸盃が持つ意味は大きく、美濃釉・轆轤リズム・共箱書付の三者の関係性を学ぶ「教材」として、長く手元に置く価値があります。\u003cbr\u003e\u003cbr\u003eそして何より、本作は鑑賞対象であると同時に「使える器」です。冷えた純米や大吟醸を一口、懐石膳の隅に、徳利の脇に、あるいは静かな机辺の友として——日常の所作の中で、その釉景は時間とともにさらに深まっていきます。","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61894495273330,"sku":"260602_a_2932","price":2043.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m77433502982_1.jpg?v=1780360777","url":"https:\/\/checkout.themodernzenarchive.com\/products\/kiseto-sake-cup-attributed-to-kitaoji-rosanjin-japanese-stoneware-guinomi-with-signed-tomobako-wooden-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}