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† A SUPERB KARATSU WARE CHAWAN (TEA BOWL) NAMED ‘WABI NO SATO’
奥地利
06月12日 晚上7点 开拍 / 06月10日 下午3点 截止委托
拍品描述 翻译
? A SUPERB KARATSU WARE CHAWAN (TEA BOWL) NAMED ‘WABI NO SATO’

Japan, 17th century, late Momoyama (1573-1615) to early Edo period (1615-1868)

Finely modeled, with deep, gently rounded sides resting on a short, subtly tapered foot. The interior coated in a pale ochre, finely crackled glaze that extends over the rim and upper exterior, leaving the remainder of the outer surface unglazed to reveal the buff-colored ceramic body, accented with small ash spots formed during firing, an ishihaze (natural embedded stone), particularly prized in early Karatsu ware, and a small gold kintsugi repair near the rim.

HEIGHT 7.8 cm, DIAMETER 11.1 cm

Condition: Excellent condition with only minor firing-inherent irregularities. The rim with a beautiful kintsugi repair.

With two tiered wood storage boxes (tomobako): the inner box inscribed and signed by Issai Soshu, ninth Omotesenke tea master; the outer box inscribed and signed by Ichio Soshu, twelfth Omotesenke tea master, who conferred the name ‘Wabi no Sato’ [Village of Wabi] on this chawan, a distinction rarely encountered on early Karatsu tea bowls.

Karatsu ware is a type of Japanese ceramics produced in and around Karatsu, Saga Prefecture, in the island of Kyushu, which became an important center of foreign trade as well as a hub of ceramic production from the Azuchi-Momoyama period onward. It was in this region that Korean potters first introduced the ‘noborigama’, or climbing kiln, to Japan in the late sixteenth century, an innovation that allowed greater control during firing and enabled the production of more refined ceramics. The techniques they brought to Karatsu kiln sites also played a crucial role in the development of porcelain production in Japan in the early seventeenth century.

Although Karatsu ware was originally created for everyday use, including tableware, jars, and other household items, its characteristic austere aesthetic came to be particularly valued by practitioners of the tea ceremony during the Momoyama period.

Kintsugi, literally meaning ‘gold joinery’, designates an ancient Japanese technique for repairing broken ceramic vessels through the rejoining of fractured areas with urushi lacquer mixed with or dusted in powdered gold, silver, or platinum. Beyond technical practice, kintsugi embodied a philosophical stance that regarded breakage and repair as integral elements within the life of an object. Fractures remained visible, not as damage to be effaced, but as a testament to the coexistence of loss, continuity, and renewal within the flow of life.

Omotesenke is one of the principal schools of the Japanese tea ceremony. Alongside Urasenke and Mushakojisenke, it represents one of the three lineages of the Sen family descended from the revered tea master Sen no Rikyu, widely recognized as the most influential figure in the history of the Japanese tea tradition. Collectively, these three schools are known as the Sansenke, or Three Sen Houses, that have preserved the art of the Japanese tea ceremony across generations.

Museum comparison:
Compare a closely related whitish-glazed Karatsu ware tea bowl, Momoyama to early Edo period, c. 1590-1630, 11.4 cm diameter, in the Victoria & Albert Museum, accession number 165-1877.

Auction comparison:
Compare a closely related Ko-Karatsu ware chawan (tea bowl), Momoyama to early Edo period, 17th century, 12.1 cm diameter, at Christie’s, Asobi: Ingenious Creativity, Japanese Works of Art from Antiquity to Contemporary, London, 15 October 2014, lot 27 (sold for GBP 5,625 or approx. EUR 9,000 converted and adjusted for inflation at the time of writing).



13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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