{"product_id":"shino-chawan-tea-bowl-by-arakawa-toyozo-living-national-treasure-with-omotesenke-sokuchusai-inscription-japanese-mino-ware","title":"Shino Chawan Tea Bowl by Arakawa Toyozo Living National Treasure with Omotesenke Sokuchusai Inscription Japanese Mino Ware","description":"Experience Authentic Japan Art with this Shino Chawan Tea Bowl. This Arakawa Toyozo Tea Bowl serves as a Japanese Matcha Bowl and Mino Ware Chawan, featuring Feldspar Shino Glaze and Sokuchusai Hakogaki Box—a must-have for any Japanese Art Collector seeking Living National Treasure Pottery and Authentic Tea Ceremony Ware.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Arakawa Toyozo (1894–1985), Living National Treasure (Ningen Kokuhō), designated 1955 for Shino and Setoguro\u003cbr\u003e• Technique: Hand-formed stoneware with thick feldspar (chōseki) glaze, wood-fired in anagama kiln, yuzu-hada (citron-skin) pinholing, hi-iro (fire-color) blush\u003cbr\u003e• Era: Mid 20th century (Shōwa period, circa 1955–1980)\u003cbr\u003e• Origin: Mino, Gifu Prefecture, Japan — Mukashi-gama tradition revived at Ōkaya\u003cbr\u003e• Dimensions: Height approx. 9.3 cm, Diameter approx. 14.5 cm\u003cbr\u003e• Box: Original signed kiri-wood tomobako titled \"Shino Chawan\" with hakogaki and red seal of Sokuchūsai (即中斎), 13th-generation grand master of Omotesenke tea school\u003cbr\u003e• Condition: Excellent vintage condition with no chips or cracks; natural kiln variation and glaze pooling consistent with Shino aesthetics\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eArakawa Toyozō stands among the most quietly revolutionary figures of twentieth-century Japanese ceramics. In 1930, his discovery of shards at the Mutabora kiln site in Mino confirmed that the Momoyama-period Shino and Yellow Seto wares — long thought to have originated in Seto — were in fact fired in the mountains of Gifu. He then rebuilt an anagama kiln on that very land and devoted his life to restoring a lineage that had slept for three centuries.\u003cbr\u003e\u003cbr\u003eThis chawan carries the full vocabulary of his mature Shino: a deep, milky feldspar glaze that pools and crawls; constellations of pinholes opening like breath across the surface; and warm patches of hi-iro where the flame kissed the foot. The clay beneath is coarse, ferrous, and honest — visible at the kōdai where Toyozō's spatula has left a single decisive cut.\u003cbr\u003e\u003cbr\u003eThe accompanying box bears the hakogaki of Sokuchūsai Sōsa (即中斎, 1901–1979), the thirteenth-generation iemoto of Omotesenke. A box inscribed by a tea master of this rank transforms an already significant work into a tea utensil with documented place in the chanoyu lineage — a true meibutsu candidate.\u003cbr\u003e\u003cbr\u003eThe glaze breathes. The pinholes hold the light. Winter snow remembered by a summer kiln.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eShino (志野) is the first truly white ware of Japan, born in late sixteenth-century Mino under the patronage of the Momoyama tea masters. Unlike Chinese porcelain whites that were achieved through refined kaolin, Shino's whiteness comes from a thick, opaque feldspar glaze applied to iron-bearing stoneware — a profoundly Japanese solution to whiteness as atmosphere rather than purity.\u003cbr\u003e\u003cbr\u003eThe technique is unforgiving. The glaze must be laid on heavily, almost sculpturally, then fired long and slow in an anagama. As the kiln cools, gases trapped beneath the viscous glaze escape as pinholes — the yuzu-hada texture that collectors prize above all. Where the glaze thins, the iron clay blushes pink-orange (hi-iro); where it pools, it reads as warm, opalescent white. No two firings repeat.\u003cbr\u003e\u003cbr\u003eFor collectors, Arakawa Toyozō's importance is twofold. As a scholar, he proved Mino's authorship of Momoyama Shino. As a maker, he became the standard against which all subsequent Shino is measured — designated Living National Treasure in 1955 for both Shino and Setoguro. Works passing through his kiln and surviving with original tomobako are increasingly difficult to locate, especially those with secondary inscriptions by major tea masters.\u003cbr\u003e\u003cbr\u003eThe Sokuchūsai hakogaki is the second layer of authentication and meaning. Within the Sen tea schools, a chawan inscribed by a sitting iemoto enters the formal record of utensils approved for use in chanoyu. It is no longer simply a bowl by Toyozō — it is a bowl chosen by Omotesenke. That distinction shapes both its tea-room presence and its market.\u003cbr\u003e\u003cbr\u003eIn contemporary collecting, this lineage — Mino clay, Momoyama vocabulary, Living National Treasure hand, Omotesenke voice — is the rarest configuration a single piece can carry. It is the bowl that scholars cite and that practitioners use.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家: 荒川豊蔵（1894–1985）、1955年に志野・瀬戸黒で重要無形文化財保持者（人間国宝）認定\u003cbr\u003e• 技法: 手捏ね成形、厚掛けの長石釉、穴窯による薪焼成、柚肌（ピンホール）、緋色（火色）の景色\u003cbr\u003e• 時代: 昭和中期（1955–1980年頃）\u003cbr\u003e• 産地: 岐阜県美濃 — 大萱の牟田洞古窯址に築窯した荒川自身の窯\u003cbr\u003e• 寸法: 高さ約9.3cm、直径約14.5cm\u003cbr\u003e• 箱: 共箱（桐製）、「志野茶椀」墨書、表千家十三代 即中斎宗左の書付・朱印あり\u003cbr\u003e• 状態: 良好。傷・欠けなし。窯による釉景色は志野本来の見どころ\u003cbr\u003e\u003cbr\u003e【文化的・芸術的考察】\u003cbr\u003e荒川豊蔵は二十世紀日本陶芸の静かな革命家である。1930年、美濃・大萱の牟田洞古窯址で陶片を発見し、長らく瀬戸で焼かれたと信じられていた桃山志野・黄瀬戸が、実は岐阜の山中で生まれたものであることを実証した。彼はその地に穴窯を再築し、三百年眠っていた系譜の復活に生涯を捧げた。\u003cbr\u003e\u003cbr\u003e本碗は豊蔵円熟期の志野の語彙をすべて備える。厚く乳白に溶ける長石釉、表面に星座のように開く柚肌のピンホール、高台脇に炎が触れた緋色のあたたかな景色。釉下の土は鉄分を含む荒土で、高台の篦目には豊蔵の決然とした一刀が残る。\u003cbr\u003e\u003cbr\u003e共箱の書付は表千家十三代 即中斎宗左（1901–1979）。この階位の宗匠による箱書きは、作品を単なる名工の作から、茶の湯の系譜に位置を持つ道具へと昇華させる — 真の名物候補である。\u003cbr\u003e\u003cbr\u003e釉が呼吸している。ピンホールが光をたたえる。夏の窯が思い出した冬の雪。\u003cbr\u003e\u003cbr\u003e【深層解説】\u003cbr\u003e志野は日本最初の本格的な白い焼き物であり、桃山後期の美濃で茶人の庇護のもとに誕生した。中国磁器の白が精製された白磁土による純白であったのに対し、志野の白は鉄分を含む陶土に厚く長石釉をかけて得られる「気配としての白」であり、極めて日本的な解である。\u003cbr\u003e\u003cbr\u003e技法は容赦がない。釉は彫刻のように厚く掛けられ、穴窯で長く緩やかに焼成される。冷却の過程で粘性の高い釉の下に閉じ込められた気体が抜け、柚肌（ゆずはだ）と呼ばれる景色を生む。釉が薄いところでは鉄分が緋色に発色し、釉が溜まったところは温かい乳白色となる。同じ焼成は二度とない。\u003cbr\u003e\u003cbr\u003eコレクターにとって荒川豊蔵の重要性は二重である。研究者として桃山志野の美濃起源を証明し、作家として後続のすべての志野が比較される基準となった。1955年、志野と瀬戸黒で人間国宝に認定。共箱付きで現存する作品は年々入手困難となっており、なかでも有力茶人の書付を伴うものは別格の希少性を持つ。\u003cbr\u003e\u003cbr\u003e即中斎の書付は二重の認証である。千家系統において、現職の家元が書付した茶碗は茶の湯で用いる道具として正式な記録に加わる。豊蔵の作であるだけでなく「表千家が選んだ碗」となる — その意味は茶席での存在感と市場価値の双方を形作る。\u003cbr\u003e\u003cbr\u003e現代の蒐集において、美濃の土・桃山の語彙・人間国宝の手・表千家の声、この四者が一碗に集うのは最も稀な配置である。学者が引用し、実践者が用いる碗である。\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":61894499205490,"sku":"260602_a_2936","price":5923.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m19219396067_1.jpg?v=1780361026","url":"https:\/\/checkout.themodernzenarchive.com\/products\/shino-chawan-tea-bowl-by-arakawa-toyozo-living-national-treasure-with-omotesenke-sokuchusai-inscription-japanese-mino-ware","provider":"The Modern Zen Archive","version":"1.0","type":"link"}