KURO CHAWAN - SHINGETSU (by Kyoshitsu Sasaki II)

This is One-of-a-kind piece made by Kyoshitsu Sasaki at Kirai kiln.
Another one-of-a-kind piece was sold out as soon as we released, so we have released new one-of-a-kind piece in response to requests from our customers.

(Please note:This pottery is one of a kind and there are never two alike, so that once sold, this will be out of stock. It takes approximately 1 week from the time you order this item until the date it is shipped from Japan. In extremely rare cases, it may take up to 2 weeks. If you order this item with other items, they will be shipped together.)

One-of-a-kind piece
diameter: 4.13inch (10.5cm), height: 3.54inch (9cm), weight: 12.06oz (342g)
Made by Kyoshitsu Sasaki at Kirai kiln

This KURO CHAWAN is quite unique work, which is made with an avant-garde spirit while strictly adhering to traditional Raku-yaki techniques.
The boldly scraped sides and the asymmetric shape create the divinity and dynamism of this work. The discoloration, including reddish brown, whitish gray and blue color with gold leaf modestly and gracefully applied, also creates a mysterious atmosphere. It looks as though stars have drifted across the galaxy. This work is the fusion of tradition and originality, and the product of combined chance with the calculated skill and effort of the artisan. You will be fascinated by the world of Raku-yaki and the artisan Kyoshitsu Sasaki.

This Matcha bowl is made by Kyoshitsu Sasaki at Kirai kiln. Kyoshitsu Sasaki is the fourth head of Shouraku kiln. Shouraku kiln, which opened in 1903, is one of the most traditional Raku-yaki kilns in Kyoto. Raku-yaki is the highest grade Matcha bowl used for the tea ceremony in Japan. (For details of Raku-yaki: RAKU YAKI - Prestigious bowl page)

The name of "Kyoshitsu" and "Kirai" are from Daitokuji temple, which was erected in 1325. The temple has had a great influence on Japanese culture and Cha-no-yu traditional tea ceremony, since the spirit of Cha-no-yu is based in Zen philosophy. It is also said that Juko Murata or Sen no Rikyuh, who is the famous tea master and pioneer of the tea ceremony, maintained close relations with Daitokuji temple.

SHINGETSU means pure heart in Japanese. This work expresses beautiful scenery mirrored in clear moonlight. The discoloration, which looks like the Milky Way, on the beautiful pitch-black surface of the Kuro-raku, is known as YOHEN, and is produced when the glaze changes in the highly heated kiln. It is quite difficult for even skilled craftsmen to control YOHEN and it is also said that the degree of coloring cannot be known until it is taken out from the kiln. It is no exaggeration to say that God only knows the beautiful and mysterious discoloration.

Kyoshitsu said that he would like this work to give a strong and rough impression. As he imagined, the sides are boldly scraped away and the rim is uneven due to its being formed by hand. The shape, which is formed asymmetrically, is also based on his originality and ingenuity, not restricted by traditional style. The appearance is just like a steep mountain or sheer cliff.

Raku-yaki is ordinarily formed asymmetrically and the rim is also not flat but uneven due to TEDUKUNE forming. The unique shape clearly indicates the characteristics of genuine Raku-yaki. It is thought that the characteristics are the foundation of the Cha-no-yu tea ceremony and reflect the Japanese aesthetic. This work also vividly reflects the aesthetic sense and sprit of WABI SABI.

Traditional black glaze is boldly used on the black surface. And to emphasize the strong and rough impression of this work, the area of discoloration is intentionally extended beyond the norm of typical Raku works, and gold leaf is modestly and gracefully applied.

The glaze containing cobalt oxide creates the blue color, and the glaze containing copper is used in the dark brown or dark red areas. The degree of coloring cannot be controlled since it does not appear until taken out from the kiln. This is why this work is a one-of-a-kind piece. The whitish gray area in the middle of the discoloration is the color of the clay itself. Kyoshitsu intentionally does not use any glaze on this area to create the WABI SABI atmosphere.

The track of the tongs used to remove the hot Raku from the kiln, called YATTOKO-ATO, remains on the inside and outside of the bowl. This is proof of genuine Raku-yaki produced by traditional Raku-yaki methods. And you can also see the small dots like pinholes on the surface of the glaze. The dots are from the bubbling of the glaze, which occurs when it is fired at a high temperature. These are also evidence that this piece was created by traditional methods.

Kyoshitsu elaborated even the foot of the base, called TATAMI TSUKI, which means the place rubbed with TATAMI straw mats. The foot of the base has different thicknesses, creating both the positive and the negative in TATAMI TSUKI. In other words, the thick portion expresses the positive and the thin portion expresses the negative. You can feel his efforts on this point.

Raku-yaki has a water-absorbing property. If used regularly over a long period of time, the aesthetic of the surface gradually changes. It is also a feature of using Raku-yaki that the atmosphere becomes more WABI SABI. Kyoshitsu believes that his works are not complete until Matcha is poured in during use. Please enjoy your green moment with this Matcha bowl, which is infused with traditional dignity and modern creativity!

Specially packaged in a wooden box.
Lead-free. Made in Japan.
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Kyoshitsu Sasaki

Kyoshitsu Sasaki was born in Kameoka city, Kyoto in 1964. He entered Kyoto city Dohda senior high school of art in 1980, Osaka university of art in 1983, and Kyoto prefectural vocational training school of ceramics in 1985. He then studied and worked under his father, Teruo Sasaki, who is the third head of Shouraku kiln. In 2011, he succeeded to Kyoshitsu the second.

The Sasaki family is well-known for their traditional Raku-yaki at Shouraku kiln. Shouraku kiln opened in 1903, and is one of the most traditional Raku-yaki kilns in Kyoto. Kyoshitsu Sasaki is the fourth head of Shouraku kiln. In 1995, the third potter of Shouraku kiln, Teruo Sasaki opened a kiln under the name of "Kirai" and the name of "Kyoshitsu" was given by the fourteenth chief administrator of Daitokuji temple, Settei Fukutomi Roushi master. Kirai kiln produces avant-garde and novel works which are not restricted by traditional style, while still adhering to traditional Raku-yaki techniques. Shouraku kiln, on the other hand, strictly follows the footsteps and traditional methods of Raku-yaki.


- Raku Yaki has a water-absorbing property, so it is possible for this ceramic to retain and "sweat" small amounts of water.
- Before using Raku Yaki for the first time, please soak in lukewarm water for one or two minutes. Before reusing after it has been stored long term, please soak for thirty seconds. This process helps to keep Raku Yaki strong and durable as well as clean and stain-resistant.
- It is best to wash the Raku Yaki using only tepid water.
- If necessary, you may occasionally use a mild chlorine-free dish washing detergent.
- Do not sterilize by boiling, washing with chlorine detergent, or in a dish washing machine.
- In case of using this as a dish, don't serve foods that have been made with sweetened vinegar.
he vinegar may damage the glaze. - Take care not to hit the bowl against a hard surface or give it a strong shock.
- Before you store Raku Yaki in its wooden box for long tem, dry off fully in the shae for 4 to 7 days. Otherwise, if the clay remains wet while it is packed away in a box, there is a possibility for the Raku Yaki to take on an unusual earthy odor or even for mold to form.
- If Raku Yaki takes on an unusual earthy odor, you can remove the odor by continuing to use Raku Yaki every day for a week.

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