{"product_id":"oribe-tea-bowl-aoi-by-kato-tosaburo-copper-green-hollyhock-chawan","title":"Oribe Tea Bowl \"Aoi\" by Kato Tosaburo — Copper-Green Hollyhock Chawan","description":"An Oribe Tea Bowl of commanding presence — Kato Tosaburo shapes Seto Ware Tradition into this Copper Green Glaze chawan titled \"Aoi,\" where deep jade cascades over crackled cream stoneware bearing Iron Painted Hollyhock motifs in the classical Mino Ceramic manner. A Handmade Stoneware vessel for Matcha Tea Ceremony practice, this Japanese Chawan carries the cultural weight of Akatsu Kiln Pottery lineage and the Wabi Sabi Ceramic sensibility that defines Crackle Glaze artistry at its most intentional.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Kato Tosaburo (加藤唐三郎) — Traditional craftsman, Akatsu district, Seto City\u003cbr\u003e• Technique: Oribe ware — copper-green glaze over iron-painted stoneware\u003cbr\u003e• Bowl Name: \"Aoi\" (葵 — Hollyhock)\u003cbr\u003e• Era: Contemporary production (2010s–2020s)\u003cbr\u003e• Origin: Seto, Aichi Prefecture, Japan (瀬戸焼)\u003cbr\u003e• Dimensions: Diameter 12 cm × Height 7.5 cm\u003cbr\u003e• Box: Wooden storage box (木箱入り)\u003cbr\u003e• Condition: New, unused (新品未使用)\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eAoi. Hollyhock.\u003cbr\u003e\u003cbr\u003eThe name carries two hundred and sixty years of shogunal authority and centuries more of botanical patience. Kato Tosaburo paints it here in iron pigment over cream-crackled ground — circular leaves with radiating veins, each stroke a compression of the Mino decorative vocabulary into its most essential gesture.\u003cbr\u003e\u003cbr\u003eThe form is robust, subtly cylindrical, with the deliberate deformation that Oribe demands. Deep copper-green glaze pours from the rim and pools in the interior, creating dramatic tonal shifts where jade meets cream. The crackle pattern (kannyu) threading through the lighter surfaces is not incidental. It is the bowl's autobiography — each line a memory of fire, a record of the precise moment when glaze and clay parted company during cooling.\u003cbr\u003e\u003cbr\u003eThis is Oribe at its most confident: color that declares itself, form that refuses symmetry, and decoration that knows exactly when to stop.\u003cbr\u003e\u003cbr\u003e*\"The hollyhock does not announce the season. It is the season.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Oribe Ware: The Aesthetics of Bold Intention**: Oribe ware takes its name from Furuta Oribe (1544–1615), the warrior-aesthete who succeeded Sen no Rikyu as the most influential tea master of his era. Where Rikyu championed austere black Raku, Oribe embraced vivid color, deliberate distortion, and painted narrative. Born in the Mino kilns of present-day Gifu Prefecture during the Momoyama period, Oribe style declared that tea vessels could be theatrical without surrendering spiritual grounding. The tradition endures because the proposition remains vital.\u003cbr\u003e\u003cbr\u003e**The Copper-Green Glaze**: The signature green of Oribe ware achieves its color through copper oxide fired in a reducing atmosphere. The glaze behaves unpredictably in the kiln — pooling, flowing, thinning — so that no two vessels emerge alike. On this bowl, the green cascades from rim into the interior, forming two dark \"eyes\" where thick glaze meets the cream base. Where the green runs thin, it turns translucent jade. Where it gathers, it approaches black. This range of tone within a single firing is what gives Oribe its visual density.\u003cbr\u003e\u003cbr\u003e**The Aoi Motif and Tokugawa Legacy**: The hollyhock (aoi) carries extraordinary historical density in Japanese culture. The Tokugawa clan adopted the mitsuba-aoi (triple hollyhock) as their family crest, and for over 250 years it served as the most recognized symbol of shogunal authority throughout the Edo period (1603–1868). On ceramic vessels, the hollyhock transcends decoration — it invokes the intersection of political power and tea culture that shaped Japanese aesthetics across centuries. Kato Tosaburo renders it in confident iron brushstrokes: circular leaves with radiating veins, faithful to the classical Mino vocabulary.\u003cbr\u003e\u003cbr\u003e**Seto, Akatsu, and the Kato Name**: Seto is one of Japan's Six Ancient Kilns and arguably the birthplace of Japanese glazed ceramics. The Akatsu district within Seto has produced pottery continuously since the Kamakura period (1185–1333). The Kato family name carries particular resonance — tradition holds that Kato Shirozaemon Kagemasa (Toshiro) brought Chinese glazing techniques to Seto in the 13th century, founding the lineage from which much of Seto's ceramic identity descends. To bear the name Kato in Seto is to carry a specific gravity of authorship.\u003cbr\u003e\u003cbr\u003e**Kannyu as Living Surface**: The network of fine crackle lines (貫入) visible across the cream-glazed surfaces results from differential contraction of glaze and clay during cooling. In Japanese tea aesthetics, kannyu is actively cultivated — it softens the surface visually, catches tea stains over years of use, and serves as evidence of passage through fire. On a new bowl, the crackle stands as invitation: the beginning of a patina that only deepens with continued practice.\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：加藤唐三郎（かとう とうさぶろう）— 瀬戸市赤津地区の伝統工芸士\u003cbr\u003e• 技法：織部焼 — 銅緑釉と鉄絵による施釉陶器\u003cbr\u003e• 銘：「葵」（あおい）\u003cbr\u003e• 時代：現代作（2010〜2020年代）、新品未使用\u003cbr\u003e• 産地：愛知県瀬戸市\u003cbr\u003e• 寸法：口径12cm × 高さ7.5cm\u003cbr\u003e• 付属：木箱入り\u003cbr\u003e• 状態：新品未使用\u003cbr\u003e\u003cbr\u003e【文化的背景と芸術的洞察】\u003cbr\u003e葵——その名は二百六十年にわたる将軍家の威光と、それを遥かに超える植物学的な忍耐を背負う。加藤唐三郎はクリーム色の貫入地に鉄絵でこれを描く。放射状の葉脈を持つ円形の葉、一筆一筆が美濃の装飾語彙を最も本質的な所作へと圧縮している。\u003cbr\u003e\u003cbr\u003e器形は堂々として、わずかに筒形、織部が求める意図的な歪みを帯びる。深い銅緑釉が口縁から流れ落ち、見込みに溜まり、翡翠色とクリーム色が出会う境界に劇的な色調の変化を生む。クリーム色の釉面を走る貫入は偶然ではない。それは茶碗の自叙伝——冷却の過程で釉と素地が袂を分かった瞬間の記録である。\u003cbr\u003e\u003cbr\u003e【専門的解説】\u003cbr\u003e織部焼の名は古田織部（1544〜1615）に由来する。千利休の後を継ぎ最も影響力ある茶人となった武将茶人であり、利休が侘びた黒楽を重んじたのに対し、鮮烈な色彩、意図的な歪み、物語性ある絵付けを愛した。美濃の窯で桃山時代に生まれたこの様式は、茶器が精神的深みを失うことなく劇的な表現を纏いうることを宣言した。\u003cbr\u003e\u003cbr\u003e銅緑釉は銅の酸化物を還元焼成して独特の色調を得る。厚く溜まった部分は黒に近く、薄く延びた部分は透明感ある翡翠色となる。本作では緑釉が口縁から見込みへ流れ、クリーム色の素地と出会う境界に二つの暗緑の「目」を形成している。\u003cbr\u003e\u003cbr\u003e葵文は日本文化において格別の歴史的密度を持つ。徳川家が三つ葉葵を家紋として採用し、江戸時代を通じて将軍家の権威の象徴となった。茶碗の上で葵は装飾を超え、政治権力と茶の湯が交差した日本美学の核心を呼び起こす。\u003cbr\u003e\u003cbr\u003e瀬戸は日本六古窯の一つであり、施釉陶器発祥の地とも言える。赤津地区は鎌倉時代から連綿と作陶を続ける。加藤の姓は特別な重みを持つ——伝承によれば加藤四郎左衛門景正が十三世紀に中国の施釉技術を瀬戸にもたらし、瀬戸焼の礎を築いた。瀬戸で加藤を名乗ることは、特定の作家性の重力を担うことに他ならない。\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\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":61619388580210,"sku":"260222_a_2081","price":874.0,"currency_code":"AED","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m46072853630_1.jpg?v=1772004670","url":"https:\/\/checkout.themodernzenarchive.com\/products\/oribe-tea-bowl-aoi-by-kato-tosaburo-copper-green-hollyhock-chawan","provider":"The Modern Zen Archive","version":"1.0","type":"link"}