{"product_id":"ogawa-tetsuo-hakeme-guinomi-white-brush-slip-over-iron-clay","title":"Ogawa Tetsuo Hakeme Guinomi — White Brush Slip Over Iron Clay","description":"Experience Authentic Japanese Sake Culture with this Ogawa Tetsuo Hakeme Guinomi. This Japanese Sake Cup serves as a Hakeme Brush Technique Masterwork and Korean-Inspired Pottery, featuring White Slip Over Iron Clay and Organic Hand-Formed Shape—a must-have for any Art Collector seeking Wabi Sabi Aesthetic and Mingei Tradition.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Ogawa Tetsuo (小川哲男)\u003cbr\u003e• Title: Hakeme Hai (刷毛目盃)\u003cbr\u003e• Type: Guinomi (Sake Cup) — Hakeme Technique\u003cbr\u003e• Dimensions: Approx. Dia 8.0 cm × H 4.5 cm\u003cbr\u003e• Period: Contemporary (Heisei–Reiwa era)\u003cbr\u003e• Condition: Excellent — no chips, cracks, or repairs\u003cbr\u003e• Includes: Signed tomobako (wooden storage box), protective cloth, artist pamphlet\u003cbr\u003e• Origin: Japan\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eHakeme (刷毛目) is among the most elemental of ceramic surface techniques — white slip applied with a coarse brush to a dark clay body, the bristle marks left intentionally visible. The tradition traces to Korean Yi Dynasty pottery (李朝刷毛目), where rice straw brushes were used to coat dark stoneware with a layer of white slip before glazing. What began as functional preparation became, in Japanese aesthetic understanding, the technique’s entire point: the evidence of the brush itself.\u003cbr\u003e\u003cbr\u003eOgawa Tetsuo works within this lineage with a directness that honors its origins. His iron-rich clay body provides the necessary contrast — a dark, mineral ground against which the white slip registers every nuance of the brush’s passage. Where the slip is thick, the surface is opaque and cool. Where it thins at the edges of each stroke, the iron clay beneath bleeds through as warm amber spots and pinholes, creating a surface that is never uniform, never repeated.\u003cbr\u003e\u003cbr\u003e*\"The brush crosses the clay once. What remains is not decoration but evidence — the record of a hand in motion.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Hakeme — The Brush as Voice**\u003cbr\u003eIn hakeme work, the brush is not a precision instrument but a recording device. The width of the bristles, the viscosity of the slip, the speed of the stroke, the angle of the wrist — all are captured in the fired surface. Ogawa’s brushwork on this guinomi is confident and unhesitant, suggesting a potter who understands that the technique’s power lies in committing to a single gesture without correction.\u003cbr\u003e\u003cbr\u003e**Iron Spotting and Material Dialogue**\u003cbr\u003eThe scattered iron spots (鉄粉) visible across the white slip surface are not flaws but features — evidence of the clay body’s mineral content asserting itself through the covering layer. This interaction between body and slip creates a visual texture that no amount of deliberate decoration could replicate. Each spot marks a point where iron particles in the clay oxidized during firing, pushing through the white.\u003cbr\u003e\u003cbr\u003e**Korean Roots, Japanese Interpretation**\u003cbr\u003eThe hakeme tradition entered Japan primarily through the tea masters of the Momoyama period, who recognized in Korean utilitarian pottery an aesthetic that aligned with wabi-sabi principles — imperfection, transience, the beauty of the unfinished. Japanese potters adopted the technique with reverence, often producing work that is more self-conscious in its gestural quality than the Korean originals, while maintaining the essential honesty of brush meeting clay.\u003cbr\u003e\u003cbr\u003e**Form and Function in the Guinomi**\u003cbr\u003eThe slight irregularity of this cup’s rim is not accidental but integral to the drinking experience. A guinomi shaped by hand rather than trimmed to perfection offers the lips a landscape — subtle rises and dips that change with each rotation. The dark foot ring, left unglazed, provides visual weight and a tactile anchor, connecting the drinker’s fingers to the raw material beneath the finished surface.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【基本情報】\u003cbr\u003e作家：小川哲男（おがわ てつお）\u003cbr\u003e作品名：刷毛目盃\u003cbr\u003e種類：盃（ぐい呑）・刷毛目\u003cbr\u003e寸法：約 径8.0cm × 高4.5cm\u003cbr\u003e時代：現代（平成〜令和）\u003cbr\u003e状態：良好（傷・欠け・修復なし）\u003cbr\u003e付属品：共箱・布・作家略歴リーフレット\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e小川哲男による刷毛目盃。鉄分を多く含む暗褐色の素地に、白化粧土を大胆な刷毛で一気に塗り付けた、李朝刷毛目の系譜に連なる作品です。白化粧の薄い部分からは素地の鉄分が浮き出し、温かみのある琥珀色の斑点が白地に散らばります。刷毛の通った跡がそのまま景色となり、作り手の一回の動作が焼成後もそのまま残る——刷毛目技法の本質を体現した盃です。口縁のわずかな歪みが手取りに変化を与え、高台の素地肌が土味を伝えます。\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e\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\u003cbr\u003e\u003cbr\u003e*One brush, one pass, one firing — and the clay remembers what the hand already forgot.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61591609311602,"sku":"260113_a_1476","price":791.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m24398154942_1.jpg?v=1770948996","url":"https:\/\/checkout.themodernzenarchive.com\/products\/ogawa-tetsuo-hakeme-guinomi-white-brush-slip-over-iron-clay","provider":"The Modern Zen Archive","version":"1.0","type":"link"}