The following are included in the collection: Mishima, Hakeme, Kumagawa, Kakitsuke, Totoya, Kori, Waridai, Gosomaru, Irabo, Choshima, Unkaku, Kinkai, and Gohon. These can be broadly divided into two types based on their characteristics. Namely, there are two types: those that were originally made in Korea as purely utilitarian vessels, but which were later taken up by Japanese tea masters as matcha bowls, and those that were made as matcha bowls from the start, under the patronage of tea masters and in response to their tastes. Mishima, Hakeme, Kumagawa, etc. are good examples of the former, while Gosomaru, Iroha, Choshimashima, etc. are good examples of the latter.
At first, all Korean tea bowls were collectively referred to as “Koryo-chawan”, but eventually specific types were given names such as Ido and Mishima, and so gradually the classification of tea bowls progressed, and by the Genroku period (1688-1704), most of the names had already been created.
This development of detailed classification was initially prompted by the practicality of using them in the tea ceremony, but it is also clear that this led to a shift in the way they were appreciated, from a cursory to a detailed approach. The appeal of Korean tea bowls was first discovered by the refined sensibilities of the tea masters nurtured by the Japanese climate, and on this path from simple to detailed examination, their senses became increasingly refined and delicate.
Each of these. The points of interest or promises that are extracted in such a detailed and tedious way may at first glance seem to be an empty formality, but if you inspect them closely, you will clearly see that the tea masters’ refined sensibilities, cultivated over many years, are crystallized here. The highlights and promises are nothing more than the immediate indication of the points of attraction, but this sum of sensations, or perhaps we could call it a system, is the treasure that has been accumulated and built up in the world of chanoyu, and it is the gem that has been polished by the tea masters of each generation. This is what we mean by the taste of tea.
The appeal of Koryo tea bowls lies in their simplicity, but the true beauty of the simple can only be appreciated by those with a refined taste. taste can be fully appreciated, and for example, the dull, monotonous, and tasteless surface of the tea bowl, which at first glance seems to be no more than a dull, monotonous, and tasteless surface, actually boasts an infinite variety of changes that surpass even the five bright colors, and it appeals to you like a mysterious symphony. For tea masters who have refined their senses to the highest level, the reason why the ultimate goal of koryo tea bowl appreciation is said to be the aforementioned “sabi” is that the secret of its charm can only be revealed by their eyes, which have undergone repeated and rigorous examination.
Mishima
The name Mishima, along with Ido, was one of the names of Koryo tea bowls that was particularly popular among tea ceremony enthusiasts from early on. The name Mishima can be seen in the Tsuda Sōkyū Chayu Nikki (Tsuda Sōkyū’s Tea Ceremony Diary) from the morning of the 17th day of the 11th month of the 11th year of the Eiroku era (1568). The name Mishima probably predates the name Ido, and it is thought that it was in use even before the end of the Muromachi period.
The characteristic of Mishima ware is the white inlaid pattern that can be seen on the inside and outside of the ware, which is made by pressing the same small pattern all over the surface of the clay body using a mold, then wiping off the white clay paste that has been applied as a cosmetic, leaving only the pattern areas the white inlay-like pattern is revealed, but the method is usually rather rough, so that the white brush marks remain, or the white makeup is left almost as it is, giving it a powder-painted look, and adding a sense of casualness and wabi.
As for the name Mishima, the book “Wakan Shodogu Michisa” (a book of Japanese and Chinese tools) from the Genroku era (1688-1704) says, “Mishima-te is a type of tea bowl with a thin, vertical design on the front, like the Mishima calendar (a kana-written calendar published by the Mishima Shrine in Izu since the years 1466 and 1467). a small calendar written in kana characters) on the front of the tea bowl, and it is also called a calendar hand”. This theory of the origin of the Mishima calendar is the most widely accepted and influential of all the theories that have been proposed since ancient times. The name “koyomi-te” has been used since ancient times, and for example, in the “Kamiya Sotan Diary”, on the 29th of the second month of the fourth year of the Keicho era, at the Fushimi Council of Ministers meeting, it is written, “The tea bowl is Korean, and it is made by Koyomi-te.” it has been called Mishima-te or Koyomi-te since ancient times, and the term “Mishima Koyomi-te” also appears in the aforementioned “Michisa”, so we must first accept this theory as the most appropriate. However, the name Mishima later came to be used for Koryo inlaid celadon as well, and sometimes this is written on the box as Mishima.
There is also a theory that the name comes from a place name, and in the book “Wakan Chashi” it is written “from a place name”, and Asakawa Hironori also explains that since Geomundo was called Mishima in the past and was an important port for trade with the south seas, the pottery was exported through this port and so was called Mishima. Another theory is that Mishima was an old name for Korea in Japan, and that it was probably called Mishima in the same way as Koryo tea bowls, meaning that it was brought from Korea.
In terms of the techniques used, Mishima-te is a descendant of the Koryo inlaid celadon style, and is a kind of degenerate form of that, but in the inlaid celadon of the late Koryo period, we can already see patterns similar to those of Mishima-te. In other words, Mishima-te ware began at the end of the Goryeo period, and was produced in the whole of southern Korea between the early and middle periods of the Yi Dynasty, during the 15th and 16th centuries. However, due to the damage caused by the invasions of Hideyoshi Toyotomi’s Bunroku and Keicho campaigns, and the resulting famine, southern Korea was devastated and exhausted, and the production of pottery temporarily declined to an extreme degree. Mishima-te first came to Japan during the Muromachi period, and many of the tea bowls that have survived come from the areas of Gyeryongsan (Chungcheongnam-do) and Gyeongsang and Jeolla provinces.
Tea masters further divide Mishima-te into various types, calling them Ko-mishima, Rei-bin-mishima, Sansaku-mishima, Hana-mishima, Uzu-mishima, Kuro-mishima, and Kakusu-mishima, but in recent years the name of the tea bowl from the production area, Keiryu-zan Mishima, has also become popular.
Kosanshima
Kosanshima is usually just referred to as “old-style” Mishima, but the type of tea bowl that tea masters refer to is a bowl with a slightly curved, ring-shaped rim, a fairly thick glaze, a dark clay body, and a heavy feel. This type is the most common of the Mishima tea bowls that have survived to the present day, and it is thought to have been made in Gyeongsangnam-do, but this is probably because there was a lot of trade with our country from ancient times. In addition, not just for Ko-Mishima, but Mishima-te is usually covered in a total glaze. Hana-mishima is decorated with small inlaid chrysanthemum patterns, Uzu-mishima has three or five spiral inlaid patterns on the inside, Kakusu-mishima has angular inlaid patterns connected in a band, and Sansaku-mishima has a powder-coated exterior and a brushed-on foot ring.
Reibin Mishima
These are white inlaid bowls with the name “Reibin” written on the inside, and are mostly flat bowls. There are also bowls with the name “Reibin Shiyo” written on them. These were originally made for the Reibin Temple, a government office in the Yi Dynasty that received foreign guests, and are carefully made, so there are many good examples. The glaze is also quite good, and it is commonly referred to as “rebin glaze”. Even if there is no inscription, Mishima of this type is sometimes referred to as “rebin-te”.
In addition, there are also other Joseon government office names with inlaid inscriptions on Mishima, such as Jangheung-go, Naesaji, Naetong, Sijeon, and Insubu, and there are also names of places where the taxes were collected, such as the Chohungko, which was in charge of collecting taxes, also bore the names of the production areas of Gyeongju, Gyeongsan, Miryang, Changwon, Jinju, Hanyang, Gimhae, Yangsan, Ulsan, and Goryeong. These are also called “reibin-su” in the same way. In addition to inlaid engravings, there are also engraved and black-inked engravings. The beauty of the calligraphy of the inlaid engravings, which are engraved with seals, arouses the interest of tea masters and captivates them more than the random Mishima patterns.
The reason why the name of the government office was engraved on this Mishima is that, during the Yi Dynasty, the government collected pottery from various regions as a tax, but due to the corruption that had built up since the Goryeo Dynasty, government officials often embezzled the tax, so in order to prevent this, during the reign of King Taejong (the 17th year of King Taejong, 24th year of the Eiryō era), a law was passed requiring the name of the government office to be clearly marked on each and every dish. In the case of the Choko storehouse, as it was in a position to store and keep taxes, it had a lot of dealings with various places and handled a large quantity of goods, so it is likely that the name of the place of production was added in particular. As the above-mentioned government offices are known to have existed in a certain period of time, they are useful for clarifying the age of Mishima-te, and as those with place names can be used to confirm the place of production, they are both important and valuable materials for investigating the actual state of Mishima-te.
In recent years, many Mishima ware with the Yakusho mark have been excavated, and we have come to see a variety of them, but the most common type of old Mishima ware is that with the Reihin mark. This is because the Japanese envoys who traveled to Korea were first received at the Ryebin Temple, which was the office with which the Japanese had the most dealings, and so there were naturally many opportunities for the Ryebin Mishima to be presented as a commemorative gift or to be requested. It is thought that Mishima, with its distinctive inlaid patterns, attracted the interest of the Japanese from a relatively early date in the Muromachi period, and in particular, it is thought that the Reihinte was already highly prized by the learned from the beginning of the Muromachi period.
Gyerongsan Mishima
Gyerongsan in Chungcheongnam-do is the most representative of the sites where Mishima ware was produced, and during the early years of the Yi Dynasty, in addition to Mishima ware, various other types of ware were produced, including Hakeme, Ehakeme, Choshima, Tenmoku-yaki and Hakuji. From the end of the Taisho period to the beginning of the Showa period, large-scale excavations were carried out, and a detailed survey report based on this was published by the former Governor-General of Korea Museum in 1927. The Mishima ware from this area is thinly made, sharp, and the foot ring is small and tight, giving it a light and nimble feel that is very different from the thick, heavy ware of other areas. This is why the name of the Kairyu-zan Mishima is so famous.
The clay has a high iron content. This type of Mishima ware has been produced in Japan for a long time. The famous Ueda Keitetsu ware from the Nezu Museum is also thought to have been produced in this kiln.
Hakeme
This name comes from the white clay brush marks on the inside and outside of the ware. These brush marks have a decorative effect, and in the case of tea bowls, they are as important as the shape of the bowl itself. Like Mishima ware, it was produced in the whole area of southern Korea from the early to the mid-Joseon period, and there are many points in common in terms of style, so it is almost as if they are brothers with the same blood, and it is appropriate to call them collectively Mishima-Hakeme ware. At Gyeryongsan, it was produced at the same time as Mishima ware, and it is clear that the two were produced at around the same time and were closely related.
The technique of applying a white slip to the base of the ware was already being used from the end of the Goryeo period (scratched slip), and the brushstroke technique is also a continuation of this, and brushstroke was born as a simpler decorative method that was created to save time due to the need for mass production during the Yi Dynasty.
The Mishima-te style is notable for its distinctive patterns, but it lacks a certain depth. In contrast, the patterns of the Hakeme style are simpler, and this gives them a deeper flavor.
Most of the brush marks are covered with a glaze, and the foot ring resembles a bamboo joint, with a helmet-shaped pattern in the foot ring. Most of the tea bowls that have come down to us from ancient times are from the Gyeongsangnam-do, Jeollanam-do (Hampyeong) and Gyeryongsan (Chungcheongnam-do) regions. Tea masters further divide the brush marks into categories such as Kosumeko, Tsukahoribukemeko, Inabukemeko, Gyeryongsanbukemeko and Mujibukemeko, but the Kosumeko referred to by tea masters kome is similar to old Mishima in that it is slightly convex at the rim, has a thick glaze, is heavy to the touch due to its dark clay body, and has a very fine brush pattern. The foot ring is also strong, similar to that of Ido ware. Ina-Hakeme is called “negative Hakeme” because the brush marks are not clear enough, and the character “Ina” is used to describe it. Keiryu-zan Hakeme is thin and sharp, like Mishima, and the foot ring is tightly drawn. Plain Hakeme is a type where the brush marks are all over the surface, like white unglazed pottery. However, the outside, below the waist, is without white brush marks, and it was made in Hamgyeong, Jeollanam-do. The famous tea bowl Oshima is included in the Mishima section of the Taisho Meiki Kan (A Guide to Famous Tea Bowls) because of its name, but it is a type of plain brush-stroke tea bowl, and is also included in the brush-stroke section of the Meibutsu Chawan Shu (A Collection of Famous Tea Bowls). It is characterized by its dark brush strokes, and is known by the name “Hakuge” (white beard).
Kumagawa
Kumagawa is also called Komogai or Komogae, and among Koryo tea bowls, it is highly regarded by tea masters for its dignified appearance and style, which is on a par with Ido in terms of form and style. It has been popular in Japan since ancient times, and there are relatively many surviving examples, but the age of production is also somewhat warped. The body is usually white, sometimes reddish, but this type is called “Shikumagawa”. Both are fine-grained clay. The glaze is usually loquat-colored, similar to Ido glaze, but the glaze is softer than that and has fine craquelure. However, in the case of inherited pieces, the glaze has often turned blue-green. The above-mentioned passage in the Kumagawa section of “Kichisa” refers to this. In addition, the Kumagawa pieces that have survived often have stains that look like they have been leaking, and they are admired by tea ceremony masters for their appearance. In general, they are slightly thick, and the foot ring is made with a bamboo joint, so it is sturdy. The foot ring is unglazed, and the clay can be seen. In the book “Michisa”, it is written that “there is no medicine in the Kumagawa foot ring, and the clay is white with a rough texture”, and the foot ring is rounded off, which is a characteristic feature. The tea pool in the center of the bowl is slightly sunken in a circular shape, and tea masters call this a mirror, a mirror drop, or a ring, but it is a Kumagawa promise. It is said that a small mirror is good.
Next, the name Kumagawa is thought to have come from the name of the port of Kumagawa, which is close to Busan. Throughout the Muromachi period, Kumagawa was the port where the most active trade between Japan and Korea took place, and it was a place that was very familiar to the Japanese, with many Japanese people living there and a Japanese settlement established there for many years. At the time, the Japanese people called it “Komokae” using the Japanese reading of the Chinese characters. As evidence of this, we can point to the fact that in documents from the time of Hideyoshi’s invasion of Korea, Kumagawa is transliterated as “Komokae” in the margin. In the same way that Arita ware pottery shipped from the port of Imari was called Imari ware, it is thought that the tea bowls from the nearby kilns shipped from the port of “Komokae” were called by the name “Komokae” by Japanese tea masters. In “Michisa”, Kumagawa is transliterated as “Komokae” without any muddiness, and it is thought that it was later called with a muddiness of “Tomogae”. The tea bowls from the kilns near Gyeongnam Jinju are the most similar to Kumagawa-te, so it is thought that Sonokawa tea bowls are probably produced in these kilns.
It is thought that Kumagawa was brought to Japan in large numbers during the Japanese invasions of Korea under Toyotomi Hideyoshi, but looking at the history of the Kumagawa port, it is thought that it may have already been brought to Japan in the Muromachi period, and like Mishima, its appearance as a tea bowl seems to be surprisingly old. Perhaps it was the elegant shape, reminiscent of tenmoku, that made such a strong impression, or perhaps it was the fact that the slightly upturned rim was good for drinking tea, but Kumagawa was particularly popular with tea ceremony enthusiasts, and its influence was wider than expected, with many pieces made in the style of Kumagawa being produced in old Karatsu and old Hagi, etc. There are not many works of Kumagawa that are particularly noteworthy, but on the other hand, they have a dignified quality that sets them apart from other wares. The fact that Kumagawa is often associated with leaking rainwater is probably because of its gentle appearance.
The main types of Kumagawa ware include Makumagawa, Hamgyeongdo, Shikumagawa, Onikumagawa, Hirakumagawa, Gokumagawa and Namikumagawa.
Mikumagawa
This means “the main branch of the Kumagawa family”. It has a deep shape and a refined appearance. The body is made from fine white clay and covered in a soft, well-like loquat-colored glaze with fine cracks. The foot is made from bamboo and has a creased texture. The foot ring is exposed to the air, but in the case of tea bowls that have been handed down, the clay has become dirty and brown, and the glaze is often tinged blue or reddish-brown. There are often rain-leakage-like stains, which add to the appearance. The Hanakazuri tea bowl that has been handed down in the Konoike family is famous for these rain-leakage-like stains, and its name was given in reference to this appearance. The small mirror in the interior is highly valued. It is usually thick and heavy, but this one is thinly made and has a small foot ring. The tea master Hamkyodo (also written as Kakan-do) called this type of work by the name of the master who made it (Kenshisa, “The master of Hamkyodo’s Kumagawa is skilled”). The Chitose ware that came down from Fumai is probably his masterpiece.
The base and glaze of the Makumagawa ware are very similar to those of the kilns in the area around Shinshu, and it is thought that they were produced there. During the Goryeo period, this kiln produced distinctive white porcelain with a pale blue tinge on a fine white body, and a soft, finely cracked transparent glaze, and it is thought that the Makumagawa ware of the Yi Dynasty was produced in the same style.
They are small and thick, and the shape varies. The body is made of white clay and red clay, and the foot ring is roughly scraped and rough, and the foot ring is tough with bamboo knots. The glaze is mostly loquat-colored, and sometimes there are cracks or stains. There are also pieces with a white glaze that has lost its transparency. Onikuma River is not very good, but it has a flavor that is not found in Makuma River, and it is loved by tea masters in the same way that Aoi-do is loved in comparison to Oi-do.
Next, the Hirakumagawa is similar to the red clay of the Onikumagawa, and there is no mirror in the interior, but rather a clay-looking surface. Also, the Ushirokumagawa is said to be “a later style, with medicine applied to the inside of the footring” in the book “Michisa”, and it seems that the clay-looking surface (total glaze) is a distinctive feature.
Persimmon calyx
This name comes from the shape and coloring, which resemble a persimmon calyx. It is a rare type of tea bowl, and is considered to be one of the best of the “sabi” (wabi-sabi) types, along with the Totoya and Iroha.
There are many distinctive features in the style of this bowl, and tea masters have given various descriptions of it. The rim is slightly turned in, and the bowl is wide at the base. This shape is unique to the calyx of a persimmon, and the shape when it is laid down is very similar to a persimmon calyx. It is thick, but the clay is rough, so it is light to hold. There is a rounding cut around the rim with a spatula, and it has a gutter. This is also one of the conventions, and the clear rounding cut and the sharpness of the spatula cut are valued. In other words, the stronger the work is and the more vivid the impression it makes, the more it is appreciated. The foot ring is a large, raised foot ring, and this is also a promise. The inside of the foot ring is hollowed out and rounded off. The clay is a sticky, sandy clay with a high iron content, and it is often fired to a brownish-red color. The glaze, which is tinged blue, is very thinly applied to the foot ring, but tea masters call this glaze “glass glaze”, and they are pleased by the large amount of glaze applied, which is also part of the promise. However, in most cases, there is little glaze, and there are also unglazed-looking wares. The clay has fine lines where it was pulled when making the mizuhiki, and there are eyes in the inside. The fine lines in the clay are also seen in other Korean pottery, but they are a particularly notable feature of sabi ware.
There is a type of pottery that looks similar to the shape of a persimmon calyx and is known as a persimmon calyx in the world, but the totoya is thin and hard, and the clay and workmanship are different. Some say that the stem of the persimmon is the same as the handle of the pot, and that the top of the pot is the stem of the persimmon, but the two are clearly different.
The stem of the persimmon is thought to be from the Gyeongsangnam-do region, and there are differences in the techniques used to cut the handle and the glaze, and the style of the handle and glaze is different from the other styles, so it is likely that the pot was made under the supervision of a tea master. , it is likely that they were made in a kiln near Busan during the period of the Busan Wa-kan (from 1607 to 1676), and it is thought that they were made under the supervision of a tea master.
Toto-ya
The origin of this name is said to date back to when a wealthy merchant in Sakai (Wataraya) ordered a shipload of these types of tea bowls from Korea. The name is usually written as “Toto-ya” on the box, but sometimes you can see the older name “Wataraya” written on the box. In old tea books, it is referred to as “zarameki”, but in “Kichisa”, it is referred to as “zarameki-ido”, which is a type of well, and it seems that “zarameki-ido” is also a type of well. The name “totoya” does not appear in “Kichisa” yet.
Together with irabo and kaki no tsue, totoya is a particularly austere and elegant type of koryo tea bowl that is especially prized by tea masters, and this is probably because it has a deep appeal that contrasts with the bright color of the tea. The clay is a fine, iron-rich clay, and the bluish glaze is very thin and almost invisible, but the reddish fire change and the red spots of the deer (iwayuru gohon) that are said to be characteristic of Totoya are clearly visible, so it is thought to be made from clay from the Busan area. The fine lines of the pull marks on the clay body are clear both inside and out, and are a highlight of the piece. The thin, sharp shape of the piece is also a major characteristic of Totoya ware, and because the clay is fine, beautiful creases form on the inside of the foot ring, and the shape of the piece, which looks like a mushroom cap from the back, is called a mushroom foot ring. Even though a totoya is a simple item, it is important that it is sharp and clean in appearance, and the key to its beauty is that it has a reddish luster within an overall grayish-blue color. The ancients also pointed out this key point, saying, “All totoya are beautiful and elegant. If you look closely at the way the totoya is made, it looks as if it were made carelessly, but the skill and care that has gone into it is evident, and it is truly perfect for tea, so it is impossible to believe that it was made simply as a practical container. The way the clay is handled in the potter’s hands is particularly clear evidence of this, and the reddish clay suggests that it was made in a kiln near Busan during the time of the Mamehane-no-Wakan, in response to the preferences of tea ceremony masters.
Tea ceremony masters divide the potter’s hands into three types, based on shape: honte-toya, hiracha-toya, and hiracha-toya.
Hon-te to-ya
This type of to-ya is particularly highly prized, and is characterized by its shape, which is more slender than that of the hira-te, with a gently curved rim and a narrow waist. A similar type of tea bowl with a wide waist can also be seen in persimmon stalks and buckwheat noodles, and it is also suitable for making tea, as the bowl is wide and can be held in both hands when making or drinking tea.
The clay is a fine, iron-rich clay, and a translucent, slightly bluish glaze is applied extremely thinly to this. Due to the nature of the clay, the clay body takes on a reddish hue when fired in an oxidizing flame, and a bluish hue when fired in a reducing flame, but sometimes the color changes from red to blue as the flame changes. On the blue-tinged ground, there are some areas where the color changes to red during the firing process, creating a reddish pattern or a reddish speckled pattern, and there are also areas where the overall color is reddish with scattered blue spots. This phenomenon is originally a random occurrence based on the clay, but in the case of Toto-ya, there is a strong sense that the effect was anticipated and the ware was fired with this in mind. It is similar to the charring of old Iga ware.
The rim has a sharp cut around the edge, which further emphasizes the sharpness of the work, and the foot is like a bamboo joint, with a helmet-shaped ridge standing up inside, and fine creases all around, giving it the appearance of a shiitake mushroom foot. The eyes are neatly arranged in the interior, and the fine lines of the pull-out are beautiful both inside and out, making it a work of great interest. The Honte-toya are generally large, and are valued because there are few small, tightly-made pieces. The Honte-toya can be considered a type of tea bowl made by tea masters in the Busan area, based on the details of their style.
Toya
There are both large and small tea bowls. The fine clay is spun on a skillful potter’s wheel, and the thin, well-tightened, lively and crisp characteristics of the Toto-yaki are even more pronounced in this style. The glaze is the same as that of the Hon-te style, and many of the pieces have a reddish hue, but those with a bluish tinge produced by a reducing flame are considered superior and called Ao-toto-yaki. Also, pieces with a blue skin and red fire or with red spots like those of a fawn are particularly prized. The clay is finer than that used for hon-te, and is commonly referred to as koshi-do, and the crêpe-like wrinkles inside the foot ring are even more magnificent, and the characteristics of the shiitake foot ring are particularly well expressed. The fine lines of the pull-out are also clearly visible inside and out due to this clay, adding a sharp feel. There are usually about eight lines of this pattern, and although the lines appear to be random at first glance, they are actually the result of a great deal of care and attention to detail, and it is clear that they were made with the tastes of tea ceremony masters in mind. The foot is lower than that of the main body. The style of the hand of this tea bowl also suggests that it was made in the Busan area.
Goki
Goki is written as five vessels, but it is used to refer to tea bowls, and the name comes from the fact that the shape is similar to that of wooden bowls (goki is an old word for the common people, and traces of it can be seen in words such as goki-arai, which means “washing out the dirt from a water filter”, such as “gokizure” for mouth sores, but by the Muromachi period, the word was already being used to mean “tea bowl”, as in “sometsuke goki”, and the character “goki” also appeared. Also, in the article from the Kasumi era in the “Kakutaki Ki”, the word “gokite” appears).
The glaze is a light blue-tinged opaque color, and the finished product is a reddish-brown or bluish color. The finish is harder than that of the later Mamehara-Wakan-period Gohongi. The glaze extends to the foot ring, and the inside of the foot ring is scooped out in a rounded shape, giving it a very distinctive appearance.
Bowls with a shape similar to that of Goki ware were also made in Goryeo celadon, and the Goki ware of the Yi Dynasty is thought to be a continuation of this tradition. However, some of the pieces are so well-formed and have such sharp edges that they are thought to date from the early years of the Yi Dynasty, and the kilns used to make them are thought to have been located in the Busan area, based on the clay used.
As the shape of Goki is fixed, it is not possible to make a glaze or a red speckled pattern, or to apply a glaze to the unglazed part (the unglazed part is called the “kakihazu” or “kakihazushi” in the case of Goki, but in the case of tea utensils, it is called “kakihazu” instead of “kakihazushi”). , that is, the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the part where the glaze has come off, or the “kakihazu” (the Not just with Koryo tea bowls, but tea masters also appreciate the subtle beauty of simplicity and quietness, and they look for tea bowls that have a certain appeal, with changes in the glaze as well as in the way they are made, and they appreciate these as a kind of scenery. Examples of this include rain leaks and fire marks, and even in the case of old Iga ware, which is considered to be the ultimate in wabi, there are things like scorch marks and glassy spots that are quite showy overall, so in short, for a tea master, it is not enough to be lukewarm, and what is appreciated is a clear impression.
There are various types of kutsu, which are divided into categories such as Daitokuji kutsu, momiji kutsu, kiri kutsu, bansho kutsu, nuni kutsu, and yugeki kutsu. In addition, there are also types of gohon kutsu, which are slightly softer than the former, and have more hanagawari and kanoko, and are more delicate in construction.
Daitokuji ware
This name comes from the fact that in the Muromachi period, when Korean envoys stayed at Daitokuji temple in Kyoto, they donated the Korean wares they had brought with them as a memento when they returned home, and this is how this type of ware came to be called by this name. It is the oldest of the Goki, and is large with a high foot ring, and the outward-opening foot ring is strong, giving it a stately appearance. The rim is jade-edged, and usually has a bluish tinge, with a single line running around the inside of the foot ring. Although it can be hung and removed, it is generally sober and unobtrusive.
Momiji Goki
This is a type of goki made at the Daitokuji temple, and is superior to the usual type. The foot ring is beautifully shaped, and the piece is slightly smaller than usual. The overall color is reddish due to oxidation, and the white glaze, fingerprints, and the effect of the foot ring and the hanging ring are combined with the bluish color of the fire to create a unique aesthetic. The name of Momiji-goke is also derived from its distinctive reddish color. This type of ware is extremely rare, and the Kashimaya (Hirooka family) and Chigaya (Hirase family) Momiji-goke are famous as the two best examples.
Kiri-goke
They are thin and often small. They are usually a light brown color, and the best ones have a raised rim and a pick-out, and they also have a hanging foot and a raised foot. The tea pool in the center is sunken in, as if it had been poked with a drill, hence the name, but according to one theory, it is also said that the rim and body have scratches that look like they have been made with the tip of a drill. It is also said that the term kirikata-dai, which refers to a type of high footed bowl, was later shortened to kirikata.
In addition, it is said that the name banjō-gōki is derived from the fact that the shape of the bowl is similar to that of the wooden bowls used by carpenters, and that the name ama-gōki is derived from the fact that the rim of the bowl is held in the mouth, and that the shape of the rim is similar to that of the mouth of an old woman.
Wari-takadai
The unglazed body and glaze are not uniform, and there are both hard-paste and well-style and Kumagawa-style pieces, and there are also new and old pieces from different periods. Some were made as purely Joseon-era ritual vessels, while others were made in response to the preferences of tea masters, who were inspired by these vessels. It is impossible to say with certainty that all of these vessels were made in a particular kiln during a particular period of time, or that they were all made in the shape of tea utensils. However, it is also true that most of the surviving pieces have a style that gives them a tea master feel, and it is thought that this type of cracked foot was mainly produced in the early Edo period, in places such as Jinju and Gimhae near Busan, and that some were produced later in the Busan Wakan kilns. In the “Chado Shoden-shu” (The Authentic Collection of the Way of Tea), it is written, “The tea bowls with a cracked foot were brought to Japan when Hideyoshi invaded Korea, and they became famous when Oribe Furuta selected them. There are various types of cracked foot, and the skin of the medicine is similar to a hard hand with a white color.” This is probably a reference to a type of pure Joseon ware, but the story about Hideyoshi’s visit to Korea and the famous tea bowl that Oribe chose are both plausible and make sense, both in terms of the period and Oribe’s tastes. The war probably made the tea bowls with a high foot more popular, and the trend of tea bowls with a high foot, which was already known to tea masters before the war, became even more popular.
The name “warikodai” is mentioned in the “Honkō Kokushi Nikki” (Diary of the Honkō Kokushi) in an article about a tea ceremony held in the main castle on the morning of the 10th day of the 11th month of the 6th year of the Kan’ei era (1629). was presented by Doi Oi no Kami, and was previously owned by Fukushima no Daimyo. It is thought that this tea bowl, which was probably brought back from the Korean campaign, was particularly well-suited to the tastes of the warlord-tea masters who were devoted to the style of Oribe. It is also interesting to note that the great warrior-tea master Fukushima Masanori, who was one of the foremost tea masters alongside Kato Kiyomasa, was the owner of the aforementioned warped tea bowl. Because of this connection, the warakodai was highly valued by the daimyo, and in the “Ganka Meibutsu Ki” (A Record of Curios and Famous Objects) published in 1656, the warakodai owned by various families is listed (although some of these may have been cut shapes).
Because of its origin and dignity, the warakodai was valued alongside the well, and it was said that it was essential for daimyo tea bowls.
Gosomaru
As stated clearly in “Michisa”, “Gosomaru is a Gohonte tea bowl in the style of Oribe”, this is a Gohonte tea bowl in the style of Oribe. It is a so-called Oribe Gohonte, and along with a certain type of waridatai, it is the oldest Gohonte tea bowl of its time. It was made in Gimhae, near Busan, during the early Edo period, when the Japanese settlement was located in Mamehama. It is a type of Gimhae Kente, and is also called Gimhae Gosomaru. Later, it was called Honte Gosomaru in contrast to the Gosomaru made at the Busan Japanese settlement kiln.
The origin of the name Gosomaru is said to be linked to the legend that Shimazu Yoshihiro had this type of tea bowl made in Korea during the Imjin War, and then presented it to Hideyoshi Toyotomi on the Gosomaru, a government-owned ship. The name Gosomaru appears in documents from the Tensho era (1573-1592) related to the wealthy merchant Shimai Munemuro of Hakata, and it seems that this was the name given to official ships for trade with Korea from the Muromachi period (1333-1573).
The Gosho-maru is a very distinctive shape, with a thick, Oribe-style, clogs-shaped body, a rimmed rim, and a waist that is tightened with a waistband. The foot ring is large and has a polygonal shape. The shape is full of variety and skill, and the workmanship is extremely strong. The fine lines of the pull marks on the body are vivid, and the reddish color of the Gohon style is visible in various places, which is a characteristic of Kinkai-kente. In addition to the plain white Gosomaru, there are also Gosomaru with black brush marks, but the latter are very rare. Tea masters distinguish between the plain white Goshomaru and the black brush-stroke Gokomaru.
The tea bowls that are plain white and are particularly called Furuta Koryo, which are famous as the original of Gosomaru, are irregularly round on the outside of the foot ring and pentagonal on the inside, which is scraped with a spatula. The multi-sided foot ring of Gosomaru is thought to have been formalized gradually, using this as a model.
Irapo
There is a theory that the name comes from a place name, but there is no definite basis for this, and the most likely explanation is the conventional theory that it comes from the word “irai” (meaning “irritating”), which is the most common name for this type of abalone. The name “Irapo” already appears in the “Kakutaki-ki” (a book written in 1656) in an article from 1656, so it is clear that it was already in use at the beginning of the Edo period. Although the word “deabou” also appears in “Kichisa”, the word “irabo” is already known, and it appears that this was settled on as the correct reading around the Genroku era, but there are various ways of writing it, such as “shacho”, “iraho”, “iranpo”, “deabou”, and “irabo” in the box writing. In the book “Kichisa”, it says “Irabo is a thing that is rough and rough”.
As a common feature of Irabote, the clay is a sandy clay with a high iron content, the shape is deep, and it is not thick, but rather straight from the waist to the mouth, giving the impression that the mouth is wide open. The sandy clay not only adds a sense of wabi to the tea bowl, but also makes it easy to make tea in, and so it fulfills its purpose as a tea bowl.
Iroha is the foremost example of wabi among wabi-mono, but if you look closely at it, you will see that it is also extremely well-crafted and well-designed.
it is extremely well-designed and has a truly exquisite feel that is perfect for tea. Even when looking at the design techniques such as kirimawashi, bebera, uchihake, katamigawari, and kugibori, or when looking at the clear distinctions between the chigusa irabo, katamigawari irabo, kugibori Iroha, bowl-shaped Iroha, and yellow Iroha, etc., it is clear that they were made in the shape of a cut, and were made to the tea master’s taste. In other words, they can be called a kind of tea bowl.
Iroha was thought to have been made in a kiln near Busan, but this was proven to be the case when Mr. Ken Nomori, formerly of the Governor-General of Korea, excavated fragments of Iroha bowls with an inner brush pattern and a single-sided pattern at the site of the Changgi kiln near Busan. In terms of style , it is thought that it was made in the early Edo period, around the time of the Mamekouro Japanese tea house. Furthermore, when it comes to iraho, tea ceremony masters have a tradition of not allowing even the smallest of flaws or repairs.
Tea ceremony masters are divided into koiraho, chigusa-iraho, katamigawari-iraho, kugibori-iraho, wanagata-iraho, and ki-iraho.
Koiraho Iroha
These are large bowls with a turned-up rim and a foot ring made from bamboo joints, giving them a strong, sturdy appearance.
The distinctive The Iroha glaze extends to the foot ring, and the clay is unpainted. The sandy clay sometimes has stone flecks, creating a scene that cannot be overlooked. There are fine lines of pulling both inside and out, and there is a loose round of white brush marks in the interior, which is called the Iroha inner brush mark, and is an important feature of Ko-Iroha. the rim of the bowl is called a bebera, and is made to look like a kind of landscape, deliberately made to look like a piece of broken clay that was repaired by adding more clay when it was originally made by molding with a potter’s wheel. such as the cut-around, the inner brushwork, and the bebera, are all clearly the result of the preferences of the tea master, but they work effectively as a bright spot in the overall dark and somber Iroha.
Chigusa Iroha
This is a type of old Iroha, along with Katamigawari Iroha, and its style is almost identical to that of Katamigawari Iroha, but it is treated as a separate category from the beginning as a superb example of Katamigawari Iroha.
Chigusa The name Iroha-yaki is thought to have come from the fact that it was originally owned by the Chikusa family (Chikusa-ya), who are said to have been the originators of this style of tea bowl, and it is said that the only other example of this type is a bowl that belonged to the tea master Fumai.
Katamigawari Iroha-yaki Kawari-Iro
The name of this type of ware comes from the fact that it is a type of old Iro, but it is glazed with a combination of Iro and Ido glazes, which is a major feature of this type of ware. The rim is slightly turned up at the edge, and there is usually a single press mark, with a sharp cut around the rim to form a spout. has fine lines, and the inside has brush marks that go halfway around the inside, with the promise that you will always see the tip of the brush. There is also usually a bevel or stone scallop. The foot ring is well-shaped, with a bamboo node, and is solid and strong, and the helmet is large and round. It is unglazed, and the one-sided body is also visible on the foot ring.
The one-sided body is particularly admired among Ko-ira-ho, and it feels like it represents Ko-ira-ho. The foot ring is strong in the style of Ido ware, but the overall style has a more delicate feel than ordinary Ko-Iro-bo, and the distinctive Katamigawari design is innovative, and the glaze is careless and not overdone, so it is well suited to the tea ceremony, and the overlapping glaze creates a natural scene. The sharp The sharp cutting and the single brush strokes on the inside of the piece are extremely clear and vivid, and the elegant simplicity of the piece adds a kind of sharpness to the piece, truly expressing the beauty of the wabi-sabi aesthetic.
Kugibori Irobo
This name comes from the whorl-shaped carving that looks like it has been carved with a nail inside the foot ring. The work is generally strong and has the same feel as old irabo, but there are also some aspects that differ slightly, so it is classified separately as irabo with nail carving.
The clay is a reddish-brown clay mixed with sand, and it usually has a stone-like texture. The rough texture, which is similar to the skin of a persimmon, is a characteristic shared with the skin of a persimmon. This texture is not only suitable for making tea, but also has a tea-like atmosphere that is both pleasant to the touch and pleasing to the eye, and is an essential flavor for the tea ceremony. I would like to think that the tea master’s consideration was also shown in this place, where the rough soil mixed with sand was used as it was, without using the clay.
There is no rim on this teacup, but it has a natural appearance, and the beveled rim is pleasing. The shape is slightly wider than other teacups, and the cut at the bottom and the cut at the side add variation. The Ira The glaze is thin and uneven, and it even covers the foot ring, but as a tea master would say, “The iraho medicine is hituparete ka ru”, which is a characteristic of the kugibori-te style and a highlight of the piece. Shades of blue The glaze, which is like a variety of blue moss, and the reddish color of the clay body are blended together to create a complex and subtle color that is difficult to describe, and it has a deep and attractive appeal. The surface of the clay body is also moist and glossy throughout, and in particular, the areas where the glaze is almost worn away have a strong reddish color and a luster to the surface. In addition, the fine lines of the pull marks are vivid both inside and out.
The foot ring is not a bamboo node, and the tatami mat is flat, and although it has been cut in one place, this cut foot is also one of the promises of the nail carving hand that is different from other Iroha. Inside the foot is flat, without a helmet-shaped crest, and has a whorl-like carving that looks as if it has been carved with a thick nail, jutting out at the corners. This is the most distinctive feature of kibori-te, and is the reason why it is called kibori-te.
Also like Genetsu Iraho, where the kugi-bori extends across the foot of the base, was called hontede kugi-bori in the old days and was highly prized, but this was a later development that imitated the kugi-bori technique.
Kugi-bori are rare, but among them, a few particularly outstanding pieces are so similar in style and even in the bent lines of the nail carving that it is thought they may have been made by the same potter. It is also likely that the nail-carved pieces were fired in the kiln of the aforementioned Shoki, depending on the shape cut by the tea master.
Bowl-shaped Iro-Iro is also a type of kugibori, but the name comes from the shape, and there are very few examples of this type.
Yellow Iro-Iro
This type is named after the yellow glaze, but it is divided into two types: hon-te and futsu-te, and the former type is the one with the most famous bowls. The workmanship is similar to that of the old Iro-Iro, but the body is whiter. slightly convex, and the rim has a cut-out rounding, which is a characteristic of hon-te. The glaze has a “hitsupare” effect, and the variations in shade and color are pleasing to the eye. The beveled rim, the sand-like texture of the body, and the bamboo-jointed foot are all characteristic of hon-te.
Furthermore Chosun Iraho is a type of ware that was made at the Waegwan Kiln in Busan by copying old Iraho, etc., and although it is made in the same way as the Naihoge, Yamamichi, and Bebera, etc., the foot ring in particular is clumsy at first glance, and it is a type of ware that dates from a later period.
Chosun Iraho Shima
This name comes from the fact that the pattern of the hinoki fence is carved into the surface. The shape and diameter of the bowl are almost the same, and it is shallow. The hinoki fence pattern is carved in two or three bands around the inside and outside of the rim. there is a band of pressed chrysanthemum patterns on the inside and, in rare cases, around the bottom, and this is covered with a white brush, with the pattern areas becoming a darker white inlay, and then covered with a translucent glaze up to the foot ring, creating a clay-like appearance.
The clay is a clay with a high iron content, and depending on the degree of firing, the color can be reddish or bluish, and the appearance of blue flames within the red is particularly pleasing. There are about eight eyes in the interior, and within the foot ring, a helmet-shaped crest stands up, giving the appearance of a crumpled silk crepe.
The flower pattern are usually only on the inside, but in rare cases they can also be found on the outside, and these are called “soto-bana” (outside flowers). The number of soto-bana is usually sixteen. Not only are soto-bana extremely rare, but they are also highly prized because the workmanship is even more exquisite than that of regular carved Mishima.
The soto-bana are currently known to the world are those that have been passed down in the Hirase family, the Mitsui family, the Yagura family of Kyoto, the Takeya family, and the Ozu family of Ise.
The style of carving of the Choshima Compared to the free and easy style of Mishima-te, the style of Chojima-te has a more rigid feel, and the patterns and techniques are unlike those of conventional Mishima-te, giving it the appearance of a tea bowl made for tea ceremony use , it is thought that they were made in the early Edo period, during the time of the Mamehara Japanese settlement, and that they were made in a kiln near Busan, according to the shape cut by the tea master, but there is also a theory that they were made in a kiln near Yangsan (Gyeongsangnam-do).
Unkaku
This is a type of inlaid celadon ware, and is called Unkaku (cloud crane) because of the many cloud crane patterns on it. There are many . However, there are various types of this ware with different styles, and tea masters divide them into categories such as Ko-Unkaku, Kyogen Hakama, Hikigisaya, and Chosun Unkaku, but broadly speaking, they can be divided into two types: those made during the Goryeo period and those made in the early Edo period (mid-Joseon period) in Busan and the surrounding area to order from tea masters.
Ko-Unkaku Crane
According to tea masters, this is the oldest of the Joseon Unhak, and it is said that it is made from clay with no soil added, but it includes both pieces with a wooden handle and pieces with a square seal pressed into the inside, so it is difficult to distinguish between old and new. is something that was not yet investigated, and is not surprising for a tea master from the Edo period, but today, it goes without saying that there is a need to make some kind of adjustment to the name to make it clear what period it is from. However, the name Kounotsuru is a traditional name in this field, so it is now the trend in this field to use this name as it is, but to limit the tea bowls to those from the Koryo period.
A famous tea bowl of this type from ancient times is Kyogen Hakama. has white stripes inlaid on the top and bottom of the cylindrical body, and a round pattern of white inlaid with black on the front and back of the body, which resembles the pattern of kyogen hakama, hence the name (in “Kenchisa”, it says “Kyogen hakama have a pattern inside the circle, and kyogen is like hakama”).
The name of kyogen The name of the hakama appears in the tea ceremony diary of Tsuda Sōyū, which was written around the Keichō era, and it seems that the origin of this hakama is very old. The deeper version of this kyōgen hakama is called “hikigisaya” because it resembles the sheath of the wood used to grind tea. The famous tea utensils owned by Rikyū are famous.
The kyōgen The hakama are thick and rather heavy to the touch, and the glaze is a bluish-gray color with craquelure, and the glaze is thick and extends to the underside of the foot ring, creating a sand foot ring. The style of the work is poor, and from the fact that it has a sand footring, it is thought to be inlaid celadon from the end of the Goryeo period, but it is also described in tea books as having a “quiet” feel. It is thought that its wabi-like appearance was favored by people such as Rikyu. As for the kiln that fired this piece, it is said to have been in the Gyeongsangdo area, and Kiou Ito mentions Goryeong in Gyeongsangbukdo and Gyeongju. Furthermore As for the Kyogen hakama, it has traditionally been said among tea ceremony practitioners that it was a teacup used to drink a medicinal tea made from the leaves of the Japanese knotweed, but there is also a theory that it was a tea bowl used for the tea ceremony that was popular at the end of the Goryeo period.
In addition to this In addition to this, there is a famous Kogetsu-style tea bowl in the Segawa family collection, which is inscribed Mishima on the box. It is a thin, high-quality piece, and the date of production is earlier than the Kyogen Hakama, so it is thought to have been produced in the Kangjin area of Jeollanam-do or the Buan area of Jeollabuk-do, where high-quality inlaid celadon ware was produced. works from the early Joseon period are usually made with a stone-like pattern.
Although they are commonly referred to as Goryeo tea bowls, most of them date from the early to mid-Joseon period, that is, from the Muromachi period to the early Edo period, and the only actual Goryeo-period works are the Ko-Unkaku (narrowly defined) mentioned above. There are few examples of Koryo inlaid celadon used in tea utensils, but in addition to the above-mentioned Ko-Unkaku, there are also famous examples of tea utensils that have been handed down from the past, such as the incense burner, square flower vase and cylindrical flower vase, all of which are rare masterpieces. Ko-Un Instead of kouun-tsuru, the term kyogen hakama is sometimes used as a general term, but because there are both old and new kyogen hakama from different periods, this term is not often used these days.
Unkaku
Of the pieces that have traditionally been called kouun-tsuru, those that date from the middle of the Yi Dynasty (the early Edo period) are now called by this name to distinguish them.
Shouou Since the time of Shōō and Rikyū, as people admired the kōgeki and kyōgen hakama, imitations of this style were made during the time of the Japanese trading post in Daejeon, and were ordered by tea masters and fired at the Japanese trading post kilns in Busan or nearby. show differences in terms of the way they are made, the glaze, and various other aspects when compared to the original Ko Unkaku. Firstly, in terms of the overall feel, the Ko Unkaku of the Goryeo period has a naturalness that is simple and unpretentious, whereas the latter cannot help but have an overly designed, intentional aspect.
In terms of shape , the shape of the base is different, with many having a bulging base or a large foot ring, and there is a clear difference from the simple cylindrical shape and foot ring of the Koyunzuru. In addition, there is usually a square seal on the inside, and although they are all thick, the glaze is thick and uneven, and there is a unique moistness to the glaze, and many of them have been fired more than once. The period was just when Oribe’s taste was in vogue, and the “heuge” style was greatly appreciated, so it is thought that this unusual design of the Unkakutsu was also influenced by this. The design of the Unkaku crane is also different from the Goryeo style, and overall it cannot escape the feeling of being overdone.
In short , this type of tea bowl is also considered to be a type of gohon chawan, and the surviving pieces are treasured as famous works.
Kimhae
The name of the Kimhae kiln, which is close to Busan, is derived from the fact that it produced these works, but there is a certain standard for what is called a Kimhae tea bowl (in the “Kan’ei Tekagami” (“Kimhae is a tea bowl made before the 40th year of the Kan’ei era, and is made in the place called Kimhae”). is a kiln that is characterized by its hard-handled bowls, and is the so-called Kintoku hard-handled ware, but the oldest tea bowl made here is the Tsumugi Gosomaru. The Kinkai tea bowl was made later, and even looking at the characteristics of the tea bowl, it is clear that it was made for the tea master’s cutting style. Maru, it is thought that they were made to order during the same period as the Mamekouwa Wakan.
Tea masters further divide the Kinkai tea bowls into two types, Honte and Koban-gata, according to their characteristics.
Honte
are extremely rare, and the Seiohbo is a representative example. The rim is peach-shaped or suhama-shaped and thinly made, and fine lines appear on the inside and outside, from the waist down, with a hint of the reddish color that is a characteristic of the Kinkai kiln. The foot is thick and sturdy, with a clay-like appearance. the foot ring is cracked in one or two places. The body does not have the so-called “cat scratch” pattern, and the Kinkai mark is strongly carved into the waist in the style of a nail carving.
Although it is a type of tea bowl from the beginning is a type of tea bowl, but compared to later Gohon Kaikai, it has a more powerful overall appearance, and it is full of vitality and dignity. The glaze is also uneven and attractive, and the Kaikai engraving is also powerful and tasteful, befitting the vessel’s size.
Koban shape
This is a later type than the Honte, and it is called this because the rim is shaped like a small coin. It is thinly made, and the body has a pattern of scratches resembling a Japanese fence, and the name Kinhae is sometimes carved on it. The foot ring is open on the outside, and many of them are broken. The reddish color is appreciated. The glaze is not as good as that of the Honte.
Gohon Tea Bowl
Gohon tea bowls are those that were made in Korea by firing the original Japanese tea bowls (gohon, or “master model” tea bowls) sent from Japan, and are dated from the Keicho to the Kyouhou periods.
In general When we talk about the original tea bowls, we usually mean the ones made at the Wakan kiln, but in the book “Kichisa”, it is already written that “the original tea bowls are the ones made by Oribe and Rikyu, and they were both given the original tea bowls by the shogunate received the original from the lord, and then had it made in Korea, and it was brought to Japan as if it were the original. The original meaning and scope of the term “hon-te” are clear.
Already , even before the Imjin War, during the time of Hideyoshi, it was not inconceivable that, given the popularity of Korean tea bowls at the time, Japanese envoys or merchants would request that tea bowls be made in Korea using the kirikata method. The above ‘Kichisa’ mentions the Rikyu Gohon, and it is not necessarily a baseless thing, and it is not necessarily something that should be laughed at and dismissed.
It It is thought that there are a few tea bowls made in the style of the tea bowls of the tea masters of the time, including the Rikyu Gohon, among the so-called Koryo tea bowls, but there is no concrete evidence to point to them. What can be clearly said is that the Oribe Gohon is the representative tea bowl of the Gosho Maru. In that sense, the Gosho Maru can be said to be the oldest of the Gohon tea bowls. The original is called Furuta Koryo because it was owned by Oribe, but since Shimazu Yoshihiro was a pupil of Oribe, it is also possible to assume that he had it made in Korea during his time there, following the shape of his teacher’s work, as the legend has it. It is also possible that there were other works made at the same time, known as “kazu-mono”, and that there were also works made after that, as can be seen from the slight changes in style. , it is clear that the Kutsu-gata and other tea bowls based on special conventions are based on special conventions. The characteristic of the Gohon tea bowl is that it faithfully incorporates the various conventions of the Kirigata style, and it is only natural that the tea bowls that were born would become tea bowls based on special conventions.
The popularity of waraji-dai, which increased as a result of the Korean War, was largely due to the influence of Korean waraji-dai, but it is said that Oribe was the first to focus on waraji-dai and adopt it for his own work. The unusual waraji-dai of his waraji-dai, such as those used in religious ceremonies, were very much in the style of Oribe’s own taste. The popularity of warlords among the warlords was largely due to the recommendation of Oribe, who had many disciples. This momentum led to orders for war bowls, and they were probably made during the war and even after it, but most of the works clearly show the style of Oribe’s taste. Furthermore, in general, it seems that the style is based on the “Houge” Oribe style.
In the “Sotan Jiki” (a diary written by the tea master Sotan), it is written that “the tea bowl is Korean, made by Koyomi, with a hizum and four notches on the foot (note: the foot is the raised part of the bowl), and is a Houge-mono (a type of tea bowl)”. , but it is impossible to tell from the article alone whether it is a genuine Korean piece or a favorite of the owner, but it is likely that it was something that Mōri Terumoto brought back from Korea with pride, and Kamiya Sōtan also wrote words of praise for it. On the day before, Sotatsu had happened to attend a tea ceremony hosted by Furuta Oribe in Fushimi, and at the time of the incident, it was the heyday of Oribe’s style of tea ceremony, which was popular after the death of Sen no Rikyu.
It seems that Terumoto’s tea bowl also suited Oribe’s taste. However, the term “Koyomi-te” is not only used for Mishima, but also for the kyogen hakama of Ishida Mitsunari, for example, so it seems that it may also refer to inlaid patterns. Then, the aforementioned Kirei’s waridate may also be seen as a favorite, like the Unkakute, but this Unkakute is also thought to be a favorite of Oribe because of its strange and unusual appearance , it is thought that it was made to Oribe’s taste, and if this warped foot is considered to be a crane, it can be seen that the warped foot with a design of a crane, like the Gosomaru, was already made during the war.
Both the waribata and the unkaku have their original forms in Korean works, and so to speak, they are “things that have been added to the original”, but the unkaku has certain points that can be called a fixed promise, so even if it can be called the original tea bowl, in the case of the waribata, the only common promise is the four-split foot Since there are four different types of foot and the shapes and kilns vary, it is difficult to call them “official tea bowls” (although it is true that each one is an “official” tea bowl made in a particular shape, it is also true that they are custom-made tea bowls made to order in a shape that suits the customer’s taste).
After the Japanese invasions of Korea in 1592 and 1597, diplomatic relations between the two countries were severed for a time, but with the conclusion of the peace treaty in 1604, the Japanese trading post that had been temporarily closed was re-established at Daemopo in Busan. According to Asakawa Hakkyo, in 1639, on the orders of the shogun Iemitsu, tea bowls were ordered and clay was brought in from Hadong and Jinju in Gyeongsangnam-do, and potters were invited to build kilns outside the Japanese settlement on the Korean side, but the location of these kilns is unclear and has not yet been investigated.
Ila-bo and Chō-mishima are “obvious-shaped tea bowls that are clearly the original tea bowls, but since Ila-bo is already mentioned in the article from the ‘Gakuboku-ki’ dated 1656, it can be said that Ila-bo itself was made at the Shōki kiln from at least that time.
The meticulous attention to detail seen in the Irahō ware was born from the refined tastes of experienced tea masters, and there is no doubt that it was influenced by the cutting styles of tea masters such as Enshu, who were prominent in their day. Although it is a work of art, it is not at all frivolous, and it has a relaxed, traditional style, which is due to the traditional skills of the local potters. If you compare it with the tea bowls of later generations, you will be surprised at the difference in weight and style. Therefore, the intentional cutting, inner brushing, partial replacement, and nail carving of the tea master’s design are not at all difficult, but rather have a refreshing effect and are a great attraction. In particular, the way the workmanship and design of the Iroha ware blend together perfectly to create a harmonious whole is like sipping a fine, mellow sake. Even though they are small, I would like to praise them as a wonderful example of the art of Japan and Korea. In terms of tea, they are the ultimate in the style of tea bowls from the Enshu period.
Choshimatsu ware is also thought to have been produced around the same time, but the reason it is associated with Choshimatsu ware is that the design of the Choshimatsu ware with a hinoki pattern is suggestive of the inlaid Choshimatsu ware, and the design was conceived on the same basis of taste, and it can be said that it is a piece that corroborates the period of Choshimatsu ware.
Even in the case of persimmon stalks and tottos, the Honte totto in particular has a variety of features that are characteristic of the beginning of the period, and when you consider the style of the work, it is probably best to see it as a tea bowl. The clay of both pieces is essentially the same as the clay found in the area around Busan, and they were probably fired in a kiln in the area around Busan or in the kiln at Wakan during the Mamehoo era.
Most of the Go-ki ware is also from this period, but there are some new and old pieces among them, and while they are all shaped Go-hon-te, it seems that the pieces from the later period that were clearly fired in the Wakan kilns are particularly distinguished as Go-hon-Go-ki.
The Ginkai tea bowl is also clearly a Gohon tea bowl made using the Kirigata technique, and is thought to have been made during this period, but the Gohon Ginkai tea bowl in particular is a favorite of tea ceremony masters, and the way it is made is truly formidable, and it is thought to belong to the early period of this period.
In a sense, the Gohon tea bowls of this early period make up the majority of the so-called Goryeo tea bowls, and they also encompass the deepest part of their appeal. This trend was probably brought about by the fact that, as the tea ceremony became more popular, there was an increasing demand for Korean tea bowls, and the tastes of tea masters gradually shifted from rough to refined, that is, from Oribe-style to Enshu-style tastes, and the number of existing bowls was insufficient to satisfy the tastes of tea masters. It is thought that certain types of well, well-side, soba and katate, as well as Gokumotsuru and Gokumagawa, were also made during this period, and were called “Tohjinwatari”, “Owatari”, “Ogifune” and “Enpo 4-nenwatari” by tea masters from ancient times, and a huge amount of these tea bowls were imported and spread throughout the world of tea ceremony.
After the restoration of diplomatic relations between the two countries, the head family on Tsushima Island was in charge of trade, and orders for the official tea bowls ordered by the shogunate were also handled by the head family. The Japanese trading post at Mameho continued until 1677, and from the following year it was moved to Choryang in Busan, where the head family built a kiln within the trading post and used Korean potters under the direction of Japanese potters to make various types of tea bowls using clay from various places such as Gimhae, Jinju, Hadong, Ulsan and Miryang. However, this kiln was also eventually abandoned in 1717. The periods of the Japanese kilns at Domaepo and Choryang were around 40 years each, but compared to the prosperity of tea bowl production during the early Japanese kiln period (from 1607 to 1670, around 70 years), the later Wakan kilns did not seem to do so well, and the quality of the works became frivolous, featuring a style that was just pretty and unimpressive, the so-called “Gohon-chawan style”.
The works of the Yawata Kiln over the eighty-year period from the first to the second half of the Edo period are known as Busan Gohon, or Busan ware, and are also referred to as Gohon chawan, or “main tea bowls”, by tea ceremony practitioners. , even the works from the Mamehara period are difficult to judge as being from the Soryo period, and it is only possible to determine the approximate period by looking at the style of the work. In particular, the characteristic of the Busan kiln’s works is the red spots that appear on the surface like a fawn’s spots, and this is common in the Gohonte style, so they are called Gohonte.
The Busan Gohon style includes the famous Gohon Tatsuru, as well as the Gohon E, Gohon Suna (hand), Gohon Gosomaru, Gohon Yotsuunotsuru, Gohon Mishima, Gohon Kinkai, and Gohon Hanshi.
Hon-tachikaku
This is the most famous of the so-called Hon-chawan, and the phrase “Hon” is almost like a password. Among Hon-chawan, the Tachikaku and the E-hon are traditionally valued separately. This is because they were ordered by the Shogunate during the Edo period, and so were held in particularly high esteem. The honorific title “Hon” originally began with the Shogun’s rough sketches.
The name “Tatsukuru” is derived from the black and white inlay on the front and back of the body, which is based on the Tatsukuru stencil. It is said that this design was based on a sketch drawn by Iemitsu, the Shogun, to celebrate the wedding of Hosokawa Sansai, and the hand that is considered to be the original is thought to have been made at the Wakan Pottery in Mamehara in the early stages of production. It is thin and cylindrical, with a slightly upturned rim, and has a standing crane design on the front and back. The surface has fine striations, and the overall color is reddish, with blue patches. The glaze is still wet, and there are fingerprints and drips, which add to the beauty of the piece. This is an extremely rare piece.
The Tachikaku tea bowl was particularly appreciated by tea masters, and so copies of it were often ordered from Korea. The original work is referred to as the “Hon-te Tachikaku” to distinguish it from these copies. The Hon-te is clearly superior in every respect, including the shape, the Tachikaku, the glaze and the glaze application, but the difference is most clearly shown in the quality of the foot ring.
Picture Books
These are simple picture books with underglaze designs, and the body is usually white clay. The underglaze is black. The most famous are the pine, bamboo and plum design, and there are various types of these. There are also landscape paintings, bamboo grass paintings, bracken paintings, wisteria paintings, chrysanthemum paintings, whirlpool paintings, etc. Some of these are said to be based on designs by Tanyu or Tsunenobu.
The Aoi crest is the number of tea bowls used by the shogun when serving tea to the lords, and the “Kan’eiji” is the number of tea bowls used by the same temple. In addition, the Gohonzan Mishima is thinly made, with a distorted rim and a raised foot, and it is clear that it was made with a certain intention. The pattern is a staggered stripe, which is completely different from the original Mishima ware. The style of the ware is very Japanese in its strictness, so it is said that it was made by Genetsu or Mosan, who came from Tsushima and worked at the Wakan Kiln in Busan.
The name Hanshi is said to have come from the fact that the judge (a Korean interpreter) brought them with him when he came to Japan. They are usually made with a thin glaze, and the reddish-brown clay has a slimy feel to it. The glaze turns a light blue in a reducing flame, and there are spots and fire marks. The inside of the bowl has a sandy texture, and the rim is shaped like a peach or a beach.
Every year, officials from the head family of Tsushima were sent to oversee the Wakan kiln, and some of them made their own tea bowls, including the famous Oura Rinsai, Nakayama Isan, Funabashi Gennai, Nakaba (Abiru) Mosan, Miyagawa Michiji, Michizo (Kodouji), Yaheita Matsumura, and Oharu Hirayama, and in particular, the names of Gennetsu and Mosan are well known. Both were skilled at Irobo, and Gennetsu Gohonte and Mosan Gohonte are mentioned in “Michisa”. Gen’etsu is famous for his kugi-bori (nail-engraving) work, and many of his pieces have a strong, sturdy feel to them, with the kugi-bori extending beyond the foot and around the body of the bowl.
On the other hand, Shozo’s pieces are thin and have a low foot, with the inside of the foot coiled and brushed on the inside. They have a stylish feel to them, and are greatly appreciated in the world of tea.
Since the opening of the Busan kiln, the head family often had tea bowls made for the shogun’s household, but after the kiln was closed in 1717, a kiln was built on Tsushima Island, and tea bowls modeled on the Busan tea bowls were made (in 1725, Hirayama Oharu opened a kiln in Shiga). This is the Tsushima kiln, and the tea bowls made there are called Tsushima Gohon. When the Tsushima kiln died out, the tea bowls made to the taste of Kobori Munechika and others at the end of the Edo period are called Shin Gohon.
Koryo
Tea masters call Koryo tea bowls, which are difficult to handle, Koryo. Some of the famous examples include the Araki Koryo tea bowls that belonged to Rikyu and Araki Dokan, the Hakko tea bowls that belonged to Shouou, the Jako tea bowls that belonged to Enshu, the Iibitsu tea bowls (Eiin tea bowls), and the Koryo Ikarai tea bowls, but it seems that some of these also include the Gohon tea bowls.
In addition, there are also items called “kaki koma” and “kou koma” depending on the glaze.
