Winter Chawan by Ohi Chozaemon X, late Showa period. The Chozaemon family of potters has been associated with the world of the Japanese tea ceremony since the 17th century. The Chozaemon lineage started with Hodoan (1631-1712), apprentice to the fourth heir of the Raku family of potters. In 1666, he accompanied Senso Shoshitsu (1622-1697), the fourth heir of the Urasenke school of Japanese tea ceremony, to the city of Kanazawa, the capital of the Maeda clan’s province, Kaga (current Ishikawa prefecture). In the village of Ohi, the first Chozaemon established a kiln which still produces superior tea ceremony wares and since the Meiji Restoration, ceramics for everyday living, too.
The piece is in the shape of a “winter” teabowl in the reddish-brown, amber glazed luster finish with beautifully detailed white roses (bara), green leaves and a delicate butterfly left of the signature. This chawan sits comfortably in the hands of the holder and presents a fine play of textures and amber tones. It has a high footring showing the Ohi trademark on the bottom interior of the footring, with makers mark next to the footring, and is signed on the side by Chozaemon X. Age: 1989. It has its original kiriwood box used to protect the piece with identification of the piece within. Dimensions: 4-1/2” dia. x 3-0”h.
Additional Information —
Ohi- ware is “Wakigama” (which is a general term for kilns used to make Raku ware that are outside of the Raku line) of the Kyoto Raku line. Raku ware has spread throughout Japan since the Meiji period, but in terms of makers who have directly inherited the Raku line techniques, Ohi ware is said to be the only current Wakigama with such lineage.
Fine quality earth is coated with a red-yellow glaze, commonly known as Ohi Amber glaze.
Excellent Condition- In unused, or like-unused condition. No visual or structural or surface wear or damage shown. Pristine. As good as the day it was made.
Great Condition- Appears in slightly used condition but looks "Like New". Some minor wear, but retains the original craft/workmanship. May show minor wear, that does not affect the main design, or associated motif. No cracks, dents, chips or missing elements.
Good Condition- Minor wear which can be restored or repaired; may have surface flaws, like staining or soiling, confined to a small area. The flaw(s) are counterbalanced by another feature, like brilliant color or innovative design. Some fading or the piece may have been altered in some fashion.
Fair Condition- Main aesthetic/design showing damage. Excessive noticeable wear or damage. Worth buying if can be restored/repaired because of its aesthetic or design appeal or rarity. Note: wear/damage consistent with age/use can often enhance the 'Antique' qualities of a piece, giving it a desirable second chance in one's collection