{"product_id":"kuro-oribe-tea-bowl-aoba-kaze-by-junri-black-glaze-wabi-chawan","title":"Kuro-Oribe Tea Bowl Aoba-kaze by Junri — Black Glaze Wabi Chawan","description":"Experience Authentic Japan Art with this Kuro Oribe Tea Bowl. This Aoba Kaze Named Chawan serves as a Wabi Sabi Tea Ceremony Bowl and Black Glaze Collector Piece, featuring Exposed Clay Iron Brushwork and Kuro Oribe Black Glaze Technique—a must-have for any Art Collector. Named \"Aoba-kaze\" — the wind through new green leaves — this Kuro-Oribe tea bowl by Junri carries a season's entire sensory register in its bold black glaze and exposed, textured clay body.\u003cbr\u003e\u003cbr\u003e🔹 [ Basic Details ]\u003cbr\u003e• Artist: Junri (順理)\u003cbr\u003e• Name (銘): Aoba-kaze (青葉風 — \"Wind Through Green Leaves\")\u003cbr\u003e• Technique: Kuro-Oribe (黒織部) — Oribe-style black iron glaze with exposed stoneware sections and iron brushwork\u003cbr\u003e• Era: Contemporary (2000s–2020s)\u003cbr\u003e• Origin: Japan (Mino ware tradition)\u003cbr\u003e• Dimensions: Diameter approx. 11 cm, Height approx. 8.6 cm\u003cbr\u003e• Box: Box included (共箱, status uncertain)\u003cbr\u003e• Condition: Excellent; black glaze dense and intact, exposed clay sections clean\u003cbr\u003e\u003cbr\u003e🔹 [ Cultural \u0026amp; Artistic Insight ]\u003cbr\u003eKuro-Oribe (黒織部) is one of the most visually dramatic styles within the Oribe ceramic tradition, itself one of the most historically significant developments in Japanese ceramics. Named for the tea master Furuta Oribe (1543–1615) — student of Sen no Rikyu and master of a deliberately transgressive aesthetic — Oribe ware is defined by bold asymmetry, unconventional form, and the strategic use of black iron glaze alongside exposed clay or painted decoration.\u003cbr\u003e\u003cbr\u003eIn Kuro-Oribe specifically, the dominant surface is black: a dense, slightly matte iron-rich glaze that absorbs light rather than reflecting it. Against this darkness, sections of exposed rough clay — typically textured, deliberately coarse — create a visual and tactile contrast that is the defining characteristic of the style. Iron brushwork (tetsu-e) adds linear or gestural marks that function somewhere between painting and writing.\u003cbr\u003e\u003cbr\u003eThe name Aoba-kaze (青葉風) — given by the potter — locates this bowl in a specific moment: early summer, when leaves have reached full growth but retain the freshness of spring, and the wind carries both warmth and coolness. This sensory naming is a classical tea tradition: the object is connected to nature's calendar.\u003cbr\u003e\u003cbr\u003ePOETIC LINE: \"Black as early night. Clay as the ground it came from. The wind in the name is the only thing moving.\"\u003cbr\u003e\u003cbr\u003e🔹 [ Deep-Dive Commentary ]\u003cbr\u003eFuruta Oribe's aesthetic was deliberately provocative in the context of the austere wabi orthodoxy established by Sen no Rikyu. Where Rikyu cultivated absolute restraint, Oribe introduced asymmetry, humor, and formal irregularity — not as failures of control but as deliberate choices. Kuro-Oribe represents the most focused version of this: the drama of black glaze against bare clay is a controlled tension, not an accident.\u003cbr\u003e\u003cbr\u003eJunri's bowl engages this tradition with evident technical confidence. The black glaze is applied with precision — covering the majority of the surface while strategically revealing the clay body in areas that create visual counterpoint. The iron brushwork on the exposed sections adds a calligraphic element: marks that are neither pure decoration nor pure function, but exist in the productive ambiguity between them.\u003cbr\u003e\u003cbr\u003eThe tea bowl's taller profile (8.6 cm height, 11 cm diameter) gives it a more upright presence than the standard shallow Raku-influenced form. This verticality is characteristic of certain Oribe expressions, creating a bowl that feels assertive rather than submissive in the hand — a quality that connects to Oribe's historical ethos of aesthetic confidence.\u003cbr\u003e\u003cbr\u003eThe name Aoba-kaze completes the piece by grounding it in seasonal awareness. In tea ceremony, the selection of named utensils for specific gatherings is a form of poetry: the host chooses objects that resonate with the moment, the season, the guest. A bowl named for the wind through green leaves carries its occasion within itself.\u003cbr\u003e\u003cbr\u003e【日本語解説】\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 作者：順理\u003cbr\u003e• 銘：青葉風\u003cbr\u003e• 技法：黒織部（鉄釉黒地、土見せ、鉄絵）\u003cbr\u003e• 年代：現代（2000年代〜2020年代）\u003cbr\u003e• 産地：日本（美濃焼系統）\u003cbr\u003e• 寸法：径約11cm、高さ約8.6cm\u003cbr\u003e• 箱：箱付き（共箱、状態は要確認）\u003cbr\u003e• 状態：良好。黒釉密実、土見せ部清潔\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・芸術的背景 ]\u003cbr\u003e黒織部は古田織部（1543–1615）の名を冠する織部焼の中で、最も視覚的に劇的な様式である。古田は千利休の高弟であり、侘び的な禁欲主義に対して意図的な逸脱、非対称性、動きを持ち込んだ。黒織部はその集約形であり、黒の鉄釉と露胎の粗土が生む視覚的対比が本質である。銘「青葉風」は初夏の感覚的な瞬間に器を結びつける。葉が盛りに達しながらまだ春の清新さを保つ頃、温かさと涼しさを同時に運ぶ風。器に季節が宿る茶道の命名伝統の実践である。\u003cbr\u003e\u003cbr\u003e🔹 [ 上級コレクター向け解説 ]\u003cbr\u003e古田の美学は千利休の禁欲的正統に対する意図的な挑発であった。利休が絶対的な抑制を培ったところに、織部は非対称性とユーモアを持ち込んだ。順理の茶碗はこの伝統と技術的な自信を持って対峙する。黒釉の施しは精確で、土見せ部との対比は計算された緊張を生む。鉄絵は装飾でも機能でもなく、その曖昧な中間に存在する。高さ8.6cmの立ち姿は侘び的な抑制より主体性を感じさせ、歴史的な織部の美意識との接続を確かなものにしている。銘「青葉風」は器に季節的文脈を付与し、茶会での選択を詩的行為とする。\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":61714006376818,"sku":"260330_a_2604","price":612.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m86196215555_1.jpg?v=1774849576","url":"https:\/\/checkout.themodernzenarchive.com\/products\/kuro-oribe-tea-bowl-aoba-kaze-by-junri-black-glaze-wabi-chawan","provider":"The Modern Zen Archive","version":"1.0","type":"link"}