{"product_id":"suzuki-goro-shino-guinomi-sake-cup-with-nezumi-shino-and-fire-color","title":"Suzuki Goro Shino Guinomi Sake Cup with Nezumi-Shino and Fire Color","description":"Experience Authentic Japanese Mino Ware with this Suzuki Goro Shino Guinomi. This Sake Cup serves as a traditional Shino vessel and wabi-sabi art object, featuring milky feldspathic glaze and nezumi-shino effects—a must-have for any Japanese ceramics collector seeking Momoyama-era tradition and contemporary Mino artistry.\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e\u003cbr\u003e• Artist: Suzuki Goro (鈴木五郎)\u003cbr\u003e• Technique: Shino ware (志野焼) with nezumi-shino and natural pinholes\u003cbr\u003e• Era: Contemporary (1990s–2000s)\u003cbr\u003e• Origin: Aichi Prefecture (Mino region), Japan\u003cbr\u003e• Dimensions: Dia 7.9cm × H 6cm (3.1\" × 2.4\")\u003cbr\u003e• Box: Tomobako with cloth wrapper (共箱共布)\u003cbr\u003e• Condition: Excellent — no chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eShino ware emerged in the Mino kilns during the Momoyama period — the brief, incandescent decades of the late sixteenth century when Japanese tea culture was rewriting every rule about what a vessel could be. The thick, white feldspathic glaze was revolutionary: where Chinese and Korean traditions pursued refinement and translucency, Shino embraced opacity, texture, and the evidence of fire. It was, and remains, a declaration of independence.\u003cbr\u003e\u003cbr\u003eSuzuki Goro works within this lineage while refusing to merely replicate it. This guinomi carries the hallmarks of authentic Shino — the milky white glaze with its characteristic pinholes (suzume), the orange-red fire color (hi-iro) where the clay breathes through, and passages of blue-grey nezumi-shino where iron slip darkens beneath the translucent white. Each surface tells a different chapter of the firing.\u003cbr\u003e\u003cbr\u003eThe form itself is deliberately organic, slightly irregular in a way that invites the hand to explore. This is the wabi-sabi principle made tangible — not imperfection for its own sake, but the recognition that a vessel shaped by human hands and transformed by fire carries a truth that geometric precision cannot.\u003cbr\u003e\u003cbr\u003e*\"The kiln does not obey. It collaborates — and sometimes, it leads.\"*\u003cbr\u003e\u003cbr\u003e━━━━━━━━━━━━━━━━━━━━\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003e**Shino Glaze (志野釉)**: The defining characteristic of Shino ware is its thick feldspathic glaze, derived from feldspar-rich stone ground to powder and applied in multiple layers. During firing, gases escape through the viscous glaze, leaving the tiny pinholes called suzume (雀, \"sparrows\") that are prized as evidence of the material's life in the kiln.\u003cbr\u003e\u003cbr\u003e**Nezumi-Shino (鼠志野)**: Literally \"mouse Shino,\" this effect occurs where an iron-bearing slip is applied beneath the white glaze. During firing, the iron darkens to blue-grey, creating areas of muted color that contrast with the bright white. The interplay between white and grey across a single vessel is one of Shino's most compelling visual narratives.\u003cbr\u003e\u003cbr\u003e**Hi-iro (緋色) — Fire Color**: Where the glaze thins or the clay body is exposed, iron in the clay oxidizes to produce warm orange-red tones. These passages of fire color are not painted or planned — they emerge from the kiln as records of heat, atmosphere, and the clay's mineral composition.\u003cbr\u003e\u003cbr\u003e**Suzuki Goro's Contribution**: Based in Aichi Prefecture at the heart of the historic Mino ceramic region, Suzuki Goro has spent decades mastering and reinterpreting the trinity of Mino glazes: Shino, Oribe, and Ki-Seto. His work bridges historical reverence with contemporary vitality, ensuring these Momoyama-era traditions remain living practices rather than museum relics.\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：鈴木五郎\u003cbr\u003e• 技法：志野焼（鼠志野・緋色）\u003cbr\u003e• 時代：現代（1990年代〜2000年代）\u003cbr\u003e• 産地：愛知県（美濃地方）\u003cbr\u003e• 寸法：口径 約7.9cm × 高さ 約6cm\u003cbr\u003e• 付属：共箱・共布\u003cbr\u003e• 状態：良好 — 傷、欠け、修理なし\u003cbr\u003e\u003cbr\u003e【解説】\u003cbr\u003e志野焼は桃山時代の美濃窯に生まれた、日本独自の白釉陶器です。中国・朝鮮の磁器が透明感と精緻さを追求したのに対し、志野は不透明な長石釉の厚みと、窯の中で生まれる偶然の景色を美として受け入れました。それは茶の湯の精神が器に宿った瞬間でした。\u003cbr\u003e\u003cbr\u003e鈴木五郎は愛知県を拠点に、志野・織部・黄瀬戸という美濃焼の三大技法を探求し続ける陶芸家です。本作のぐい吞には、乳白色の志野釉に浮かぶ雀（ピンホール）、鉄絵の下から現れる鼠志野の青灰色、そして素地の鉄分が酸化して生まれる緋色という、志野の見所が凝縮されています。\u003cbr\u003e\u003cbr\u003eやや不整形な造形は、手の中で回すたびに異なる景色を見せ、一碗の中に窯の記憶が刻まれています。桃山の伝統を現代に生かす鈴木五郎の、確かな手仕事による一品です。\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\u003cbr\u003e\u003cbr\u003e*White glaze, fire color, the grey of smoke — a single cup holds the whole kiln's story.*","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61591531192690,"sku":"260113_a_1469","price":2511.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m35231587676_3.jpg?v=1770947474","url":"https:\/\/checkout.themodernzenarchive.com\/products\/suzuki-goro-shino-guinomi-sake-cup-with-nezumi-shino-and-fire-color","provider":"The Modern Zen Archive","version":"1.0","type":"link"}