Raku-yaki chawan named Gen, signed by Sengan, with tomobako, Shōwa period

€225.00

Every raku bowl is pulled from the kiln while still glowing, and cooled in open air. That moment of thermal shock is where this bowl was made. The crackle pattern on the exterior, a dense mosaic of warm brown, orange and olive, each fragment outlined in dark where the glaze contracted and split, is that process made visible and permanent.

This chawan was made in the raku tradition (楽焼) by a Shōwa-period potter working under the art name 仙巌 (Sengan). The bowl's name is 玄 (Gen), meaning dark, mysterious, or profound: a classical character in Japanese aesthetics used to describe depth and the quality of something that cannot be fully seen or grasped at once.

Every raku bowl is pulled from the kiln while still glowing, and cooled in open air. That moment of thermal shock is where this bowl was made. The crackle pattern on the exterior, a dense mosaic of warm brown, orange and olive, each fragment outlined in dark where the glaze contracted and split, is that process made visible and permanent.

This chawan was made in the raku tradition (楽焼) by a Shōwa-period potter working under the art name 仙巌 (Sengan). The bowl's name is 玄 (Gen), meaning dark, mysterious, or profound: a classical character in Japanese aesthetics used to describe depth and the quality of something that cannot be fully seen or grasped at once.


What makes this chawan special

The up close look and feel

The exterior looks almost geological. Up close, the crackle pattern fragments vary in size from small chips to broader fields, all sitting in warm amber and brown, the lines between them dark and clear. There are areas where the glaze is more orange, others where it has cooled to a deeper olive.

The interior is its opposite: smooth, glossy, deep olive-black, like still water in shadow.

No two areas of this bowl look quite the same, and no two raku bowls fired in the same session would produce the same map. This one is fixed exactly as it is.

Charming details

When a raku bowl is pulled from the kiln with iron tongs, the tongs press into the glaze while it is still soft from the heat. Those marks stay. On the exterior of this bowl, if you look closely near the shoulder, you can find the faint impressions left by the tongs at the exact moment the maker lifted it from the fire.

They are the closest thing a ceramic object has to a timestamp.

*Decorative items such as the whisk are for styling
and scale purposes only and not included in the sale

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