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Wajima Lacquer Dobari Natsume Tea Caddy – Gold Maki-e Gourd – Okamoto Yosai – Japan
Wajima Lacquer Dobari Natsume Tea Caddy – Gold Maki-e Gourd – Okamoto Yosai – Japan
Regular price
Dhs. 1,303.00 AED
Regular price
Sale price
Dhs. 1,303.00 AED
Taxes included.
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Experience Authentic Japanese Lacquer Art with this Wajima Lacquer Natsume. This Japanese Tea Caddy serves as a refined Dobari Barrel Natsume and Tame-nuri Lacquer Caddy, featuring Gold Maki-e Gourd Design artistry and Wajima-nuri Craftsmanship tradition—a must-have for any Tea Ceremony Collector. This Urushi Lacquer Tea Ware by Okamoto Yosai represents the pinnacle of Chado Tea Accessories, perfect as a Japanese Zen Art Object for the dedicated collector.
🔹 [ BASIC DETAILS ]
• Artist: Okamoto Yosai (岡本陽斎)
• Technique: Wajima-nuri lacquer with gold maki-e on tame-nuri ground
• Era: Contemporary
• Origin: Wajima, Ishikawa Prefecture, Japan
• Form: Dobari natsume (barrel-shaped tea caddy)
• Dimensions: Height approx. 6.5 cm, Diameter approx. 6.7 cm
• Weight: 64 g
• Box: Signed wooden box (共箱)
• Condition: Excellent — deep, luminous tame-nuri surface with pristine maki-e
🔹 [ Cultural & Artistic Insight ]
The dobari (barrel-swelled) natsume possesses a subtle architectural tension that sets it apart from the standard cylindrical form. Its gently convex walls create a sense of contained fullness — the vessel seems to breathe outward, as though the lacquer itself holds pressure. Wajima-nuri, produced on the remote Noto Peninsula, is considered among the most durable and refined lacquer traditions in Japan, distinguished by its use of jinoko (diatomaceous earth) as an undercoat foundation that creates exceptional resilience.
The gourd (hyotan) motif carries layered cultural meaning: in Japanese tradition, gourds symbolize proliferation, good fortune, and the interconnection of all things. The flowing vine lines that accompany them suggest organic growth and natural rhythm — themes deeply consonant with the philosophy of tea.
*Tame-nuri deepens with age, the way certain memories gain color the longer they are held.*
🔹 [ Deep-Dive Commentary ]
Wajima-nuri is defined by a process of extraordinary rigor. The foundation involves applying multiple layers of raw urushi mixed with jinoko (diatomaceous earth from the Noto region), followed by layers of cloth reinforcement and additional lacquer applications. A single piece may undergo over 120 individual steps from bare wood to finished surface. This structural approach gives Wajima lacquer its legendary durability — pieces from the Edo period remain in active use today.
The tame-nuri (transparent amber lacquer over a colored ground) finish on this dobari natsume creates a depth effect that changes with light and viewing angle. Unlike the opaque black of roiro-nuri, tame-nuri allows the warmth of the underlying layers to glow through — a quiet radiance that intensifies over decades of handling. The gold maki-e gourd and vine design is rendered with controlled fluidity, the trailing lines suggesting the organic sprawl of a garden vine without losing compositional discipline.
The dobari form itself requires considerable skill in woodturning. The barrel swell must be precisely calibrated — too much curvature and the lid will not seat properly; too little and the distinctive silhouette is lost. Okamoto Yosai, working within the Wajima tradition, achieves a proportion where the form feels inevitable rather than designed.
At only 64 grams, this natsume demonstrates the remarkable thinness of the wood core — a hallmark of accomplished Wajima turners who pare the wood to its structural minimum, allowing the lacquer itself to become the dominant material presence.
🔹 [ 日本語解説 ]
【基本情報】
• 作家：岡本陽斎
• 技法：輪島塗・溜塗地に金蒔絵（瓢箪文）
• 形状：胴張棗
• 寸法：高さ約6.5cm、口径約6.7cm
• 重量：64g
• 付属：共箱
• 状態：極めて良好。溜塗の深い光沢と蒔絵の状態ともに申し分なし
【文化的背景と芸術的考察】
胴張棗は、標準的な円筒形の棗とは異なり、胴部がゆるやかに膨らむ独特の造形を持つ。その張りのある輪郭は、器が内から息づくような含蓄を宿す。輪島塗は能登半島の地の粉（珪藻土）を下地に用いることで知られ、日本の漆器の中でも最も堅牢で格調高い伝統の一つに数えられる。
瓢箪文は日本の装飾意匠において繁栄・吉祥・万物の繋がりを象徴する。蔓の流れるような線は有機的な生長と自然の律動を暗示し、茶の湯の哲学と深く共鳴する。
輪島塗の工程は生漆に地の粉を混ぜた下地を幾重にも重ね、布着せ補強を施し、120以上の工程を経て完成に至る。溜塗の仕上げは光の加減や見る角度によって表情を変え、使い込むほどに色艶が深まる。わずか64gという軽さは、木地師が木を構造的限界まで薄く挽いた証であり、漆そのものが素材の主役となっている。
🔹 [ SHIPPING & PACKAGING ]
• Dispatch: Within 1-6 business days
• Carrier: Japan Post EMS / UPS (with tracking)
• Packaging: Carefully wrapped with protective materials
🔹 [ BASIC DETAILS ]
• Artist: Okamoto Yosai (岡本陽斎)
• Technique: Wajima-nuri lacquer with gold maki-e on tame-nuri ground
• Era: Contemporary
• Origin: Wajima, Ishikawa Prefecture, Japan
• Form: Dobari natsume (barrel-shaped tea caddy)
• Dimensions: Height approx. 6.5 cm, Diameter approx. 6.7 cm
• Weight: 64 g
• Box: Signed wooden box (共箱)
• Condition: Excellent — deep, luminous tame-nuri surface with pristine maki-e
🔹 [ Cultural & Artistic Insight ]
The dobari (barrel-swelled) natsume possesses a subtle architectural tension that sets it apart from the standard cylindrical form. Its gently convex walls create a sense of contained fullness — the vessel seems to breathe outward, as though the lacquer itself holds pressure. Wajima-nuri, produced on the remote Noto Peninsula, is considered among the most durable and refined lacquer traditions in Japan, distinguished by its use of jinoko (diatomaceous earth) as an undercoat foundation that creates exceptional resilience.
The gourd (hyotan) motif carries layered cultural meaning: in Japanese tradition, gourds symbolize proliferation, good fortune, and the interconnection of all things. The flowing vine lines that accompany them suggest organic growth and natural rhythm — themes deeply consonant with the philosophy of tea.
*Tame-nuri deepens with age, the way certain memories gain color the longer they are held.*
🔹 [ Deep-Dive Commentary ]
Wajima-nuri is defined by a process of extraordinary rigor. The foundation involves applying multiple layers of raw urushi mixed with jinoko (diatomaceous earth from the Noto region), followed by layers of cloth reinforcement and additional lacquer applications. A single piece may undergo over 120 individual steps from bare wood to finished surface. This structural approach gives Wajima lacquer its legendary durability — pieces from the Edo period remain in active use today.
The tame-nuri (transparent amber lacquer over a colored ground) finish on this dobari natsume creates a depth effect that changes with light and viewing angle. Unlike the opaque black of roiro-nuri, tame-nuri allows the warmth of the underlying layers to glow through — a quiet radiance that intensifies over decades of handling. The gold maki-e gourd and vine design is rendered with controlled fluidity, the trailing lines suggesting the organic sprawl of a garden vine without losing compositional discipline.
The dobari form itself requires considerable skill in woodturning. The barrel swell must be precisely calibrated — too much curvature and the lid will not seat properly; too little and the distinctive silhouette is lost. Okamoto Yosai, working within the Wajima tradition, achieves a proportion where the form feels inevitable rather than designed.
At only 64 grams, this natsume demonstrates the remarkable thinness of the wood core — a hallmark of accomplished Wajima turners who pare the wood to its structural minimum, allowing the lacquer itself to become the dominant material presence.
🔹 [ 日本語解説 ]
【基本情報】
• 作家：岡本陽斎
• 技法：輪島塗・溜塗地に金蒔絵（瓢箪文）
• 形状：胴張棗
• 寸法：高さ約6.5cm、口径約6.7cm
• 重量：64g
• 付属：共箱
• 状態：極めて良好。溜塗の深い光沢と蒔絵の状態ともに申し分なし
【文化的背景と芸術的考察】
胴張棗は、標準的な円筒形の棗とは異なり、胴部がゆるやかに膨らむ独特の造形を持つ。その張りのある輪郭は、器が内から息づくような含蓄を宿す。輪島塗は能登半島の地の粉（珪藻土）を下地に用いることで知られ、日本の漆器の中でも最も堅牢で格調高い伝統の一つに数えられる。
瓢箪文は日本の装飾意匠において繁栄・吉祥・万物の繋がりを象徴する。蔓の流れるような線は有機的な生長と自然の律動を暗示し、茶の湯の哲学と深く共鳴する。
輪島塗の工程は生漆に地の粉を混ぜた下地を幾重にも重ね、布着せ補強を施し、120以上の工程を経て完成に至る。溜塗の仕上げは光の加減や見る角度によって表情を変え、使い込むほどに色艶が深まる。わずか64gという軽さは、木地師が木を構造的限界まで薄く挽いた証であり、漆そのものが素材の主役となっている。
🔹 [ 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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