{"product_id":"nanban-mizusashi-nawasudare-yakishime-by-hashimoto-eiho-tomobako","title":"Nanban Mizusashi — Nawasudare Yakishime by Hashimoto Eihō, Tomobako","description":"Experience Authentic Japan Art with this Nanban Mizusashi Water Jar. This Yakishime Stoneware vessel serves as a Japanese Tea Ceremony Water Jar and Mizusashi, featuring Nawasudare Combed Surface and Nanban Utsushi Technique—a focal point for any Tea Ceremony Collector drawn to Hashimoto Eiho Ceramics and Unglazed Stoneware Art.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Hashimoto Eihō (橋本永豊)\u003cbr\u003e• Technique: Nanban-utsushi (南蛮写し) — yakishime stoneware fired without glaze; nawasudare vertical combing on lower body; incised zigzag chevron register at shoulder\u003cbr\u003e• Era: 2000 – 2006\u003cbr\u003e• Origin: Japan\u003cbr\u003e• Dimensions: Height approx. 15 cm, Diameter approx. 13 cm (visual estimate)\u003cbr\u003e• Box: Tomobako — signed paulownia wooden box inscribed 「南蛮写指」with artist's seal\u003cbr\u003e• Condition: Very good. Body intact with no chips or cracks. Black urushi lid shows minor surface dust and light age-consistent scuffing near the knob base — no structural damage.\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe mizusashi holds pure water during a chaji — the formal tea gathering — and is replenished quietly between guests, its opening and closing a movement scored into ceremony. Among tea utensils it is singular in remaining covered, its interior unseen, its content imagined. The choice to render it in nanban-utsushi is a deliberate act of cultural memory: the rough, unglazed stoneware that arrived via sixteenth-century Southeast Asian trade was absorbed by Japanese taste and reborn as a native aesthetic of purposeful density.\u003cbr\u003e\u003cbr\u003eHashimoto Eihō's reading of that tradition is direct. The nawasudare combing — vertical lines pulled down the lower body as if through hanging ropes — gives the surface an almost textile weight. Above it, a single incised chevron band marks a boundary without ornament. The black urushi lid answers the rawness of the clay with complete stillness. No glaze mediates between hand and fire; what the kiln returned is exactly what stands here.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eNanban-utsushi (南蛮写し) names a class of Japanese ceramics consciously modelled on the unglazed, high-fired stonewares that reached Japan through the Nanban trade routes of the sixteenth and seventeenth centuries. \"Nanban\" — southern barbarian — was the period term for Southeast Asian and Portuguese traders; the wares they carried, especially from the region of present-day Thailand and Cambodia, were prized by tea masters for their rough vitality and freedom from courtly polish.\u003cbr\u003e\u003cbr\u003eYakishime (焼締) — literally \"tight firing\" — achieves its character without glaze. Clay body, kiln atmosphere, and temperature alone determine the result. The iron-rich stoneware here has fired to a deep reddish-brown with subtle tonal variation, the surface recording every tool mark the potter left. This is ceramics as autobiography.\u003cbr\u003e\u003cbr\u003eNawasudare (縄簾) denotes the combing technique that evokes the vertical fall of a rope curtain. Executed before firing on leather-hard clay, the closely spaced parallel lines animate a surface that might otherwise read as plain. They also carry a functional resonance — the texture aids grip on a vessel that, during temae, must be lifted and replaced with quiet precision.\u003cbr\u003e\u003cbr\u003eThe tomobako inscription 「南蛮写指」and Eihō's personal seal authenticate the work within the ceramics tradition and ground the object in its specific cultural argument: that the foreign can be absorbed, restated, and made wholly Japanese through the intelligence of a potter's hand.\u003cbr\u003e\u003cbr\u003e[ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e橋本永豊による南蛮写縄簾水指。共箱（「南蛮写指」銘・印入り）付き。\u003cbr\u003e\u003cbr\u003e焼締の鉄分豊かな胎土は、深い赤褐色に焼き上がり、無釉のまま火と土の対話を体表に刻む。胴下部を覆う縄簾文は、垂れる縄の幕を思わせる細かな掻き目で、革乾き段階の土に一気に引かれた線が、きわめて繊細でありながら野趣を失わない。肩口に走る鋸歯文の一条は、装飾を最小限に留めながら、胴全体に緊張をもたらす。黒漆塗の木蓋はその生地の荒さと対をなし、静寂を蓋の形に閉じ込める。\u003cbr\u003e\u003cbr\u003e南蛮写しとは、十六・十七世紀の南蛮貿易を通じて渡来した東南アジア産の無釉陶磁器を、日本の陶工が自らの語法で再解釈した仕事の総称である。茶の湯の美意識と交差したとき、その粗野な肌触りと高火度の密度は「わびさび」の感性と深く共鳴し、茶室という空間の核へと引き上げられた。\u003cbr\u003e\u003cbr\u003e水指は茶事における清水の器。点前の中で静かに蓋を開け閉め、水を注ぐその所作そのものが、席の時間をつくる。橋本永豊はその機能の重さを承知しつつ、釉薬という媒介を一切排し、土と炎だけで応えた。手跡が表面に残り、窯の気配がそのまま肌になる。飾らないことが最大の主張である。\u003cbr\u003e\u003cbr\u003e状態は良好。胴部に欠けやひびなし。漆蓋に経年相応の軽微な擦れあり（構造的損傷なし）。\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":61843719356786,"sku":"260511_a_2834","price":871.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m85235815148_1.jpg?v=1778469339","url":"https:\/\/checkout.themodernzenarchive.com\/products\/nanban-mizusashi-nawasudare-yakishime-by-hashimoto-eiho-tomobako","provider":"The Modern Zen Archive","version":"1.0","type":"link"}