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Shibu-Kamiko Katakuchi Bowl by Tsubojima Dohei — Hironaga Kiln, Lacquer Lid, Signed Wooden Box
Shibu-Kamiko Katakuchi Bowl by Tsubojima Dohei — Hironaga Kiln, Lacquer Lid, Signed Wooden Box
Regular price
Dhs. 1,399.00 AED
Regular price
Sale price
Dhs. 1,399.00 AED
Taxes included.
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Experience Authentic Japan Art with this Shibu-Kamiko Katakuchi Bowl. This Japanese Ceramic Pouring Bowl serves as a Hironaga Kiln Pottery and Wabi-Sabi Serving Vessel, featuring Tsubojima Dohei Pottery and Ash Glaze Stoneware—a must-have for any Art Collector. With its Lacquer Lid Ceramic Bowl presence and Antique Japanese Craft refinement, this Signed Tomobako Gift piece carries the quiet authority of a living master.
🔹 [ BASIC DETAILS ]
• Artist: Tsubojima Dohei (坪島土平), Hironaga Kiln (廣永窯)
• Technique: Shibu-kamiko-de (渋紙手) — iron-rich clay with vertical comb-texturing (kushime), layered ash-green glaze over deep rust-brown body; lacquer lid (urushi-buta) included
• Era: Before 2007 (Showa–Heisei period, contemporary master)
• Origin: Japan (Hironaga Kiln tradition)
• Dimensions: Height approx. 10 cm, Width approx. 20.5 cm, Depth approx. 18.5 cm
• Box: Original tomobako (共箱) — wooden box with artist's calligraphic inscription and blue-and-white rope tie
• Condition: Good overall; consistent with age; iron clay body typical texture intact; artist's impressed seal visible on foot ring
🔹 [ CULTURAL & ARTISTIC INSIGHT ]
Tsubojima Dohei is one of the most important living ceramic artists working in the ancient Hironaga tradition — a kilnmaster who has devoted his career to reviving and extending the aesthetic language of Japan's most earthy, elemental stoneware. His signature technique, shibu-kamiko-de (渋紙手 — "astringent paper hand"), takes its name from the texture of aged, water-soaked washi paper: rough, fibrous, mottled, and deeply absorbing of light. The surface of this katakuchi (pouring bowl with spout) achieves exactly that quality: the iron-red clay body visible through gaps in the ash-green glaze creates a visual patina that reads simultaneously as ancient geological strata and freshly burnt earth.
The katakuchi form itself is one of Japanese ceramics' most versatile and historically significant shapes. Originating as a vessel for pouring sake or broth, the katakuchi has been adapted across centuries into the tea ceremony context as a container for warm water, matcha, and seasonal sweets. Its asymmetry — the irregular oval, the protruding spout — makes it an ideal carrier for the wabi-sabi principle that beauty is not found in perfection but in the particular, the specific, the irrepeatable moment of making.
The lacquer lid (urushi-buta) that accompanies this bowl adds both functional value and aesthetic dialogue: the deep black of urushi lacquer against the rust and ash of the stoneware enacts a conversation between two of Japan's oldest craft traditions — fire and forest, kiln and lacquer tree.
Poetic Line: "The ash glaze fell where it chose, and the clay remembered every fold — a vessel that has always known exactly how to hold."
🔹 [ DEEP-DIVE COMMENTARY ]
Hironaga Kiln (廣永窯) occupies a distinguished position in modern Japanese ceramics as a kiln committed to the revival and creative extension of classical southern Japanese stoneware aesthetics. Tsubojima Dohei, its master, trained in a lineage that privileges raw material expression over decorative overlay — the clay and glaze are the medium, not a canvas for painted imagery. This philosophical alignment with mingei (folk craft) values — honesty of material, fitness of form, beauty discovered rather than imposed — runs through every piece produced at the kiln.
The shibu-kamiko-de technique begins with a high-iron-content clay body that fires to a deep, saturated rust-red. The surface is combed or textured while wet, creating the dimensional, fibrous quality visible on the exterior of this katakuchi. The vessel is then wood-fired and glazed with a natural ash glaze that pools in the textured grooves and settles differently across each surface — thicker in recesses (where it pools green), thinner on ridges (where the iron-red body shows through). The result is a surface that changes colour and character continuously as light shifts and angles change.
For collectors, this piece presents multiple layers of value. Tsubojima Dohei is a documented, active master with a traceable body of work; the tomobako signed in his own hand provides provenance authentication. The lacquer lid is itself a craft object of some sophistication — urushi lacquer work requires multiple coats, careful preparation of the wooden substrate, and considerable skill. The functional potential of the katakuchi form is significant: it can serve as a tea utensil, a sake server, a fruit or confection bowl, a decorative object — its versatility is a collector asset.
Containing the komuso spirit — the wandering monk's principle of rootlessness and radical presence — this katakuchi is a vessel for whatever the moment requires. It does not dictate its use. Like all great Dohei pieces, it waits with complete patience for the owner to discover its purpose.
🔹 [ 日本語解説 ]
【基本仕様】
作家：坪島土平（廣永窯）／技法：渋紙手（鉄分豊富な陶土に鎬文様・灰釉重ね掛け、漆蓋付）／時代：昭和〜平成期（現代名匠）／産地：日本（廣永窯）／寸法：高10cm・幅20.5cm・奥18.5cm／付属：共箱（作家自筆墨書・印）・漆蓋／状態：概ね良好、高台に作家印明瞭
【文化的・芸術的解説】
坪島土平は、廣永窯の窯主として、日本の最も土着的で元素的な陶芸の美学言語を復興・拡張することに生涯を捧げてきた、現代の最重要陶芸家の一人です。彼の代名詞的な技法である渋紙手（しぶかみこで）は、その名が示す通り、水に浸したわしの古紙のような質感——粗く、繊維質で、斑状で、光を深く吸収する——を陶器表面に再現します。この片口鉢の表面は、その質感を完璧に体現しています。灰釉の緑の隙間から顔を出す鉄赤の陶土が、古代の地質層と燃え立つ土をぎりぎり重ね合わせた、視覚的なパティナを作り出しています。
片口という形そのものも、日本陶芸における最も多用途で歴史的に重要な形の一つです。酒や汁物を注ぐ器として生まれ、茶道においてはお湯、抹茶、季節の菓子の器として転用されてきた片口は、その非対称性——不規則な楕円、突出した注ぎ口——によって、「美は完全性ではなく、特殊性・固有性・繰り返しのない制作の一瞬に宿る」という侘び寂びの原則を体現する理想的な器となっています。
共に届く漆蓋（うるしぶた）は、機能的価値に加え、美学的な対話をもたらします。漆の深い黒と石器の錆色・灰色の対比は、日本の二つの最古の工芸伝統——火と森、窯と漆の木——の間の会話を演じます。
「灰釉は落ちたいところに落ち、粘土はあらゆる折り目を記憶した。この器は、どう保持すればよいかを、最初から知っていた。」
【深層解説】
廣永窯は、古典的な南日本の石器美学の復興と創造的拡張に専念する窯として、現代日本陶芸において傑出した地位を占めています。坪島土平は、装飾的な重ね塗りよりも原材料の表現を優先する系譜——粘土と釉薬が媒体であり、描かれた図像のためのキャンバスではない——で訓練を受けました。この民芸的価値観——素材の誠実さ、形の適合性、押し付けられるのではなく発見される美しさ——との哲学的な共鳴が、廣永窯で作られるすべての作品を貫いています。
渋紙手技法は、焼成時に深い鉄錆色になる高鉄分陶土から始まります。素地は濡れているうちに鎬目や凹凸を付けられ、外面に見られる立体的な繊維質の質感が生まれます。次いで木窯で焼成され、自然灰釉を掛けられた釉薬は凹んだ溝に溜まり（緑がかった色に）、突出した稜線ではより薄く（鉄赤の素地が透けて見える）なります。結果として、光の変化と角度によって継続的に色彩と表情が変わる表面が生まれます。
コレクターにとって、この作品は複数の価値の層を提示します。坪島土平は追跡可能な作品群を持つ文書化された現役の名匠であり、自筆の墨書のある共箱は出所の証明を提供します。漆蓋自体も相当な洗練度を持つ工芸品——漆塗りは複数の塗り重ね、木地の丁寧な準備、かなりの技術を要します。片口形式の機能的可能性も重要なコレクター資産です：茶道具、酒器、菓子碗、装飾品としての多用途性。
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
🔹 [ BASIC DETAILS ]
• Artist: Tsubojima Dohei (坪島土平), Hironaga Kiln (廣永窯)
• Technique: Shibu-kamiko-de (渋紙手) — iron-rich clay with vertical comb-texturing (kushime), layered ash-green glaze over deep rust-brown body; lacquer lid (urushi-buta) included
• Era: Before 2007 (Showa–Heisei period, contemporary master)
• Origin: Japan (Hironaga Kiln tradition)
• Dimensions: Height approx. 10 cm, Width approx. 20.5 cm, Depth approx. 18.5 cm
• Box: Original tomobako (共箱) — wooden box with artist's calligraphic inscription and blue-and-white rope tie
• Condition: Good overall; consistent with age; iron clay body typical texture intact; artist's impressed seal visible on foot ring
🔹 [ CULTURAL & ARTISTIC INSIGHT ]
Tsubojima Dohei is one of the most important living ceramic artists working in the ancient Hironaga tradition — a kilnmaster who has devoted his career to reviving and extending the aesthetic language of Japan's most earthy, elemental stoneware. His signature technique, shibu-kamiko-de (渋紙手 — "astringent paper hand"), takes its name from the texture of aged, water-soaked washi paper: rough, fibrous, mottled, and deeply absorbing of light. The surface of this katakuchi (pouring bowl with spout) achieves exactly that quality: the iron-red clay body visible through gaps in the ash-green glaze creates a visual patina that reads simultaneously as ancient geological strata and freshly burnt earth.
The katakuchi form itself is one of Japanese ceramics' most versatile and historically significant shapes. Originating as a vessel for pouring sake or broth, the katakuchi has been adapted across centuries into the tea ceremony context as a container for warm water, matcha, and seasonal sweets. Its asymmetry — the irregular oval, the protruding spout — makes it an ideal carrier for the wabi-sabi principle that beauty is not found in perfection but in the particular, the specific, the irrepeatable moment of making.
The lacquer lid (urushi-buta) that accompanies this bowl adds both functional value and aesthetic dialogue: the deep black of urushi lacquer against the rust and ash of the stoneware enacts a conversation between two of Japan's oldest craft traditions — fire and forest, kiln and lacquer tree.
Poetic Line: "The ash glaze fell where it chose, and the clay remembered every fold — a vessel that has always known exactly how to hold."
🔹 [ DEEP-DIVE COMMENTARY ]
Hironaga Kiln (廣永窯) occupies a distinguished position in modern Japanese ceramics as a kiln committed to the revival and creative extension of classical southern Japanese stoneware aesthetics. Tsubojima Dohei, its master, trained in a lineage that privileges raw material expression over decorative overlay — the clay and glaze are the medium, not a canvas for painted imagery. This philosophical alignment with mingei (folk craft) values — honesty of material, fitness of form, beauty discovered rather than imposed — runs through every piece produced at the kiln.
The shibu-kamiko-de technique begins with a high-iron-content clay body that fires to a deep, saturated rust-red. The surface is combed or textured while wet, creating the dimensional, fibrous quality visible on the exterior of this katakuchi. The vessel is then wood-fired and glazed with a natural ash glaze that pools in the textured grooves and settles differently across each surface — thicker in recesses (where it pools green), thinner on ridges (where the iron-red body shows through). The result is a surface that changes colour and character continuously as light shifts and angles change.
For collectors, this piece presents multiple layers of value. Tsubojima Dohei is a documented, active master with a traceable body of work; the tomobako signed in his own hand provides provenance authentication. The lacquer lid is itself a craft object of some sophistication — urushi lacquer work requires multiple coats, careful preparation of the wooden substrate, and considerable skill. The functional potential of the katakuchi form is significant: it can serve as a tea utensil, a sake server, a fruit or confection bowl, a decorative object — its versatility is a collector asset.
Containing the komuso spirit — the wandering monk's principle of rootlessness and radical presence — this katakuchi is a vessel for whatever the moment requires. It does not dictate its use. Like all great Dohei pieces, it waits with complete patience for the owner to discover its purpose.
🔹 [ 日本語解説 ]
【基本仕様】
作家：坪島土平（廣永窯）／技法：渋紙手（鉄分豊富な陶土に鎬文様・灰釉重ね掛け、漆蓋付）／時代：昭和〜平成期（現代名匠）／産地：日本（廣永窯）／寸法：高10cm・幅20.5cm・奥18.5cm／付属：共箱（作家自筆墨書・印）・漆蓋／状態：概ね良好、高台に作家印明瞭
【文化的・芸術的解説】
坪島土平は、廣永窯の窯主として、日本の最も土着的で元素的な陶芸の美学言語を復興・拡張することに生涯を捧げてきた、現代の最重要陶芸家の一人です。彼の代名詞的な技法である渋紙手（しぶかみこで）は、その名が示す通り、水に浸したわしの古紙のような質感——粗く、繊維質で、斑状で、光を深く吸収する——を陶器表面に再現します。この片口鉢の表面は、その質感を完璧に体現しています。灰釉の緑の隙間から顔を出す鉄赤の陶土が、古代の地質層と燃え立つ土をぎりぎり重ね合わせた、視覚的なパティナを作り出しています。
片口という形そのものも、日本陶芸における最も多用途で歴史的に重要な形の一つです。酒や汁物を注ぐ器として生まれ、茶道においてはお湯、抹茶、季節の菓子の器として転用されてきた片口は、その非対称性——不規則な楕円、突出した注ぎ口——によって、「美は完全性ではなく、特殊性・固有性・繰り返しのない制作の一瞬に宿る」という侘び寂びの原則を体現する理想的な器となっています。
共に届く漆蓋（うるしぶた）は、機能的価値に加え、美学的な対話をもたらします。漆の深い黒と石器の錆色・灰色の対比は、日本の二つの最古の工芸伝統——火と森、窯と漆の木——の間の会話を演じます。
「灰釉は落ちたいところに落ち、粘土はあらゆる折り目を記憶した。この器は、どう保持すればよいかを、最初から知っていた。」
【深層解説】
廣永窯は、古典的な南日本の石器美学の復興と創造的拡張に専念する窯として、現代日本陶芸において傑出した地位を占めています。坪島土平は、装飾的な重ね塗りよりも原材料の表現を優先する系譜——粘土と釉薬が媒体であり、描かれた図像のためのキャンバスではない——で訓練を受けました。この民芸的価値観——素材の誠実さ、形の適合性、押し付けられるのではなく発見される美しさ——との哲学的な共鳴が、廣永窯で作られるすべての作品を貫いています。
渋紙手技法は、焼成時に深い鉄錆色になる高鉄分陶土から始まります。素地は濡れているうちに鎬目や凹凸を付けられ、外面に見られる立体的な繊維質の質感が生まれます。次いで木窯で焼成され、自然灰釉を掛けられた釉薬は凹んだ溝に溜まり（緑がかった色に）、突出した稜線ではより薄く（鉄赤の素地が透けて見える）なります。結果として、光の変化と角度によって継続的に色彩と表情が変わる表面が生まれます。
コレクターにとって、この作品は複数の価値の層を提示します。坪島土平は追跡可能な作品群を持つ文書化された現役の名匠であり、自筆の墨書のある共箱は出所の証明を提供します。漆蓋自体も相当な洗練度を持つ工芸品——漆塗りは複数の塗り重ね、木地の丁寧な準備、かなりの技術を要します。片口形式の機能的可能性も重要なコレクター資産です：茶道具、酒器、菓子碗、装飾品としての多用途性。
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
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