{"product_id":"yuzu-kuro-matcha-tea-bowl-by-sugiura-yoshiki-black-glazed-chawan-with-signed-wooden-box","title":"Yuzu-Kuro Matcha Tea Bowl by Sugiura Yoshiki — Black Glazed Chawan with Signed Wooden Box","description":"Experience Authentic Japan Art with this Yuzu-Kuro Chawan. This Japanese Matcha Bowl serves as a Black Glazed Tea Bowl and Signed Chawan, featuring Wabi-Sabi Ceramic Art and Hand-Thrown Tea Ceremony Bowl—a must-have for any Art Collector. This Sugiura Yoshiki work embodies Japanese Pottery Gift and Kuro Chawan tradition, completing a Archive-worthy Tea Ceremony Ceramics collection.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Sugiura Yoshiki (杉浦芳樹)\u003cbr\u003e• Technique: Yuzu-kuro glaze (柚子黒釉) — iron-rich black glaze fired to produce a distinctive pocked, citrus-peel surface texture\u003cbr\u003e• Era: 2000s–2010s (contemporary)\u003cbr\u003e• Origin: Japan (independent studio)\u003cbr\u003e• Dimensions: Height approx. 8.5 cm, Diameter approx. 12 cm\u003cbr\u003e• Box: Signed tomobako (共箱) — lid inscribed 「柚子黒 茶盌 芳樹造」 with artist's red seal\u003cbr\u003e• Condition: Excellent — no chips, cracks, or repairs\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003e\u003cbr\u003eHistorical Context:\u003cbr\u003eThe kuro chawan — black tea bowl — occupies a singular place in the Japanese tea ceremony. It was Sen no Rikyu, the sixteenth-century master who shaped wabi-cha into a philosophy, who elevated the rough and the dark over the refined and the ornate. Where glazed celadons and painted porcelains declared status, the black bowl declared presence. It absorbed light. It demanded attention without asking for it.\u003cbr\u003e\u003cbr\u003eYuzu-kuro is a refinement within that lineage. The name refers to yuzu — the knobbed citrus fruit — whose dimpled rind inspired potters to seek a surface that was not smooth, not perfect, but textured with intention. To achieve yuzu-kuro, the clay body is often coarsened and the iron-saturated glaze applied in layers that, at high temperature, pull apart at a micro-scale as gases escape, leaving craters and peaks that catch light differently at every angle.\u003cbr\u003e\u003cbr\u003eTechnique \u0026amp; Aesthetic:\u003cbr\u003eSugiura Yoshiki's bowl exhibits this effect with discipline. The body is thick and settled — the silhouette of a bowl that was thrown slowly, without urgency. The rim is slightly uneven, not from carelessness but from an understanding that the hand must leave its mark. At the shoulder the glaze sits matte and almost mineral; near the rim a faint sheen appears, a second surface within the same firing. The unglazed foot ring is sandy, pale, and coarse — the earth visible beneath the dark sky of the bowl's exterior.\u003cbr\u003e\u003cbr\u003ePhilosophical Reflection:\u003cbr\u003e\"Darkness is not absence. In this bowl, it is the field where tea becomes visible — a single moment of green against endless black.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003e\u003cbr\u003eThe Kuro Chawan Tradition:\u003cbr\u003eIn the hierarchy of tea bowls, kuro chawan hold a specific seasonal and philosophical position. Associated with winter temae — particularly the intimacy of ro season (the sunken hearth, November through April) — black bowls are understood to embody concentration, inwardness, and depth. They do not scatter attention; they gather it.\u003cbr\u003e\u003cbr\u003eYuzu-Kuro as a Technical Achievement:\u003cbr\u003eThe yuzu-kuro surface is not incidental. It requires a glaze chemistry in which iron oxide is present in sufficient concentration to produce a matte black under reduction or neutral firing, while the alumina-silica ratio is calibrated to allow controlled surface disruption. The \"pocking\" — ko in Japanese, analogous to the texture of yuzu rind — results from gas release during the glaze's maturing phase. Potters who work in this tradition must understand not only the recipe but the kiln's behavior: atmospheric shifts, flame path, cooling rate. Each firing produces a result that cannot be fully predicted.\u003cbr\u003e\u003cbr\u003eCollector Value — Signed Tomobako:\u003cbr\u003eThe presence of a signed tomobako (shared wooden box) is not a decorative accessory — it is documentation. In Japanese connoisseurship, the box carries the artist's brushwork, their seal, and often the name of the work itself. This box reads 「柚子黒 茶盌 芳樹造」: Yuzu-kuro Tea Bowl, Made by Yoshiki. That inscription is a record of authorship. For the collector, it anchors the object in a specific maker's hand and intent. Bowls without boxes are anonymous; bowls with signed boxes carry lineage.\u003cbr\u003e\u003cbr\u003eContemporary Continuity:\u003cbr\u003eSugiura Yoshiki works within a living tradition rather than reconstructing a historical one. Contemporary Japanese studio potters who work in classic tea-ware formats — kuro chawan, temmoku, shino — are engaged in active dialogue with centuries of practice. Their work is not reproduction. It is continuation: the same questions asked through a different pair of hands, in a different time, with the same willingness to let the fire decide what the glaze becomes.\u003cbr\u003e\u003cbr\u003e---\u003cbr\u003e\u003cbr\u003e🔹 [ JAPANESE DESCRIPTION \/ 日本語解説 ]\u003cbr\u003e\u003cbr\u003e【 基本情報 】\u003cbr\u003e• 作家：杉浦芳樹\u003cbr\u003e• 技法：柚子黒釉 — 鉄分を多く含む黒釉を用い、焼成時のガス抜けにより柚子の皮を思わせる凹凸のある肌を生み出す\u003cbr\u003e• 年代：2000〜2010年代（現代作）\u003cbr\u003e• 産地：日本（個人窯）\u003cbr\u003e• 寸法：高さ約8.5cm、径約12cm\u003cbr\u003e• 箱：共箱付き — 蓋表に「柚子黒 茶盌 芳樹造」の墨書と朱印あり\u003cbr\u003e• 状態：良好 — 欠け・ひび・金継ぎなし\u003cbr\u003e\u003cbr\u003e【 文化的・芸術的背景 】\u003cbr\u003e\u003cbr\u003e黒茶碗の位置づけ：\u003cbr\u003e黒茶碗は、日本の茶の湯において独自の哲学的立場を占める器である。千利休が侘び茶を思想として完成させた十六世紀以来、華やかな彩色磁器よりも、土の粗さと闇の深さを尊ぶ美意識が茶室に根づいた。黒い碗は光を吸い込む。自らを主張せず、しかし場の中心に静かに在り続ける。\u003cbr\u003e\u003cbr\u003e柚子黒という技法：\u003cbr\u003e柚子黒とは、その名が示す通り、柚子の皮の凹凸を釉薬の表情に写し取ろうとする試みである。鉄釉を複数層に施し、高温の還元焔の中でガスが釉面を微細に破ることで、光の当たり方によって表情を変える独特の肌合いが生まれる。均一に見えて均一ではない——その矛盾こそが柚子黒の核心にある。\u003cbr\u003e\u003cbr\u003e本作の佇まい：\u003cbr\u003e杉浦芳樹の本作は、ゆっくりと引き締められた厚手の胴が特徴的である。口縁は微妙に揺れ、それは不注意ではなく、手の痕跡をとどめようとする意図の現れである。肩口にかかる釉はマットで鉱物的な質感を持ち、口縁近くにはわずかな光沢が生まれる——同一の焼成の中に二つの面を持つ釉調である。高台は無釉で、砂気を帯びた素地が露出し、深い黒の下に眠る土の記憶を感じさせる。\u003cbr\u003e\u003cbr\u003e詩的一節：\u003cbr\u003e「闇は不在ではない。この碗の中では、闇こそが茶の緑を際立たせる広野である。」\u003cbr\u003e\u003cbr\u003e【 上級者向け解説 】\u003cbr\u003e\u003cbr\u003e黒茶碗の季節性：\u003cbr\u003e黒茶碗は、茶の湯の稽古において炉の季節（十一月〜四月）と深い縁を持つ。地炉を切った茶室の内向きの空間に、黒い碗は静かに溶け込む。注意を散らさず、集める。それが黒の茶碗が求められてきた理由である。\u003cbr\u003e\u003cbr\u003e技法の難しさ：\u003cbr\u003e柚子黒の「肌」は偶然の産物ではない。鉄分濃度、アルミナとシリカの比率、窯内の気流と冷却速度——すべての要素が、あの表面の凹凸を成立させるために精密に関係している。同じ釉薬を用いても、焼き場や天候によって毎回異なる結果が出る。陶芸家はその変数を制御しながらも、最後は炎の判断に委ねる。\u003cbr\u003e\u003cbr\u003e共箱の意味：\u003cbr\u003e共箱は単なる保管道具ではない。作家の筆跡と印章が刻まれた共箱は、作品に「作者の署名」を与える文書である。本作の蓋には「柚子黒 茶盌 芳樹造」と記されており、この一行が作品の出自を確かに伝える。箱のある茶碗と箱のない茶碗では、コレクターにとっての意味が根本的に異なる。\u003cbr\u003e\u003cbr\u003e現代における継承：\u003cbr\u003e杉浦芳樹の仕事は、過去の再現ではなく、伝統との対話である。黒茶碗や柚子黒という形式を通じて、現代の陶芸家は何世紀にもわたる問いを自らの手で繰り返す。炎が何を決めるか——それを見届けることが、この技法を続ける理由である。\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","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61795318628722,"sku":"260422_a_2742","price":452.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m87251130023_1.jpg?v=1776868392","url":"https:\/\/checkout.themodernzenarchive.com\/products\/yuzu-kuro-matcha-tea-bowl-by-sugiura-yoshiki-black-glazed-chawan-with-signed-wooden-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}