{"title":"Authentic Japanese Natsume Tea Caddy","description":"\u003cp data-start=\"432\" data-end=\"645\"\u003e\u003cstrong\u003eNatsume, handmade Japanese tea caddies made of urushi lacquer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"432\" data-end=\"645\"\u003eDiscover the elegance of the Japanese tea ceremony with our exclusive collection of matcha natsume, authentic, handmade Japanese tea caddies that combine tradition, craftsmanship, and timeless beauty.\u003c\/p\u003e","products":[{"product_id":"natsume-oshita-kosen","title":"Camellia usucha natsume 椿紋薄茶器 Oshita Kosen","description":"\u003cp\u003eThis tea caddy (\u003cem data-start=\"14\" data-end=\"23\"\u003enatsume\u003c\/em\u003e) by Ōshita Kōsen (大下香仙), a pupil of master Ōshita Sekka (1874–1960) from Kanazawa, belongs to the refined Kaga \u003cem data-start=\"128\" data-end=\"136\"\u003emaki-e\u003c\/em\u003e tradition, known for its subtle use of gold and vermilion powder. The camellia motif (\u003cem data-start=\"230\" data-end=\"239\"\u003etsubaki\u003c\/em\u003e, 椿) is often one of the first flowers to appear in the tearoom when nature is still bare.\u003c\/p\u003e\u003ch3\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eOn the dark lacquer base, a refined camellia motif (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003etsubaki\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, 椿) is applied with gold and vermilion accents. The round petals and balanced composition closely align with the aesthetic of Kaga \u003c\/span\u003e\u003cem\u003e\u003cspan\u003emaki-e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, which focuses on subtle decoration and refined material execution. The simple yet powerful form of the camellia makes it particularly suitable as a decorative theme within the world of the tea ceremony.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003e\u003cspan\u003eSymbolism\u003c\/span\u003e\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eThe camellia (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003etsubaki\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e) is considered a traditional symbol of purity, renewal, and quiet beauty in Japan. Because it blooms when many other plants are still bare, it is seen as a harbinger of spring and associated with inner strength and understated elegance. Within the tea ceremony, the flower also represents hospitality, mindfulness of the moment, and seasonal sensitivity, values closely linked to the spirit of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ewabi-sabi\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003echadō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003ch3 data-end=\"3169\" data-start=\"2756\"\u003eObject details\u003c\/h3\u003e\u003cul\u003e\n\u003cli dir=\"auto\"\u003eMaker: Ōshita Kōsen (大下香仙)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eTitle: Tsubaki-mon usucha-ki (椿紋薄茶器)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eType: Hiramakie natsume\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eMaterial: Urushi maki-e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 6.4 cm\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eHeight: ≈ 6.8 cm\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eCondition: In very good condition with minimal signs of use.\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with hanko and calligraphy.\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003e\n\u003cspan\u003eExtra : \u003c\/span\u003eBiography of the maker.\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\u003cp data-start=\"0\" data-end=\"106\"\u003eOn the tomobako (the original wooden storage box), the right side bears the calligraphy: 椿紋薄茶器 (tsubaki-mon usucha-ki) \u003cem data-start=\"144\" data-end=\"188\"\u003e“Camellia-motif tea caddy for thin tea.” \u003c\/em\u003eThe bottom left bears the maker's signature: 香仙作 (Kōsen saku) – \u003cem data-start=\"262\" data-end=\"285\"\u003e“Made by Kōsen,” \u003c\/em\u003efollowed by a red seal (香仙印, Kōsen in), the personal stamp of the artist Ōshita Kōsen.\u003c\/p\u003e\u003cp data-start=\"0\" data-end=\"106\"\u003eThe document confirms that this tea caddy truly originates from a recognized professional lacquer artist of the Kaga school, with official memberships and teaching positions, strong evidence of authenticity and artistic background.\u003c\/p\u003e\u003cdiv dir=\"auto\"\u003e\u003ch3 data-end=\"2210\" data-start=\"2188\"\u003eSignature and maker\u003c\/h3\u003e\u003c\/div\u003e\u003cdiv dir=\"auto\"\u003eThe Ōshita Kōsen family is one of Japan’s longest-running maki-e workshops. The third generation, Ōshita Kōsen, maker of the camellia-motif natsume, likely crafted around 1965–1975, embodied the core of Kaga’s aesthetic: refinement, balance, and timeless craftsmanship.\u003c\/div\u003e\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv dir=\"auto\"\u003eThe current workshop, led by Ōshita Kōsei (fifth generation), continues this tradition and introduced Classic Ko, a contemporary interpretation of urushi art where traditional techniques are applied to modern objects such as jewelry and design art pieces. Thus, the Kōsen name remains a symbol of Japanese craftsmanship, heritage, and aesthetic beauty to this day. \u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52479194136922,"sku":null,"price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Camellia2.jpg?v=1772964701"},{"product_id":"umetsuki-natsume-nakatani-hakuho","title":"Ume-tsuki natsume 梅月蒔絵中棗 Nakatani Hakuho","description":"\u003cp data-start=\"183\" data-end=\"199\"\u003e This tea caddy (natsume) was made by Japanese lacquer artist Nakaya Hakuhō (中谷博峰), active within the Yamanaka lacquer tradition in Ishikawa. The work is a contemporary interpretation of the classic maki-e technique, in which fine gold and silver powders are sprinkled into wet lacquer to create subtle decorative effects.\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Creator: Nakaya Hakuhō (中谷博峰)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Title: Ume-tsuki maki-e natsume (梅月蒔絵中棗)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Type: Yamanaka Lacquerware\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 6 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ 7 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: With slight damage to the edge;\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Accessories: Original tomobako with hanko and calligraphy.\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Extra: Biography of the creator.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp data-start=\"547\" data-end=\"871\"\u003eThe original wooden box (tomobako) bears the calligraphic inscription\u003cstrong data-start=\"619\" data-end=\"656\"\u003e梅月蒔絵中棗 (Ume-tsuki maki-e natsume)\u003c\/strong\u003e , “Tea caddy with plum blossom motif in maki-e” and is signed by the artist with his seal\u003cstrong data-start=\"758\" data-end=\"777\"\u003e博峰造 (Hakuhō-zō)\u003c\/strong\u003e , “made by Hakuhō.” This confirms both the authenticity and provenance of the work.\u003c\/p\u003e\n\n\u003cp data-start=\"873\" data-end=\"1300\"\u003e The blossom motif ( \u003cstrong data-start=\"892\" data-end=\"899\"\u003eume\u003c\/strong\u003e , plum blossom) is a traditional Japanese symbol of resilience, purity, and renewal. Because the plum blossom blooms in midwinter, it heralds the arrival of spring. In the context of the tea ceremony, it symbolizes perseverance, hope, and inner peace—qualities deeply rooted in the spirit of \u003cstrong data-start=\"1238\" data-end=\"1251\"\u003ewabi-sabi\u003c\/strong\u003e , the aesthetic of simplicity and transience.\u003c\/p\u003e\n\n \u003cp data-start=\"1302\" data-end=\"1624\"\u003eThe rich red lacquer, embellished with subtle black branches and gold accents, reflects the harmony of elegance and strength characteristic of the Yamanaka school. This refined balance between tradition and modern interpretation makes the natsume an exceptional example of contemporary Japanese lacquer art.\u003c\/p\u003e\n\n\u003cp data-start=\"1626\" data-end=\"2057\"\u003e The accompanying biographical document describes Nakaya Hakuhō's professional background, including his participation in important exhibitions such as the \u003cstrong data-start=\"1790\" data-end=\"1825\"\u003eYamanaka Lacquerware Exhibition\u003c\/strong\u003e , the \u003cstrong data-start=\"1830\" data-end=\"1868\"\u003eJapan Traditional Craft Exhibition\u003c\/strong\u003e , and the \u003cstrong data-start=\"1875\" data-end=\"1910\"\u003eIshikawa Prefectural Art Awards\u003c\/strong\u003e . It demonstrates his recognized position within the Japanese craft art world as a representative of the Yamanaka \u003cstrong data-start=\"2030\" data-end=\"2045\"\u003eshikki (漆器)\u003c\/strong\u003e tradition.\u003c\/p\u003e\n\n \u003cp data-start=\"2059\" data-end=\"2344\"\u003eIn short, this piece is an authentic, signed natsume with a plum blossom decoration ( \u003cstrong data-start=\"2149\" data-end=\"2163\"\u003eume-maki-e\u003c\/strong\u003e ), crafted by a master of the Yamanaka school. It is an elegant example of modern lacquer art, in which symbolism, technique, and aesthetics blend harmoniously.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52480164331866,"sku":null,"price":124.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Hako1.jpg?v=1763756228"},{"product_id":"toyama-natsume-arai-shiho","title":"Enzan natsume 遠山中棗 Arai Shiho","description":"\u003cp data-end=\"164\" data-start=\"148\"\u003eThis elegant Rikyū-style (利休形) natsume was crafted by the Japanese lacquer artist Arai Shihō (新井司峰), a master from the Kaga region, known for its refined \u003cem data-end=\"196\" data-start=\"188\"\u003eurushi\u003c\/em\u003e and \u003cem data-end=\"209\" data-start=\"201\"\u003emaki-e\u003c\/em\u003e tradition. The work reflects the aesthetic spirit of Sen no Rikyū (1522–1591), founder of the Japanese tea ceremony.\u003c\/p\u003e\n\u003ch3 data-end=\"16\" data-start=\"0\" data-section-id=\"1lz480z\"\u003eMotif\u003c\/h3\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"611\" data-start=\"17\"\u003eOn the deep black lacquer of this natsume, a serene mountain landscape (\u003cem data-end=\"107\" data-start=\"100\"\u003eenzan\u003c\/em\u003e, 遠山) is applied in gold \u003cem data-end=\"136\" data-start=\"128\"\u003emaki-e\u003c\/em\u003e. The composition subtly winds around the natsume, suggesting a sense of infinity and spaciousness within the compact surface. The mountain forms are not literally depicted, but rather poetically and suggestively rendered, making the landscape experienced as an impression rather than an image. Under the lid, the motif subtly continues into the inner rim, creating a refined sense of continuity and an enveloping visual world.\u003c\/p\u003e\n\u003ch3 data-end=\"679\" data-start=\"664\" data-section-id=\"1yayslj\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1251\" data-start=\"680\"\u003eIn Japanese tradition, the mountain landscape symbolizes distance, stillness, and timelessness. Mountains are seen as places of silence and contemplation, detached from the daily world, and thus refer to inner peace and spiritual deepening. Within the context of the tea ceremony, this motif reinforces the values of \u003cem data-end=\"1038\" data-start=\"1027\"\u003ewabi-sabi\u003c\/em\u003e: simplicity, transience, and harmony with nature. The distant, mist-shrouded mountains also depict an ideal of peace and retreat, fitting the meditative nature of \u003cem data-end=\"1229\" data-start=\"1222\"\u003echadō\u003c\/em\u003e (the way of tea).\u003c\/p\u003e\n\u003ch3 data-section-id=\"yspcje\" data-start=\"0\" data-end=\"23\"\u003eRikyū-style (利休形)\u003c\/h3\u003e\n\u003cp data-start=\"24\" data-end=\"456\"\u003eThe Rikyū-style refers to the formal language inspired by Sen no Rikyū (1522–1591), the founder of the Japanese tea ceremony in its wabi-cha form. Within this aesthetic, the focus is not on decoration or luxury, but on simplicity, proportion, and inner peace. Objects in Rikyū-style typically have a sober, functional form with a low, softly rounded silhouette that is entirely geared towards use within the tea ceremony.\u003c\/p\u003e\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eMaker: Arai Shihō (新井司峰)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Enzan Natsume (遠山中棗)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eType: Rikyū-style\u003cstrong data-end=\"222\" data-start=\"201\"\u003e \u003c\/strong\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial: Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDiameter: ≈7 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eHeight: ≈ 7 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition: Excellent; \u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with hanko and calligraphy.\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-end=\"1469\" data-start=\"1129\"\u003eThe original wooden box (tomobako) bears the calligraphic inscription 遠山中棗 (Enzan Natsume), “Tea caddy with distant mountains,” and is signed by the artist with the name 司峰 (Shihō), accompanied by his red seal. These elements confirm the authenticity and origin of the work from the Kaga maki-e school in Ishikawa.\u003c\/p\u003e\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp data-start=\"39\" data-end=\"277\"\u003eArai Shihō is a Japanese \u003cem data-start=\"65\" data-end=\"73\"\u003emaki-e\u003c\/em\u003e lacquer master from Ishikawa, specializing in tea ceremony objects such as \u003cem data-start=\"147\" data-end=\"156\"\u003enatsume\u003c\/em\u003e and \u003cem data-start=\"160\" data-end=\"166\"\u003ekōgō\u003c\/em\u003e. He works within the Kaga-\u003cem data-start=\"193\" data-end=\"201\"\u003emaki-e\u003c\/em\u003e tradition, known for its refined technique and subtle decoration.\u003c\/p\u003e\n\u003cp data-start=\"279\" data-end=\"612\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eHis work regularly appears in specialized gallery exhibitions in Japan and abroad at specialized presentations on Japanese tea culture and lacquer art. There it is valued for its combination of traditional craftsmanship and a modern, understated aesthetic. This establishes him as a contemporary representative of the classical Japanese lacquer tradition.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52480249987418,"sku":null,"price":210.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Bergen4.jpg?v=1765729348"},{"product_id":"tokufu-natsume-nakamura-soin","title":"Tokufu natsume 徳風棗 Nakamura Sōin","description":"\u003cp\u003eThis elegant \u003cstrong data-start=\"386\" data-end=\"410\"\u003eTokufu Natsume (徳風棗)\u003c\/strong\u003e was created by \u003cstrong data-start=\"386\" data-end=\"410\"\u003e\u003cstrong data-start=\"531\" data-end=\"555\"\u003eNakamura Sōin (中村宗尹)\u003c\/strong\u003e\u003c\/strong\u003e after\u003cstrong data-start=\"386\" data-end=\"410\"\u003e\u003cstrong data-start=\"531\" data-end=\"555\"\u003e \u003c\/strong\u003e\u003c\/strong\u003eoriginal design by the 11th Urasenke tea master \u003cstrong data-start=\"470\" data-end=\"492\"\u003eGengen Saikō (玄々斎).\u003c\/strong\u003e Sōin\u003cstrong data-start=\"386\" data-end=\"410\"\u003e\u003cstrong data-start=\"531\" data-end=\"555\"\u003e \u003c\/strong\u003e\u003c\/strong\u003eis a contemporary Kaga maki-e artist who studied under Toyoshima Bunshū. The piece was created with the support of Masuda.\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Creator: Nakamura Sōin (中村宗尹)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Title:\u003cstrong\u003e \u003c\/strong\u003eIchiryū manbai (「粒万倍」)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Type: Tokufu Natsume\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 8.4 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ 6.3 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: Excellent;\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Accessories: Original tomobako with hanko, calligraphy and cloth.\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Extra: Biography of the creator.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp data-start=\"761\" data-end=\"1343\"\u003eThis refined natsume, intended for usucha (thin matcha), exemplifies the balance between simplicity and symbolism. The deep black lacquer exudes tranquility and serenity, while the gold maki-e decoration subtly shimmers in the light. The lid features the phrase \u003cstrong data-start=\"1055\" data-end=\"1119\"\u003e\"粒万倍\" (ichiryū manbai – \"One grain can multiply into ten thousand\") in elegant calligraphy.\u003c\/strong\u003e The idea comes from a Japanese proverb emphasizing that small beginnings can lead to great fruition or success, a traditional Japanese wish for prosperity and growth. Nine grains of rice are depicted in gold on the inside of the lid, a reference to the harvest and the abundance that can come from a single seed.\u003c\/p\u003e\n\n \u003cp data-start=\"1345\" data-end=\"1639\"\u003eThe natsume demonstrates the highest level of craftsmanship: the lacquer is even and glossy, the maki-e is fine and precise, and the finish is meticulously crafted. The piece comes with its original wooden tomobako (storage and presentation box) and accompanying tray.\u003c\/p\u003e\n\n\u003cp data-end=\"621\" data-start=\"142\"\u003e The artist \u003cstrong data-end=\"193\" data-start=\"176\"\u003eNakamura Sōin\u003c\/strong\u003e trained with his father, \u003cstrong data-end=\"249\" data-start=\"231\"\u003eKawakita Ryōzō\u003c\/strong\u003e , recognized as \u003cem data-is-only-node=\"\" data-end=\"339\" data-start=\"289\"\u003ea Holder of Important Intangible Cultural Property\u003c\/em\u003e for woodturning ( \u003cem data-end=\"371\" data-start=\"361\"\u003ehikimono\u003c\/em\u003e ) within the Yamanaka-nuri tradition of Ishikawa. He then honed his skills under \u003cstrong data-end=\"486\" data-start=\"466\"\u003eToyoshima Bunshū\u003c\/strong\u003e , a leading master of the \u003cstrong data-end=\"536\" data-start=\"521\"\u003eKaga-maki-e\u003c\/strong\u003e style, known for his refined decorations and traditional tea ceremony objects.\u003c\/p\u003e\n\n \u003cp data-end=\"849\" data-start=\"623\"\u003eUnder Bunshū, Sōin developed a characteristic style in which technical perfection and natural motifs harmoniously combine, a heritage that clearly builds on both the wood and lacquer traditions of his teachers.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52529126310234,"sku":null,"price":300.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Nakamura_Soin10.jpg?v=1763758189"},{"product_id":"kyoyaki-matcha-kom-ninsei-shikishi-waka-kato-shoka","title":"Kyōyaki Matcha Bowl “Ninsei Shikishi Waka” 仁清色紙和歌 Kato Shōka","description":"\u003cdiv dir=\"auto\"\u003e This elegant matcha bowl is made by \u003cstrong\u003eKato Shōka (加藤松香)\u003c\/strong\u003e , a contemporary master from Kyoto known for carrying on the Kyōyaki tradition, the refined ceramics that have adorned Kyoto's tea culture since the Edo period. The piece is titled\u003cstrong\u003e仁清色紙和歌 (Ninsei Shikishi Waka)\u003c\/strong\u003e , which refers to the classical decoration with gilded poetry cards in the style of Nonomura Ninsei, the great pioneer of 17th-century Kiyomizu-yaki.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Creator: Kato Shōka (加藤松香)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Title: Ninsei Shikishi Waka (仁清色紙和歌)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n \u003cli dir=\"auto\"\u003eType: Kyōyaki Matcha Bowl (抹茶茶碗)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Stoneware, hand-painted and gilded\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 12 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ 7.5 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Interior: Craquelé glaze (kan-nyū)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: New;\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Accessories: Original tomobako, cloth (shifuku), and biography of the maker\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The bowl has a deep black exterior, on which gilded \u003cstrong\u003eshikishi\u003c\/strong\u003e (poetry cards) with waka verses are depicted, symbolizing the refined court culture of the Heian period. The cards are decorated with motifs of pine, bamboo, and plum blossom, the so-called \u003cstrong\u003eshōchikubai (松竹梅)\u003c\/strong\u003e , an auspicious combination representing strength, flexibility, and renewal.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eThe interior features coloured concentric lines \u003cstrong\u003e(go-sen\u003c\/strong\u003e ), a reference to the five elements \u003cstrong\u003e(go dai)\u003c\/strong\u003e . With age, the glaze develops a subtle crackle structure, called \u003cstrong\u003ekan-nyū (貫入)\u003c\/strong\u003e in Japanese, a natural phenomenon in fine Kyōyaki pottery that enhances the depth and character of the glaze.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The bowl bears the impressed mark \u003cstrong\u003e“松香” (Shōka)\u003c\/strong\u003e in a circle on the foot. It comes in its original \u003cstrong\u003etomobako (友箱),\u003c\/strong\u003e a wooden box, on which the following is written in brush: Kyōyaki Matcha Bowl “Ninsei Shikishi Waka” made by Kato Shōka. The box also bears the maker’s round seal stamp, in which the characters\u003cstrong\u003e松香 (Shōka)\u003c\/strong\u003e are engraved. The bowl comes with a green information sheet explaining the artist’s background.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eTranslation:\u003c\/strong\u003e\n\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eMr. Kato Shōka is a researcher of the Kyōyaki and Seiyaki traditions. From a young age, he worked at the foot of the Higashiyama Hills in Kyoto, where he learned under his father, the potter Kato Seika. He immersed himself in painting and lacquerware, developing a style that combines traditional Kyoto elegance with a modern sense of refinement. His work, particularly in tea ceremony ceramics, has won awards at various exhibitions. He continues to strive for harmony between tradition and innovation in his ceramic work.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e This bowl represents the fusion of literary refinement, technical perfection, and symbolic depth. The combination of the \"waka\" theme, the gold ornamentation, and the authentic signature makes it a valuable collector's item for enthusiasts of Japanese tea ceremonies and Kyōto ceramics.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eKato Shōka studied at the Kyoto Prefectural Ceramic Training Institute, Design Department, graduating in 1968. That same year, he entered the world of the Kyōyaki iroe pottery as an apprentice\/employee. In 1974, he opened his own studio under the name \u003cstrong\u003e\"松香\" (Shōka)\u003c\/strong\u003e and began producing tea ceramics independently. He participated in and was recognized at numerous exhibitions: In 1977, he became a member of the Daitokuji chakai group. In 1988, he won the \u003cstrong\u003e\"知事賞\" (Governor's Prize)\u003c\/strong\u003e at the Kyoto Painted Ceramics Exhibition.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52530034213210,"sku":null,"price":175.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Ninsei10.jpg?v=1772376342"},{"product_id":"sumiyoshi-natsume-saijo-issai-matcha-theebus","title":"Matcha natsume Daiun 大雲 Saijō Issai","description":"\u003cdiv dir=\"auto\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp data-end=\"441\" data-start=\"112\"\u003eThis exceptional Ōnatsume bears the name \u003cstrong data-end=\"182\" data-start=\"153\"\u003e“Daiun” (大雲, Great Cloud)\u003c\/strong\u003e, a poetic reference to serenity and the flowing harmony between heaven and earth. The piece was created in the atelier of \u003cstrong data-end=\"327\" data-start=\"305\"\u003eSaijō Issai (西條一斉)\u003c\/strong\u003e, a master lacquer artist from Nara, and reflects refined craftsmanship and a deeply rooted aesthetic tradition.\u003c\/p\u003e\n\u003cp data-end=\"1050\" data-start=\"443\"\u003e\u003cstrong data-end=\"452\" data-start=\"443\"\u003eMotif\u003c\/strong\u003e\u003cbr data-end=\"455\" data-start=\"452\"\u003eThe motif depicts the \u003cstrong data-end=\"511\" data-start=\"477\"\u003eSumiyoshi-taisha Shrine (住吉大社)\u003c\/strong\u003e in Osaka, one of Japan’s oldest Shinto shrines, recognizable by the characteristic Sorihashi Bridge, which arches gracefully over the water. The bright red bridge contrasts with the surrounding pine trees, traditionally symbols of endurance and steadfastness. Together, they form an iconic landscape often associated with protection and purification. The scene is rendered in deep black \u003cstrong data-end=\"917\" data-start=\"899\"\u003eurushi lacquer\u003c\/strong\u003e, enhanced with \u003cstrong data-end=\"943\" data-start=\"933\"\u003emaki-e\u003c\/strong\u003e in gold powder and vermilion accents, giving the composition a subtle luster and sense of spatial depth.\u003c\/p\u003e\n\u003cp data-end=\"1614\" data-start=\"1052\"\u003e\u003cstrong data-end=\"1065\" data-start=\"1052\"\u003eSymbology\u003c\/strong\u003e\u003cbr data-end=\"1068\" data-start=\"1065\"\u003eThe symbolism is reinforced by the name \u003cstrong data-end=\"1131\" data-start=\"1108\"\u003e“Daiun – Sumiyoshi”\u003c\/strong\u003e, chosen by the maker himself. \u003cstrong data-end=\"1191\" data-start=\"1162\"\u003e“Daiun” (大雲, Great Cloud)\u003c\/strong\u003e evokes stillness and the gentle, free movement of a cloud across the sky—a metaphor for the state of mind during the tea ceremony. \u003cstrong data-end=\"1338\" data-start=\"1323\"\u003e“Sumiyoshi”\u003c\/strong\u003e serves as the earthly counterpart: a tangible sacred site embodying tradition, protection, and cultural continuity. Together, they express the harmony between heaven and earth, between inner calm and ritual action—a balance that lies at the heart of \u003cstrong data-end=\"1600\" data-start=\"1589\"\u003echanoyu\u003c\/strong\u003e aesthetics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cul\u003e\n\u003cli dir=\"auto\"\u003eCreator: Saijō Issai (西條一斉)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eTitle:\u003cstrong\u003e\u003cspan\u003e\u0026nbsp;\u003c\/span\u003e\u003c\/strong\u003eDaiun Sumiyoshi (大雲)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eType: Ōnatsume\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eMaterials: wood, rushi, urushi lacquer, maki-e (powdered gold \u0026amp; vermilion)\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 7.2 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eHeight: ≈ 7.5 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli\u003eInscriptions: \u003cspan\u003eSigned 「斉」(Sai) by Saijō in red lacquer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eInscriptions: Saijō Issai (box), Ikkō saku (box lid interior)\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eCondition: Superficial traces of use.\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with hanko, calligraphy.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp data-end=\"90\" data-start=\"59\"\u003e\u003cstrong data-end=\"88\" data-start=\"59\"\u003eTomobako and Authenticity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"532\" data-start=\"92\"\u003eThe original \u003cstrong data-end=\"117\" data-start=\"105\"\u003etomobako\u003c\/strong\u003e (wooden presentation box) is inscribed with a brush: \u003cem data-end=\"228\" data-start=\"171\"\u003e“Made by maki-e master Saijō Issai Ōnatsume Sumiyoshi.”\u003c\/em\u003e Inside is the signature \u003cstrong data-end=\"274\" data-start=\"253\"\u003e「一高作」 (Ikkō saku)\u003c\/strong\u003e, indicating that it was executed within the same atelier, most likely by a family member or student of Issai. This dual signature is characteristic of Japanese \u003cstrong data-end=\"455\" data-start=\"435\"\u003eurushi workshops\u003c\/strong\u003e, where master and apprentice together represent a single artistic lineage.\u003c\/p\u003e\n\u003cp data-end=\"1306\" data-start=\"534\"\u003e\u003cstrong data-end=\"557\" data-start=\"534\"\u003eSignature and Maker\u003c\/strong\u003e\u003cbr data-end=\"560\" data-start=\"557\"\u003e\u003cstrong data-end=\"575\" data-start=\"560\"\u003eSaijō Issai\u003c\/strong\u003e (b. 1937, Osaka; real name \u003cstrong data-end=\"629\" data-start=\"603\"\u003eOkutsu Yoshimine, 奥津義峰\u003c\/strong\u003e) is a Japanese master of \u003cstrong data-end=\"677\" data-start=\"655\"\u003emaki-e lacquerwork\u003c\/strong\u003e. He learned the craft from his father, \u003cstrong data-end=\"739\" data-start=\"717\"\u003eOkutsu Yōhō (奥津洋方)\u003c\/strong\u003e, and from the 1950s became active in the tradition of fine urushi art. From the 1960s onward, he was repeatedly selected for the \u003cstrong data-end=\"918\" data-start=\"869\"\u003eJapan Traditional Crafts Exhibition (日本伝統工芸展)\u003c\/strong\u003e and its regional Kinki section. In 1989, he was appointed director of the \u003cstrong data-end=\"1030\" data-start=\"993\"\u003eOsaka Crafts Association (大阪工芸協会)\u003c\/strong\u003e and received several awards for cultural and craft achievements, including the \u003cstrong data-end=\"1151\" data-start=\"1110\"\u003eOsaka Prefecture Cultural Merit Award\u003c\/strong\u003e in 1993. His atelier is located in Nara, where he continues his work in the spirit of refined \u003cstrong data-end=\"1273\" data-start=\"1246\"\u003etea ceremony aesthetics\u003c\/strong\u003e and classical Japanese design.\u003c\/p\u003e\n\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52533452210522,"sku":null,"price":325.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Saijo_Issai_43.jpg?v=1771670690"},{"product_id":"matcha-set-handgesneden-zwart-bamboo-100-tanden-wisk-klopper-chasen","title":"Matcha set hand-carved black bamboo whisk beater (100 teeth) 百本立","description":"\u003cdiv dir=\"auto\"\u003eThis chasen is crafted from dark bamboo (黒竹 kurotake), meticulously hand-carved and shaped into 100 fine teeth (hyappon date), ideal for frothing matcha with a light, stable consistency. The dark color comes from the natural aging of the bamboo, sometimes enhanced by light toasting. The result is a brush with a deep, warm tone and a slightly firmer texture, beloved by connoisseurs who value refinement and balance in their tea preparation. Each chasen is handcrafted in Takayama, Nara, where the traditional Japanese craft of chasen has been passed down for over 500 years.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eThere are different types of bamboo chasen in order of quality\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e White Bamboo (白竹\u003cstrong\u003eShiratake\u003c\/strong\u003e )\u003cspan\u003e \u003c\/span\u003eClassic, undyed bamboo. Light and flexible, traditionally used in almost every tea ceremony.\u003cspan\u003e \u003c\/span\u003eSoft and smooth; gives a creamy lather.\u003cspan\u003e \u003c\/span\u003eGood, but more vulnerable to breakage.\u003cspan\u003e \u003c\/span\u003e\n\n\u003c\/li\u003e\n\n \u003cli dir=\"auto\"\u003ePurple Bamboo - OKI (紫竹\u003cstrong\u003eShichiku\u003c\/strong\u003e )\u003cspan\u003e \u003c\/span\u003eBamboo with a natural purple-brown glow. Harder and slightly heavier, with a subtle elegance.\u003cspan\u003e \u003c\/span\u003eSlightly stiffer feeling when tapping, refined appearance.\u003cspan\u003e \u003c\/span\u003eBetter resistance to moisture and wear.\u003cspan\u003e \u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eBlack Bamboo (黒竹\u003cstrong\u003eKurotake\u003c\/strong\u003e )\u003cspan\u003e \u003c\/span\u003eDark, deeply colored bamboo; slow-dried and with finer fibers.\u003cspan\u003e \u003c\/span\u003eVery stable and precise, ideal for consistent matcha.\u003cspan\u003e \u003c\/span\u003eExcellent, longest lifespan with proper maintenance.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cstrong\u003eWhy choose black bamboo?\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The dark bamboo chasen is more than just a utensil: it's a symbol of understated beauty. Its natural hue contrasts beautifully with the vibrant green matcha, while its firmness ensures a smooth tapping motion and long-lasting use. For those who view the tea ceremony not simply as a ritual, but as a moment of silence and mindfulness, this is the perfect choice.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eSpecifications\u003c\/div\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eImported from Japan.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eHand carved.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eNew, unused.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eDiameter: 6cm, Height: 11cm\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: dark bamboo (kurotake)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Type: 100 teeth (hyappon date)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Origin: Takayama, Nara, Japan\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Use: Usucha (light matcha) and Koicha (thick matcha)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv dir=\"auto\"\u003e Maintenance: Rinse with lukewarm water only, no soap; allow to air dry.\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52591288418650,"sku":null,"price":24.95,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Chasen2.jpg?v=1763928499"},{"product_id":"matcha-set-handgemaakt-zwarte-bamboe-klopper-en-houder","title":"Matcha set hand-carved black bamboo whisk (100 teeth) with holder","description":"\u003cdiv dir=\"auto\"\u003e Bring tranquility to any ritual with this refined Japanese matcha set made of black bamboo.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The set consists of a hand-carved chasen with a hundred fine teeth (百本立て) and a ceramic holder (chasen-tate), together they form the essence of the Japanese tea ceremony.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eKurotake\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n \u003cdiv dir=\"auto\"\u003eDark bamboo (kurotake) is rarer than white or purple (OKI) varieties and is known for its strength, deep color, and natural sheen. The finely split bamboo teeth create a creamy, silky foam, just like in Japanese chanoyu.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eImported from Japan.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eHand carved.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eNew, unused.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eDiameter: 6cm, Height: 11cm\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Dark bamboo (kurotake)\u003c\/li\u003e\n\n\u003cli\u003e Origin: Takayama, Nara, Japan\u003c\/li\u003e\n\n\u003cli\u003e 100-pronged chasen (hyappon date)\u003c\/li\u003e\n\n\u003cli\u003e Durable and dimensionally stable\u003c\/li\u003e\n\n\u003cli\u003e Includes chasen holder and bamboo chashaku\u003c\/li\u003e\n\n\u003cli\u003e Suitable for usucha (light matcha) and koicha (thick matcha)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eChasen – Matcha whisk\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e With 100 carefully split teeth, the black bamboo chasen creates an airy foam and a soft, balanced taste.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eChasen-tate – Wooden or ceramic holder\u003c\/strong\u003e\n\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eThe holder helps the beater maintain its shape and extends the life of the bamboo. Moreover, the chasen dries evenly, keeping it looking good longer and preventing it from splitting.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cspan\u003e\u003c\/span\u003e \u003cstrong\u003eWhy choose black bamboo?\u003c\/strong\u003e\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e While white bamboo is light and supple, and purple bamboo is primarily decorative, black bamboo offers the perfect balance between strength and refinement. The color deepens over time, a quiet reminder of the Japanese principle of wabi-sabi: beauty in simplicity and ephemerality. A timeless set for those who want to prepare matcha with mindfulness, quietly, purely, and with reverence for the craft.\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52591609839962,"sku":null,"price":29.95,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Chasen_potje3.jpg?v=1763928650"},{"product_id":"shiro-urushi-natsume-hashizume-an-matcha-theebus","title":"Matcha shiro-urushi natsume 橋爪庵 Hashizume-an","description":"\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-end=\"424\" data-start=\"17\"\u003eThis refined natsume (tea caddy for matcha) originates from Yamanaka Onsen, Kaga (Ishikawa) and is signed on the original wooden box (\u003cem data-end=\"164\" data-start=\"154\"\u003etomobako\u003c\/em\u003e) as 「橋爪庵 造」 (\u003cem data-end=\"206\" data-start=\"179\"\u003emade by Hashizume-an\u003c\/em\u003e), with the corresponding red studio seal (\u003cem data-end=\"257\" data-start=\"250\"\u003ehanko\u003c\/em\u003e) containing the character 庵. The shape is classic \u003cem data-end=\"322\" data-start=\"311\"\u003enakatsume\u003c\/em\u003e, with a medium-height, rounded silhouette that is suitable for use in the Japanese tea ceremony.\u003c\/p\u003e\n\n\u003ch3 data-end=\"442\" data-start=\"426\" data-section-id=\"1lz480z\"\u003eThe Motif\u003c\/h3\u003e\n\n\u003cp data-end=\"926\" data-start=\"443\"\u003eThe natsume is crafted from white urushi (\u003cem data-start=\"40\" data-end=\"54\"\u003eshiro-urushi\u003c\/em\u003e), featuring a soft, warm luster and a subtly even surface that emphasizes the calm, refined appearance of the lacquer. The surface is decorated with golden and silver fan motifs (\u003cem data-end=\"675\" data-start=\"660\"\u003esenmen maki-e\u003c\/em\u003e, 扇面蒔絵), incorporating seasonal flowers: plum blossom, orchid, pine, and chrysanthemum. The combination of fan and floral motifs creates a rhythmic and seasonal imagery, where each element forms part of a continuous decorative whole.\u003c\/p\u003e\n\n\u003ch3 data-end=\"943\" data-start=\"928\" data-section-id=\"1yayslj\"\u003eSymbolism\u003c\/h3\u003e\n\n\u003cp data-end=\"1409\" data-start=\"944\"\u003eThe four depicted plants represent the seasons and their corresponding virtues within Japanese aesthetics. Plum blossom (\u003cem data-end=\"1080\" data-start=\"1075\"\u003eume\u003c\/em\u003e) symbolizes resilience and new beginnings, orchid (\u003cem data-end=\"1139\" data-start=\"1134\"\u003eran\u003c\/em\u003e) represents refined elegance, chrysanthemum (\u003cem data-end=\"1183\" data-start=\"1177\"\u003ekiku\u003c\/em\u003e) embodies nobility and longevity, and pine (\u003cem data-end=\"1233\" data-start=\"1226\"\u003ematsu\u003c\/em\u003e) signifies steadfastness and immortality. Together, they form a harmonious cycle of nature, aligning with the serene and contemplative atmosphere of the tea ceremony.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-end=\"23\" data-start=\"0\" data-section-id=\"hu14v2\"\u003eShiro-urushi (白漆)\u003c\/h3\u003e\n\n\u003cp data-end=\"476\" data-start=\"25\"\u003eWhite urushi (\u003cem data-end=\"51\" data-start=\"37\"\u003eshiro-urushi\u003c\/em\u003e, 白漆) is a rare and technically demanding variant of traditional Japanese lacquer (\u003cem data-end=\"144\" data-start=\"136\"\u003eurushi\u003c\/em\u003e), where the natural dark resin is blended and pigmented to achieve a light, often ivory to cream-white appearance. Unlike deep black or reddish-brown standard lacquers, shiro-urushi is sensitive to composition, drying conditions, and oxidation, making it particularly difficult to process stably.\u003c\/p\u003e\n\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"800\" data-start=\"478\"\u003eHistorically, shiro-urushi was primarily used in decorative and ceremonial objects where a light, refined appearance was desired, often in combination with \u003cem data-end=\"646\" data-start=\"638\"\u003emaki-e\u003c\/em\u003e or other gold and silver accents. The contrast between the light surface and metallic decoration creates a subtle, almost ethereal visual effect.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-end=\"3169\" data-start=\"2756\"\u003eObject details\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli\u003eMaker: Hashizume-an (橋爪庵 造)\u003c\/li\u003e\n\n\u003cli\u003eTitle: Senmen Ichimen (洗面一面)\u003c\/li\u003e\n\n\u003cli\u003eTechnique: maki-e (扇面蒔絵)\u003c\/li\u003e\n\n\u003cli\u003eMaterial: wood, urushi lacquer\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 6.5 cm\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cspan\u003eHeight\u003c\/span\u003e: ≈ 6.6 cm\u003c\/li\u003e\n\n\u003cli\u003eCondition: Excellent, undamaged\u003c\/li\u003e\n\n\u003cli\u003eOrigin: Yamanaka Onsen, Ishikawa Prefecture, Japan\u003c\/li\u003e\n\n\u003cli\u003eDating: ca. 1980–2000\u003c\/li\u003e\n\n\u003cli\u003eAccessories: original tomobako (共箱) and cloth (共布)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\n\u003cp\u003eThe piece is signed on its original wooden box (\u003cem data-start=\"987\" data-end=\"997\"\u003etomobako\u003c\/em\u003e) as 「橋爪庵 造」 (\u003cem data-start=\"1012\" data-end=\"1031\"\u003eHashizume-an saku\u003c\/em\u003e, \"made by Hashizume-an\") and features a red studio seal (\u003cem data-start=\"1103\" data-end=\"1110\"\u003ehanko\u003c\/em\u003e) with the character 庵 (\u003cem data-start=\"1132\" data-end=\"1136\"\u003ean\u003c\/em\u003e). The signature is associated with the Hashizume lacquerware family from Kuroe, Kainan (Wakayama), a historic center of Japanese urushi production.\u003c\/p\u003e\n\n\u003cp\u003eThe Hashizume workshop has been active for multiple generations in traditional lacquer techniques, including \u003cem data-start=\"1388\" data-end=\"1396\"\u003emaki-e\u003c\/em\u003e, producing both functional and ceremonial objects within Japanese tea culture. In this context, the name \"Hashizume-an\" is used as a studio or artist name within the family's production practice.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eThe signature 橋爪庵 is the formal gagō (雅号 — artist name) of a master within the Hashizume family. With high probability, it refers to Hashizume Yasuo (橋爪靖雄, born 1935), a recognized lacquer artist who was active for over six decades, received multiple national awards, including an honor from the Japanese Ministry of Culture, and holds the title of \u003cem\u003ePrefectural Master Craftsman of Wakayama\u003c\/em\u003e. His specialty includes precisely this type of maki-e tea ceremony objects. An alternative attribution to his father Hashizume Yoshio (橋爪義雄), whose work was acquired by the imperial court, cannot be entirely ruled out due to the lack of a public archive.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52609839628634,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Waaier11_e4a2e4d3-1f56-4880-8c59-715c7fa6fbbe.jpg?v=1763931509"},{"product_id":"japanse-natsume-flower-raft-hana-ikada-saijo-issai-urushi-makie-matcha-theebus","title":"Matcha natsume Hana-ikada 花筏 Saijō Issai","description":"\u003cp dir=\"auto\"\u003eAn exceptional ōnatsume (大棗) by the Japanese master lacquer artist Saijō Issai (最上一斎), titled Flower Raft (花筏 \/ Hana-ikada). The motif depicts cherry blossoms (sakura) gliding across the water like a floating raft, a classic symbol from Japanese poetry that portrays the transience of beauty and the rhythm of the seasons.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eMotif\u003c\/h3\u003e\n\u003cdiv dir=\"auto\"\u003eThe deep black lacquer ground is rich and glossy, with golden maki-e lines winding around the form like currents. Warm red-gold tones flow across the lid, as if the light of spring plays upon the water. The exquisite balance of color, line, and sheen demonstrates Issai’s complete mastery of traditional urushi art.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003ch3\u003eSymbolism\u003c\/h3\u003e\n\u003cdiv dir=\"auto\"\u003eIn Japanese aesthetics, \u003cstrong data-start=\"30\" data-end=\"44\"\u003eHana-ikada\u003c\/strong\u003e primarily represents transience. Cherry blossoms bloom briefly and exuberantly; when the petals detach and drift away, the swift passage of beauty becomes evident. Yet, the image is not somber: the fallen petals remain beautiful in their movement, showing that a new form of beauty emerges precisely in the ephemeral.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp data-start=\"376\" data-end=\"686\"\u003eThe motif also marks the transition of seasons. In classical poetry, it is considered a spring image that subtly indicates the passage of time. Simultaneously, it evokes a sense of connection: individual petals together form a floating pattern, just as people meet and part again.\u003c\/p\u003e\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject details\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli dir=\"auto\"\u003eMaker: Saijō Issai (最上一斎, born 1937, Osaka)\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eTitle: Flower Raft Ōnatsume (花筏大棗)\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eTechnique: Maki-e (lacquer decoration with gold powder)\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eMaterial: Lacquered wood (urushi)\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 7 cm\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eHeight: ≈ 7 cm\u003cbr\u003e\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eCondition: Excellent.\u003c\/li\u003e\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with inscription 花筏 and Saijō Issai's seal\u003cspan style=\"font-size: 0.875rem;\"\u003e\u0026nbsp;\u003c\/span\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eSaijō Issai (born 1937, Osaka; real name 奥津義峰 Okutsu Yoshimine) is a Japanese master of maki-e lacquerware. He learned the craft from his father Okutsu Yōhō (奥津洋方) and became active in the tradition of fine urushi work from the 1950s onwards. From the 1960s, he was repeatedly selected for the Japan Traditional Crafts Exhibition (日本伝統工芸展) and its regional Kinki section. In 1989, he was appointed director of the Osaka Crafts Association (大阪工芸協会) and received several awards for cultural and craftsmanship merit (including the Osaka Prefecture Cultural Merit Award in 1993). His studio is located in Nara, where he continues his work in the spirit of refined tea ceremony aesthetics and classical Japanese design.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003ch3 dir=\"auto\"\u003eMagical spectacle\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eThe floating cherry blossoms on the water come alive in Japan in places where blossoms gather to form a soft, moving carpet. Along the \u003cstrong\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eMeguro River\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e, petals glide like a pink river under bridges; at the \u003cstrong\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eChidorigafuchi Moat\u003c\/span\u003e\u003c\/span\u003e \u003c\/strong\u003e, an almost picturesque reflection of falling sakura emerges around the Imperial Palace's water; at \u003cstrong\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eHikawa Shrine\u003c\/span\u003e\u003c\/span\u003e \u003c\/strong\u003e, blossoms swirl through the serene shrine environment and collect in still pools; and in \u003cstrong\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eKawagoe\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e, with its historic streets and canals, a calmer, almost nostalgic image of \u003cem data-start=\"693\" data-end=\"705\"\u003ehana-ikada\u003c\/em\u003e unfolds. Everywhere, it revolves around that fleeting moment when the blossoms detach, touch the water, and transform into a living painting, typically in the last week of March to early April in Tokyo and a few days later in Saitama, peaking three to five days after full bloom when falling blossoms set the water's surface in gentle motion.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u0026nbsp;\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52609851490650,"sku":null,"price":349.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Hana-ikada.jpg?v=1771705640"},{"product_id":"japanse-natsume-tatsuta-gawa-takahashi-minefusa-urushi-makie-matcha-theebus","title":"Matcha natsume tatsuta-gawa 高橋峯房 Takahashi Minefusa","description":"\u003cdiv dir=\"auto\"\u003eThis exceptional natsume was crafted by renowned Japanese lacquer master \u003cstrong data-start=\"469\" data-end=\"499\"\u003eTakahashi Minefusa (高橋峯房)\u003c\/strong\u003e , known for his refined urushi techniques and dedication to the aesthetics of the Japanese tea ceremony. The piece reflects a harmony between craftsmanship, nature, and poetry. The model has an \u003cstrong data-end=\"748\" data-start=\"722\"\u003eupright, convex form\u003c\/strong\u003e ( \u003cem data-end=\"766\" data-start=\"750\"\u003etate-maru-gata\u003c\/em\u003e ) executed in the austere \u003cstrong data-end=\"813\" data-start=\"792\"\u003eRikyū style (利休形)\u003c\/strong\u003e named after the legendary tea master Sen no Rikyū, who emphasized simplicity and natural beauty.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eThe \u003cstrong\u003ekeyaki wood\u003c\/strong\u003e \u003cstrong data-end=\"973\" data-start=\"937\"\u003e(欅)\u003c\/strong\u003e grain remains visible and is enhanced by a warm, transparent urushi lacquer layer in the \u003cstrong data-end=\"1081\" data-start=\"1053\"\u003ekijidame (木地溜塗) style\u003c\/strong\u003e . This technique literally means “wood-base finish” ( \u003cem data-end=\"1146\" data-start=\"1140\"\u003ekiji\u003c\/em\u003e = wood, \u003cem data-end=\"1161\" data-start=\"1155\"\u003edame\u003c\/em\u003e = to seal) and allows the natural structure of the wood to subtly shine through. The result is a surface that looks both vibrant and understated.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n \u003cp data-end=\"1615\" data-start=\"1365\"\u003eThe \u003cstrong data-end=\"1392\" data-start=\"1376\"\u003eTatsuta-gawa\u003c\/strong\u003e motif refers to the \u003cem data-end=\"1426\" data-start=\"1417\"\u003eTatsuta\u003c\/em\u003e River in Nara, a classic symbol of Japanese autumn. In literature and art, this river represents \u003cstrong data-end=\"1557\" data-start=\"1526\"\u003etransience (無常,\u003c\/strong\u003e \u003cstrong\u003emujō\u003c\/strong\u003e \u003cstrong data-end=\"1557\" data-start=\"1526\"\u003e)\u003c\/strong\u003e , falling leaves, and the passing of the seasons. The decoration is executed in maki-e: fine powdered gold and lacquer work depicting floating autumn leaves on a flowing river. This poetic image embodies the spirit of \u003cem data-end=\"1817\" data-start=\"1806\"\u003ewabi-sabi,\u003c\/em\u003e the beauty of simplicity, stillness, and time.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eThe original wooden box (tomobako) is complete and features the handwritten text “立丸形棗利休形” The terms 立丸形棗\u003cstrong\u003etate-maru-gata natsume\u003c\/strong\u003e and 利休形\u003cstrong\u003eRikyū-gata\u003c\/strong\u003e describe the shape and proportions of the natsume plus the signature “峯房（高橋）印” refers to a personal seal or signature ( \u003cem data-start=\"115\" data-end=\"122\"\u003einsho\u003c\/em\u003e印章) of Japanese lacquerware artist \u003cstrong\u003eTakahashi Minefusa\u003c\/strong\u003e (高橋峯房).\u003c\/div\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Maker: Takahashi Minefusa (高橋峯房).\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Title: Tatsuta-gawa (竜田川 \/ 立田川)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Type: chū-natsume\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Kijidame-nuri Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Period: 1950-1989\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 6.5 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ 6.8 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: Excellent.\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Accessories: Original tomobako with hanko and calligraphy.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eWhy this piece is special\u003c\/strong\u003e\n\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eBy Takahashi Minefusa, a specialist in lacquerware for the tea ceremony, the work is both functional and artistic. The use of keyaki wood and transparent lacquer makes this piece visually and tactilely rich: you can feel the wood grain and see the sheen of the lacquer, a combination of nature and technique. The tatsuta motif, rarely used in natsume, adds a literary-poetic layer to the object. The presence of the original tomobako reinforces the provenance and makes it suitable for collectors who value documentation.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eCondition \u0026amp; maintenance\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The piece is in excellent condition: the lacquer is even and glossy, there are no visible cracks or chips, and the wood grain is clear. The tomobako is also well-preserved, with clear calligraphy and seal. To preserve it, avoid direct sunlight, strong temperature fluctuations, and keep it away from moisture and dust. Clean with a soft, dry cloth.\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52609991737690,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Tatsuta11.jpg?v=1772965964"},{"product_id":"japanse-natsume-amime-shunju-genichi-urushi-makie-tomobako","title":"Matcha natsume Amime Shunjū 網目春秋 Genichi","description":"\u003cdiv dir=\"auto\"\u003e A delicate medium-sized Chū-natsume by Japanese lacquer artist \u003cstrong\u003eGenichi\u003c\/strong\u003e (玄一), titled “ \u003cstrong\u003eAmime Shunjū”\u003c\/strong\u003e literally Spring and Autumn in a fine woven pattern.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The deep-gloss black lacquer sets the stage for a delicate gold maki-e net motif, merging the seasons: \u003cstrong\u003echerry blossoms\u003c\/strong\u003e (sakura) for spring and \u003cstrong\u003emaple leaves\u003c\/strong\u003e (momiji) for autumn, lightly dancing across the surface. The intricate pattern exudes tranquility, rhythm, and refinement, with a perfect balance between symmetry and poetry.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eThis natsume is meticulously crafted in \u003cstrong\u003eurushi\u003c\/strong\u003e lacquer and finished with gold \u003cstrong\u003emaki-e,\u003c\/strong\u003e a traditional technique in which gold powder is sprinkled into wet lacquer and polished to a subtle sheen. Its rounded, soft shape fits comfortably in the hand and reflects the understated beauty of the Japanese tea ceremony. \u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Maker: Genichi (玄一), Japan\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Title: Amime Shunjū 網目春秋\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTechnique: Maki-e (lacquer decoration with gold powder)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Lacquer wood (urushi)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 6.5 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ 7 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: Excellent, undamaged with no visible scratches or blemishes\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Accessories: Original tomobako with Genichi inscription and seal\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eAccessories: Tomonuno (cloth)\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Dating: Probably made around 1970 – 1990\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp\u003e\u003cspan\u003eThis natsume likely dates from the late Showa to early \u003cstrong\u003eHeisei\u003c\/strong\u003e period (c. 1970–1990). The modern calligraphy, lustrous urushi lacquerwork, and refined yet contemporary maki-e technique point to a carefully handcrafted piece from the second half of the 20th century, crafted in a traditional style with modern finishes.\u003c\/span\u003e A special piece for lovers of Japanese tea culture and fine lacquerwork.\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52633543999834,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Net6.jpg?v=1773486750"},{"product_id":"natsume-van-moerbeihout-kuwa-no-ki-matcha-theebus","title":"Mulberry wood natsume (桑の木 \/ kuwa no ki)","description":"\u003cdiv dir=\"auto\"\u003eHandmade tea box (natsume) made of \u003cstrong\u003emulberry wood (桑の木 \/ kuwa no ki)\u003c\/strong\u003e , finished in natural colour with rubbed urushi lacquer (\u003cstrong\u003e拭き漆 \/ fuki-urushi\u003c\/strong\u003e ), which allows the living wood grain to remain beautifully visible. The signature “来来” (RaiRai) on the original storage box (tomobako) and the red seal indicate a craft workshop or product line that produces this beautiful piece.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The box has a rich, warm color, the wood grain undulating elegantly all around and exuding a tranquility, befitting the design of a classic tea ceremony object (茶道具). Included is the original tomobako with the calligraphy: \"桑木目 来来 ふきうるし\", as well as the information leaflet highlighting the cultural and historical significance of mulberry wood as a symbol of longevity and well-being.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Maker\/Signature: 来来 (RaiRai)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material: Mulberry wood\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Finish: Fuki-urushi (rubbed lacquer)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Dating: ca. 1980 – 1995\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Origin: Japan\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition: Excellent\u003c\/li\u003e\n\n\u003cli\u003e Accessories: \u003cspan\u003eOriginal tomobako (wooden storage box).\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n \u003cli dir=\"auto\"\u003e\u003cspan\u003eIncluded: Original information leaflet “長寿 桑の木 のしおり”, which explains the symbolism of mulberry wood as the wood of longevity.\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eCalligraphy \u0026amp; Seal: “来来” (RaiRai), a craft signature of a studio or maker, applied in brush and red seal.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eDating\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e Late Shōwa to early Heisei period (circa 1980–1995). The technique used, the type of calligraphy, and the accompanying brochure point to this period, a time when Japanese workshops once again focused on natural materials and simple, refined lacquer finishes.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eSymbolism \u0026amp; context\u003c\/strong\u003e\n\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eIn the Japanese tea ceremony (茶道 chadō), simplicity equates to beauty. This natsume embodies that ideal: the warm mulberry wood, the sheen of the lacquer, and the tranquility of the craftsmanship. The brochure explains that mulberry wood symbolizes longevity, strength, and inner peace, and that the grain deepens its beauty over time.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e The name RaiRai adds a spiritual dimension to this, the continuous arrival of prosperity, a rhythm that brings harmony between man and nature.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eCondition \u0026amp; usage\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e In excellent condition, with no damage or loss of lacquer. The color has a soft, honey-brown depth and a silky sheen that only develops with age.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e Ideal as a chaki for the tea ceremony or as a collector's item for those who appreciate the subtlety of Japanese lacquerware. This piece blends effortlessly with both modern and classic interiors, creating a tranquil focal point in any tea setting.\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52644763271514,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Meiboom1.jpg?v=1772665085"},{"product_id":"shiki-soka-makie-chu-natsume-shintani-kiyoshi","title":"Shiki sōka makie chū-natsume 四季草花蒔絵 Shintani Kiyoshi","description":"\u003cp\u003e A delicate medium-sized tea caddy (chū-natsume) from the Yamanaka-nuri (山中塗) lacquerware tradition. This piece was made by Shintani Kiyoshi, better known by his artist name Shippō \/ Urushihō, a master lacquerworker from Ishikawa Prefecture.\u003c\/p\u003e\n\n \u003cp\u003eThe natsume is crafted in deep black urushi lacquer, with a makie pattern of four seasonal flowers and grasses (Shiki sōka 四季草花蒔絵) in fine gold powder. Every detail reflects the Japanese concept of shun (the beauty of the moment), in which the seasons follow one another in subtle forms. In the context of the tea ceremony (chanoyu), this natsume invites contemplation, a moment on the threshold of time, where simplicity and mindfulness converge. It recalls the fleeting splendor of each season, but also the continuity of nature's rhythm.\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Creator: 新谷清 Shintani Kiyoshi (漆峯 Shippō \/Urushihō）\u003c\/li\u003e\n\n\u003cli\u003e Born: 1930, Daishōji-machi, Ishikawa\u003c\/li\u003e\n\n\u003cli\u003e Teachers1: 中村政吉 (Nakamura Masakichi)\u003c\/li\u003e\n\n\u003cli\u003e Teachers2: 中川友助 (Nakagawa Yūsuke)\u003c\/li\u003e\n\n\u003cli\u003e Technique: 山中塗 (Yamanaka lacquerware) ・金蒔絵 (gold makie)\u003c\/li\u003e\n\n\u003cli\u003e Motif: 四季草花 (flowers and grasses of the four seasons)\u003c\/li\u003e\n\n\u003cli\u003e Size: 中棗 (medium) chū-natsume\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Diameter: ≈ 6cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Height: ≈ \u003cspan\u003e6.5\u003c\/span\u003e cm\u003c\/li\u003e\n\n \u003cli\u003eIncludes: Original box (箱 \/tomobako), signature and seal\u003c\/li\u003e\n\n\u003cli\u003e Includes: A silk cloth (仕覆\/shifuku) with a seal\u003c\/li\u003e\n\n\u003cli\u003e Condition: Very good; signed and complete\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv dir=\"auto\"\u003e \u003cstrong\u003eThe creator\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e Shintani Kiyoshi was born in 1930 (Shōwa 5) in Daishōji-machi, Ishikawa, a region renowned for centuries for its refined woodwork and lacquerwork. After completing his training, he apprenticed with makie master Nakamura Masakichi (中村政吉), and later perfected his technique under Nakagawa Yūsuke (中川友助). Under their guidance, he developed from apprentice to independent lacquermaster.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e His oeuvre primarily comprises tea ceremony objects such as natsume and kōgō (incense boxes), executed in traditional makie techniques. His work is known for its balance between classical refinement and individual, refined lines.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e His motto was: “名工より良工たらん事を願い精進致して居り”\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e Not aiming for fame, but for craftsmanship of the highest quality.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003e\u003cstrong\u003eKaga maki-e\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-start=\"154\" data-end=\"305\"\u003e Kaga maki-e is a prominent genre within traditional Japanese lacquer art and has long been particularly popular with European collectors.\u003c\/p\u003e\n\n\u003cp data-start=\"307\" data-end=\"639\"\u003e From the 17th to the 18th century, high-quality maki-e lacquerware from the Kaga and Wajima regions was internationally known as \"Japanese lacquerware.\" Through the trading networks of the Dutch, French, and Portuguese East India Companies, these luxurious lacquer objects were exported to Europe, where they were highly sought after.\u003c\/p\u003e\n\n\u003cp data-start=\"641\" data-end=\"1038\"\u003e Such works were collected by royal families and the aristocracy and adorned the treasuries, art cabinets, and palaces of the European elite. The strong visual contrast of gold and silver motifs glowing against a deep, jet-black lacquer surface was seen as exotic, refined, and technically superior, contributing to the enduring reputation of this craft.\u003c\/p\u003e\n\n \u003cp data-start=\"1040\" data-end=\"1255\"\u003eThis tradition lives on in the work of skilled lacquer masters like Shintani Kiyoshi, whose objects reflect the classic elegance, balance, and craftsmanship that have made Kaga maki-e famous worldwide.\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52687725625690,"sku":null,"price":230.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Shintani_6.jpg?v=1762708272"},{"product_id":"matcha-sunkiri-natsume-harigai-yusai","title":"Matcha sunkiri natsume 春野蒔絵 Hariya Yūsai ","description":"\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003eThis exquisite natsume was crafted by the Japanese lacquer master 針谷裕斎 (Hariya Yūsai). Its rounded shape is of the sunkiri type (寸切棗), slightly lower and wider than the standard form, giving it a harmonious, stable appearance.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003c\/div\u003e\n\n\u003ch3 dir=\"auto\"\u003eMotif \u003c\/h3\u003e\n\n\u003cdiv dir=\"auto\"\u003eThe surface is covered with multiple layers of transparent reddish-brown urushi lacquer (透漆, suki-urushi), creating a warm, deep luster that allows the underlying layers to shimmer through. Adorned on top are elegant motifs of spring plants (haruno), including blooming wildflowers and ferns, applied in gold powder (金粉) and silver powder (makie). On the lid, a butterfly flutters, its wings inlaid with mother-of-pearl (raden 螺鈿), a symbol of grace, lightness, and rebirth.\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003eThe decoration is executed using the classical togidashi-makie technique, where the lacquer is polished to an even, glossy surface after the application of metal powders and mother-of-pearl. This is a time-consuming and demanding process that only experienced masters undertake.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003c\/div\u003e\n\n\u003ch3 dir=\"auto\"\u003eSymbolism\u003c\/h3\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cp\u003eHaruno (春野) literally means “spring field” (春 haru = spring, 野 no = field). In an object name, it refers to the motif or theme of the decoration, often spring plants and flowers. The butterfly (蝶) in Japan represents elegance, transformation, and happiness. The spring plants (春野) symbolize the awakening of nature and renewal. Together, they express the tea ceremony ideal of wabi-sabi: beauty in simplicity, transience, and renewal.\u003c\/p\u003e\n\n\u003ch3\u003eObject Details\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Haruno makie sunkiri natsume (春野蒔絵 寸切棗 )\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCreator\u003cspan\u003e : \u003c\/span\u003eHariya Yūsai (針谷裕斎) \u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003ePeriod\u003cspan\u003e \u003c\/span\u003eLate Showa to Early Heisei (c. 1980–2000)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTechnique\u003cspan\u003e \u003c\/span\u003eUrushi lacquer, gold and silver makie, raden\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eForm\u003cspan\u003e \u003c\/span\u003eSunkiri type (low \u0026amp; wide)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDimensions\u003cspan\u003e \u003c\/span\u003eapprox. Ø 6.5 cm × H 6.0 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial\u003cspan\u003e \u003c\/span\u003eWood core with natural urushi lacquer\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMotif\u003cspan\u003e \u003c\/span\u003eButterfly and spring plants (haruno)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eIncludes: Original tomobako with signature\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eIncludes: fukusa cloth, paper outer box\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition:\u003cspan\u003e \u003c\/span\u003eExcellent\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eOrigin\u003cspan\u003e \u003c\/span\u003eJapan (Yamanaka Shikki tradition)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and Authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\n\u003cp\u003eThe set is presented in its original tomobako (共箱), the wooden box on which the title 春野蒔絵 寸切 (“Haruno makie sunkiri”) and the signature 裕斎 作 (“made by Yūsai”) with seal (印) are inscribed. This includes the original silk fukusa cloth, also bearing the lacquer master's seal, and a blue paper outer packaging with the atelier's label.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and Maker\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003eHariya Yūsai (裕斎) is the artist name of Masayuki Hariya, where Yū (裕) stands for abundance or richness and Sai (斎) refers to an atelier or place of dedication. Together, the name symbolizes his atelier of creative dedication and reflects his commitment to the craft of maki-e and traditional lacquerware.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003eHariya Yūsai is a contemporary master lacquer artist within the Yamanaka Shikki tradition (山中漆器) in Ishikawa Prefecture. He was born in 1954 in Kaga City and is still active as a maki-e artist. His work is characterized by a refined combination of classical Japanese lacquer techniques and elegant, nature-inspired motifs.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003eHariya Yūsai is a member of the prestigious Japan Kōgei Association, Ishikawa branch. Membership in this association signifies that his work is recognized for its high artistic and artisanal quality. It confirms his status as a master lacquer artist and lends additional authority to his work in exhibitions and auctions. Since the 1980s, Hariya has regularly participated in major regional exhibitions, including the Ishikawa Exhibition, Chunichi Exhibition, and various specialized art and craft expositions.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-start=\"906\" data-end=\"1769\"\u003eHe has received multiple awards, such as the Technical Prize of the Creative Exhibition (1983 and 1989) and the Encouragement Prize from the Ishikawa Traditional Industry Promotion Council (1987). Additionally, he was selected for exhibitions such as the Hokuriku Seiun Exhibition and the Hanamachi Art Exhibition.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003eThe Hariya family is an active dynasty of maki-e artists and lacquerware masters in Yamanaka Onsen. Their workshop functions as a center for production, education, and cultural exchange, where the next generation actively contributes to the continuity and renewal of the Japanese lacquerware tradition. They combine classical Yamanaka techniques with modern design concepts and engage the public through exhibitions, workshops, and demonstrations, ensuring that traditional lacquerware remains vibrant. More information about the Hariya family can be found via this \u003ca href=\"https:\/\/shop.urushiarthariya.com\/?mode=f10#hariyamasayuki\"\u003elink\u003c\/a\u003e\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-end=\"1614\" data-start=\"1410\"\u003e \u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52687887827290,"sku":null,"price":410.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Hariya1.jpg?v=1765488535"},{"product_id":"wajima-nuri-chashaku-gelakte-bamboe-matami-sai-shiotokuyashikki","title":"Wajima-nuri chashaku, lacquered bamboo tea scoop, Matami-sai, Shiotokuyashikki shop","description":"\u003cp\u003e Wajima-nuri chashaku, lacquered bamboo tea scoop, Matami-sai, Shiotokuyashikki shop\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52752584016218,"sku":null,"price":28.15,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Chashaku.jpg?v=1771709153"},{"product_id":"natsume-nakamura-soetsu-in-de-stijl-van-ii-sokan-met-viooltjes-en-leeuwerik-maki-e","title":"Matcha natsume Hagi 萩 and Hibari 雲雀 Nakamura Sōetsu","description":"\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-end=\"535\" data-start=\"185\"\u003eThis refined chū-natsume was crafted by the renowned lacquer master Nakamura Sōetsu (中村宗悦), known for his extremely precise and natural \u003cem data-end=\"339\" data-start=\"331\"\u003emaki-e\u003c\/em\u003e technique. The object is executed in the classical style of Ii Sōkan-gonomi (井伊宗観好), in which simplicity, elegance, and subtle refinement converge within the aesthetics of the Japanese tea ceremony.\u003c\/p\u003e\n\n\u003ch3 data-end=\"553\" data-start=\"537\" data-section-id=\"1lz480z\"\u003eThe Motif\u003c\/h3\u003e\n\n\u003cp data-end=\"1009\" data-start=\"554\"\u003eOn the exterior, a landscape with hibari (雲雀, larks) is depicted in fine \u003cem data-end=\"597\" data-start=\"585\"\u003ehiramaki-e\u003c\/em\u003e, playfully foraging among swaying autumn grasses. The scene is subtly complemented with gold powder accents that evoke a sense of light, air, and movement. The inside of the lid is separately decorated with hagi (萩, bush clover), creating a refined inner-outer composition (\u003cem data-end=\"967\" data-start=\"949\"\u003euchi-soto maki-e\u003c\/em\u003e) that deepens the seasonal theme.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1026\" data-start=\"1011\" data-section-id=\"1yayslj\"\u003eSymbolism\u003c\/h3\u003e\n\n\u003cp data-end=\"1507\" data-start=\"1027\"\u003eHagi belongs to the Seven Autumn Flowers (\u003cem data-end=\"1085\" data-start=\"1068\"\u003eaki no nanakusa\u003c\/em\u003e) and symbolizes modesty, grace, and the gentle melancholy of autumn. The hibari symbolizes freedom, joy, and ascent to light. Together, they form a poetic seasonal image in which earth and sky, stillness and movement, balance each other. Within the tea ceremony, this combination refers to \u003cem data-end=\"1418\" data-start=\"1403\"\u003emono no aware\u003c\/em\u003e: the refined beauty of transience and the awareness of the fleeting moment.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject Details\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eMaker: Nakamura Sōetsu \u003cspan\u003e(中村宗悦)\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eType: chū-natsume\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial: wood, red urushi lacquer shu-urushi, maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 6.8 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eHeight: ≈ 7 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition: \u003cspan\u003eExcellent condition.\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with hanko, calligraphy.\u003c\/li\u003e\n\n\u003cli\u003eAccessories: Cloth (共布) including the same maker's stamp\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and Maker\u003c\/h3\u003e\n\n\u003cp data-end=\"385\" data-start=\"79\"\u003eNakamura Sōetsu (b. 1932) is a Japanese master of traditional lacquerware (\u003cem data-end=\"167\" data-start=\"159\"\u003eurushi\u003c\/em\u003e, \u003cem data-end=\"177\" data-start=\"169\"\u003emaki-e\u003c\/em\u003e). He learned the craft at a young age from his father and later specialized in making objects for the Japanese tea ceremony, such as \u003cem data-end=\"338\" data-start=\"329\"\u003enatsume\u003c\/em\u003e (tea caddies), \u003cem data-is-only-node=\"\" data-end=\"362\" data-start=\"353\"\u003echabako\u003c\/em\u003e, and other \u003cem data-end=\"382\" data-start=\"373\"\u003echadōgu\u003c\/em\u003e. His work is known for elegant, nature-inspired designs (birds, flowers, plants) and the use of refined techniques such as gold maki-e and mother-of-pearl inlay. He has received multiple national awards in Japan, and his work is collected internationally. In 1987, he also received an official tea ceremony name, confirming his status within tea art.\u003cstrong data-is-last-node=\"\" data-end=\"924\" data-start=\"777\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52752602169690,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Matcha_Natsume_Nakamura_Soetsu.jpg?v=1771671037"},{"product_id":"matcha-natsume-shochikubai-sakata-minetoshi-maki-e","title":"Matcha natsume with Shochikubai motif 松竹梅 Sakata Minetosh","description":"\u003cp\u003e \u003cspan\u003eThis refined\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003ematcha chu-natsume\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003eis crafted by\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eSakata Minetoshi\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003eand richly decorated with a traditional\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eShochikubai (松竹梅) motif\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003eusing the classic\u003c\/span\u003e \u003cem\u003e\u003cspan\u003emaki-e\u003c\/span\u003e\u003c\/em\u003e \u003cspan\u003elacquer technique. Shochikubai (pine, bamboo, and plum blossom) is a beloved symbolic theme in Japanese aesthetics and represents steadfastness, resilience, and new beginnings.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eThe natsume's surface is finished with deep black\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eurushi lacquer\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e, to which the motif is subtly applied with gold-colored maki-e powder. The combination of luster, refined lines, and natural symbolism creates a harmonious whole that exudes both tranquility and elegance.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThis natsume fits comfortably in the hand and is ideal for use during the\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eJapanese tea ceremony (chadō)\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e. At the same time, it is a special object for collectors and enthusiasts of Japanese lacquerware, which also comes into its own as a decorative art object outside the tea room.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003e Title: Shochikubai 松竹梅\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaker \u003cspan\u003e: Sakata Minetoshi\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Period\u003cspan\u003e \u003c\/span\u003eLate Showa to early Heisei (ca. 1980–2000)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Technology\u003cspan\u003e \u003c\/span\u003eUrushi lacquer, Maki-e\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e \u003cspan\u003eChu-natsume\u003c\/span\u003e size\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Dimensions\u003cspan\u003e \u003c\/span\u003eapprox. Ø 6.5 cm × H 6.0 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Material\u003cspan\u003e \u003c\/span\u003eWood core with natural urushi lacquer\u003c\/li\u003e\n\n \u003cli dir=\"auto\"\u003eMotif: pine, bamboo and plum blossom\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Includes: Original tomobako with signature\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Condition:\u003cspan\u003e \u003c\/span\u003eExcellent, no cracks, scratches or paint loss\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003e Origin\u003cspan\u003e \u003c\/span\u003eJapan\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n \u003cstrong\u003eSakata Minetoshi\u003c\/strong\u003e (born 1961) is a Japanese master of urushi lacquerware and a specialist in makie—the refined art of layering gold and colored lacquer and carefully polishing it to a lustrous, almost painterly finish. As the eldest son of a traditional lacquerware family, the Sakata-ke, he grew up in an environment where craftsmanship, discipline, and refined aesthetics were paramount.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e In 1976, he apprenticed with master \u003cstrong\u003eMaehata Gahō\u003c\/strong\u003e (前端雅峯), a renowned authority on Japanese lacquer techniques. Under his guidance, Minetoshi developed an exceptional mastery of classical and modern makie methods, excelling in delicate linework, interplay of color, and refined decorative motifs.\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n \u003cdiv dir=\"auto\"\u003eIn 1993, he was officially recognized as a Traditional Craftsman (伝統工芸師), a prestigious certification within Japanese arts and crafts. A year later, his work was selected for the Tankyū Biennale Tea Ceremony Art Exhibition, a sign of his growing reputation within the world of tea ceremony and traditional art. In 1995, he became head of the makie department of the art group 雅 (Miyabi). In 1999, he received the title of \u003cstrong\u003eTraditional Artisan\u003c\/strong\u003e , certified by the Japanese Ministry of Industry, one of the highest honors for craftsmanship.\u003c\/div\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eSymbolism\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThe\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eShochikubai motif\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e(pine, bamboo, and plum blossom) is one of the most classic and beloved symbolic combinations in Japanese culture. These three plants are considered together to express good fortune, prosperity, and moral strength, and traditionally appear on ceremonial objects, tea utensils, and gifts.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \n\u003cstrong\u003e\u003cspan\u003ePine (松, matsu)\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003eis an evergreen and withstands wind, cold, and snow. Therefore, the pine symbolizes\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003esteadfastness, loyalty, and longevity\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e. In the context of the tea ceremony, the pine symbolizes inner peace and the ability to remain dignified and steadfast under all circumstances.\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003cstrong\u003e\u003cspan\u003eBamboo (竹, take)\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003egrows quickly, is hollow, and bends without breaking. This makes bamboo a symbol of\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003eflexibility, resilience, and inner purity\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e. It recalls the importance of modesty and adaptability—core values ​​of Japanese aesthetics and Zen thought.\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \n\u003cstrong\u003e\u003cspan\u003ePlum blossoms (梅, ume)\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003ebloom early in the year, often even while the winter cold lingers. This makes the plum blossom a symbol of\u003c\/span\u003e \u003cstrong\u003e\u003cspan\u003erenewal, hope, and the beginning of a new season\u003c\/span\u003e\u003c\/strong\u003e \u003cspan\u003e. They symbolize the courage to show beauty and growth despite adversity.\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cspan\u003eTogether, these three plants form a harmonious whole that expresses not only happiness and prosperity, but also a moral ideal: to be steadfast like the pine, flexible like bamboo, and hopeful like the plum blossom. For this reason, Shochikubai is ideally suited for use in the tea ceremony, where nature, symbolism, and inner attitude converge.\u003c\/span\u003e\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":52752622190938,"sku":null,"price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Gekke1.jpg?v=1765665267"},{"product_id":"natsume-sasa-kiri-miyata-munekage-echizen-urushi","title":"Natsume Sasa Kiri 笹桐 Miyata Munekage","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Sasa Kiri natsume (徳風棗) was created by contemporary Echizen lacquer artist Miyata Munekage (宮田宗景). Miyata studied under Issei Minowa (箕輪一星) and works within the traditional Echizen urushi practice, focusing on craftsmanship and tea ceremony use.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eThis chū natsume is executed in deep glossy black tame-nuri urushi and decorated with refined maki-e in gold, red, and green. The lid features a lavish paulownia flower in red-orange and gold, surrounded by trailing stems and leaves. On the side, bamboo leaves and the paulownia flower are depicted in gold and green.\u003c\/p\u003e\n\u003ch3 data-section-id=\"1yayslj\" data-start=\"916\" data-end=\"931\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe bamboo leaf symbolizes purity and resilience. It bends with wind and rain without breaking, and is therefore seen as a sign of inner strength and steadfastness. The paulownia is a tree that has traditionally been associated with the imperial court and was used in family crests for centuries. The motif depicts dignity, protection, and continuity. According to tradition, the mythical phoenix nests exclusively in the paulownia, which gives it additional meaning as a symbol of harmony and prosperity. Together, these two motifs form a balanced and meaningful whole that seamlessly aligns with the understated beauty and contemplative nature of the Japanese tea ceremony.\u003c\/p\u003e\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject Details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: \u003cspan\u003eSasa Kiri 笹桐\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaker\u003cspan\u003e : Miyata Munekage 宮田宗景\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003ePeriod :\u003cspan\u003e \u003c\/span\u003eShowa \u003cmeta charset=\"utf-8\"\u003e(ca. 1975–1990)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTechnique\u003cspan\u003e \u003c\/span\u003eUrushi lacquer with hiramaki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDimensions\u003cspan\u003e \u003c\/span\u003eapprox. Ø 6.5 cm × H 6.0 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial\u003cspan\u003e \u003c\/span\u003eWood core with natural urushi lacquer\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eIncludes: Original tomobako with signature\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition: \u003cspan\u003eVery good condition. Urushi surface and maki-e are clear and intact, with only minimal traces consistent with careful use.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-0e89d0d4-7fff-f5d2-7df0-75381c823f81\"\u003e\u003c\/b\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eOrigin\u003cspan\u003e Japan, Echizen (越前), Fukui Prefecture, Kawada (河和田), Sabae\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and Authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-end=\"2210\" data-start=\"2188\"\u003eThe natsume comes in an original wooden tomobako with handwritten calligraphy, stating the technique, type, and artist's name. The presence of this storage box in Japan is a sign of authenticity and significantly increases the value of the piece. A silk storage cloth is also included.\u003c\/p\u003e\n\u003ch3 data-end=\"2210\" data-start=\"2188\"\u003eSignature and Maker\u003c\/h3\u003e\n\u003cp\u003eThis natsume was made by Miyata Munekage 宮田宗景, a Japanese lacquer artist from the Echizen region in Fukui Prefecture. His workshop is located in Sabae, in the Kawada district, the historical center of the Echizen urushi tradition.\u003c\/p\u003e\n\u003cp data-start=\"706\" data-end=\"1323\"\u003eMiyata Munekage (宮田宗景) began his training in Shōwa 45 (1970) under Yōrin Issei (養輪一星) and started working independently from Shōwa 50 (1975). Such details are traditionally included with chadōgu and contribute to the context and appreciation of the object. In catalogs and trade texts, awards and selections are also regularly mentioned, such as the Shitsugei Kyōkai prize, selections or prizes at the Nichigei-ten, and participation in the Echizen Maki-e Mihon-ichi. These mentions confirm his position within the Japanese lacquer tradition and his reputation as a maker of carefully executed, functional, and aesthetically balanced tea ceremony objects.\u003c\/p\u003e\n\u003ch3\u003eAs a Gift\u003c\/h3\u003e\n\u003cp data-start=\"1325\" data-end=\"2097\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eThis natsume is a perfect gift \u003c\/strong\u003efor completing studies, receiving a diploma, or obtaining a certification. An object that marks the transition and invites one to continue with peace and concentration. The sasa-kiri motif reinforces this meaning: the bamboo leaf reminds us of flexibility and inner strength, the paulownia represents dignity and bearing responsibility. Together, they depict a new beginning, with attention to what has been learned and confidence in what is to come.\u003c\/span\u003e\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53437625270618,"sku":null,"price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Miyata1_1024_2377efa1-de33-4aba-9bf5-601c683c1786.jpg?v=1769455007"},{"product_id":"japanse-natsume-kacho-ga-met-maki-e-bamboe-en-vogel","title":"Japanese Natsume kachō-ga (花鳥画) bamboo and bird maki-e","description":"\u003cp data-start=\"128\" data-end=\"381\"\u003ehis Japanese natsume is crafted from wood and finished with deep black urushi lacquer. The surface is delicately adorned with a subtle maki-e motif of bamboo and a bird in flight—an image that brings together stillness, movement, and mindful attention.\u003c\/p\u003e\n\u003cp data-start=\"383\" data-end=\"667\"\u003eThe decoration follows the tradition of kachō-ga (花鳥画), a classical Japanese visual language in which flowers, plants, and birds are used to evoke a season or a fleeting moment. In this piece, the motif refers to spring: a time of new beginnings, gentle growth, and renewed awareness.\u003c\/p\u003e\n\u003cp data-start=\"669\" data-end=\"1068\"\u003eThe bird is intentionally stylized rather than depicted as a specific species. Within the kachō-ga tradition, it symbolizes lightness and change, a fleeting moment that gains its value precisely because it passes. The bamboo forms a counterbalance: resilient, simple, and quietly growing. Together, they create a harmonious image that aligns with the rhythm of the tea ceremony and the spring season.\u003c\/p\u003e\n\u003cp data-start=\"1070\" data-end=\"1303\"\u003eThe maki-e decoration has a soft, warm sheen that reveals itself only as light moves gently across the surface. The form of the natsume sits comfortably in the hand, supporting the attentive opening, closing, and measuring of matcha.\u003c\/p\u003e\n\u003cp data-start=\"1305\" data-end=\"1551\"\u003eThis natsume is accompanied by a matching wooden storage box (awase-bako). It is suitable for use during the tea ceremony (usucha), but also well suited as a contemplative object in an interior where simplicity, nature, and attention are central.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eJapanese natsume (棗) for matcha\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eMaterial: wood with black urushi lacquer\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eDecoration: maki-e bamboo and stylized bird (kachō-ga)\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eDiameter: approx. 6.9 cm\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eHeight: approx. 6.7 cm\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eSeasonal symbolism: spring\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eIncludes matching wooden storage box (awase-bako)\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eSuitable for tea ceremony (usucha) and display\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eCondition: excellent; no visible cracks, scratches, or lacquer loss\u003c\/li\u003e\n\u003cli data-start=\"1553\" data-end=\"1958\"\u003eOrigin: Japan\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1960\" data-end=\"2270\"\u003eThis natsume cannot be attributed to a specific lacquer artist. Many natsume were produced in small workshops throughout the 20th century, where craftsmanship and function were central. The absence of an artist’s name underscores the focus on form, material, and rhythm, the core values of Japanese tea culture.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53474372256090,"sku":null,"price":85.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Vogel2.jpg?v=1769897478"},{"product_id":"japanse-theebus-yanagi-wilgenmotief-maki-e-shunpo","title":"Japanese Tea Caddy Yanagi 花鳥画 Willow Motif in Maki-e by Shunpō","description":"\u003cp data-end=\"526\" data-start=\"103\"\u003eThis elegant \u003cem data-end=\"125\" data-start=\"116\"\u003enatsume\u003c\/em\u003e is finished in deep black urushi lacquer and finely decorated with a continuous willow motif (柳, \u003cem data-end=\"231\" data-start=\"223\"\u003eyanagi\u003c\/em\u003e) in gold \u003cem data-end=\"249\" data-start=\"241\"\u003emaki-e\u003c\/em\u003e. The long, flowing branches follow the curvature of the object in a natural way, creating a rhythm that subtly connects stillness and movement. The form is classical and well balanced, with a restrained appearance that accords with the traditions of the Japanese tea ceremony.\u003c\/p\u003e\n\u003cp data-end=\"541\" data-start=\"528\"\u003e\u003cstrong\u003eThe Willow\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1012\" data-start=\"543\"\u003eWithin Japanese aesthetics, the willow occupies a special place. It symbolizes flexibility, resilience, and impermanence: its branches bend with wind and rain without breaking. These qualities closely align with the values of \u003cem data-end=\"776\" data-start=\"769\"\u003echadō\u003c\/em\u003e, emphasizing attentiveness, adaptability, and inner quiet. For centuries, the willow motif has therefore been used on \u003cem data-end=\"904\" data-start=\"895\"\u003enatsume\u003c\/em\u003e—objects that are not only functional but also contribute to the contemplative atmosphere of the tea moment.\u003c\/p\u003e\n\u003cp data-end=\"1020\" data-start=\"1014\"\u003e\u003cstrong\u003eDew\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1401\" data-start=\"1022\"\u003eBetween the gold-colored willow branches, small, flat metal accents (\u003cem data-end=\"1099\" data-start=\"1091\"\u003ehyōmon\u003c\/em\u003e, 平文) are embedded in the lacquer. These details evoke dew or raindrops resting on the leaves. They catch the light in a subdued manner and add depth to the surface without disturbing the overall calm. The combination of \u003cem data-end=\"1328\" data-start=\"1320\"\u003emaki-e\u003c\/em\u003e and metal highlights the interplay between nature, time, and transience.\u003c\/p\u003e\n\u003cp data-end=\"1424\" data-start=\"1403\"\u003e\u003cstrong\u003eSwallows in Flight\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1638\" data-start=\"1426\"\u003eOn the inside of the \u003cem data-end=\"1456\" data-start=\"1447\"\u003enatsume\u003c\/em\u003e lid, two swallows (燕, \u003cem data-end=\"1488\" data-start=\"1479\"\u003etsubame\u003c\/em\u003e) are depicted in gold \u003cem data-end=\"1519\" data-start=\"1511\"\u003emaki-e\u003c\/em\u003e. The birds appear to follow one another in flight, forming a light, almost hidden contrast to the restrained exterior.\u003c\/p\u003e\n\u003cp data-end=\"2039\" data-start=\"1640\"\u003eIn Japanese visual language, swallows symbolize spring, return, and a favorable future. Their placement on the inside is meaningful: the motif reveals itself only when the \u003cem data-end=\"1821\" data-start=\"1812\"\u003enatsume\u003c\/em\u003e is opened, as an intimate discovery visible solely to the person who actually uses the object. Within the tea ceremony, this reinforces the moment of transition—from closed to open, from preparation to mindful action.\u003c\/p\u003e\n\u003cp data-end=\"2063\" data-start=\"2041\"\u003e\u003cstrong\u003eSignature and Maker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"2592\" data-start=\"2065\"\u003eThe underside of the \u003cem data-end=\"2095\" data-start=\"2086\"\u003enatsume\u003c\/em\u003e is signed 春峰 (\u003cem data-end=\"2118\" data-start=\"2110\"\u003eShunpō\u003c\/em\u003e) in red lacquer script. This signature corresponds with the attribution on the accompanying wooden box. Little biographical information about the maker Shunpō (春峰) has been preserved. The name appears as an artist’s signature on both the object and the \u003cem data-end=\"2382\" data-start=\"2372\"\u003etomobako\u003c\/em\u003e. The signature, choice of materials, and use of motifs suggest a lacquer artist working within the traditional context of \u003cem data-end=\"2514\" data-start=\"2505\"\u003echadōgu\u003c\/em\u003e, with an emphasis on classical symbolism and refined, understated decoration.\u003c\/p\u003e\n\u003cp data-end=\"2605\" data-start=\"2594\"\u003e\u003cstrong\u003eTomobako\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"2997\" data-start=\"2607\"\u003eThe \u003cem data-end=\"2620\" data-start=\"2611\"\u003enatsume\u003c\/em\u003e is accompanied by its original wooden \u003cem data-end=\"2669\" data-start=\"2659\"\u003etomobako\u003c\/em\u003e. On the inside of the box lid is the handwritten inscription 春峰作 (\u003cem data-end=\"2749\" data-start=\"2736\"\u003eShunpō saku\u003c\/em\u003e – “made by Shunpō”), indicating that the maker personally attributed the object. The combination of the signature on the object and the accompanying \u003cem data-end=\"2909\" data-start=\"2899\"\u003etomobako\u003c\/em\u003e forms an important part of the identification and appreciation of Japanese lacquerware.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eObject: \u003cem data-end=\"3020\" data-start=\"3011\"\u003eNatsume\u003c\/em\u003e (棗) – matcha tea container\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eMaker: Signed 春峰 (\u003cem data-end=\"3080\" data-start=\"3072\"\u003eShunpō\u003c\/em\u003e)\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eTechnique: Urushi lacquer with\u0026nbsp;\u003cem data-end=\"3127\" data-start=\"3119\"\u003emaki-e\u003c\/em\u003e and metal accents\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eMotifs: Willows (柳蒔絵) and swallows (燕)\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eColor: Black with gold decoration\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eSignature: Underside of the\u0026nbsp;\u003cem data-end=\"3274\" data-start=\"3265\"\u003enatsume\u003c\/em\u003e (red lacquer script)\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eBox: Original\u0026nbsp;\u003cem data-end=\"3326\" data-start=\"3316\"\u003etomobako\u003c\/em\u003e with inscription 春峰作\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eOrigin: Japan\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003ePeriod: 20th century (more precise dating unknown)\u003c\/li\u003e\n\u003cli data-end=\"3446\" data-start=\"2999\"\u003eCondition: Used\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"3836\" data-start=\"3448\"\u003eThe interplay of the flowing willow branches on the exterior, the dew-like metal accents, and the swallows on the interior makes this \u003cem data-end=\"3591\" data-start=\"3582\"\u003enatsume\u003c\/em\u003e an object with multiple layers of meaning. Designed for use within the tea ceremony, it also invites attentive observation. It is a \u003cem data-end=\"3733\" data-start=\"3724\"\u003enatsume\u003c\/em\u003e that evokes stillness and reveals itself fully only through the rhythm of opening, using, and closing.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53502611358042,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/DenDauw_1024.jpg?v=1770544933"},{"product_id":"natsume-tsuru-to-hinode-miyata-munekage-echizen","title":"Natsume Hinode-tsuru 日の出鶴 by Miyata Munekage 宮田宗景, Echizen","description":"\u003cp data-end=\"1156\" data-start=\"652\"\u003eThis large natsume by Miyata Munekage (宮田宗景) is decorated with a refined \u003cem data-end=\"134\" data-start=\"126\"\u003emaki-e\u003c\/em\u003e depiction of two flying cranes against a red-orange rising sun. The visible brushstrokes are applied using the traditional \u003cem data-end=\"297\" data-start=\"284\"\u003ehakeme-nuri\u003c\/em\u003e technique (刷毛目塗り), where the brushwork remains intentionally visible.\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"591\" data-start=\"17\"\u003eOn the deep blue-green lacquer, a refined composition of two cranes in flight against a rising sun is applied, executed in gold-colored \u003cem data-end=\"194\" data-start=\"186\"\u003emaki-e\u003c\/em\u003e. The birds are depicted lightly and elegantly, creating a sense of both movement and tranquility. The warm glow of the sun subtly contrasts with the cool background, enhancing the spaciousness of the depiction. This understated and balanced composition creates a poetic tension between emptiness and detail, entirely in line with the aesthetic of refined lacquer art.\u003c\/p\u003e\n\u003ch3 data-end=\"15\" data-start=\"0\" data-section-id=\"1yayslj\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"614\" data-start=\"16\"\u003eIn Japanese culture, the crane and the rising sun are classic symbols of good fortune. The crane symbolizes longevity, fidelity, and spiritual elevation; according to tradition, it lives for a thousand years and remains faithful to its partner for life. The rising sun (\u003cem data-end=\"294\" data-start=\"286\"\u003ehinode\u003c\/em\u003e) symbolizes renewal, hope, and prosperity, marking the beginning of a new cycle. In the tea ceremony, these motifs reinforce the idea of harmony and an auspicious beginning. Together, they represent a future of happiness, connection, and continuity, in line with the ideals of peace and balance within \u003cem data-end=\"613\" data-start=\"603\"\u003ewabi-cha\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3 data-end=\"1560\" data-start=\"1158\"\u003eAo-urushi\u003c\/h3\u003e\n\u003cp data-end=\"1560\" data-start=\"1158\"\u003eAo-urushi (青漆) is a rare, deep blue-green created by special pigmentation in the urushi lacquer. It evokes associations with nature, tranquility, and harmony, and enhances the vibrancy of the motif. Moreover, this hue harmoniously complements the bright green color of matcha, visually reinforcing the ritual and creating a sense of balance and serenity.\u003c\/p\u003e\n\u003ch3 data-end=\"3169\" data-start=\"2756\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Hinode tsuru 日の出鶴 \u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaker\u003cspan\u003e : Miyata Munekage 宮田宗景\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003ePeriod :\u003cspan\u003e \u003c\/span\u003eShowa \u003cmeta charset=\"utf-8\"\u003e(ca. 1975–1990)\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTechnique\u003cspan\u003e Ao-urushi lacquer with hakeme-nuri\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDimensions\u003cspan\u003e \u003c\/span\u003eapprox. Ø 6.5 cm × H 6.0 cm\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial\u003cspan\u003e \u003c\/span\u003eWooden core with natural urushi lacquer\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eIncludes: Original tomobako with signature\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition: \u003cspan\u003eNew. \u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eOrigin\u003cspan\u003e Japan, Echizen (越前), Fukui Prefecture, Kawada (河和田), Sabae\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 data-end=\"2210\" data-start=\"2188\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eMiyata Munekage (宮田宗景) is a maki-e master from Sabae, in the Kawada district (河和田), the historical center of the Echizen urushi tradition in Fukui Prefecture. According to the original 略歴 (biographical card) from the tomobako, he received his training from Shōwa 45 (1970) under maki-e master Minowa Issei (箕輪一星), and started working independently from Shōwa 50 (1975).\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eHis work is characterized by excellent technical mastery, harmonious forms, and a subtle application of maki-e, where every brushstroke is carefully considered. He received the Shitsugei Kyōkai Prize (漆芸協会賞) and was selected for the Echizen Maki-e Mihon-ichi (越前蒔絵見本市入選). Both accolades are mentioned on the original card in the tomobako.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eMiyata Munekage is respected as a creator of functional and aesthetically balanced chadōgu, and as a leading figure within the Echizen lacquerware tradition. His natsume combine craftsmanship, symbolism, and aesthetics, and are sought after by collectors and enthusiasts of Japanese urushi lacquerware.\u003c\/p\u003e\n\u003ch3\u003eAs a gift\u003c\/h3\u003e\n\u003cp data-end=\"736\" data-start=\"200\"\u003e\u003cstrong\u003eThis \u003cem data-end=\"214\" data-start=\"205\"\u003enatsume\u003c\/em\u003e is a perfect gift\u003c\/strong\u003e for special milestones, such as a wedding, a New Year's celebration, or another meaningful life transition. The motif of Cranes at Sunrise (\u003cem data-end=\"417\" data-start=\"404\"\u003eHinode-zuru\u003c\/em\u003e, 日の出鶴) reinforces this symbolism: the cranes represent longevity, fidelity, and prosperity, while the sunrise represents a new beginning, hope, and prosperity. Together, they depict a fresh start and a harmonious future, with attention to what is left behind and trust in what is to come.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53537072120154,"sku":null,"price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/tsuru9.jpg?v=1771672726"},{"product_id":"japanse-theebus-itsuko-zan-horaizan-motief-nakamura-soetsu","title":"Japanese Tea Caddy Itsukō-zan 逸香山 Hōraizan-motief with gold Nakamura Sōetsu","description":"\u003cp data-start=\"90\" data-end=\"520\"\u003eThis refined natsume is finished in traditional urushi lacquer and richly decorated with maki-e, in which gold leaf has been applied with great care and precision. The object bears the poetic name \u003cem data-start=\"287\" data-end=\"299\"\u003eItsukō-zan\u003c\/em\u003e 逸香山, freely translated as “Mountain of Refined Fragrance.” This name does not refer to a specific place, but rather to an idealized landscape within Japanese aesthetics—a world of calm, continuity, and mindful attention.\u003c\/p\u003e\n\u003ch3 data-start=\"522\" data-end=\"535\"\u003eSymbology\u003c\/h3\u003e\n\u003cp data-start=\"537\" data-end=\"837\"\u003eThe decoration represents a \u003cem data-start=\"565\" data-end=\"575\"\u003eHōraizan\u003c\/em\u003e theme. In Japanese art, Hōraizan 蓬莱山—the mythical mountain symbolizing harmony and longevity—is rarely depicted literally. Instead, the concept is evoked through a traditional combination of landscape elements, all of which are brought together on this natsume.\u003c\/p\u003e\n\u003cp data-start=\"839\" data-end=\"932\"\u003eAround the object unfolds a layered landscape in which each element carries symbolic meaning:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"936\" data-end=\"1062\"\u003e\u003cstrong data-start=\"936\" data-end=\"948\"\u003eThe tree\u003c\/strong\u003e, firmly rooted and rendered with finely detailed gold leaves, represents continuity, growth, and steadfastness.\u003c\/li\u003e\n\u003cli data-start=\"936\" data-end=\"1062\"\u003e\u003cstrong data-start=\"1065\" data-end=\"1079\"\u003eThe cranes\u003c\/strong\u003e, shown in motion, symbolize dignity, good fortune, and long life.\u003c\/li\u003e\n\u003cli data-start=\"1150\" data-end=\"1250\"\u003e\u003cstrong data-start=\"1150\" data-end=\"1164\"\u003eThe turtle\u003c\/strong\u003e, discreetly placed on the underside, stands for endurance, protection, and longevity.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1252\" data-end=\"1429\"\u003eTogether, these motifs form a harmonious, timeless landscape—not as a narrative scene, but as a contemplative image that aligns naturally with the stillness of the tea ceremony.\u003c\/p\u003e\n\u003ch3 data-start=\"1431\" data-end=\"1442\"\u003eNashiji\u003c\/h3\u003e\n\u003cp data-start=\"1444\" data-end=\"1890\"\u003eGold leaf plays a central role in the visual presence of this object. Finely scattered gold (\u003cem data-start=\"1537\" data-end=\"1546\"\u003enashiji\u003c\/em\u003e) lends depth to the ground, while carefully cut gold-leaf forms accentuate the mountain, tree, and details. Through this layered construction, the surface responds subtly to light and movement—at times warm and subdued, at others bright and vivid. This interplay of light is characteristic of high-quality maki-e and invites attentive viewing.\u003c\/p\u003e\n\u003ch3 data-start=\"1892\" data-end=\"1910\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"1912\" data-end=\"1922\"\u003eTitle:\u003c\/strong\u003e \u003cem data-start=\"1923\" data-end=\"1935\"\u003eItsukō-zan\u003c\/em\u003e 逸香山\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"1942\" data-end=\"1953\"\u003eArtist:\u003c\/strong\u003e Nakamura Sōetsu (中村宗悦)\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"1979\" data-end=\"1989\"\u003eMotif:\u003c\/strong\u003e \u003cem data-start=\"1990\" data-end=\"2000\"\u003eHōraizan\u003c\/em\u003e 蓬莱山\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2007\" data-end=\"2016\"\u003eType:\u003c\/strong\u003e \u003cem data-start=\"2017\" data-end=\"2030\"\u003echū-natsume\u003c\/em\u003e\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2033\" data-end=\"2046\"\u003eMaterial:\u003c\/strong\u003e Wood, urushi lacquer, maki-e with gold leaf\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2093\" data-end=\"2106\"\u003eDiameter:\u003c\/strong\u003e approx. 6.8 cm\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2124\" data-end=\"2135\"\u003eHeight:\u003c\/strong\u003e approx. 7 cm\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2151\" data-end=\"2165\"\u003eCondition:\u003c\/strong\u003e Excellent condition, suitable for both use and collection\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2226\" data-end=\"2242\"\u003eAccessories:\u003c\/strong\u003e Original tomobako with hanko seal and calligraphy\u003c\/li\u003e\n\u003cli data-start=\"1912\" data-end=\"2351\"\u003e\u003cstrong data-start=\"2295\" data-end=\"2322\"\u003eAdditional accessories:\u003c\/strong\u003e Original \u003cem data-start=\"2332\" data-end=\"2340\"\u003efukusa\u003c\/em\u003e cloth (共布)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-start=\"2353\" data-end=\"2377\"\u003eSignature and artist\u003c\/h3\u003e\n\u003cp data-start=\"2379\" data-end=\"3064\"\u003eNakamura Sōetsu (born 1932) is a Japanese master of traditional lacquerware (\u003cem data-start=\"2456\" data-end=\"2464\"\u003eurushi\u003c\/em\u003e, \u003cem data-start=\"2466\" data-end=\"2474\"\u003emaki-e\u003c\/em\u003e). He learned the craft at a young age from his father and later specialized in creating utensils for the Japanese tea ceremony, including natsume (tea caddies), chabako, and other \u003cem data-start=\"2655\" data-end=\"2664\"\u003echadōgu\u003c\/em\u003e. His work is renowned for its elegant, nature-inspired designs—featuring birds, flowers, and plants—and for the refined use of techniques such as gold maki-e and mother-of-pearl inlay. He has received multiple national honors in Japan, and his work is collected internationally. In 1987, he was also granted an official tea-ceremony name, confirming his esteemed status within the world of tea arts.\u003c\/p\u003e\n\u003ch3 data-start=\"3066\" data-end=\"3079\"\u003eAs a gift\u003c\/h3\u003e\n\u003cp data-start=\"3081\" data-end=\"3548\"\u003eThis natsume is an ideal gift for significant milestones such as anniversaries, long-standing collaborations, retirement, marriage, or other important life transitions. Through its subtle symbolism of continuity, harmony, and prosperity, the object conveys appreciation, dedication, and shared commitment. At the same time, it invites reflection and mindfulness toward what lies ahead, making it not only a refined work of art but also a meaningful and enduring gift.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53538757837146,"sku":null,"price":295.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Boom1.jpg?v=1772225571"},{"product_id":"japanse-theebus-asagao-met-raden-nakamura-kosai","title":"Japanese Tea Caddy Asagao 朝顔 (morning glory) with raden Nakamura Kosai","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis refined natsume is executed in warm, honey-colored urushi lacquer and decorated with an asagao (朝顔, morning glory) motif in delicate maki-e technique. The object exudes tranquility and understated elegance, qualities that are essential within the Japanese tea ceremony.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCentral to the design is the asagao, recognizable by its star-shaped flower and slender leaves. The flower is rendered in raden (螺鈿), finely inlaid mother-of-pearl, which subtly illuminates in soft blue and green hues, depending on the light. \u003c\/span\u003e\u003cspan\u003eThe tendrils and leaves are applied in maki-e with carefully dosed gold powder. The gold is lightly and delicately applied: not solid, but as a whispering line that follows the natural movement of the plant. This restrained application gives the decor lightness and refinement.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe asagao is a flower that blooms only briefly and is traditionally associated with transience, morning peace, and attention to the moment. In this natsume, that feeling is tangibly present: the object invites slowing down and conscious action, both in use and in observation. \u003c\/span\u003e\u003cspan\u003eWithin the tea ceremony, this motif refers to the understanding that every gathering is unique and cannot be repeated, the core value of chadō.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Asagao 朝顔\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMaker: Nakamura Kosai (中村光彩) \u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMotif: Morning glory\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eType: chū-natsume\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMaterial: wood, urushi, raden, maki-e\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eDiameter: ≈ 6.8 cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eHeight: ≈ 7 cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eCondition: Excellent condition, suitable for both use and collection\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eAccessories: Original tomobako with hanko, calligraphy.\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eAccessories: Original fukusa \/ cloth (共布)\u003c\/span\u003e\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe natsume comes with an original tomobako (wooden storage box) with handwritten inscription and seal. The mention of the maker and the decor confirm the origin and authenticity of the object. The accompanying cloth and careful packaging underscore the care with which this piece has been preserved.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNakamura Kosai (中村光彩) is a maki-e artist from Yamanaka, Ishikawa, born in 1955. He was trained within the Yamanaka lacquerware tradition and worked for many years under an established master before starting his own studio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKosai is known for his refined and consistent style, with a preference for nature and seasonal motifs. His work is characterized by restrained use of color and subtle application of gold, balancing technical perfection and poetic tranquility.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eAs a gift\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDue to the asagao motif and its gentle appearance, this natsume is particularly suitable as a gift for:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003ea transition to a quieter phase of life, where attention and reflection become central\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003eFor an engagement or marriage proposal, as a symbol of a promise made with care and attention\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53547935072602,"sku":null,"price":305.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Asagao.jpg?v=1771701523"},{"product_id":"japanse-tea-caddy-shuchiku-maki-e-yoho","title":"Japanese tea caddy Shuchiku maki-e 朱竹蒔絵 Yōhō","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003eA refined Japanese natsume crafted in traditional urushi lacquer with an elegant bamboo motif in warm gold and copper powders. Subtle raden inlay (mother-of-pearl) gently accentuates the decoration. This matcha tea caddy perfectly combines refined craftsmanship with timeless aesthetics, ideal for the tea ceremony and as a showpiece in your collection.\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat sets this natsume apart is the exquisite raden inlay in the stems. Small pieces of mother-of-pearl are subtly inlaid, catching the light in soft blue, green, and violet tones, bringing liveliness to the piece without disrupting the tranquility of the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003eSymbology\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003eBamboo holds deep symbolic meaning within Japanese culture. It represents resilience, bending without breaking, and steadfastness: always straight, always elegant. At the same time, it embodies life energy, growing in harmony with nature and the seasons.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-end=\"3169\" data-start=\"2756\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Shuchiku 朱竹蒔絵\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMaker: Murayama Yōhō (村山洋鳳)\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMotif: Chiku\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eType: chū-natsume\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eMaterial: wood, urushi, raden, maki-e\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eDiameter: ≈ 6.8 cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eHeight: ≈ 7 cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eCondition: Good condition\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eAccessories: Original tomobako with hanko, calligraphy.\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cspan\u003eAccessories: Original fukusa \/ cloth (共布)\u003c\/span\u003e\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe natsume comes with an original tomobako (wooden storage box) with a handwritten inscription and seal. The mention of the maker and the decoration confirms the origin and authenticity of the object. The accompanying cloth and carefully packaged presentation underscore the care with which this piece has been preserved.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-end=\"2210\" data-start=\"2188\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMurayama Yōhō (村山洋鳳) worked in the 20th century, and his signature is not common on authentic tea ceremony objects. He belongs to the tradition of local artisanal maki-e makers within Japanese lacquerware culture, artists who combine craftsmanship and aesthetics in objects that are both functional and artistic.\u003c\/span\u003e\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53715239207258,"sku":null,"price":155.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Bamoe2_5f2de5c1-b960-4e9e-bed9-280808e8f26b.jpg?v=1772374006"},{"product_id":"tokufu-natsume-徳風棗-miyata-munekage","title":"Tokufu natsume (徳風棗) Miyata Munekage","description":"\u003cdiv data-is-intersecting=\"true\" data-turn-id-container=\"request-WEB:c80f2583-44a7-44bc-951f-acec38ee8c4f-6\" class=\"\"\u003e\n\n\u003csection data-turn=\"assistant\" data-scroll-anchor=\"false\" data-testid=\"conversation-turn-14\" data-turn-id-container=\"request-WEB:c80f2583-44a7-44bc-951f-acec38ee8c4f-6\" data-turn-id=\"request-WEB:c80f2583-44a7-44bc-951f-acec38ee8c4f-6\" dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" data-conversation-screenshot-content=\"\"\u003e\n\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\n\u003cdiv data-turn-start-message=\"true\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-3-mini\" dir=\"auto\" data-message-id=\"4fd1da39-1e66-4cbc-8342-b216ad9fe253\" data-message-author-role=\"assistant\" tabindex=\"0\"\u003e\n\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\n\u003cp data-end=\"627\" data-start=\"165\"\u003eThis elegant Tokufū Natsume (徳風棗) was created by Echizen lacquer artist Miyata Munekage (宮田宗景), based on an original design by the 11th Urasenke tea master \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eGengen Saikō\u003c\/span\u003e\u003c\/span\u003e (玄々斎). As iemoto, the head of the Urasenke tradition, he guided the development and transmission of the tea ceremony within his school. He is often cited as someone who worked to make the tea ceremony more accessible to a wider audience.\u003c\/p\u003e\n\n\u003ch3 data-end=\"641\" data-start=\"629\" data-section-id=\"138q3ui\"\u003eMotif\u003c\/h3\u003e\n\n\u003cp data-end=\"1050\" data-start=\"642\"\u003eA refined maki-e decoration with nine golden rice grains is applied to the deep black urushi lacquer on the inside of the lid. On the outside, the phrase 「粒万倍」 (ichiryū manbai – “one grain becomes tenfold”) is written in elegant calligraphy. The combination of subtle gold accents and calligraphy forms a understated yet powerful composition in which simplicity and meaning reinforce each other.\u003c\/p\u003e\n\n\u003ch3 data-end=\"1067\" data-start=\"1052\" data-section-id=\"1yayslj\"\u003eSymbolism\u003c\/h3\u003e\n\n\u003cp data-end=\"1454\" data-start=\"1068\"\u003eThe expression ichiryū manbai refers to the idea that a small beginning can grow into great abundance. The rice grains symbolize growth, fertility, and prosperity, emphasizing the value of seemingly small actions with great consequences. Within the context of the tea ceremony, this motif carries a wish for harmony, development, and a prosperous future.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003c\/section\u003e\n\n\u003c\/div\u003e\n\u003ch3 data-start=\"2756\" data-end=\"3169\"\u003eObject details\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eMaker: Miyata Munekage 宮田宗景\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTitle:\u003cstrong\u003e \u003c\/strong\u003eIchiryū manbai (「粒万倍」)\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eType: Tokufu Natsume\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eMaterial: Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 8.4 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eHeight:  ≈ 6.3 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eCondition: Excellent; \u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eAccessories: Original tomobako with hanko, calligraphy, and cloth.\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eExtra: Biography of the maker.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako and authenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"1345\" data-end=\"1639\"\u003eThe natsume demonstrates a high level of craftsmanship: the lacquer is smooth and glossy, the maki-e fine and precise, and the finish meticulous down to the smallest detail. The piece comes with its original wooden tomobako (storage and presentation box) and accompanying sheet.\u003c\/p\u003e\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp data-end=\"1753\" data-start=\"1468\"\u003eMiyata Munekage (宮田宗景) is a contemporary Echizen urushi artist from Sabae, Kawada (河和田), the historic center of the Echizen lacquer tradition in Fukui Prefecture. He studied under maki-e master Minowa Issei (箕輪一星) from Shōwa 45 (1970) and became independent in 1975.\u003c\/p\u003e\n\u003cp data-end=\"2107\" data-start=\"1755\"\u003eHis work is characterized by technical precision, balanced forms, and a refined application of maki-e, with every detail carefully considered. He received, among other awards, the Shitsugei Kyōkai Prize (漆芸協会賞) and was selected for the Echizen Maki-e Mihon-ichi (越前蒔絵見本市), recognitions that underscore his position within the Japanese lacquer tradition.\u003c\/p\u003e\n\u003ch3 data-end=\"301\" data-start=\"283\" data-section-id=\"7l9wbm\"\u003eAs a gift\u003c\/h3\u003e\n\u003cp data-end=\"515\" data-start=\"303\"\u003eThrough the symbolism of ichiryū manbai – “one grain multiplying into ten thousand” – this object carries a wish for growth, prosperity, and a fruitful future. It is therefore particularly suitable as a gift for a new beginning, such as the start of a business, a creative project, or a new phase of life, as a symbol of development and prosperity.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53728728351066,"sku":null,"price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Tokufu9_76ca0a19-480e-4880-ac92-74748c964465.jpg?v=1772964219"},{"product_id":"japanse-natsume-take-maki-kogetsu","title":"Japanse natsume Chiku maki-e 竹蒔絵 Kōgetsu","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis extraordinary natsume was crafted by the lacquer artist \u003cstrong\u003eKōgetsu (江月)\u003c\/strong\u003e. The piece features a written endorsement (kakitsuke) in the lid of the tomobako by Fujii Kaidō, the 515th abbot of the Daitoku-ji temple in Kyoto, one of the most authoritative names in the Japanese tea ceremony world.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the deep black lacquer ground, the branches and leaves of bamboo are applied in refined gold and silver maki-e, dense and lifelike, as if the wind is blowing through them. The lines are extremely fine and demonstrate a master's hand: thin shoots alternate with full leaves fanning out in all directions.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eSymbolism\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn Japanese culture, bamboo is one of the three \"winter friends\" (歳寒三友, saikansanyū), alongside pine and plum. It represents strength, flexibility, and resilience: bamboo bends in the storm but does not break. In the tea ceremony, bamboo symbolizes modesty and self-control, precisely the qualities that the master of wabi-cha strives for.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eFujii Kaidō's kakitsuke\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA 書付 (kakitsuke) is a handwritten inscription by an authoritative tea master or temple abbot on the tomobako, officially recognizing the object as excellent. \u003c\/span\u003e\u003cspan\u003eFujii Kaidō (藤井誡堂, 1898–1984) was the 515th abbot of Daitoku-ji, historically the spiritual heart of the Japanese tea ceremony and also the head priest of the Sangenin subtemple. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter World War II, he played a key role in the reconstruction of Daitoku-ji and guided Kyoto potters in the revival of historical ceramic styles. He himself crafted tea bowls, tea scoops, and calligraphy works, and was regarded as one of the most beloved and authoritative abbots in the world of the tea ceremony. His kakitsuke was not given routinely; he assessed each object with genuine knowledge and deep understanding. Anyone who sees his name on a tomobako knows that the piece has stood the test of scrutiny.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eObject details\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eMaker: Kōgetsu (江月) — maki-e artist\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eTitle: Chiku maki-e Ōnatsume (竹蒔絵大棗)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eTechnique: Gold and silver maki-e on black urushi lacquer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eMaterial: Lacquered wood (urushi)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eDiameter: ≈ 7.2 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eHeight: ≈ 7.3 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eCondition: Very good, slight signs of use, no scratches on the lacquer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eAccessories: Original tomobako with Kōgetsu's seal, 書付\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eLid: Red kao \u003c\/span\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e造 (tsukuru) — \"made by\"\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e江 (kō) — first character of Kōgetsu\u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eKakitsuke: \u003c\/span\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e大徳寺 Daitoku-ji temple\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e五百十五世 the 515th generation\/abbot\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e黒巖 (Kokugan) and 誡堂 (Kaidō)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eAccessories: cloth gourd emblem with 江月 characters\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eSignature and maker\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe seal on the tomobako and the accompanying cloth show the characteristic gourd emblem (瓢箪) containing the characters 江月, Kōgetsu's personal seal. \u003c\/span\u003e\u003cspan\u003eThe name 江月 literally means river moonlight. This subtly reappears in the work: amidst the golden bamboo leaves, some leaves are deliberately rendered in silver, the moonlight that glides over the branches at night. \u003c\/span\u003e\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53760507609434,"sku":null,"price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Kogetsu2.jpg?v=1773488039"},{"product_id":"hanakago-maki-e-natsume-shoun","title":"Hanakago maki-e natsume Shōun","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cem\u003eAn elegant Japanese natsume (chū-natsume) crafted in refined Kaga maki-e style. The deep black urushi forms the backdrop for an exquisite hanakago (flower basket) motif in fine gold maki-e. Softly rendered autumn grasses and autumn flowers (akikusa) evoke a poetic seasonal atmosphere central to the Japanese tea ceremony.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cem\u003eThe basket is subtly enhanced with nashiji technique, adding depth and a soft, shimmering texture, while a carefully placed raden inlay (mother-of-pearl) creates a luminous focal point against the rich lacquer surface.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cem\u003eThe piece is signed Shōun (松雲) and is accompanied by its original tomobako, the signed wooden storage box that confirms its provenance and the maker's identity.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cem\u003eKaga maki-e is a highly esteemed Japanese lacquer tradition that has attracted European collectors for centuries. From the 17th to the 18th century, lacquerware from Kaga and Wajima was exported through Dutch, English, and Portuguese trade networks and collected by royal courts and the aristocracy. The striking gold and silver compositions on deep black lacquerware were valued for their technical sophistication and aesthetic finesse.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cem\u003eA harmonious and seasonally appropriate object, suitable for use during the matcha ceremony (chanoyu) or as a display piece within a refined collection of Japanese lacquer art.\u003c\/em\u003e\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778202558810,"sku":null,"price":195.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/20260225_213854.jpg?v=1773176508"},{"product_id":"musashino-maki-e-natsume-okamoto-yosai","title":"Matcha tea caddy natsume Musashino maki-e 武蔵野蒔絵 Okamoto Yōsai ","description":"\u003cp data-end=\"389\" data-start=\"63\"\u003eA refined 溜中棗 (tame-chū-natsume) by the documented lacquer master Okamoto Yōsai (岡本陽斎), executed in the classic Musashino maki-e (武蔵野蒔絵) motif. The deep reddish-brown lacquer ground, characteristic of the rare tame-nuri (溜塗) technique, radiates a timeless warmth that brings the golden motif vividly to life.\u003c\/p\u003e\n\u003ch3 data-end=\"405\" data-start=\"396\" data-section-id=\"739uvz\"\u003eMotif\u003c\/h3\u003e\n\u003cp data-end=\"846\" data-start=\"407\"\u003eOn the warm reddish-brown lacquer ground, the characteristic plants of the \u003cstrong data-end=\"501\" data-start=\"482\"\u003eMusashino Plain\u003c\/strong\u003e are rendered in delicate gold maki-e: tall, sweeping plumes of \u003cstrong data-end=\"575\" data-start=\"565\"\u003esusuki\u003c\/strong\u003e (Japanese pampas grass) with graceful leaves cascading like a fountain across the surface. The lines are extremely fine, from the sturdy stems to the tiniest pointed leaf tips, flowing seamlessly from the body over the seam to the lid as a single continuous landscape.\u003c\/p\u003e\n\u003cp data-end=\"1223\" data-start=\"848\"\u003eBetween the golden grasses, small flat metallic accents (\u003cstrong data-end=\"919\" data-start=\"905\"\u003ehyōmon, 平文\u003c\/strong\u003e) are incorporated into the lacquer. These details evoke dew or raindrops resting on the leaves. They catch the light subtly and give the surface additional depth without disturbing the overall serenity. The combination of maki-e and metal emphasizes the interplay between nature, time, and transience.\u003c\/p\u003e\n\u003ch3 data-end=\"1243\" data-start=\"1230\" data-section-id=\"1t83sif\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-end=\"1721\" data-start=\"1245\"\u003e武蔵野 (Musashino) refers to the vast grasslands west of present-day Tokyo, one of the most celebrated landscapes in classical Japanese poetry and literature. The motif represents the quiet beauty of autumn—the wind moving through the grasses, the light gliding away—and embodies the Japanese aesthetic of mono no aware, the poignant beauty of impermanence. In the tea ceremony, this motif evokes the mood of an autumn afternoon: calm, contemplative, and fully present.\u003c\/p\u003e\n\u003ch3 data-end=\"1746\" data-start=\"1728\" data-section-id=\"3wh2q9\"\u003eObject Details\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli data-end=\"1823\" data-start=\"1750\"\u003e\u003cstrong data-end=\"1760\" data-start=\"1750\"\u003eMaker:\u003c\/strong\u003e Okamoto Yōsai (岡本陽斎) — Wajima lacquer master, b. 1932, Kyoto\u003c\/li\u003e\n\u003cli data-end=\"1878\" data-start=\"1826\"\u003e\u003cstrong data-end=\"1836\" data-start=\"1826\"\u003eTitle:\u003c\/strong\u003e Musashino maki-e chū-natsume (武蔵野蒔絵溜中棗)\u003c\/li\u003e\n\u003cli data-end=\"1946\" data-start=\"1881\"\u003e\u003cstrong data-end=\"1895\" data-start=\"1881\"\u003eTechnique:\u003c\/strong\u003e Gold maki-e on \u003cstrong data-end=\"1929\" data-start=\"1911\"\u003etame-nuri (溜塗)\u003c\/strong\u003e urushi lacquer\u003c\/li\u003e\n\u003cli data-end=\"1988\" data-start=\"1949\"\u003e\u003cstrong data-end=\"1962\" data-start=\"1949\"\u003eMaterial:\u003c\/strong\u003e Lacquered wood (urushi)\u003c\/li\u003e\n\u003cli data-end=\"2015\" data-start=\"1991\"\u003e\u003cstrong data-end=\"2004\" data-start=\"1991\"\u003eDiameter:\u003c\/strong\u003e ≈ 6.5 cm\u003c\/li\u003e\n\u003cli data-end=\"2040\" data-start=\"2018\"\u003e\u003cstrong data-end=\"2029\" data-start=\"2018\"\u003eHeight:\u003c\/strong\u003e ≈ 6.4 cm\u003c\/li\u003e\n\u003cli data-end=\"2105\" data-start=\"2043\"\u003e\u003cstrong data-end=\"2057\" data-start=\"2043\"\u003eCondition:\u003c\/strong\u003e Excellent, very clean with minor signs of use\u003c\/li\u003e\n\u003cli data-end=\"2182\" data-start=\"2108\"\u003e\u003cstrong data-end=\"2124\" data-start=\"2108\"\u003eAccessories:\u003c\/strong\u003e Original tomobako with handwritten inscription and seal\u003c\/li\u003e\n\u003cli data-end=\"2182\" data-start=\"2108\"\u003e\u003cstrong data-end=\"2201\" data-start=\"2185\"\u003eAccessories:\u003c\/strong\u003e Cloth (\u003cstrong data-end=\"2215\" data-start=\"2209\"\u003e共布\u003c\/strong\u003e)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-end=\"2248\" data-start=\"2225\" data-section-id=\"njj9eh\"\u003eSignature and Maker\u003c\/h3\u003e\n\u003cp data-end=\"2759\" data-start=\"2250\"\u003eOkamoto Yōsai (岡本陽斎) works within the Wajima lacquer tradition and masters multiple techniques: maki-e, raden (螺鈿 \/ mother-of-pearl inlay), dokuma-nuri (独楽塗 \/ independent turning), and the use of contrasts between black and red lacquer. He creates both tea ceremony implements and functional objects, and is renowned for his balanced compositions and skilled depictions of grasses and birds (tezumi). The tomobako bears his signature 陽斎 with personal seal, a mark of direct authenticity.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778222219610,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Grassen1.jpg?v=1773490024"},{"product_id":"akikusa-maki-e-o-natsume-nakamura-soetsu","title":"Akikusa (Autumn Grasses) ō-natsume by Nakamura Sōetsu","description":"\u003cp data-start=\"0\" data-end=\"198\"\u003eThis elegant Japanese natsume (tea caddy) is a refined example of traditional urushi lacquerware, executed with subtle maki-e decoration of autumn grasses and flowers, known as akikusa (秋草).\u003c\/p\u003e\n\u003ch3 data-section-id=\"12h8y55\" data-start=\"200\" data-end=\"209\"\u003eMotif\u003c\/h3\u003e\n\u003cp data-start=\"211\" data-end=\"531\"\u003eWhat immediately stands out is the warm, dark brown lacquer layer. This is slightly translucent, allowing the natural wood grain to remain subtly visible. This creates a soft sheen and a sense of depth that changes beautifully with the light. The interplay between lacquer and wood gives the object a tranquil, organic appearance.\u003c\/p\u003e\n\u003cp data-start=\"533\" data-end=\"978\"\u003eThe decoration features a harmonious and understated composition of autumn motifs. Elegant blades of grass gracefully bend, accompanied by small flowers reminiscent of wild chrysanthemums and deep blue flowers resembling kikyō (Japanese bellflowers). At the base, clusters of red and gold berries provide a subtle splash of color. Rather than a literal botanical representation, the design captures a stylized impression of the autumn season.\u003c\/p\u003e\n\u003ch3 data-section-id=\"1tgl7k4\" data-start=\"980\" data-end=\"992\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-start=\"994\" data-end=\"1278\"\u003eThe akikusa theme holds an important place in Japanese art and tea culture, symbolizing the transience of existence and the beauty of the moment. Within the tea ceremony, such motifs contribute to an atmosphere of mindfulness and seasonal awareness.\u003c\/p\u003e\n\u003ch3 data-section-id=\"unzlks\" data-start=\"1280\" data-end=\"1293\"\u003eSokuchūsai\u003c\/h3\u003e\n\u003cp data-start=\"1295\" data-end=\"1535\"\u003eAccording to the inscription on the tomobako, this ō-natsume (大棗) was crafted in the style of Sokuchūsai, the 15th grand master of the Urasenke tea school. This is evident in the balanced composition and understated elegance of the design.\u003c\/p\u003e\n\u003ch3 data-section-id=\"wc1i6\" data-start=\"1537\" data-end=\"1554\"\u003eObject details\u003c\/h3\u003e\n\u003cul data-start=\"1556\" data-end=\"1985\"\u003e\n\u003cli data-section-id=\"1ll3nlq\" data-start=\"1556\" data-end=\"1579\"\u003eTitle: Akikusa (秋草)\u003c\/li\u003e\n\u003cli data-section-id=\"5e3313\" data-start=\"1580\" data-end=\"1618\"\u003eArtist: Nakamura Sōetsu (中村宗悦)\u003c\/li\u003e\n\u003cli data-section-id=\"63lc3k\" data-start=\"1619\" data-end=\"1657\"\u003eMotif: in the style of Sokuchūsai\u003c\/li\u003e\n\u003cli data-section-id=\"t5k9pp\" data-start=\"1658\" data-end=\"1693\"\u003eType: ō-natsume (large tea caddy)\u003c\/li\u003e\n\u003cli data-section-id=\"12nuksr\" data-start=\"1694\" data-end=\"1737\"\u003eMaterial: wood, urushi lacquer, polychrome\u003c\/li\u003e\n\u003cli data-section-id=\"1mpla4g\" data-start=\"1738\" data-end=\"1760\"\u003eDiameter: approx. 7 cm\u003c\/li\u003e\n\u003cli data-section-id=\"1e629k0\" data-start=\"1761\" data-end=\"1783\"\u003eHeight: approx. 7.5 cm\u003c\/li\u003e\n\u003cli data-section-id=\"540sgn\" data-start=\"1784\" data-end=\"1860\"\u003eCondition: excellent condition, suitable for both use and collection\u003c\/li\u003e\n\u003cli data-section-id=\"x1cph8\" data-start=\"1861\" data-end=\"1935\"\u003eAccessories: original tomobako with signature stamp and calligraphy\u003c\/li\u003e\n\u003cli data-section-id=\"1p872mq\" data-start=\"1936\" data-end=\"1985\"\u003eAdditional accessories: original fukusa cloth (共布)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-section-id=\"1azkluc\" data-start=\"1987\" data-end=\"2013\"\u003eSignature and artist\u003c\/h3\u003e\n\u003cp data-start=\"2015\" data-end=\"2538\"\u003eThe work is signed by Nakamura Sōetsu (b. 1932), a respected modern master of Japanese lacquer art. He was trained from a young age by his father and specialized in tea ceremony objects. He is known for his refined, nature-inspired designs and his mastery of techniques such as gold maki-e and mother-of-pearl inlay. He received several national awards in Japan for his work, and in 1987, he was granted an official tea name in recognition within the tea tradition.\u003c\/p\u003e\n\u003cp data-start=\"2540\" data-end=\"2695\"\u003eThe natsume comes with its original signed wooden storage box (tomobako), cloth, and outer packaging, confirming its authenticity and provenance.\u003c\/p\u003e\n\u003cp data-start=\"2697\" data-end=\"2834\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eA serene and refined object, suitable for use in the tea ceremony or as a characterful example of Japanese art in any interior.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778295062874,"sku":null,"price":175.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/20260419_095820_3.jpg?v=1776613061"},{"product_id":"kotobuki-rin-natsume-nakamura-soin","title":"Japanese natsume Kotobuki-rin 寿輪棗 Nakamura Sōin","description":"\u003cp data-end=\"122\" data-start=\"106\"\u003eThis natsume was created by lacquer artist Nakamura Sōin (中村宗尹), based on a design by Hōunsai (鵬雲斎), the 15th grand master of the Urasenke school of tea ceremony. The piece comes with its original tomobako and a biography of the maker.\u003c\/p\u003e\n\u003ch3 data-end=\"445\" data-start=\"425\"\u003eForm and Technique\u003c\/h3\u003e\n\u003cp data-end=\"735\" data-start=\"447\"\u003eIt is a \u003cem data-end=\"478\" data-start=\"463\"\u003ejurin natsume\u003c\/em\u003e (寿輪棗), where “jurin” refers to the motif of concentric rings as a symbol of harmony and continuity. The surface features fine, even grooves (\u003cem data-end=\"663\" data-start=\"654\"\u003esensuji\u003c\/em\u003e), which run around the form and create a subtle, textile-like effect.\u003c\/p\u003e\n\u003cp data-end=\"935\" data-start=\"737\"\u003eThe decoration is executed in the \u003cem data-end=\"779\" data-start=\"770\"\u003echinkin\u003c\/em\u003e technique: engraved lines filled with red lacquer. These lines form a refined pattern that moves across the textured background.\u003c\/p\u003e\n\u003ch3 data-end=\"947\" data-start=\"937\"\u003eMotif\u003c\/h3\u003e\n\u003cp data-end=\"1325\" data-start=\"949\"\u003eAgainst a deep black lacquer background, a stylized \u003cem data-end=\"1024\" data-start=\"1010\"\u003ekotobuki-rin\u003c\/em\u003e motif is applied in vivid red: concentric rings that converge in an elegant center. Around this, branches with small blossom buds are depicted, which can be interpreted as stylized \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003ePrunus mume\u003c\/span\u003e\u003c\/span\u003e (\u003cem data-end=\"1248\" data-start=\"1243\"\u003eume\u003c\/em\u003e), a classic symbol of renewal and elegance within the tea ceremony. The interior of the natsume is finished in warm gold (\u003cem data-end=\"1409\" data-start=\"1399\"\u003ekin-nuri\u003c\/em\u003e), creating a beautiful contrast with the dark exterior and red decoration.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e寿 (kotobuki)\u003c\/strong\u003e means happiness, longevity, and prosperity, one of the most cherished wishes in Japanese culture. The ring shape refers to infinity and continuity. This motif makes the natsume ideally suited for festive occasions and the New Year.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eAccording to Hōunsai's preference\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003e鵬雲斎好\u003c\/strong\u003e means that this piece was made according to Hōunsai's design and taste. It is a \u003cstrong\u003e写 (sha)\u003c\/strong\u003e, a skillfully executed interpretation of a design authorized by the grand master. In the world of tea ceremony, this is a recognized and esteemed category: the master determines the design, and the master lacquerer executes it.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eObject details\u003c\/h3\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMaker: Nakamura Sōin (中村宗尹)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eDesign: According to Hōunsai's preference (鵬雲斎好)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTitle: Kotobuki-rin natsume (寿輪棗)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTechnique: Chinkin on black urushi lacquer, gold interior\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eDiameter: approx. 8.5 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eHeight: approx. 6.1 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eCondition: Very good\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eAccessories: Original tomobako with Nakamura Sōin's signature and seal, biography of the maker\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eNakamura Sōin\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eNakamura Sōin comes from a tradition of lacquer artists in Northern Japan (Hokuriku), where his father trained him in traditional techniques. He further refined his craftsmanship with \u003cstrong\u003eToyoshima Bunjūshi\u003c\/strong\u003e, one of the students of the famous tea master \u003cstrong\u003eFuruichi Tanshō\u003c\/strong\u003e. He then studied for twenty years with master \u003cstrong\u003eIkeda Tōshō\u003c\/strong\u003e, after which he fully dedicated himself to the production of tea utensils. The accompanying handwritten letter offers a personal insight into his life's work and his love for nature as a source of inspiration.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778328715610,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/m60683834812_2.jpg?v=1773178681"},{"product_id":"wajima-raden-mirugai-natsume-shimizu-sosui","title":"Wajima raden mirugai natsume with mother-of-pearl inlay Sea Pen \u0026 Shell design (Mirugai natsume) by Shimizu Sōsui","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAn exceptional natsume (棗) by the Wajima lacquer master Shimizu Sōsui (清水宗翠), titled Mirugai (海松貝), an elegant elongated shell from Japanese waters. The motif depicts a tranquil coastal landscape where waves, seaweed, and shells merge in refined raden (mother-of-pearl) and maki-e (gold powder), a classic theme in Japanese decorative art that symbolizes the richness and dynamism of the sea.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eMotif\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe deep black lacquer ground is full and glossy. Soft, undulating lines suggest the rhythm of the sea, while scattered shells, including the distinctive elongated mirugai, lie as subtle accents in the landscape. The composition is deliberately asymmetrical and exudes tranquility. A misty, slightly grainy effect in the background adds depth and evokes sand disturbed by water.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAccents of raden are incorporated into the surface: inlaid mother-of-pearl that shows a soft blue-green sheen in the light. This material, originating from shells, reinforces the theme of the artwork in an almost poetic way, where image and material merge. The lid features a calmer composition of loose shells and a slender seaweed branch, like a stillness after movement.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe interior is exceptionally finished in a soft metallic lacquer with silver and gold tones. This subtle shimmer deviates from the more common gold lacquer and points to sophisticated atelier technique and attention to detail.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn Japanese decorative art, the marine motif refers to infinity, abundance, and the untamed power of nature. Shells are classic symbols of happiness and harmony, rooted in a coastal aesthetic that has held a firm place in decorative imagination since the Heian period. Combining different shells and seaweed in one composition is a reference to \u003cem\u003emono no aware\u003c\/em\u003e: the beauty of diversity and transience, animated by the eternal movement of water.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eCraftsmanship\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eWajima is known for a lacquer tradition where dozens of layers of urushi are applied by hand, each time dried and smoothed, before the surface achieves its characteristic depth. Shimizu Sōsui worked within this tradition, creating objects for the tea ceremony throughout his life, where each natsume must be both beautiful and comfortable to hold.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eOn this piece, two techniques have been combined, each of which alone requires considerable time and practice. In raden, thin pieces of mother-of-pearl are inlaid into the lacquer surface. In maki-e, gold powder is sprinkled onto wet lacquer and applied with great precision. The fact that both techniques appear together here in one calm, balanced composition is unusual.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThis natsume is heavier than average, a direct result of the thickness of the wood and the many layers of lacquer applied during the making process. The lid closes with a soft resistance and fits precisely, which can only be the result of careful handwork. That feeling in the hand tells more about the quality than any photograph ever could.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eObject Data\u003c\/h3\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMaker: Shimizu Sōsui (清水宗翠, birth name Shimizu Shōzō, born 1921, Wajima)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTitle: Mirugai natsume, 海松貝蒔絵棗\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTechnique: Maki-e (lacquer decoration with gold powder) and raden (mother-of-pearl inlay)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMaterial: Lacquer wood (urushi), Wajima lacquer\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eDiameter: 7.2 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eHeight: 7.2 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eWeight: 63.7 g\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003ePeriod: Shōwa (approx. 1950-1980)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eCondition: Very good\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eAccessories: Original tomobako with inscription 海松貝蒔絵 and seal of Shimizu Sōsui, tomonuno with seal, maker's introduction card\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eSignature and Maker\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eShimizu Sōsui (清水宗翠) is the artist's name of Shimizu Shōzō, born in 1921 in Wajima, Ishikawa Prefecture, the historical center of Japanese lacquer art. Trained from a young age by his father Shimizu Shōsaku, he worked in an atelier in the city after his training before establishing himself independently in 1965. His work is rooted in the Wajima tradition and focuses particularly on objects for the chanoyu, the Japanese tea ceremony, with a special emphasis on the natsume. The combination of raden and maki-e, two techniques that each individually require great craftsmanship, characterizes the exceptional position Sōsui held within the Wajima school.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778418467162,"sku":null,"price":475.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Onderwater1.jpg?v=1780691828"},{"product_id":"maki-e-shikunshi-onatsume-saijo-issai","title":"Shikunshi Maki-e Ōnatsume (Four Gentlemen Maki-e Large Tea Caddy) by Saijō Issai","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA refined ōnatsume by maki-e master Saijō Issai (西條一斎), executed in gold maki-e on deep black urushi lacquer with raden inlay. This exceptional piece combines classical Japanese tea ceremony aesthetics with the rich symbolism of the Shikunshi. Supplied with the original signed tomobako.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe lid forms the visual centerpiece of the piece, featuring an intricately worked chrysanthemum beneath blossoming plum branches. Among the blossoms are refined round raden accents of inlaid mother-of-pearl, showing a soft iridescent sheen depending on the light. The decoration continues around the body with graceful seasonal plants and landscape elements that give the object movement and depth without disturbing the harmony of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003eMotif\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eShikunshi \u003c\/strong\u003e(四君子) literally means \"Four Noble Gentlemen\"\u003cb id=\"docs-internal-guid-0ee4b151-7fff-bb4a-a634-4e4ca86eaf2b\"\u003e \u003c\/b\u003eor \"Four Gentlemen.\" Within Japanese art and literati tradition, this term refers not to people, but to ideal character traits of a cultivated and refined person.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003ePlum blossom (ume) — resilience and renewal\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eOrchid — refinement and inner purity\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eBamboo — flexibility and steadfastness\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eChrysanthemum (kiku) — dignity and contemplative serenity\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNot only beautiful to behold, but also symbolically charged. In the tea ceremony, each motif was consciously chosen to evoke an atmosphere.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eSymbolism\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA particular feature of the Shikunshi motif is its dual meaning. On the one hand, the plants show the natural cycle of the seasons; on the other hand, they depict inner qualities that were considered ideal within the tradition of scholars, poets, and tea masters. The decoration is therefore not only aesthetic, but also symbolically and philosophically charged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn Japanese culture, these plants represent the ideal mindset: how a person thinks, feels, and acts from inner values. Blooming in the cold, bending without breaking, fragrant without being conspicuous, remaining dignified when all else withers. Not status, but character is the measure. A natsume with this motif quietly carries that message into the tea room.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eObject Details\u003c\/span\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eMaker: Saijō Issai (西條一斎)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eTitle on tomobako: 蒔絵師 \/ Maki-e master\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eType: Ōnatsume \/ large tea natsume\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eMotif: Shikunshi \/ Four Noble Gentlemen (四君子)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eTechnique: Gold maki-e with raden inlay on black urushi lacquer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eMaterial: Wood with urushi lacquer\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eHeight: \u003cspan dir=\"auto\"\u003e\u003cspan class=\"VIpgJd-yAWNEb-VIpgJd-fmcmS-sn54Q\" dir=\"auto\"\u003eApprox. 7.5cm, Width: Approx. 7.5cm, Depth: Approx. 7.5cm\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003ePeriod: Shōwa period (mid to late 20th century)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\u003cspan\u003eAccessories: Original signed tomobako\u003c\/span\u003e\u003c\/li\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cspan\u003eCondition: Very good, slight signs of use and age consistent with age and use\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eTomobako\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe original signed tomobako (wooden storage box) states \u003c\/span\u003e\u003cspan\u003e四君子 大棗 \u003c\/span\u003e\u003cspan\u003eShikunshi Ōnatsume \u003c\/span\u003e\u003cspan\u003e“Large natsume with the Four Noble Gentlemen motif”. \u003c\/span\u003e\u003cspan\u003eAdditionally, the box bears the signature: \u003c\/span\u003e\u003cspan\u003e塗師 西條一斎 \u003c\/span\u003e\u003cspan\u003eNurishi Saijō Issai \u003c\/span\u003e\u003cspan\u003e“Maki-e master\u003cb id=\"docs-internal-guid-ca9ce9a0-7fff-ebbd-a5ea-39021eb37416\"\u003e \u003c\/b\u003eSaijō Issai”. \u003c\/span\u003e\u003cspan\u003eThe presence of the original tomobako enhances both the provenance and collectible nature of the object. Within Japanese tea utensils, a signed storage box is an important part of the presentation and documentation of a work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eSaijō Issai (b. 1937, Osaka; real name 奥津義峰 Okutsu Yoshimine) is a Japanese master of maki-e lacquerware. He learned the craft from his father Okutsu Yōhō (奥津洋方) and became active in the tradition of fine urushi work from the 1950s. From the 1960s, he was repeatedly selected for the Japan Traditional Crafts Exhibition (日本伝統工芸展) and its regional Kinki section. In 1989, he was appointed director of the Osaka Crafts Association (大阪工芸協会) and received several awards for cultural and craft merit (including the Osaka Prefecture Cultural Merit Award in 1993). His studio is located in Nara, where he continues his work in the spirit of refined tea ceremony aesthetics and classical Japanese design.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eNew photos coming soon\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778506154330,"sku":null,"price":325.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/i-img1200x900-17713121500312ykdtly31482.jpg?v=1779725770"},{"product_id":"kiku-kiri-maki-e-o-natsume-maeda-seiho","title":"Tea container kiku-kiri maki-e 菊桐 ō-natsume with nashiji by Maeda Seihō","description":"\u003cp data-end=\"238\" data-start=\"101\"\u003eSome objects are not only used, they shape the moment in which they appear. This Japanese natsume is one such object. Its form is serene and understated: deep black urushi lacquer that absorbs light rather than reflecting it. On the lid, a maki-e composition of kiku (chrysanthemum) and kiri (paulownia) appears, bright yet restrained, rich in gold and carefully balanced.\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eMotif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-end=\"401\" data-start=\"97\"\u003eWhat makes this natsume special is the refined nashiji finish on the inside. Fine gold particles are subtly incorporated into the lacquer, creating a soft, warm glow. The effect is understated and atmospheric, not a direct shine, but a depth that seems to radiate from within. This technique requires an exceptional amount of time and craftsmanship: the gold particles are carefully sprinkled into multiple layers of wet urushi and then sealed and polished, creating the characteristic soft sheen. The subtle contrast between the dark exterior and the light, gold-rich interior is characteristic of high-quality urushi objects.\u003c\/p\u003e\n\u003ch3 data-end=\"238\" data-start=\"101\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-end=\"238\" data-start=\"101\"\u003eWithin Japanese culture, chrysanthemum and paulownia carry rich symbolism. The chrysanthemum represents elegance, refinement, and the transience of the seasons. The paulownia is traditionally associated with nobility, protection, and dignity. Together, these motifs convey a sense of harmony and balance—a visual translation of the tranquility and mindfulness central to the tea ceremony.\u003c\/p\u003e\n\u003ch3 data-end=\"401\" data-start=\"97\"\u003eObject details\u003cbr data-end=\"1660\" data-start=\"1657\"\u003e\n\n\u003c\/h3\u003e\n\u003cul\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eTitle: Kiku \u0026amp; Kiri Maki-e Natsume\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eMaker: Maeda Seihō (清峰)\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eMotif: Kiku \u0026amp; Kiri (chrysanthemum and paulownia)\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eType: Ō-natsume\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eMaterial: wood, urushi, maki-e, nashiji\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eDiameter: ≈ 7.3 cm\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eHeight: ≈ 7.5 cm\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eCondition: Excellent\u003c\/li\u003e\n\n\u003cli data-end=\"401\" data-start=\"97\"\u003eAccessories: Original tomobako (signed wooden box)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 data-start=\"1950\" data-end=\"2306\"\u003eTomobako and authenticity\u003c\/h3\u003e\n\u003cp data-start=\"1950\" data-end=\"2306\"\u003eThe natsume comes with an original tomobako (wooden storage box) featuring calligraphy and a seal. The inscription confirms the maker and the decor, contributing to the authenticity of the object. The box not only protects it but also forms an integral part of the piece's presentation and appreciation.\u003c\/p\u003e\n\u003ch3 data-start=\"2313\" data-end=\"2806\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp data-start=\"2313\" data-end=\"2806\"\u003eMaeda Seihō (清峰) is a lacquer master from the Wajima tradition, one of the most respected centers of Japanese lacquer art. He trained under Somata Shinzan, specializing in refined maki-e techniques. His work is characterized by precision, balance, and an understated aesthetic, with tradition and craftsmanship at its core. Objects by his hand are not pronounced statements but grow in appreciation through their subtle quality and harmony.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778617794906,"sku":null,"price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/Kiku-kiri4.jpg?v=1774102484"},{"product_id":"kodaiji-maki-e-natsume-tasaki-shoichiro","title":"Kōdaiji (高台寺) Maki-e Natsume by Tasaki Shōichirō (田崎昭一郎)","description":"\u003cp class=\"itemInformation__itemName\"\u003eIn 1606, Nene, the wife of the great general Toyotomi Hideyoshi (1537–1598), had a temple built in Kyoto in memory of her husband. The Kōdaiji \u003cspan\u003e(高台寺)\u003c\/span\u003e temple is nestled in the hills of Higashiyama, a place of silent mourning and great beauty. The masters who worked for that temple developed a lacquer style that would bear its name: gold on deep black urushi, asymmetrical compositions, refinement as a form of remembrance. Four centuries later, that tradition is still passed on, and this natsume is a silent bearer of it.\u003c\/p\u003e\n\u003ch3\u003eMotif\u003c\/h3\u003e\n\u003cp\u003eThe decor is executed in fine maki-e technique (蒔絵), where gold powder is built up layer by layer in the still wet urushi. The chrysanthemums are depicted with clear, crisp lines, while the paulownia leaves show subtle texture details that become visible depending on the incidence of light. Against the deep black lacquer, a strong contrast between simplicity and luxury emerges, a characteristic feature of high-quality tea ceremony objects.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp\u003eThe motif combines two of the most prestigious symbols from the Japanese court and art tradition. The chrysanthemum refers to elegance, durability, and the imperial culture of Japan. The paulownia, as goshichi-kiri (五七桐) the family crest of the Toyotomi clan and later also a state symbol, carries historical weight that connects the object to the golden period of Momoyama aesthetics.\u003c\/p\u003e\n\u003ch3\u003eObject data\u003c\/h3\u003e\n\u003cdiv class=\"specs\"\u003e\n\n\u003cul\u003e\n\n\u003cli class=\"spec\"\u003eMaker:\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eTasaki Shōichirō (田崎昭一郎)\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eMentor\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eIchigo Icchō (一后一兆, 1898–1991)\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eStyle\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eKōdaiji maki-e (高台寺蒔絵)\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eTechnique\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eMaki-e (蒔絵)\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eDecor\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eChrysanthemum and paulownia (kiku \u0026amp; kiri)\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eMaterial\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eWood with urushi lacquer\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003e\u003cspan\u003eHeight: 7cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003e\u003cspan\u003eWidth: 7 cm\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eOrigin\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWajima, Japan\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003ePeriod\u003cspan\u003e: \u003c\/span\u003e\u003cspan\u003eShōwa \/ early Heisei\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli class=\"spec\"\u003eCondition:\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eVery good vintage condition\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003ch3\u003eTomobako and signature\u003c\/h3\u003e\n\n\u003cp\u003eThe original tomobako bears the inscription: 高台寺蒔絵 棗 東 —\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKōdaiji maki-e natsume Higashi \u003c\/em\u003e(Kōdaiji maki-e natsume, designated as \"East\") The designation \"Higashi\" (東, east) presumably refers to a specific variant or positioning within the Kōdaiji tradition. The object is accompanied by original Japanese studio documentation that includes exhibitions, artistic registrations, and biographical information about the maker, a special detail rarely preserved with this type of object.\u003c\/p\u003e\n\n\u003ch3\u003e\u003cspan\u003eTasaki Shōichirō\u003c\/span\u003e\u003c\/h3\u003e\n\n\u003cdiv class=\"spec\"\u003e\n\n\u003cp\u003eTasaki Shōichirō (田崎昭一郎) was a Japanese lacquer artist from Wajima, Ishikawa Prefecture, a region internationally known as one of the most important centers of high-quality Japanese urushi lacquerware. He was trained under the renowned master Ichigo Icchō (一后一兆, 1898–1991), one of the leading maki-e artists of the 20th century whose work was selected for the Nitten, among others, and who was appointed honorary citizen by Wajima.\u003c\/p\u003e\n\n\u003cp\u003eFrom this traditional master-apprentice lineage, Tasaki developed into a recognized artist. According to the accompanying studio documentation, he exhibited at the Nitten (日展) and other national Japanese art and craft exhibitions. He was also a member of the Nichikōbikai (日工美会) and involved with the Wajima Lacquer Art Technical Training Institute, where he contributed to the training of new generations of lacquer artists.\u003c\/p\u003e\n\n\u003ch3 class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eVisit Kōdaiji Temple\u003c\/h3\u003e\n\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThose who wish to visit the temple itself preferably do so after sunset. Kōdaiji, literally \"High Terrace Temple,\" has grown into one of the city's most iconic evening attractions. Three times a year, in spring, summer, and autumn, the gardens and historic buildings are illuminated in an interplay of traditional architecture and modern light. The highlight is a projection mapping show where the rock gardens and main buildings of the temple serve as a canvas for a light spectacle. The place where Nene mourned Hideyoshi is thus enchanted anew every season.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":53778768789850,"sku":null,"price":289.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/i-img640x480-17723433110402umjzrz200.jpg?v=1773180494"},{"product_id":"wajima-nuri-natsume-hino-takuya","title":"Wajima-nuri 輪島塗 natsume Sasa-tsuyu Hino Takuya maki-e natsume","description":"\u003cp dir=\"ltr\"\u003eThis refined natsume, crafted by Japanese lacquer master Hino Takuya (日野拓也), is an example of high-quality Wajima-nuri lacquerware from Ishikawa. As a traditional matcha tea caddy, the natsume is used in the Japanese tea ceremony for storing and serving powdered tea. In this work, functionality and aesthetics converge: a timeless object where the depth of urushi lacquer and the subtlety of the design reflect the essence of Japanese craftsmanship.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eMotif\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe deep black urushi lacquer forms a silent, reflective base over which a layered composition of bamboo leaves unfolds. The leaves are not uniform: some are rendered in warm gold with finely incised veins, while others glow in red-orange tones through the use of aka-fun, reddish gold powder that gives a depth as if the leaves are illuminated from within. Interspersed among them, some leaves are inlaid with raden (螺鈿): pieces of mother-of-pearl that iridesce blue, green, and purple depending on the light. Small silver dots, tsuyu, or dewdrops, are scattered over the whole, completing the image of an early morning.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe decoration is deliberately restrained in composition but rich in detail. The leaves appear to float over the black surface, light and moving, while the changing gleam of gold, red, and mother-of-pearl makes the object appear differently with every change of light. It is precisely this layering that makes this piece powerful: it reveals itself slowly, with repeated viewing.\u003c\/p\u003e\n\u003ch3 class=\"text-text-100 mt-2 -mb-1 text-base font-bold\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eIn Japanese culture, \u003cstrong\u003esasa\u003c\/strong\u003e (笹, bamboo leaves) symbolizes resilience and flexibility. It bends with the wind without breaking. Within the context of the tea ceremony, this refers to inner peace, adaptability, and presence in the moment.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe \u003cstrong\u003etsuyu\u003c\/strong\u003e (露, dew) sprinkled as silver dots over the leaves adds a second layer of meaning: dew in Japanese aesthetics is a symbol of transience and freshness simultaneously. It appears only in the early morning and vanishes with the light, an image closely aligned with the spirit of wabi-cha. The combination of bamboo leaves and dew is a classic autumn morning motif, 笹露 (sasa-tsuyu), which unifies freshness, stillness, and the passage of time in a single image.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe three materials reinforce this together: the \u003cstrong\u003egold\u003c\/strong\u003e of the maki-e refers to warmth and maturity; the \u003cstrong\u003ered-orange aka-fun\u003c\/strong\u003e evokes the color of autumn leaves; and the cool, constantly changing light of the \u003cstrong\u003eraden\u003c\/strong\u003e adds something fleeting, like light that falls differently every second.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-start=\"469\" data-end=\"565\"\u003e\u003c\/ul\u003e\n\u003ch3 class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eObject details\u003c\/h3\u003e\n\u003cul class=\"[li_\u0026amp;]:mb-0 [li_\u0026amp;]:mt-1 [li_\u0026amp;]:gap-1 [\u0026amp;:not(:last-child)_ul]:pb-1 [\u0026amp;:not(:last-child)_ol]:pb-1 list-disc flex flex-col gap-1 pl-8 mb-3\"\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMaker: Hino Takuya (日野拓也, Wajima)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTitle: Sasa maki-e natsume (笹蒔絵棗)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eType: Ōnatsume (usucha tea caddy)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eTechnique: Maki-e (蒔絵) with raden (螺鈿, mother-of-pearl)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eMaterial: Wood with urushi lacquer (Wajima-nuri \/ 輪島塗)\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eDiameter: ≈ 7.5 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eHeight: ≈ 7.5 cm\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eCondition: New condition\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eAccessories: Original tomobako (共箱) with maker's signature, shiori (栞, documentation), Wajima quality card\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSignature and maker\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eHino Takuya (日野拓也) is a contemporary maki-e craftsman from Wajima, a city considered the heart of Japanese lacquer traditions. He trained under a recognized master and developed into an independent artist from the end of the Shōwa period (1989). His work is characterized by a strong anchoring in classical Wajima techniques, built in multiple layers of urushi, reinforced with jinoko, combined with a refined, contemporary aesthetic.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eHino Takuya is not among the big names found in museums, but he belongs to the group of artisans who keep the Wajima tradition alive and pass it on. His pieces can be found at Kadochi Shikkiten (角知漆器店), a specialized lacquerware shop in Wajima that selects and offers work by local artisans. The shop is affiliated with the official Wajima industry organization, which further underscores the origin and quality of the work.\u003c\/p\u003e\n\u003ch3 class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eWajima: City of Lacquer\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eVisitors to Wajima find themselves in the epicenter of a thousand-year-old lacquer tradition. The city on the Noto coast (Ishikawa Prefecture) still boasts hundreds of artisans who pass on their craft from generation to generation. The \u003cstrong\u003eWajima Kiriko Festival\u003c\/strong\u003e in August showcases the region at its most colorful, but those wishing to see the ateliers prefer to visit the city outside of peak season when workshops are open and the tranquility matches the nature of the craft.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe \u003cstrong\u003eWajima Shikki Kaikan\u003c\/strong\u003e (輪島漆器会館) houses a permanent collection that illustrates the layered construction of Wajima-nuri: from raw wood through dozens of layers of urushi to the finished surface. Beyond that, the small ateliers in the narrow streets of the old city are most revealing, where artisans work in silence on pieces that will not be finished for weeks or months.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe earthquake of January 2024 severely affected the Noto Peninsula, including Wajima. Many ateliers have since resumed work, and local and national support programs are specifically aimed at preserving the lacquer traditions. A purchase of Wajima-nuri is thus also a contribution to the survival of a living heritage.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":54093710983514,"sku":null,"price":367.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/i-img1200x800-17731312211940js5i13345478.jpg?v=1777723032"},{"product_id":"suzumushi-makie-natsume-suzuya-tetsugoro","title":"Suzumushi Maki-e Natsume by Suzuya Tetsugorō","description":"\u003cp data-end=\"259\" data-start=\"0\"\u003eThis elegant black urushi natsume is a refined example of Japanese lacquerware within tea culture, decorated with an understated \u003cstrong\u003esuzumushi\u003c\/strong\u003e motif, the Japanese \"bell cricket,\" traditionally associated with late summer and the transition to autumn.\u003c\/p\u003e\n\u003ch3 data-end=\"635\" data-start=\"616\" data-section-id=\"tmdhkq\"\u003eMotif\u003c\/h3\u003e\n\u003cp data-end=\"614\" data-start=\"261\"\u003eOn the deeply lustrous black lacquer, only a single cricket is depicted, executed in fine gold maki-e. Its wings are subtly enhanced with a \u003cstrong data-end=\"111\" data-start=\"92\"\u003emother-of-pearl\u003c\/strong\u003e effect, giving them nuances of blue, violet, and turquoise depending on the light. This minimalist composition creates a quiet, poetic tension between emptiness and detail.\u003c\/p\u003e\n\u003ch3 data-end=\"635\" data-start=\"616\" data-section-id=\"tmdhkq\"\u003eSeasonal Awareness\u003c\/h3\u003e\n\u003cp data-end=\"939\" data-start=\"637\"\u003eIn Japan, the suzumushi holds a special place in the seasonal experience. The cricket's first song traditionally marks the end of summer when the air cools and nature slowly moves towards autumn. Its sound is perceived as soft, soothing, and almost meditative.\u003c\/p\u003e\n\u003cp data-end=\"1286\" data-start=\"941\"\u003eDuring the Heian and Edo periods, suzumushi were even kept in small bamboo cages by nobles and wealthy families, purely to listen to their song on quiet summer evenings. Listening to crickets was considered a refined form of seasonal awareness, comparable to appreciating poetry, incense, or the tea ceremony.\u003c\/p\u003e\n\u003ch3 data-end=\"1300\" data-start=\"1288\" data-section-id=\"1tgl7k4\"\u003eSymbolism\u003c\/h3\u003e\n\u003cp data-end=\"1616\" data-start=\"1302\"\u003eBecause the suzumushi lives for only one season and is audible for only a short time, the cricket became a classic symbol of mono no aware, the poignant awareness of impermanence and the beauty of the moment. Within Japanese tea culture, aesthetics are not about abundance but about subtlety, season, and suggestion.\u003c\/p\u003e\n\u003cp data-end=\"1822\" data-start=\"1618\"\u003eThe suzumushi is therefore a beloved motif in chanoyu, not only for its appearance but especially for the atmosphere it evokes, with cool evenings, silence, attentiveness, and the awareness that beauty is temporary.\u003c\/p\u003e\n\u003ch3 data-end=\"17\" data-start=\"0\" data-section-id=\"wc1i6\"\u003eObject details\u003c\/h3\u003e\n\u003cul data-end=\"1140\" data-start=\"19\"\u003e\n\n\u003cli data-end=\"44\" data-start=\"19\" data-section-id=\"1gza7qn\"\u003eTitle: Suzumushi (鈴虫)\u003c\/li\u003e\n\n\u003cli data-end=\"91\" data-start=\"45\" data-section-id=\"1hftwc7\"\u003eType: Ōnatsume (large tea caddy for matcha)\u003c\/li\u003e\n\n\u003cli data-end=\"145\" data-start=\"92\" data-section-id=\"1mlcrhd\"\u003eArtist: \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eSuzutani Tetsugorō (鈴谷鉄五郎)\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli data-end=\"189\" data-start=\"146\" data-section-id=\"190hirb\"\u003eMotif: Suzumushi, the Japanese bell cricket\u003c\/li\u003e\n\n\u003cli data-end=\"275\" data-start=\"190\" data-section-id=\"108cp2k\"\u003eTechnique: Maki-e in gold powder with subtle raden on urushi lacquer\u003c\/li\u003e\n\n\u003cli data-end=\"360\" data-start=\"276\" data-section-id=\"16pr3lt\"\u003eDecoration style: Minimalist\u003c\/li\u003e\n\n\u003cli data-end=\"412\" data-start=\"361\" data-section-id=\"jj49m\"\u003eMaterial: Wood with deep black roiro urushi lacquer\u003c\/li\u003e\n\n\u003cli data-end=\"487\" data-start=\"413\" data-section-id=\"oqot0d\"\u003eFinish: High-gloss polished lacquer with fine brushwork in gold maki-e\u003c\/li\u003e\n\n\u003cli data-end=\"586\" data-start=\"488\" data-section-id=\"oi6z42\"\u003eColor effect: Subtle iridescent color play in the wings (blue, violet, turquoise)\u003c\/li\u003e\n\n\u003cli data-end=\"609\" data-start=\"587\" data-section-id=\"1mpla4g\"\u003eDiameter: approx. 7 cm\u003c\/li\u003e\n\n\u003cli data-end=\"632\" data-start=\"610\" data-section-id=\"1e629k0\"\u003eHeight: approx. 7.5 cm\u003c\/li\u003e\n\n\u003cli data-end=\"685\" data-start=\"633\" data-section-id=\"bvj13p\"\u003ePeriod: Late 20th century, Showa to Heisei period\u003c\/li\u003e\n\n\u003cli data-end=\"734\" data-start=\"686\" data-section-id=\"43owqw\"\u003eOrigin: Wajima, Ishikawa prefecture, Japan\u003c\/li\u003e\n\n\u003cli data-end=\"789\" data-start=\"735\" data-section-id=\"1sqz1bw\"\u003eUsage: Tea ceremony (chanoyu) and collector's item\u003c\/li\u003e\n\n\u003cli data-end=\"868\" data-start=\"790\" data-section-id=\"1va6258\"\u003eCondition: Very good, slight signs of use consistent with age and use\u003c\/li\u003e\n\n\u003cli data-end=\"972\" data-start=\"869\" data-section-id=\"vrw5z\"\u003eSpecial feature: Very understated, typical for tea ceremonial lacquerware\u003c\/li\u003e\n\n\u003cli data-end=\"1042\" data-start=\"973\" data-section-id=\"1af4moz\"\u003eAccessories: Original tomobako (wooden storage box) with signature\u003cbr\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch3 data-end=\"1835\" data-start=\"1824\" data-section-id=\"999xej\"\u003eTomobako\u003c\/h3\u003e\n\u003cp data-end=\"2324\" data-start=\"1837\"\u003eThe tomobako bears the same signature as the natsume and confirms the work of Suzutani Tetsugorō (鈴谷鉄五郎). The style is late 20th-century Japanese Wajima production, likely intended for use within the tea ceremony. The quality of lacquer maki-e and composition clearly places the work above standard utilitarian pieces.\u003c\/p\u003e\n\u003ch3 data-end=\"2347\" data-start=\"2326\" data-section-id=\"14w6rvu\"\u003eSignature and Maker\u003c\/h3\u003e\n\u003cp data-end=\"2704\" data-start=\"2349\"\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eSuzutani Tetsugorō\u003c\/span\u003e\u003c\/span\u003e (鈴谷鉄五郎) was a maki-e artist from Wajima in Ishikawa Prefecture, an important center of traditional Japanese lacquerware. Born in 1932 into a family of lacquerware artisans, he was trained from a young age in the techniques of Wajima nuri, known for its deep luster, durable lacquer layers, and refined gold decoration.\u003c\/p\u003e\n\u003cp data-end=\"3006\" data-start=\"2706\"\u003eFrom 1946, he studied under the influential master \u003cstrong\u003eIchigo Icchō (一后一兆)\u003c\/strong\u003e, after which he started his own studio in 1951. His work developed into an extremely refined style in which seasonal atmosphere, tranquility, and subtlety were central, closely connected to the aesthetics of the Japanese tea ceremony.\u003c\/p\u003e\n\u003cp data-end=\"3036\" data-start=\"3008\"\u003eHis work is characterized by\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli data-end=\"3186\" data-start=\"3038\"\u003eextremely fine maki-e brush lines\u003c\/li\u003e\n\n\u003cli data-end=\"3186\" data-start=\"3038\"\u003esubtle use of gold and silver powder\u003c\/li\u003e\n\n\u003cli data-end=\"3186\" data-start=\"3038\"\u003eminimalist compositions\u003c\/li\u003e\n\n\u003cli data-end=\"3186\" data-start=\"3038\"\u003epoetic nature and seasonal motifs\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp data-end=\"3368\" data-start=\"3188\"\u003eUnlike richly decorated objects, he deliberately chose emptiness and tranquility, giving a single detail, such as this solitary cricket, extra strength and presence.\u003c\/p\u003e\n\u003cp data-end=\"3641\" data-start=\"3370\"\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eSuzutani Tetsugorō\u003c\/span\u003e\u003c\/span\u003e was later recognized as a traditional master craftsman \u003cmeta charset=\"utf-8\"\u003e\u003cb id=\"docs-internal-guid-f88ebc9f-7fff-2941-0483-8039138da178\"\u003e\u003cspan\u003e(Dento Kōgeishi)\u003c\/span\u003e\u003c\/b\u003e and was involved in the Wajima Maki-e guild. He received various awards from the city of Wajima and Ishikawa Prefecture for his contribution to the preservation of traditional lacquerware.\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"3946\" data-start=\"3643\"\u003eThe suzumushi natsume is a typical expression of his aesthetic: deep black roiro lacquer, minimal decoration, and a quiet seasonal symbolism that is not immediately obvious but slowly unfolds, precisely as beauty is experienced within tea culture in attention, silence, and impermanence.\u003c\/p\u003e","brand":"Thee van Anke","offers":[{"title":"Default Title","offer_id":54093935968602,"sku":null,"price":315.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/20260429_200240_3.jpg?v=1779704989"},{"product_id":"yukibuki-nakatani-hakuho-japanse-natsume","title":"Sanae Hotaru-e yukibuki Nakatani Hakuhō","description":"\u003cp class=\"lead\"\u003eA tranquil Japanese summer evening. Rice paddies at dusk, gently swaying grass, and the ephemeral glow of fireflies. This yukibuki by Nakatani Hakuhō perfectly captures that atmosphere. This special natsume is crafted in deep black urushi lacquer, serving as a nocturnal background on which subtle golden fireflies (hotaru \/ 蛍) appear to float among young rice shoots (sanae \/ 早苗).\u003c\/p\u003e\n\u003ch3\u003eMotif\u003c\/h3\u003e\n\u003cp\u003eThe decoration is executed using the delicate maki-e technique (蒔絵), where gold powder is sprinkled onto wet lacquer. The delicate golden wings, combined with small red accents, contrast beautifully with the deep black urushi. The green lines of the grass enhance the sense of movement and evening breeze over a rice field. Particularly refined are the small blue accents in the fireflies' bodies, crafted in raden (螺鈿) inlaid mother-of-pearl or shell. Depending on the light, they illuminate against the dark surface, making the fireflies appear to glow in the twilight.\u003c\/p\u003e\n\u003ch3\u003eSymbolism\u003c\/h3\u003e\n\u003cp\u003eIn Japanese aesthetics, fireflies are a classic symbol of transience, stillness, and refined beauty. Their brief appearance in early summer makes them a beloved motif in poetry, lacquerware, and tea culture. The young rice shoots refer to new life, growth, and the beginning of the summer season. Together, they subtly allude to the transition from spring to summer, a theme that perfectly aligns with the seasonal sensibility of chanoyu.\u003c\/p\u003e\n\u003ch3\u003eObject Details\u003c\/h3\u003e\n\u003cdiv class=\"specs\"\u003e\n\u003cul\u003e\n\u003cli class=\"spec\"\u003eTitle : Sanae Hotaru-e Yukibuki\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eShape\u003cspan\u003e : \u003c\/span\u003e\u003cspan\u003eYukibuki (雪吹)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eMaterial\u003cspan\u003e : \u003c\/span\u003e\u003cspan\u003eWood with urushi lacquer and raden\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eTechnique\u003cspan\u003e : \u003c\/span\u003e\u003cspan\u003eMaki-e (蒔絵)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eDecoration\u003cspan\u003e : \u003c\/span\u003e\u003cspan\u003eFireflies and young rice shoots\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eOrigin :\u003cspan\u003e\u0026nbsp;\u003c\/span\u003e\u003cspan\u003eJapan\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eWidth :\u003cspan\u003e\u0026nbsp;\u003c\/span\u003e\u003cspan\u003e6.5 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eHeight :\u003cspan\u003e\u0026nbsp;\u003c\/span\u003e\u003cspan\u003e7.5 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003e\u003cspan\u003eCondition : Very good\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003ePeriod\u003cspan\u003e : \u003c\/span\u003e\u003cspan\u003eLate Shōwa\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"spec\"\u003eIncludes : original tomobako (signed wooden box).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003ch3\u003eTomobako and Signature\u003c\/h3\u003e\n\u003cp\u003eThe original tomobako bears the inscription:\u0026nbsp;早苗蛍絵 雪吹 —\u003cspan\u003e\u0026nbsp;\u003c\/span\u003e\u003cem\u003eSanae Hotaru-e Yukibuki\u003c\/em\u003e\u003cbr\u003e(Yukibuki natsume with decoration of young rice shoots and fireflies)\u0026nbsp;The piece is signed by Nakatani Hakuhō (中谷博峰). The combination of the classic seasonal motif, the refined maki-e execution, and the austere black lacquer makes this a particularly atmospheric object for use during early summer tea gatherings.\u003c\/p\u003e\n\u003ch3\u003eNakatani Hakuhō\u003c\/h3\u003e\n\u003cp\u003eNakatani Hakuhō (中谷博峰, born 1948) is a Japanese lacquer artist associated with the Yamanaka-shikki tradition from Ishikawa Prefecture. Since the 1970s, he has exhibited at various Japanese lacquerware and art exhibitions, including the Yamanaka Shikki New Works Exhibition, the National Lacquerware Exhibition, and the Kaga Art Exhibition. His work has been recognized with multiple regional awards within the world of traditional Japanese lacquerware.\u003c\/p\u003e\n\u003cp\u003eHakuhō is especially known for refined natsume and other tea ceremony objects executed in classic maki-e techniques, focusing on seasonal motifs and subtle compositions.\u003c\/p\u003e","brand":"Van Anke","offers":[{"title":"Default Title","offer_id":54093963723098,"sku":null,"price":265.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/files\/i-img800x600-17734101650965bjwv9o34379.jpg?v=1777731578"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/2799\/7530\/collections\/Natsume.png?v=1760893211","url":"https:\/\/www.vananke.com\/collections\/matcha-natsume-en.oembed","provider":"vananke","version":"1.0","type":"link"}