{"product_id":"makuzu-kosai-iro-e-mori-futaoki-japanese-tea-ceremony-lid-rest-with-forest-motif-kyoto-ceramic-original-box","title":"Makuzu Kosai Iro-e Mori Futaoki | Japanese Tea Ceremony Lid Rest with Forest Motif, Kyoto Ceramic, Original Box","description":"Experience Authentic Japan Art with this Japanese Tea Ceremony Lid Rest. This Makuzu Kosai Futaoki serves as a Kyoto Ceramic Lid Rest and Iro-e Painted Tea Utensil, featuring a Forest Motif Pottery design and Gold Rim Ceramic accent—a must-have for any Art Collector seeking Japanese Tea Ceremony Art and Vintage Kyoto Pottery.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Makuzu Kosai (真葛香斎) — Kyoto ceramic master, Makuzu kiln lineage\u003cbr\u003e• Technique: Iro-e (overglaze polychrome enamel painting) with gold rim accent (kinrande-style interior lip)\u003cbr\u003e• Era: Late Showa to Heisei period (estimated 1980s–2000s)\u003cbr\u003e• Origin: Kyoto, Japan (Makuzu kiln tradition)\u003cbr\u003e• Form: Futaoki (蓋置) — cylindrical form with single square foot (kōdai)\u003cbr\u003e• Dimensions: Height approx. 5.2 cm, Diameter approx. 5.4 cm\u003cbr\u003e• Box: Original signed wooden box (tomobako) in excellent condition; lid inscribed 「森 蓋置」with Makuzu Kosai studio seal\u003cbr\u003e• Condition: Near-unused (未使用に近い); no significant signs of wear; minor surface handling only\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe futaoki — literally \"lid-placer\" — is among the most intimate of tea ceremony utensils. During a formal tea gathering, it cradles the iron kettle's lid (and sometimes the ladle) in a moment of pause, a functional object transformed into quiet poetry.\u003cbr\u003e\u003cbr\u003eMakuzu Kosai, working within the prestigious Makuzu kiln tradition rooted in Kyoto, brought a refined sensibility to these small ceremonial objects. The iro-e (色絵) technique — applying vitreous enamel colors over a glazed, once-fired ceramic body — was perfected by Kyoto potters from the late 17th century onward, drawing on the elegant, pictorial traditions of Nishiki-de porcelain. On this futaoki, the forest (森, mori) is rendered with quiet authority: teal conifers, rounded blue-gray deciduous masses, and a single gilt autumn tree stand together on the ivory ground, encircling the full circumference like a meditation walk through changing seasons.\u003cbr\u003e\u003cbr\u003eThe interior rim is finished in brilliant gold — a restrained gesture of luxury that reflects Kyoto's courtly aesthetic heritage without ostentation. The soft, fine-grained cream body carries a texture closer to neriage or shino-style stoneware than hard porcelain, giving the piece an approachable warmth.\u003cbr\u003e\u003cbr\u003ePoetic Line: \"Teal trees stand still in autumn's pause — the kettle rests, the season breathes.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eThe Makuzu kiln (真葛窯) is one of Kyoto's most distinguished ceramic lineages. Founded in the Edo period and carried forward through successive generations bearing the name Miyagawa Kozan or related designations, the Makuzu tradition blended indigenous Kyoto refinement with imported technical mastery. The name Makuzu Kosai (真葛香斎) refers to a line of masters associated with this kiln, producing tea ceremony wares of consistently high quality for chanoyu practitioners across Japan.\u003cbr\u003e\u003cbr\u003eThe iro-e technique on display here requires exceptional control. After the base ceramic is bisque-fired and glazed, individual enamel pigments — each with its own optimal firing temperature — are applied with fine brushwork and refired at lower temperatures. The result is a stable, luminous polychrome surface that resists fading across centuries. On this futaoki, the artist has modulated the forest palette with notable sophistication: the same green appears in multiple densities, and the slate-blue trees introduce a contemplative coolness against the warm ivory ground.\u003cbr\u003e\u003cbr\u003eThe futaoki as an utensil type has roots in the Muromachi period, when Sen no Rikyu codified many of the conventions of wabi-cha. Historically, various forms were used — natural objects such as bamboo nodes, ceramic pieces, or found objects — but the cylindrical ceramic futaoki became a standard format appreciated for its visual simplicity and tactile directness. The single square kōdai (foot) visible on this piece is a hallmark of the classic Kyoto-school futaoki, providing stability without visual heaviness.\u003cbr\u003e\u003cbr\u003eFor the serious collector, a signed Makuzu Kosai piece with intact tomobako represents a complete and documentable example. The box seal verifies attribution and adds significant provenance value. The near-unused condition means the iro-e colors remain at full saturation, the gold rim unblemished — a rare circumstance for a working tea utensil, suggesting the piece was treasured and rarely brought into service, perhaps displayed as a collector's object even in its first home.\u003cbr\u003e\u003cbr\u003eThe forest (mori) motif carries seasonal resonance across the Japanese calendar — verdant in summer, golden in autumn, silent in winter — making this futaoki appropriate for tea gatherings in any season, a versatility that adds to its practical and symbolic value.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e■ 基本情報\u003cbr\u003e作家：真葛香斎（まくずこうさい）— 京都・真葛窯の陶磁器師\u003cbr\u003e技法：色絵（釉上彩）、内側口縁に金彩（金襴手風仕上げ）\u003cbr\u003e年代：昭和後期〜平成期（推定1980年代〜2000年代）\u003cbr\u003e産地：京都、日本（真葛窯系統）\u003cbr\u003e形状：蓋置（円筒形、角一本足高台）\u003cbr\u003e寸法：高さ約5.2センチ、径約5.4センチ\u003cbr\u003e箱：共箱（極良品）、蓋に「森 蓋置」の筆書き、真葛香斎の印あり\u003cbr\u003e状態：未使用に近い。目立つ使用痕なし、色絵・金彩ともに鮮明\u003cbr\u003e\u003cbr\u003e■ 文化・美術的解説\u003cbr\u003e蓋置とは茶事において釜の蓋（場合によっては柄杓）を置くための台具であり、点前の間の静寂な一間を担う道具です。わずか5センチ余りの器が、茶席の空気を整え、亭主の所作に呼応して存在する。その控えめな役割こそが、蓋置の本質といえます。\u003cbr\u003e\u003cbr\u003e真葛香斎は京都・真葛窯の伝統を継ぐ陶芸家として、茶道具に繊細な絵画性をもたらしてきました。色絵技法は、素焼き・施釉・本焼きののちにエナメル彩料で絵付けし、再度低温で焼成するもの。京焼の錦手に端を発し、江戸中期以降に高度に発展した技法です。本作では森の景色が全周にわたって描かれ、青緑の針葉樹、丸みある濃緑の広葉樹、そして金彩の秋の木が点在し、器の上に四季が同居しています。\u003cbr\u003e\u003cbr\u003e口縁内側の金一文字は、過度な装飾を避けながらも宮廷的な品格を漂わせる、京都らしい美意識の表れです。素地は細かく温かみのある白磁肌で、使い込むほどに手になじむ触感があります。\u003cbr\u003e\u003cbr\u003e詩的一言：「青みどりの木々、秋の静けさに佇む——釜の蓋は安らぎ、季節は深く息をする。」\u003cbr\u003e\u003cbr\u003e■ ディープダイブ解説\u003cbr\u003e真葛窯は京都屈指の名窯のひとつ。宮川香山を代表とする真葛一族が江戸期以来育んできた技術的蓄積は、日本国内のみならず万国博覧会などを通じて西洋にも高く評価されました。真葛香斎の名を冠した作品群は、その流れを汲むものとして茶道具愛好家の間で安定した評価を受けています。\u003cbr\u003e\u003cbr\u003e色絵の制作工程には繊細な制御が必要です。本焼き後の釉面に、それぞれ固有の焼成温度を持つエナメル顔料を筆で描き、低温で焼成することで発色を定着させます。緑の濃淡表現と青灰色の樹木が醸す奥行きは、熟練の絵付師でなければ実現できない色彩の層を持っています。\u003cbr\u003e\u003cbr\u003e蓋置の歴史は室町時代にさかのぼり、千利休が侘び茶の礼法を体系化する中で様式が整備されました。竹や陶磁など様々な形式がありますが、円筒形の陶製蓋置は京焼の代表的様式として茶道具コレクターから高い支持を得ています。底部の角一本足高台は、典型的な京焼蓋置の特徴であり、安定性と視覚的な軽みを両立させています。\u003cbr\u003e\u003cbr\u003e共箱・箱書き・印章が揃い、かつ未使用に近い状態で現存するこの蓋置は、コレクターにとって出所明確な一品といえます。色絵の発色と金彩の輝きが完全な状態を保っていることは、道具として実際に使われることなく大切にされてきた証です。\u003cbr\u003e\u003cbr\u003e森（もり）の図柄は、日本の四季すべてを内包する普遍的な主題。夏の深緑、秋の黄金、冬の沈黙——いずれの季節の茶席にも違和感なく映える意匠であり、実用と鑑賞の両面で価値を持つ逸品です。\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":61954454389106,"sku":"260618_a_2997","price":789.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m50968491455_1.jpg?v=1781797252","url":"https:\/\/checkout.themodernzenarchive.com\/products\/makuzu-kosai-iro-e-mori-futaoki-japanese-tea-ceremony-lid-rest-with-forest-motif-kyoto-ceramic-original-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}