{"product_id":"korai-tea-bowl-kwangju-kiln-wabi-chawan-by-cho-shoshu","title":"Korai Tea Bowl Kwangju Kiln Wabi Chawan by Cho Shoshu","description":"Experience Authentic Japan Art with this Korean-Style Tea Bowl. This Korai Style Matcha Bowl serves as a Japanese Tea Ceremony Chawan and Wabi Aesthetic Pottery, featuring Gray White Glaze Pink Blush and Kwangju Kiln Fired Stoneware—a must-have for any Wabi Tea Collector. This Signed Korean Chawan by Woman Potter Cho Shoshu carries the Today-Korai Tea Bowl tradition forward as an exceptional Japanese Art Gift bridging two ceramic cultures.\u003cbr\u003e\u003cbr\u003e🔹 [ Basic Details ]\u003cbr\u003e• Artist: Cho Shōshu (趙小守) — Korean female ceramic artist\u003cbr\u003e• Technique: Stoneware, wheel-thrown; gray-white glaze with natural pink-blush variations; stamped foot ring\u003cbr\u003e• Era: 20th–21st century\u003cbr\u003e• Origin: Kwangju kiln (廣州窯), Korea\u003cbr\u003e• Dimensions: Approx. Diameter 12 cm, Height 8 cm\u003cbr\u003e• Box: Wooden box (木箱) with kiln and artist inscription\u003cbr\u003e• Condition: No chips or cracks; glaze variations are intentional kiln effects\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eThe Today-Korai (今高麗) tradition refers to contemporary Korean potters working within the aesthetic lineage of the original Koryŏ-period ceramics that first captivated Japanese tea masters in the 16th century. Cho Shōshu works at the Kwangju kiln — a historically significant production site in the tradition of Korean folk ceramics — producing bowls that speak the formal language of wabi without artifice.\u003cbr\u003e\u003cbr\u003eThis bowl's gray-white glaze carries scattered pink blush patches where the iron in the clay body has migrated to the surface during firing. The throwing lines are visible around the exterior — not hidden but honored. The foot is stamped, not carved — a direct gesture leaving the maker's mark in clay before glazing.\u003cbr\u003e\u003cbr\u003e\"The pink rises through the gray like warmth remembered, not announced.\"\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eThe Korean origin of the most revered tea bowls in Japanese ceremony is one of the defining paradoxes of tea aesthetics. Sen no Rikyū and the tea masters of the Momoyama period found in Korean folk ceramics — particularly those of the Joseon dynasty — precisely the unselfconscious beauty, the irregularity, and the absence of decorative ambition that they sought. Bowls made for daily use in Korean households became the most prized objects in Japanese tea rooms.\u003cbr\u003e\u003cbr\u003eToday-Korai (今高麗) as a category acknowledges this legacy while noting the contemporary context. Cho Shōshu occupies this position deliberately — working in a Korean kiln tradition, producing forms that do not imitate but continue. The gray-white glaze with iron blush is characteristic of wabi-appropriate ceramics: it does not call attention to itself, yet it rewards sustained looking.\u003cbr\u003e\u003cbr\u003eThe Kwangju region has been associated with Korean ceramic production since the Joseon period, and kilns there have supplied both functional ware and ceremonial objects. Contemporary potters at Kwangju carry the weight of this history while working in their own present.\u003cbr\u003e\u003cbr\u003eFor Japanese collectors, a bowl like this occupies a specific and honored category — the import bowl (渡り \/ watari) or its contemporary equivalent — representing the Japanese recognition that beauty sometimes arrives from beyond its own borders, and that the aesthetic conversation between Korea and Japan in ceramics remains alive.\u003cbr\u003e\u003cbr\u003e【日本語解説】\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 作家：趙小守（女流作家）\u003cbr\u003e• 技法：ろくろ成形・灰白釉・自然発色の桃色斑・押し高台\u003cbr\u003e• 年代：20〜21世紀\u003cbr\u003e• 産地：廣州窯（韓国）\u003cbr\u003e• 寸法：直径約12cm、高さ約8cm（目測）\u003cbr\u003e• 箱：木箱（窯・作家識書）\u003cbr\u003e• 状態：ヒビ・欠けなし。釉調の変化は窯変によるもの\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・芸術的解説 ]\u003cbr\u003e今高麗とは、16世紀の日本茶道が朝鮮陶磁器に見出した侘び美の延長線上に立つ、現代の韓国作家による茶碗のジャンルを指します。趙小守は廣州窯という歴史ある産地で制作しており、灰白釉に浮かぶ桃色の斑は鉄分の自然な発色で、作為のない美の典型です。\u003cbr\u003e\u003cbr\u003e🔹 [ 深掘り解説 ]\u003cbr\u003e利休をはじめとする茶人が朝鮮の日常用器に「侘び」の美を見出したことは、日本美学史における重要な転換点でした。今高麗はその精神的系譜を現代に引き継ぐカテゴリーであり、趙小守はその担い手の一人です。廣州窯は李朝時代から続く韓国陶磁の中心地であり、現代作家たちもその歴史を受け継ぎながら制作を続けています。桃色の窯変が散る灰白の肌は、長く見ても飽きることなく、使うほどに景色が深まる侘び茶碗の本質を体現しています。\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":61714004246898,"sku":"260330_a_2594","price":679.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m30456293721_1.jpg?v=1774849042","url":"https:\/\/checkout.themodernzenarchive.com\/products\/korai-tea-bowl-kwangju-kiln-wabi-chawan-by-cho-shoshu","provider":"The Modern Zen Archive","version":"1.0","type":"link"}