{"product_id":"kuro-raku-chawan-black-tea-bowl-by-raku-ryonyu-ix-with-tannyu-x-hakogaki-antique-kiri-box-edo-period-japanese-tea-ceremony-ware","title":"Kuro Raku Chawan Black Tea Bowl by Raku Ryonyu IX with Tannyu X Hakogaki, Antique Kiri Box, Edo Period Japanese Tea Ceremony Ware","description":"Experience Authentic Japan Art with this Kuro Raku Chawan Black Tea Bowl. This Raku Ryonyu Tea Bowl serves as a Japanese Tea Ceremony Bowl and Edo Period Raku Ware, featuring an Antique Kiri Wood Box and Tannyu Hakogaki Signed Lid—a must-have for any Serious Tea Ceremony Collector seeking Museum Quality Japanese Antique craftsmanship and Wabi Sabi Black Glaze depth.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Raku Ryonyu IX (楽吉左衛門九代 了入, 1756–1834), with hakogaki authentication by Raku Tannyu X (楽吉左衛門十代 旦入, 1795–1854)\u003cbr\u003e• Technique: Kuro Raku (black raku) — hand-formed (tezukune), iron-glazed, low-fired and pulled from the kiln at peak heat (hikidashi-kuro)\u003cbr\u003e• Era: Late Edo period, circa early 19th century (Before 1900)\u003cbr\u003e• Origin: Raku family kiln, Kyoto, Japan\u003cbr\u003e• Dimensions: Width approx. 12.1 cm, Height approx. 8.5 cm\u003cbr\u003e• Box: Antique kiri (paulownia) tomobako (kiwame-bako \/ authentication box); sumi inscription on the lid interior by Raku Tannyu X attesting to Ryonyu IX's authorship; Ryonyu's inkyo-in (retirement seal) impressed beside the foot\u003cbr\u003e• Condition: Honest age-consistent condition with a stable, well-loved surface; the glaze retains its deep iron luster; foot ring and clay body display the expected patina of a tea bowl handled across generations. No structural damage observed in the provided images. Formal modern appraisal (kantei) has not been re-issued; offered on the strength of the contemporaneous Tannyu hakogaki and the Ryonyu hangin (inkyo-in) seal.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eHistorical Context — Raku ware was born in late 16th-century Kyoto when the potter Chōjirō, under the guidance of tea master Sen no Rikyū, produced the first hand-formed black tea bowls dedicated to wabi-cha. The Raku lineage has continued in unbroken father-to-son succession for more than four centuries, each generation contributing a distinct temperament to the same quiet form. Ryonyu IX, the ninth-generation head, is celebrated for restoring strength and weight to the kuro raku tradition after the late Edo refinement, while Tannyu X, his successor, was the first Raku master to receive imperial recognition and is therefore one of the most authoritative voices for authenticating earlier generations' work.\u003cbr\u003e\u003cbr\u003eTechnique \u0026amp; Aesthetic — Kuro raku is not turned on a wheel but coaxed by hand and shaving knife, then dipped in iron-rich glaze and drawn from a small charcoal kiln while still glowing. The shock of air freezes the glass in mid-flow, producing the slow, oceanic depth seen across this bowl's surface — matte where the iron has crystallised, lacquer-bright where it has remained vitreous. The exposed grey-buff foot, deliberately left unglazed, is the maker's signature gesture: a confession of earth beneath the night.\u003cbr\u003e\u003cbr\u003ePhilosophical Reflection — A black raku bowl is a held darkness, warmed by the hand until tea fills it like a second moon.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eOn the lineage. The Raku house (Raku-ke) is the only Japanese ceramic family whose successive heads are themselves the named makers of every generation's body of work. From Chōjirō (I) through the present 16th-generation Kichizaemon, the line traces the entire arc of chanoyu itself. Ryonyu IX held the title from 1770 to 1811 and continued working under the retirement name \"Ryonyu\" until his death in 1834, marking those later pieces with the inkyo-in (retirement seal) — precisely the small round 楽 seal visible at the foot of this bowl.\u003cbr\u003e\u003cbr\u003eOn the box. In Japanese antiquarian culture, the tomobako is inseparable from the object. A hakogaki by a later Raku head — here Tannyu X — functions as a contemporaneous certificate of authorship; Tannyu personally knew Ryonyu IX as his predecessor and adoptive father, which makes his attestation the most authoritative form of kiwame possible. The aged kiri wood, the soft brushwork of the inscription, and the small red seal together form a single document.\u003cbr\u003e\u003cbr\u003eOn the technique. Kuro raku begins with Kamogawa clay shaped entirely by hand. The bowl is coated in a glaze rich in Kamogawa-ishi (iron-bearing river stone), bisque-fired, glazed again, and then introduced into a small interior kiln heated by oak charcoal. After only a few minutes at roughly 1,000 °C the bowl is drawn out with iron tongs and allowed to cool in open air. This violent, intimate process is responsible for the bowl's compressed, almost breathing quality.\u003cbr\u003e\u003cbr\u003eOn collecting. Late Edo Raku bowls authenticated by the immediately succeeding generation occupy a particularly desirable niche: they predate the Meiji curio market, carry an unbroken family voice of attribution, and survive in vanishing numbers with their original kiri boxes intact. The piece thus belongs to a small, defined category sought by museums, tea schools (Omotesenke, Urasenke, Mushakōjisenke), and serious chadōgu collectors.\u003cbr\u003e\u003cbr\u003eOn continuity. To drink from such a bowl is to participate, briefly, in a four-hundred-year conversation between potter, tea master and guest — a conversation that has not been interrupted, only quietened, by the passage of time.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e■ 基本情報\u003cbr\u003e・作家：楽吉左衛門九代 了入（1756–1834）／極箱書付：楽吉左衛門十代 旦入（1795–1854）\u003cbr\u003e・技法：黒楽茶碗（手捏ね・鉄釉・引出黒の系譜）\u003cbr\u003e・時代：江戸後期、19世紀前期頃\u003cbr\u003e・産地：京都・楽家窯\u003cbr\u003e・寸法：幅 約12.1cm、高さ 約8.5cm\u003cbr\u003e・箱：時代の桐極箱。蓋裏に旦入による極めの墨書、高台脇に了入の隠居判（楽印）あり\u003cbr\u003e・状態：時代相応の落ち着いた風合い。鉄釉の深い艶と高台土見せの景色が良く残る。画像で確認できる範囲では構造的な損傷なし。正式な現代鑑定（鑑定証）は未取得につき、旦入の同時代極めおよび隠居印を以て本物前提として扱う。\u003cbr\u003e\u003cbr\u003e■ 文化・芸術的考察\u003cbr\u003e歴史的背景 — 楽焼は十六世紀末の京都にて、長次郎が千利休の指導のもと侘茶のために創出した、手捏ねによる黒茶碗を原点とする。以来、楽家は四世紀以上にわたり一子相伝の窯を継承し、各代がそれぞれの気質を同一の静謐な造形に重ねてきた。九代了入は、江戸後期の繊細化した楽焼に再び量感と気魄を取り戻した中興の作家とされ、続く十代旦入は楽家として初めて朝廷より禁裏御用を仰せつかった人物であり、先代作品の極めにおいて最も信頼される筆である。\u003cbr\u003e\u003cbr\u003e技法と美意識 — 黒楽はろくろを用いず、手と箆のみで成形される。鴨川石を含む鉄釉を施し、内窯にて炭火で焼成し、釉が熔け切る瞬間に火箸で引き出す。空気に触れて急冷された釉は流れの中途で凝固し、見込みから胴へと黒の深淵を湛える。意図的に釉を掛けぬ高台の土見せは、夜の底に覗く大地の告白である。\u003cbr\u003e\u003cbr\u003e詩的考察 — 黒楽は掌に抱かれた闇であり、茶を満たせばその中にもうひとつの月が浮かぶ。\u003cbr\u003e\u003cbr\u003e■ ディープダイブ\u003cbr\u003e家系について — 楽家は、歴代当主その人が各代の作者として名を残す、日本陶磁における唯一の家系である。長次郎（初代）から当代十六代吉左衛門に至るまで、その系譜はそのまま茶の湯の歴史と重なる。九代了入は1770年から1811年まで当主を務め、隠居後も「了入」の名で1834年の没年まで作陶を続けた。この時期の作品には隠居判（小さな円形の「楽」印）が捺され、本碗の高台脇にもその印が確認できる。\u003cbr\u003e\u003cbr\u003e極箱について — 古美術における共箱・極箱は、作品と不可分の存在である。後代の楽当主による箱書、ここでは旦入の極めは、同時代における最も高位の鑑定書として機能する。旦入は了入の養嗣子として直接師事しており、その筆は本歌の極めとして最大級の権威を持つ。時を経た桐の肌、墨書の柔らかな筆勢、朱の極め印——これらが一体となって、ひとつの証言を成している。\u003cbr\u003e\u003cbr\u003e技法について — 黒楽の制作は、鴨川産の土を全て手捏ねで成形することから始まる。鴨川石を含む鉄質豊富な釉を掛け、素焼きの後に再び施釉し、楢炭で熾された小さな内窯に入れる。およそ1,000度の窯中で数分焼成した後、火箸で取り出し外気で急冷する。この激しく親密な工程こそが、本碗の凝縮された、息づくような佇まいの源である。\u003cbr\u003e\u003cbr\u003e蒐集について — 直後の世代によって極めが施された江戸後期の楽碗は、特に望ましいカテゴリを形成する。明治の好事家市場以前の作であり、家系内の途切れぬ声による帰属が伴い、桐極箱と共に現存する個体は年々希少化している。本碗は、美術館、家元（表千家・裏千家・武者小路千家）、そして真剣な茶道具蒐集家が求める、明確な小さな領域に属する。\u003cbr\u003e\u003cbr\u003e継承について — このような碗で一服を喫することは、作者・茶人・客の間で四世紀にわたり続いてきた対話に、束の間参加することを意味する。時の流れに途絶えたことのない、ただ静まったままの対話に。\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":61894495142258,"sku":"260602_a_2930","price":3178.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m75857268297_1.jpg?v=1780360666","url":"https:\/\/checkout.themodernzenarchive.com\/products\/kuro-raku-chawan-black-tea-bowl-by-raku-ryonyu-ix-with-tannyu-x-hakogaki-antique-kiri-box-edo-period-japanese-tea-ceremony-ware","provider":"The Modern Zen Archive","version":"1.0","type":"link"}