{"product_id":"ninsei-style-iroe-kakitsubata-matcha-bowl-by-hashimoto-kisen-kyoto-overglaze-enamels-yatsuhashi-iris-motif-signed-wooden-box","title":"Ninsei-Style Iroe Kakitsubata Matcha Bowl by Hashimoto Kisen — Kyoto Overglaze Enamels, Yatsuhashi Iris Motif, Signed Wooden Box","description":"Experience Authentic Japan Art with this Kyoto iroe matcha bowl. This Japanese tea ceremony bowl serves as a Ninsei style chawan and Kyoto overglaze enamel, featuring kakitsubata iris motif and Yatsuhashi bridge design—a must-have for any Art Collector drawn to Ise Monogatari narrative ceramics and Japanese Kyoto pottery.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Hashimoto Kisen (橋本喜泉), Kyoto iroe (overglaze enamel) tradition\u003cbr\u003e• Technique: Iroe (色絵) overglaze enamels on crackle-ground porcelain, Ninsei-gata style\u003cbr\u003e• Era: 2000s–2010s (contemporary Kyoto artist)\u003cbr\u003e• Origin: Kyoto, Japan — Kyo-yaki \/ Kyo-ware ceramic tradition\u003cbr\u003e• Dimensions: Diameter approx. 12 cm, Height approx. 8 cm\u003cbr\u003e• Box: Original signed wooden box (tomobako) included\u003cbr\u003e• Condition: Very good; fine craquelure (kannyu) is an intentional glaze characteristic, not damage\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe Yatsuhashi episode is among the most recognizable passages in classical Japanese literature. In the tenth-century Tales of Ise (Ise Monogatari), a man in exile pauses at a marshy crossing of eight wooden bridges (yatsuhashi) and composes a poem about kakitsubata — the Japanese iris — as a code for his grief at leaving the capital.\u003cbr\u003e\u003cbr\u003eHere, Hashimoto Kisen places that same crossing on the surface of a tea bowl. The red-ground (aka-ji) bands carry gold-gilded bridges and the dense green of iris leaves; the ivory crackle fields hold white and blue-purple flowers caught mid-bloom. The composition moves around the body in a single unbroken breath, completing itself only when the bowl is turned in the hand.\u003cbr\u003e\u003cbr\u003eThe reverse face is left undecorated — ivory white crackle in silence — the way a poem withholds its last word.\u003cbr\u003e\u003cbr\u003e*\"The iris leans against the bridge. The poem is inside the bridge. The bridge is inside the cup.\"*\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eNinsei-gata (仁清写し) refers to work that consciously revisits the style of Nonomura Ninsei, the seventeenth-century Kyoto master who fused refined overglaze painting with a richly crackled white ground. Ninsei's bowls were made for the aristocratic tea of Kyoto — not for the austere rusticity favored in Wabi tea, but for a tea steeped in literary association and courtly color. His signature move was the pairing of vivid enamel fields against an ivory kannyu ground, so that the decoration seems to float between two textures of silence.\u003cbr\u003e\u003cbr\u003eThe Yatsuhashi motif belongs specifically to the autumn season in the tea calendar — it signals the fifth month when iris blooms, and by extension carries the emotional weight of the Ise Monogatari passage. A host who places this bowl at a May or early-summer gathering is not decorating the alcove: he is quoting a poem.\u003cbr\u003e\u003cbr\u003eHashimoto Kisen works within the Kyo-yaki (Kyoto ware) line of iroe specialists. His use of aka-ji (red ground) as a framing device — alternating with the unpainted crackle zones — derives directly from the Ninsei compositional grammar. The gold detailing on the bridge posts and water surface is applied after the enamel firing, in a third pass, and gives the gilded elements their particular depth.\u003cbr\u003e\u003cbr\u003eFor collectors of narrative ceramics, this piece carries density of intention that is built into the motif itself: the Ise Monogatari is the most quoted source in the Japanese decorative arts. The kakitsubata iris is never merely botanical. It is always an elegy.\u003cbr\u003e\u003cbr\u003e🔹 [ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e🔹 【基本詳細】\u003cbr\u003e• 作家：橋本喜泉（Hashimoto Kisen）、京都色絵陶芸家\u003cbr\u003e• 技法：色絵磁器、仁清写し様式、貫入白地に赤絵金彩\u003cbr\u003e• 年代：2000〜2010年代（現代京都作家）\u003cbr\u003e• 産地：京都・京焼\u003cbr\u003e• 寸法：直径約12cm、高さ約8cm\u003cbr\u003e• 箱：共箱（作家署名入り）付き\u003cbr\u003e• 状態：良好。細かい貫入は釉薬の性質によるもので、損傷ではありません\u003cbr\u003e\u003cbr\u003e🔹 【文化的・芸術的考察】\u003cbr\u003e八ツ橋の段は、『伊勢物語』第九段に記された、日本古典文学でも最も人口に膾炙した場面のひとつです。都を離れた旅人が、三河の湿地に架かる八つの板橋のほとりで足を止め、杜若を詠み込んだ折句の歌を詠む——その静かな別れの情景が、茶碗の胴に再現されています。\u003cbr\u003e\u003cbr\u003e赤地（aka-ji）の帯には金彩の橋と青々とした葉が連なり、象牙色の貫入地には白と青紫の杜若が咲き競う。絵は茶碗を一周し、手の中でゆっくりと回転させるときにはじめて完結します。\u003cbr\u003e\u003cbr\u003e裏面は無文——白い貫入が静かに広がるだけです。詩が最後の一語を飲み込むように。\u003cbr\u003e\u003cbr\u003e🔹 【上級コレクター向け解説】\u003cbr\u003e仁清写しとは、十七世紀の京都陶芸家・野々村仁清の様式を意識的に継承する仕事を指します。仁清は、貴族的な京都の茶の世界のために、白く貫入した地に鮮やかな色絵を重ねるという独自の様式を確立しました。艶やかな色彩と、静かな地肌の対比——それが仁清様式の核心です。\u003cbr\u003e\u003cbr\u003e八ツ橋文は、茶の暦では初夏（五月）の取り合わせとして用いられます。この茶碗を席に出した亭主は、単に器を飾っているのではなく、『伊勢物語』の一節を引いているのです。\u003cbr\u003e\u003cbr\u003e橋本喜泉は、京焼・色絵の系譜に連なる現代作家です。赤絵地と貫入白地を交互に配するという構成は、仁清の文法をそのまま踏んでいます。橋と水面の金彩は色絵の焼成後に施され、深みのある輝きをもたらしています。\u003cbr\u003e\u003cbr\u003e杜若は、日本の装飾芸術において最も多く引用される文様のひとつです。それは植物ではなく、つねに挽歌です。\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":61800224293234,"sku":"260424_a_2757","price":791.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m43200266409_1.jpg?v=1776992146","url":"https:\/\/checkout.themodernzenarchive.com\/products\/ninsei-style-iroe-kakitsubata-matcha-bowl-by-hashimoto-kisen-kyoto-overglaze-enamels-yatsuhashi-iris-motif-signed-wooden-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}