{"product_id":"tamba-tachikui-ash-glaze-matcha-chawan-named-hakuu-box-signed-by-tea-master-hisada-soya","title":"Tamba Tachikui Ash Glaze Matcha Chawan named Hakuu, Box Signed by Tea Master Hisada Soya","description":"Experience Authentic Japan Art with this Tamba Tachikui Chawan. This Ash Glaze Matcha Bowl serves as a Wabi Sabi Tea Bowl and Japanese Tea Ceremony Bowl, featuring Kairagi Crawled Glaze and an Iron Tamba Clay Body—a Certified Tea Master Box piece and a must-have for any Japanese Art Collector seeking a Hand Thrown Pottery Bowl with quiet authorship.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist \/ Authentication: Bowl by a Tamba (Tachikui) kiln potter; tomobako (wooden box) inscribed and sealed (hakogaki) by tea master Hisada Soya (Jingyusai), the 13th-generation head of the Hisada family of the Omotesenke school\u003cbr\u003e• Mei (Poetic Name): 白雨 (Hakuu) — \"White Rain,\" the sudden bright summer shower\u003cbr\u003e• Technique: Wheel-thrown stoneware with thick ash glaze (haiyu); pronounced kairagi (crawled, beaded glaze) and natural pinholing\u003cbr\u003e• Era: Showa to Heisei period (circa 1970s–1990s)\u003cbr\u003e• Origin: Tamba Tachikui ware, Hyogo Prefecture; certified within the Omotesenke tea lineage\u003cbr\u003e• Dimensions: Height approx. 7.2 cm, Diameter approx. 12.2 cm\u003cbr\u003e• Box: Original signed paulownia-style wooden box (tomobako) with hakogaki and kao seal, blue sanada-himo cord\u003cbr\u003e• Condition: Excellent. No chips, cracks, or repairs. Honest wabi surface with intentional glaze crawl and kiln character\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eHistorical Context: Tamba ware (Tamba-yaki), centered on the village of Tachikui in Hyogo, is counted among the Six Ancient Kilns of Japan (Nihon Rokkoyo), with an unbroken history reaching back roughly eight centuries to the Heian and Kamakura periods. Born as a kiln of farmers' jars and everyday storage vessels, Tamba was later embraced by the tea world precisely for its unpretentious, earth-rooted honesty—the very opposite of courtly refinement. A bowl such as this carries that long agrarian memory into the quiet theatre of the tea room.\u003cbr\u003e\u003cbr\u003eTechnique \u0026amp; Aesthetic: The body is a warm, iron-rich Tamba clay, left bare at the foot to reveal its reddish-brown grain. Over it lies a thick, milky ash glaze that has pooled, crawled, and bubbled into kairagi—the \"plum-blossom skin\" so prized in chawan, where the glaze beads and tears away from the clay to expose the body beneath. Lavender-gray shadows gather at the rim where the glaze thins, while the interior tea pool keeps clear spiral throwing marks. Nothing here is corrected or polished smooth; the surface is allowed to remain as the fire left it.\u003cbr\u003e\u003cbr\u003ePhilosophical Reflection: White rain falls hard, then clears—and the glaze holds that same passing brightness, pale and unrepeatable on dark earth.\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eTamba Tachikui ware is defined less by a single decorative formula than by its material truthfulness. Its identity rests on a coarse, high-iron local clay and a kiln tradition that for centuries relied on wood-ash and natural-ash effects rather than painted ornament. When potters of Tachikui turn to the chawan, they translate the toughness of the old storage jar into the intimacy of the hand.\u003cbr\u003e\u003cbr\u003eThe defining feature here, kairagi (crawled glaze), is achieved through the deliberate tension between glaze and clay during firing. A thick ash glaze, applied over a body that shrinks at a different rate, contracts and crawls in the heat, beading into a pebbled, frost-like skin. What a porcelain master would call a flaw, the tea aesthetic embraces as景色 (keshiki)—\"scenery\"—a landscape read in the surface of the bowl.\u003cbr\u003e\u003cbr\u003eFor the collector, value rests on two pillars. The first is the pottery itself: an authentic Tamba chawan whose wabi character is genuine, not manufactured. The second, and decisive, is the hakogaki. A box inscription by Hisada Soya, head of one of the principal families serving the Omotesenke tea school, is an act of connoisseurship: a master placing his name and seal to vouch for a bowl's worthiness in the tea ceremony. Such certification anchors the object within a living lineage of taste.\u003cbr\u003e\u003cbr\u003eIn contemporary practice, this is a chawan that bridges centuries. It can be used for koicha or usucha in a formal setting, or simply held—an unbroken thread from the medieval kilns of Tachikui to the quiet ritual of a single bowl of tea today.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e【基本情報】\u003cbr\u003e・作家／極め: 丹波立杭焼の茶碗。共箱に表千家・久田家十三代 久田宗也(尋牛斎)による書付・花押あり\u003cbr\u003e・銘: 「白雨(はくう)」— 夏のにわか雨、明るく降り過ぎる白い雨\u003cbr\u003e・技法: 轆轤成形の炻器に厚い灰釉。顕著な梅花皮(かいらぎ)と自然なピンホールの景色\u003cbr\u003e・時代: 昭和〜平成期(1970〜1990年代頃)\u003cbr\u003e・産地: 兵庫県 丹波立杭焼。表千家の茶系の中で極められた一碗\u003cbr\u003e・寸法: 高さ 約7.2cm、直径 約12.2cm\u003cbr\u003e・箱: 書付・花押入りの共箱、紺の真田紐付き\u003cbr\u003e・状態: 良好。欠け・ひび・直しなし。意図された釉の梅花皮と窯味を備えた侘びた肌\u003cbr\u003e\u003cbr\u003e【文化的・美的解説】\u003cbr\u003e丹波立杭焼は日本六古窯のひとつに数えられ、平安・鎌倉期に遡るおよそ八百年の歴史をもつ。もとは壺や甕など農の暮らしの器を焼いた窯であり、その飾らない、土に根ざした正直さゆえに、のちの茶の湯に深く愛された。この碗も、その長い農耕の記憶を静かな茶室へと運び込む。\u003cbr\u003e\u003cbr\u003e素地は鉄分を含む温かな丹波の土で、高台ではあえて土見せとし、赤茶けた地肌を露わにしている。その上に厚く掛けられた灰釉が溶け、縮れ、泡立って梅花皮となった。釉が珠のように縮れて土を覗かせるこの景色こそ、茶碗において殊に尊ばれるところである。口縁の釉が薄れる部分には灰紫の陰が宿り、見込みの茶溜まりには轆轤目が明瞭に残る。手を加えて整えることなく、火の去ったままの肌を良しとしている。\u003cbr\u003e\u003cbr\u003e詩的な一行: 白雨は激しく降り、やがて晴れる。釉もまた、暗き土の上にその束の間の明るさを、二度とない姿でとどめている。\u003cbr\u003e\u003cbr\u003e【ディープダイブ解説】\u003cbr\u003e丹波立杭焼の本質は、単一の装飾様式ではなく、素材への誠実さにある。粗く鉄分の多い在地の土と、絵付けに頼らず薪の灰・自然釉の効果を生かしてきた窯の伝統が、その個性を支えている。立杭の陶工が茶碗を手がけるとき、古い壺の力強さは、掌に収まる親密さへと翻訳される。\u003cbr\u003e\u003cbr\u003e本作の眼目である梅花皮は、焼成中の釉と土の収縮差という緊張から生まれる。素地と異なる速さで縮む厚い灰釉が、熱の中で縮れ、霜のような肌へと結晶する。磁器の名工が「欠点」と呼ぶものを、茶の美意識は「景色」として迎え入れる。\u003cbr\u003e\u003cbr\u003eコレクターにとっての価値は二つの柱に支えられる。ひとつは器そのもの——侘びの趣が作為ではなく本物である、確かな丹波茶碗であること。もうひとつ、そして決定的なのが書付である。表千家に仕える久田家当主 久田宗也による箱書きは、一個の目利きの行為であり、その碗が茶席にふさわしいことを名と花押をもって保証するものだ。この極めが、器を生きた美の系譜の中に確かに位置づける。\u003cbr\u003e\u003cbr\u003e現代において、この茶碗は幾世紀をつなぐ。正式な席で濃茶・薄茶に用いることもでき、あるいはただ手に取るだけでもよい——中世の立杭の窯から、今日の一碗の茶の静けさへと続く、途切れぬ一筋の糸である。\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":61954454684018,"sku":"260618_a_2999","price":3155.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m87995985050_1.jpg?v=1781797360","url":"https:\/\/checkout.themodernzenarchive.com\/products\/tamba-tachikui-ash-glaze-matcha-chawan-named-hakuu-box-signed-by-tea-master-hisada-soya","provider":"The Modern Zen Archive","version":"1.0","type":"link"}