Koie Tsuyoshi Yuteki Tenmoku Chawan — Silver Oil-Spot Tea Bowl with Silver Fukurin Rim & Signed Tomobako

A field of suspended light — ten thousand silver droplets caught mid-fall across a ground of obsidian black.

This yuteki tenmoku chawan by Koie Tsuyoshi (鯉江剛) carries the full weight of the Jian tradition in contemporary hands. The glaze surface is dense with silver oil-spot crystallization — each point of light the result of iron supersaturation, kiln atmosphere, and irreversible timing. No two firings yield the same constellation.

🔹 [ BASIC DETAILS ]
• Height: approx. 7 cm
• Diameter: approx. 13 cm
• Form: Classic tenmoku hipped silhouette, slightly tall
• Glaze: Black tenmoku with silver yuteki (oil-spot) crystallization
• Rim: Silver fukurin (silver-rimmed mouth)
• Foot: Bare clay, light grey-buff stoneware
• Condition: Excellent — no chips, cracks, or repairs
• Box: Signed paulownia tomobako inscribed 「油滴天目」 with artist calligraphy and personal seal
• SKU: 260512_a_2835

🔹 [ CULTURAL & ARTISTIC INSIGHT ]
Yuteki tenmoku descends from the Jian kilns of Song-dynasty Fujian, where iron-saturated glazes were pushed to the threshold of crystallization. The bowls that survived were so prized in Muromachi Japan that they were classified as Chinese tenmoku — objects of national ceremony.

Koie Tsuyoshi works within this lineage from Tokoname, Aichi — a region long associated with ceramic seriousness. His yuteki surfaces are not decorative effect; they are a record of specific thermal events. The silver fukurin rim, a traditional Japanese addition to tenmoku bowls of significance, frames the glaze field and signals the maker's intention toward formal use.

🔹 [ DEEP-DIVE COMMENTARY ]
The paulownia tomobako is inscribed and sealed by the artist himself — a form of authorship that places this bowl in documented lineage. In Japan's ceramic culture, the box is not packaging; it is the first layer of meaning. It says: this object has an address in history.

To hold this bowl is to touch the convergence of Song-dynasty technique, Muromachi aesthetic memory, and a contemporary maker's sustained commitment to the form. The silver spots do not announce themselves. They wait for light, and then they open.

🔹 [ 日本語解説 ]
• 作家: 鯉江剛（常滑・愛知）／技法: 油滴天目釉、銀覆輪／素材: 炻器、鉄釉、銀
• 時代: 現代（2000年代推定）／サイズ: 高さ約7cm、直径約13cm
• 付属: 作家直筆墨書・落款入り共箱／状態: 割れ・欠け・修復なし・良好

漆黒の釉面に、無数の銀点が沈黙のまま広がる。これが油滴天目の本質——制御ではなく、炉の内側で起きた不可逆な出来事の記録である。

鯉江剛は愛知・常滑を拠点に、宋代建窯の伝統を現代の手で継ぐ陶芸家。本作は黒天目釉に銀の油滴結晶が全面に展開し、口縁には銀覆輪が施される。銀覆輪は、茶道の文脈において格の高い天目茶碗に施される伝統的な加飾であり、作者の制作姿勢を物語る。

高さ約7cm、直径約13cm。古典的な天目の腰高フォルムを持ち、轆轤成形による端正な立ち姿。高台は素地を見せ、胎土は灰白色の緻密な炻器質。割れ・欠け・金継ぎの痕跡なし。共箱の蓋表には「油滴天目」の墨書と落款が記され、作家本人による真作証明として機能する。

手にすると、銀点は光の角度によって表情を変える。語ることなく、ただそこにある。それがこの茶碗の在りようである。

🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials