{"product_id":"kutani-ware-matcha-bowl-by-kiyama-moon-and-susuki-ninsei-style-with-original-signed-box","title":"Kutani Ware Matcha Bowl by Kiyama — Moon and Susuki Ninsei Style with Original Signed Box","description":"Experience Authentic Japan Art with this Kutani Ware Matcha Bowl. This Japanese Tea Ceremony Bowl serves as a Ninsei Style Ceramic and Kintsugi-era Overglaze Enamel Work, featuring a Silver Moon Motif and Susuki Pampas Grass Design—a must-have for any Art Collector seeking Antique Japanese Pottery or a Hand-Painted Chawan Gift.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Kiyama (㐂山) — signature inscribed on tomobako lid\u003cbr\u003e• Technique: Ninsei-style (仁清風) overglaze enamel polychrome on crackle white glaze; silver moon wash, hand-painted susuki motif in gold, red, and green enamels\u003cbr\u003e• Era: Late Showa to Heisei period (estimated 1970s–1990s)\u003cbr\u003e• Origin: Kutani ware (九谷焼), Ishikawa Prefecture, Japan\u003cbr\u003e• Dimensions: Diameter approx. 12.2 cm, Height approx. 7.8 cm\u003cbr\u003e• Box: Original signed wooden box (tomobako) included; lid bears artist seal 喜山\u003cbr\u003e• Condition: No chips or cracks; fine crackle glaze as intended; minor soiling near foot ring — consistent with age and handling\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Ninsei style (仁清風) traces its lineage to Nonomura Ninsei (野々村仁清), the seventeenth-century Kyoto master who elevated Japanese ceramics from functional wares to art objects worthy of the imperial tea ceremony. His signature achievement was the marriage of luminous crackle white glaze with lavish overglaze polychrome — a synthesis of restraint and splendor that defined the Kyoto court aesthetic for generations. Kiyama's bowl stands squarely within this lineage: the ivory crackle ground shimmers with an almost porcelain translucency, while the asymmetric sweep of silver-grey — evoking a harvest moon rising at the bowl's shoulder — anchors the composition in the classical Japanese seasonal sensibility of autumn (秋の景色).\u003cbr\u003e\u003cbr\u003eThe susuki (薄, pampas grass) motif is among the most beloved autumn symbols in Japanese poetry and visual culture, immortalized in waka verse from the Man'yoshu onward. Here, rendered in delicate strokes of gold, vermilion, and celadon green, the fronds sway with a calligraphic freedom that speaks of a practiced hand. The interplay between the controlled silver moon wash and the freely drawn grass captures the essential tension of Japanese aesthetics: structure holding spontaneity, the full moon witnessing the movement of wind.\u003cbr\u003e\u003cbr\u003ePoetic line: \"Silver light pools at the bowl's shoulder — beneath it, grasses lean into a wind only the bowl remembers.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eKutani ware (九谷焼) originated in the mid-seventeenth century in the Kaga domain (present-day Ishikawa Prefecture) and became synonymous with bold overglaze enamel decoration in what scholars now term Ko-Kutani (古九谷) or \"old Kutani.\" After a hiatus in production, Kutani was revived in the early nineteenth century and expanded into a diverse range of decorative styles — including the Ninsei-influenced white-ground polychrome (白磁仁清風) that Kiyama employs here.\u003cbr\u003e\u003cbr\u003eThe Ninsei-style technique within the Kutani tradition involves applying a fine crackle white glaze — achieved by calibrating differential thermal contraction between glaze and clay body — before adding overglaze enamels in a second low-temperature firing. The visible crazing network across this bowl's surface is not a flaw; it is a deliberate textural element that catches light and gives the white ground its characteristic depth, evoking aged silk or morning frost on water.\u003cbr\u003e\u003cbr\u003eThe silver moon panel is applied as a flat iron-grey overglaze wash before the polychrome fronds are added, creating a subtle three-dimensional layering effect when viewed at an angle. This technique — placing atmospheric ground behind figurative brushwork — is characteristic of the Kyoto Ninsei tradition and distinguishes it from the denser, more opaque enamel fields of mainstream Ko-Kutani.\u003cbr\u003e\u003cbr\u003eFor the tea ceremony, a bowl with an autumn motif carries specific seasonal propriety: it would be brought out from late September through November, when the actual susuki blooms in the Japanese highland meadows and the harvest moon (中秋の名月) is observed. Owning and deploying such a bowl correctly reflects the host's mastery of kisetsukan (季節感), the Japanese sensitivity to seasonal correspondence, which is the deepest form of hospitality in the Way of Tea.\u003cbr\u003e\u003cbr\u003eContemporary collectors value Kiyama's work for its technical consistency and the visual clarity of its seasonal narrative. The tomobako provenance — with the artist's seal inscribed on the lid — confirms authenticity and adds material evidence of the object's curatorial chain, making this bowl a meaningful acquisition for both active tea practitioners and display collectors.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e■ 作品詳細\u003cbr\u003e• 作家：㐂山（共箱蓋に作家印あり）\u003cbr\u003e• 技法：仁清風 — 白磁貫入釉上に銀月流し、金・赤・緑の上絵付けによる薄の図\u003cbr\u003e• 年代：昭和後期〜平成期（推定1970年代〜1990年代）\u003cbr\u003e• 産地：九谷焼（石川県）\u003cbr\u003e• 寸法：口径 約12.2cm、高さ 約7.8cm\u003cbr\u003e• 箱：共箱（作家印入り蓋）付き\u003cbr\u003e• 状態：ヒビ・カケなし。貫入は意図的な釉調。高台周りに僅かな汚れあり（経年使用による自然なもの）\u003cbr\u003e\u003cbr\u003e■ 文化的・芸術的考察\u003cbr\u003e仁清風（にんせいふう）とは、江戸初期の京焼の名工・野々村仁清が確立した様式を指す。乳白色の貫入釉を基調に、濃密な上絵付けで四季の花鳥を描くその手法は、宮廷の茶の湯文化と結びつき、やがて「芸術としての陶器」という概念を日本に根付かせた。㐂山はその系譜のなかで、器の肩口に銀灰色の月を大胆に洗い流し、その下に金・朱・淡緑で薄（すすき）の穂を描く。動と静、光と影の対話が、一碗のなかに秋の景色を完結させている。\u003cbr\u003e\u003cbr\u003e薄は万葉集以来、秋の象徴として和歌・俳句・絵画に繰り返し登場する植物だ。穂先がたなびく様は、無常と流れ去る時間の美しさを体現し、茶の湯においては季節感（きせつかん）の核となるモチーフである。この碗を点前に使うとき、飲み手は茶を通じてその秋風を受け取ることになる。\u003cbr\u003e\u003cbr\u003e■ 深層解説\u003cbr\u003e九谷焼は17世紀中頃、加賀藩（現・石川県）で産声を上げた。後に「古九谷」と呼ばれる大胆な五彩（緑・黄・紺・紫・赤）の上絵を特色とし、廃絶期を経て19世紀初頭に再興。以後、多様な様式が発展したなかで、仁清風白磁彩画はその最も詩的な一系統を形成した。\u003cbr\u003e\u003cbr\u003eこの碗の貫入（かんにゅう）——釉薬と素地の収縮率の差によって生まれる細かなひび割れのネットワーク——は製作者が意図した釉調であり、古絹や朝霜を思わせる奥行きを白地に与える。その上に置かれた銀の月面は酸化鉄系の低温彩色、そして薄の穂は金・朱・淡緑の上絵具で描かれており、角度によって微妙な立体的重層感が生まれる。これはまさに京都仁清伝来の「地の上に景を重ねる」技法であり、古九谷の密な彩色とは一線を画す繊細さである。\u003cbr\u003e\u003cbr\u003e茶の湯においては、秋の意匠の碗は長月（9月）から霜月（11月）、とりわけ中秋の名月の前後に取り出すのが礼法とされる。碗を季節に合わせて使う行為そのものが、客への最上の歓待——季節感の共有——であり、所有者の茶道への深い理解を示す。㐂山の共箱と作家印は真作の証拠として機能し、出所の明確なコレクション資料としての価値を高めている。\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":61954421686642,"sku":"260618_a_2985","price":631.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m91976290630_1.jpg?v=1781796557","url":"https:\/\/checkout.themodernzenarchive.com\/products\/kutani-ware-matcha-bowl-by-kiyama-moon-and-susuki-ninsei-style-with-original-signed-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}