{"product_id":"kuro-raku-chawan-by-raku-kichizaemon-black-raku-tea-bowl-with-signed-tomobako-and-shifuku","title":"Kuro-Raku Chawan by Raku Kichizaemon — Black Raku Tea Bowl with Signed Tomobako and Shifuku","description":"Experience Authentic Japan Art with this Raku Kichizaemon Chawan. This Kuro Raku Tea Bowl serves as a Matcha Tea Bowl and Senke Jisshoku heirloom, featuring Hand Formed Pottery and Signed Tomobako Box—a must-have for any Japanese Art Collector. Wrapped in its original Yellow Silk Shifuku, this Antique Tea Ceremony vessel carries the lineage of Kyoto Raku Ware.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Family \/ Maker: Raku Kichizaemon — the fifteen-generation tea pottery lineage of Kyoto, founded in the late 16th century by Chōjirō under the patronage of Sen no Rikyū.\u003cbr\u003e• Object: Kuro-raku chawan (black raku tea bowl) for matcha — the canonical form of Japanese tea ceremony pottery.\u003cbr\u003e• Technique: Hand-formed by tezukune (pinched and pared by hand, not thrown), finished with low-fire kuro-raku black glaze.\u003cbr\u003e• Origin: Kyoto, Japan — Raku family kiln.\u003cbr\u003e• Dimensions: Height approx. 7.8 cm (3.07 in), Width approx. 11.5 cm (4.53 in).\u003cbr\u003e• Box: Signed wooden tomobako with Raku seal (rakuin) and inscription \"黒楽茶碗 樂吉左衛門\"; accompanied by the original yellow silk shifuku (cloth pouch) bearing the Raku seal.\u003cbr\u003e• Condition: Excellent. The characteristic kuro-raku glaze shows a deep, oily luster broken by matte passages, the hand-formed silhouette retains soft fingertip impressions, and the generous foot (kōdai) is left unglazed in the orthodox manner.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Raku family stands at the centre of the senke jisshoku — the ten craftsmen lineages that have served the three Senke tea schools since the time of Sen no Rikyū. Of these ten, the Raku potters hold a singular position: their bowls are not adornments to the tea ceremony, they are the form in which Rikyū's wabi was first made tactile.\u003cbr\u003e\u003cbr\u003eThis vessel belongs to the kuro-raku tradition begun by Chōjirō in the 1580s. The body is hand-pinched from a coarse Kyoto clay, dipped in a glaze derived from Kamogawa-ishi (the black stone of the Kamo River), and lifted from the kiln glowing red before being quenched — a process that fixes the carbon-rich surface and the small, bubbled \"kairagi\" textures visible across the wall.\u003cbr\u003e\u003cbr\u003eA black raku bowl is not a black bowl. It is a bowl in which stillness has been given a surface.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe origin of Raku ware lies in the meeting of two men in late-16th-century Kyoto: Sen no Rikyū, who was reshaping tea away from imported Chinese splendour toward a quieter, native sensibility, and Chōjirō, a tile-maker of continental descent who was asked to throw bowls of a wholly different scale. The kuro-raku chawan that emerged — small, hand-shaped, deliberately unrefined — became the physical signature of Rikyū's tea reform.\u003cbr\u003e\u003cbr\u003eFifteen generations have followed Chōjirō, each Raku head taking the name Kichizaemon and inheriting both the kiln and the responsibility of the form. From Jōkei and Donyū through Tannyū, Ryōnyū and Kakunyū, into the modern lineage of Kakunyū, Seinyū and Jikinyū (the fifteenth, Raku Kichizaemon XV), the family has guarded a quiet ethos: ichigo — one bowl, one firing, one moment.\u003cbr\u003e\u003cbr\u003eThe kuro-raku technique itself is unlike any other Japanese ceramic. The clay body is soft and porous, the glaze is built up in heavy layers and fired low, and the bowl is drawn from the kiln while still incandescent and cooled in open air. The matte-and-gloss interplay across this bowl, the small surface pittings, and the warm earthen edge at the foot are the direct fingerprints of that process.\u003cbr\u003e\u003cbr\u003eFor a Raku chawan, the tomobako and shifuku are not accessories — they are evidentiary. The signed and sealed wooden box, accompanied here by the original yellow silk pouch bearing the Raku seal, is the framework through which a Raku bowl is read, dated and authenticated. The set as it stands here — bowl, signed box, sealed shifuku — is the form in which Raku ware has been transmitted between collectors for four centuries.\u003cbr\u003e\u003cbr\u003eIn the tea room, a kuro-raku chawan is the bowl the host prepares with the greatest care and places, with both hands, before the guest. It is the vessel Rikyū chose. To hold one is to stand, briefly, inside the lineage of Japanese tea itself.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 [ 基本情報 ]\u003cbr\u003e• 家系・作者: 樂吉左衛門 — 千利休のもと十六世紀末に長次郎が興した、京都・楽家十五代の茶陶系譜。\u003cbr\u003e• 品目: 黒楽茶碗（抹茶用）。日本の茶の湯における原型ともいえる碗形。\u003cbr\u003e• 技法: 手捏ね（てづくね）成形、低火度の黒楽釉。轆轤を用いず、手で挟みながら姿を造る。\u003cbr\u003e• 産地: 京都・楽家窯。\u003cbr\u003e• 寸法: 高さ約7.8cm、幅約11.5cm。\u003cbr\u003e• 箱: 共箱（杉箱）に「黒楽茶碗 樂吉左衛門」の箱書、楽印あり。共布（黄絹の仕覆）に楽印捺印。\u003cbr\u003e• 状態: 良好。黒釉特有の深い照りと、所々に残るマット質との対比、手捏ねによる柔らかな姿、無釉の高台に至るまで、樂家本流の手仕事を伝える。\u003cbr\u003e\u003cbr\u003e🔹 [ 文化・美術的考察 ]\u003cbr\u003e樂家は、千家十職の中でも別格に位置する茶陶の家である。彼らの茶碗は茶席を飾るための器ではなく、利休の侘びそのものに姿を与えた「形」として伝えられてきた。\u003cbr\u003e\u003cbr\u003e本碗は、長次郎が天正期に始めた黒楽の系譜に属する。京都の粗土を手で捏ね、鴨川石を主成分とする黒釉を厚く掛け、窯から赤熱のまま引き出して急冷する——この製法によって、碒面の炭素を含んだ深い黒と、肌に走る微細な梅華皮（かいらぎ）の景色が定着する。\u003cbr\u003e\u003cbr\u003e黒楽茶碗は「黒い碗」ではない。「静けさに肌を与えた碗」である。\u003cbr\u003e\u003cbr\u003e🔹 [ 詳細解説 ]\u003cbr\u003e樂焼の起源は、十六世紀末の京都における千利休と長次郎の出会いにある。中国陶への憧れから侘び茶へと茶の湯を組み替えていた利休が、瓦師であった長次郎に「これまでとは異なる茶碗」を依頼したところに始まる。そこから生まれた、手で捏ねられた小さな黒楽茶碗こそ、利休の茶の最も具体的な姿となった。\u003cbr\u003e\u003cbr\u003e長次郎以後、樂家は十五代を重ねている。代々が「吉左衛門」の名を継ぎ、窯と「形」の責任を引き受けてきた。常慶、道入（ノンコウ）、宗入、長入、覚入、惺入、直入（十五代）に至るまで、家全体の倫理として「一期一会・一椀一焼」が守られている。\u003cbr\u003e\u003cbr\u003e黒楽の技法は、他のいかなる日本陶とも異なる。柔らかく多孔質な土に、厚く掛けられた釉を低火度で焼き、赤熱の状態で窯から引き出して空冷する。本碗の照りとマットの混在、表面に残る小さな鬲、そして高台際の温かな素地の色は、すべてその工程の直接的な痕跡である。\u003cbr\u003e\u003cbr\u003e樂家茶碗において、共箱と仕覆は単なる付属ではなく、伝来そのものを証す装置である。「黒楽茶碗 樂吉左衛門」と書かれ楽印が捺された共箱、楽印を持つ黄絹の仕覆——この三点（碗・箱・仕覆）が揃っている形こそ、樂焼が四世紀にわたり伝えられてきた本来の姿である。\u003cbr\u003e\u003cbr\u003e茶席において、亭主が最も心を込めて据え、両手で客の前に置くもの——それが黒楽茶碗である。利休が選んだ器を手にすることは、日本の茶そのものの系譜の中に、ひととき身を置くということに等しい。\u003cbr\u003e\u003cbr\u003e※本作の代別については、箱書および楽印の精査による正式鑑定を推奨します。本ページでは「樂吉左衛門 銘・印 共箱」までを所見として記し、代の特定は将来の鑑定に委ねます。\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":61823973294450,"sku":"260502_a_2801","price":2499.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m21171563484_1.jpg?v=1777721664","url":"https:\/\/checkout.themodernzenarchive.com\/products\/kuro-raku-chawan-by-raku-kichizaemon-black-raku-tea-bowl-with-signed-tomobako-and-shifuku","provider":"The Modern Zen Archive","version":"1.0","type":"link"}