{"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 natsume was crafted by the recognized Japanese lacquer artist Takahashi Minefusa (高橋 峯房). The piece reflects a harmony between craftsmanship, nature, and poetry. The model has an upright, spherical shape (\u003cem data-start=\"750\" data-end=\"766\"\u003etate-maru-gata\u003c\/em\u003e) executed in the sober Rikyū style (利休形), named after the legendary tea master Sen no Rikyū, who centered his practice on simplicity and natural beauty.\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 dir=\"auto\"\u003eMotif\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv dir=\"auto\"\u003e\n\n\u003cp data-start=\"1365\" data-end=\"1615\"\u003eThe Tatsuta-gawa motif refers to the \u003cem data-start=\"1417\" data-end=\"1426\"\u003eTatsuta\u003c\/em\u003e River in Nara, a classic symbol of the Japanese autumn. In literature and art, this river represents impermanence (無常, mujō), falling leaves, and the passing of the seasons. The decoration is executed in maki-e: fine gold and lacquer powder work depicting floating autumn leaves on a flowing river. This poetic representation embodies the spirit of \u003cem data-start=\"1806\" data-end=\"1817\"\u003ewabi-sabi\u003c\/em\u003e—the beauty of simplicity, silence, and time.\u003c\/p\u003e\n\n\u003ch3 data-start=\"1365\" data-end=\"1615\"\u003eKeyaki wood\u003cstrong data-start=\"937\" data-end=\"973\"\u003e \u003c\/strong\u003e\n\n\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eThe wood grain of the keyaki wood (欅) remains visible and is enhanced by a warm, transparent urushi lacquer layer in the kijidame lacquer style (木地溜塗). This technique literally means \"wood-base finish\" (\u003cem data-start=\"1140\" data-end=\"1146\"\u003ekiji\u003c\/em\u003e = wood, \u003cem data-start=\"1155\" data-end=\"1161\"\u003edame\u003c\/em\u003e = to seal) and allows the natural structure of the wood to show through subtly. The result is a surface that looks both vibrant and understated.\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\u003cul\u003e\n\n\u003cli dir=\"auto\"\u003eMaker: Takahashi Minefusa (高橋 峯房).\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eTitle: Tatsuta-gawa (竜田川 \/ 立田川)\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: Kijidame-nuri Urushi maki-e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003ePeriod: 1950-1989\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eDiameter: ≈ 6.5 cm\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\u003cli dir=\"auto\"\u003eHeight: ≈ 6.8 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.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003ch3 data-start=\"2742\" data-end=\"2754\"\u003eTomobako\u003c\/h3\u003e\n\n\n\u003c\/div\u003e\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 tate-maru-gata natsume and Rikyū-gata describe the shape and proportions of the natsume, and the signature “峯房（高橋）印” refers to a personal seal or signature (\u003cem data-end=\"122\" data-start=\"115\"\u003einsho\u003c\/em\u003e 印章) of the Japanese lacquer artist Takahashi Minefusa (高橋 峯房).\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-(--header-height)\" dir=\"auto\" data-turn-id=\"3f5dcae1-de09-4582-8e61-28e6e0e04224\" data-testid=\"conversation-turn-23\" data-scroll-anchor=\"false\" data-turn=\"user\" tabindex=\"-1\"\u003e\u003c\/article\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:3cbb47fc-182d-4cf9-a0d3-b4661fa9a168-11\" data-testid=\"conversation-turn-24\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\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\" tabindex=\"-1\"\u003e\n\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7d7ff8f5-5714-4a1e-9c76-936757c29f20\" dir=\"auto\" data-message-model-slug=\"gpt-5-3\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\"\u003e\n\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\n\u003ch3 data-start=\"2188\" data-end=\"2210\"\u003eSignature and maker\u003c\/h3\u003e\n\n\u003cp data-start=\"0\" data-end=\"485\"\u003eTakahashi Minefusa (高橋 峯房) was a Japanese urushi and maki-e artist active in the twentieth century, likely primarily during the Shōwa period (c. 1950–1980). He primarily created objects for the Japanese tea ceremony (chanoyu), such as natsume (matcha tea caddies) and kōgō (incense boxes). His work is often associated with the Kaga lacquer tradition, particularly Yamanaka-nuri from Ishikawa Prefecture, a region known for refined lacquerware and maki-e decoration.\u003c\/p\u003e\n\n\u003cp data-start=\"487\" data-end=\"801\"\u003eThe name consists of a family name and an artist name: Takahashi (高橋) is the family name, while Minefusa (峯房) is an artist name or gō. The kanji 峯 means mountain peak and 房 can mean, among other things, bloom or cluster, allowing the name to be interpreted poetically as “bloom on the highest peak.”\u003c\/p\u003e\n\n\u003cp data-start=\"803\" data-end=\"1070\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eAlthough there are multiple lacquer artists with the name Takahashi, such as Shōtei, Rakusai, and Keizan, no clear genealogical links between these makers are known. Their work likely belongs to different workshops within the Japanese lacquer art tradition.\u003cstrong\u003e\u003c\/strong\u003e\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\/article\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","url":"https:\/\/www.vananke.com\/products\/japanse-natsume-tatsuta-gawa-takahashi-minefusa-urushi-makie-matcha-en","provider":"vananke","version":"1.0","type":"link"}