Though this piece appears quite old and nicely worn by time, it is in fact a very recent work from Sekizanjin kiln. Using a special organic process to “ferment” powdered ore used in the clay, they then fire the hand molded pieces under extreme heat to produce bowls they call “Chibori.” The Chibori bowl featured here is inspired by works of Chojiro—forbearer of the Raku line of potters and collaborator with legendary tea master Sen no Rikyu...

Closely resembling a historically important tea bowl made by one of the forebears of the art of tea and Raku pottery, Chojiro, this piece gives one a sense of the deep origins of tea culture.

Fired in the kilns of one of Kyoto’s best known Raku-yaki potters, Sasaki Shoraku III (1944-). The Shoraku line began when the grandfather of the current potter established a kiln near the famous Kiyomizu temple, nestled at the foot of the eastern mountains in Kyoto...

With a base of dazzling red ochre clay, a technique known as “san-giri,” pioneered by the progenitor of this generational potting family and now widely used among Bizen potters, is employed here to bring out stunning mustard yellows, mossy greens, charcoal blacks, along with a range of subtler hues.

The potter, Konishi Tōko II (1927 -2018) was second daughter to Konishi the first...

This exceptionally well-formed tea bowl displays highlights of flaxen and scarlet visible through a classic black glaze. Raku tea bowls such as this are made by hand, without the use of a potter's wheel. In the process of shaping the bowls, potters handle the tea bowls in much the same manner that users will hold them as they drink from them. In this manner, a connection is formed between the creator of the tea bowl and the participants in the tea ceremony...

When the founder of the Urasenke style of tea ceremony, Sen-So Soshitsu (1622 -1697) was invited to Kanazawa as the master of tea ceremony for the powerful Kaga lords in 1666, the first Chōzaemon came with him and established Ōhi-yaki in Kanazawa. Chōzaemon had been the chief apprentice to the Raku family in Kyoto and took with him many of the principles and ideas associated with Raku-ware...

Endorsed by the recent Head Tea Master of Urasenke as an exceptional work, this black Raku tea bowl was granted the poetic name “Kokon” Ko, meaning “the distant past” and Kon meaning “the here and now.” This name carries with it the connotation that tradition and accumulated generational knowledge can, in a sense, connect us with the people, places, and situations of times gone by; helping us better understand our present day roles in the ongoing play of form and energy.

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The natural ash Hagi glaze gives this piece a mellow yet robust feel. The foot of the bowl is unglazed in places showing traces of ferrous-rich clay in the form of an orangish hue. The sides of the bowl show pale ash, ivory, and faint hints of lavender. Overall a classic and attractive example of an expertly crafted Hagi tea bowl.

The creator of this work, Korai-zaemon Saka XI was born in Yamaguchi prefecture in 1912...

A very interesting chawan (tea bowl) dating from the Korean Joseon period (Richo in Japanese; 1392-1897). This particular piece appears to date from the 16th/ 17th century and comes with a very old box which appears to have been furnished sometime in Edo. The light creamy crackled glaze is smooth in the hand and fine hairline fractures radiate along the sides of the bowl contrasting nicely with the gold repairs...

One of the most important Japanese potters of the 20th century, skilled in an impressive number of styles, today his pieces can be found in museum collections around the world...

A unique and distinctive tea bowl constructed of half porcelain and half stoneware—the swirling blue spirals and accents serve to captivate the eye and the imagination, making this artist’s works instantly recognizable.

A native of Kyoto, Hashimoto Machiko runs a small studio and kiln where she creates a wide range of ceramic works—including functional pieces such as the chawan featured here—as well as a number of purely decorative and experimental pieces which most would ag...

Decidedly modern, Japanese, and minimalist; the textures, colors, and form of this fascinating tea bowl all suggest inspiration from natural objects. The grey, smooth, polished interior of the tea bowl contrasts nicely with the textured ferrous dark ochre ash glaze on the exterior...

Looking something akin to dragon skin with gilded beads glistening between the scales, this recent creation by young artist Hiramatsu Ryoma demonstrates his creative imagination and challenges the traditional boundaries of what defines a tea bowl...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then acts as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay...

A refined and elegant work of Hagi-ware done by a master potter who is not only a direct descent of the Hagi forebears, but who also credited with having revive the tradition when it fell out of practice. This piece features a well-formed kodai (foot), an exceptionally nice Hagi glaze and several “ishi-haze” or marks from small stones that partially explode in the kiln...

A relatively new term, “Oni Tamba” is used to describe works of Tamba-ware fired using carbon trap and ash glazing techniques modeled after those pioneered by Tsukigata Nahiko in the 1950’s. This piece in particular displays a bold and innovative ceramic landscape that seems quite impressive for such a young artist as Onishi. One side of the bowl resembles charred igneous rock while the front shows a warm soft orangish glow—like an ember in a fireplace...

A work of perfection by one of Japan’s most admired ceramic artists...

Exquisite glazing featuring a gradation that seems a product of both firing conditions and careful nurture by the artist. This piece displays a wonderful balance and nice sense of three-dimensionality.

In fine condition, this tea bowl measures 4.7 inches in diameter (11.8cm) and stands 3.3 inches tall (8.2cm). The bowl comes with its own wood box with poetic name "朝日" (Asahi) inscribed on the inside cover.