This Black Raku Chawan, crafted by Nin’amî Dôhachi, stands as one of the finest masterpieces of Edo-period tea ceramics. Created between 1804 and 1842, research suggests that only three Black Raku bowls bearing Nin’amî’s hand-carved seal were ever made. >>>Read More The bowl’s soft contours and exquisite tactile quality set it apart. Beneath the deep black glaze, a faint yet vivid red hue emerges, imparting a profound sense of depth and mystery. Raku ware has long held a revered place in the world of tea, cherished for its warmth in the hand and its ability to capture the breath of its maker. This chawan embodies the very spirit of wabi, possessing a form that exudes both quiet refinement and an air of unspoken elegance. Its asymmetry is not a flaw, but rather an intentional “margin for contemplation” that invites deeper reflection. Unlike most Raku wares, which are typically shaped and refined using a spatula, this bowl was formed solely by hand, without any carving or trimming. This unaltered, hand-molded creation reveals the exceptional skill and artistic vision of Nin’amî. Furthermore, the seal inscribed on the foot of the bowl serves as an unmistakable testament to its authenticity, preserving its connection to a master craftsman of the era. To hold this tea bowl is to engage in more than just the act of handling a tea vessel. It is a dialogue across time—an ephemeral exchange between host and guest, creator and user. Encountering this chawan at THE SALON ASHIYA is not merely about savoring a bowl of matcha. It is about holding history itself in your hands.
Old Tamba Flower Vace
This Hisagogata (gourd-shaped) Hanaire from ancient Tamba ware is believed to have been crafted in the early Edo period (circa 1600–1620). Some experts suggest it may even date back to the late Momoyama period (1585–1599), yet definitive confirmation remains elusive. >>>Read MoreIts very form embodies the transition between two aesthetic ideals—the “wabi” sensibility cultivated by Sen no Rikyū and the “sabi” aesthetic refined by his disciple, Kobori Enshū. The vessel stands as a silent testament to the tension and synthesis between these two philosophies. At a time when the tea ceremony rapidly gained favor among samurai warlords, Tamba potters were striving to reconcile these conflicting artistic currents, giving rise to works of profound contemplation and quiet intensity. At first glance, the surface appears rugged, yet upon closer observation, it exudes an unexpected softness—its textured presence paradoxically drawing the eye with a quiet, magnetic allure. Wabi finds beauty in the imperfect, in objects that appear humble yet possess a deep, inherent elegance. Sabi, on the other hand, reveres the passage of time—the poignant beauty of things that once flourished and now bear the marks of impermanence. This vessel resides at the delicate intersection of these two ideals, capturing a moment in history when warlords, locked in a struggle for power, sought solace in the transient rituals of tea. It is as though the act of placing a single flower in this vessel softened their hardened spirits, offering a fleeting glimpse of life’s ephemerality and a profound meditation on the impermanence of all things.
Repurposing a kensui as a cup rinse in the mitate style
This repurposed kensui was originally crafted as a sakazuki basin (杯洗), a vessel traditionally used for rinsing sake cups. On its underside, a gold inscription reveals that it was made from sakura wood harvested in Arashiyama, a grove long revered for its seasonal beauty. Based on its craftsmanship and materials, it is believed to date from the mid to late Edo period. >>>Read MoreSakazuki basins are typically made of ceramic. To find one carved entirely from wood—especially from a single hollowed block—is exceptionally rare. Even more extraordinary is the presence of finely executed maki-e lacquerwork, applied with such elegance and restraint. It would not be an overstatement to call this the finest example of its kind in existence, unmatched anywhere in the world. The maki-e design glides across the grain of the sakura wood, graceful yet never ostentatious, embodying the aesthetic sensitivity unique to Kyoto. While the origins of this piece remain speculative, it is not difficult to imagine that it was specially commissioned by a teahouse or okiya to entertain Kyoto’s elite patrons—danna-shu, the cultural connoisseurs who supported geisha and maiko. During the Edo period, the felling of trees in Arashiyama was strictly forbidden, making this sakura wood exceptionally precious. That such a tree was felled specifically to craft this vessel speaks to its extraordinary nature—and perhaps, to the social status of the one who commissioned it. At THE SALON ASHIYA, we have chosen to honor this piece by reimagining it as a kensui—allowing it to live again, not in display, but in ritual use. It serves not only as a vessel, but as a quiet echo of Kyoto’s golden age, imbued with artistry, grace, and a story waiting to be discovered.
Hira-natsume by Shikkosai Kojima
During the mid to late Edo period, Kojima Shikkosai—fifth-generation lacquer master of the Kojima family—caught the discerning eye of Lord Matsudaira Fumai, the daimyo of Matsue Domain (modern-day Shimane Prefecture). Fumai not only mentored him but also bestowed upon him his art name. Unusually, during his mandatory journeys to Edo under the sankin-kōtai system, Fumai took Shikkosai with him, arranging for him to study under the lacquer masters of the shogunal capital. It was this distinctive path that shaped Shikkosai’s style into one that diverged from the refined elegance favored by the courtly culture of Kyoto, aligning instead with the tastes of samurai and shogunate households. >>>Read MoreThis hira-natsume (flat tea caddy) was created based on a design by Kano Eishin, the eighth-generation head of the famed Kano school of painters, also known by the title Ikawa Hōgen. Set against a shimmering nashiji ground, decorative paper slips (shikishi) appear as if delicately affixed to the surface, adorned with intricate makie motifs. Among my personal collection, this piece remains one of the most cherished. What sets it apart is its unmistakable “warrior aesthetic”—a sensibility rarely encountered in everyday tea utensils. Most makie lacquerware in Japan reflects the Kyoto-style elegance favored by the aristocracy. While beautiful, such works can, over time, begin to feel formulaic. In contrast, this natsume, while employing similar classical motifs, expresses them from a completely different perspective. It embodies not only utility and aesthetic refinement, but also the artistic spirit of Kojima Shikkosai himself—his quiet ambition to distinguish his work from the mainstream courtly tradition and to forge his own path within the cultural landscape of Edo.
Nakatsugi tea caddy
This nakatsugi (thin tea caddy) is considered one of the masterpieces by Yamamoto Shunsho, a celebrated maki-e (gold lacquer) artist who flourished in the early Edo period. While gold maki-e has long been cherished in Japan, Shunsho’s works stand out for their exceptional craftsmanship and refined aesthetic, embodying the understated elegance of Kyoto. His artistry helped lay the foundation for the aesthetics of modern maki-e. >>>Read MoreThe surface of this piece is adorned with a flowing arrangement of folding fans, each exquisitely detailed in gold lacquer. Within each fan are traditional auspicious motifs such as court carriages, the moon, autumn leaves, and decorative mallets—symbols long revered in Japanese aristocratic culture. Together, they create a composition that celebrates good fortune and timeless beauty. Now, nearly 400 years since its creation, the lacquer has matured through time, developing a deep and subtle luster that speaks to the quiet dignity of age—something that only time can bestow. What’s more, this tea caddy reveals a hidden finesse not immediately visible. When the lid is gently placed on the body, it floats down silently and smoothly, like a feather falling to earth—requiring no guidance from the hand. This delicate moment, almost imperceptible to the eye, is the very essence of Japanese craftsmanship. That such a technique had already been perfected over four centuries ago is a fact that fills us with a sense of wonder and quiet reverence.
