Ko-Karatsu Tea Bowl (Momoyama – Edo Period)
120,000Yen(Tax Included)
A small Ko‑Karatsu tea bowl imbued with the rustic spirit characteristic of Ko-Karatsu. Fine, delicate crackles spread across the deep interior, forming a gentle, subdued landscape that softly receives the tea. The bold, earthy clay texture resonates with the reduction‑fired glaze, whose faint bluish tone quietly conveys the atmosphere of its age.
- Period
- Momoyama - Edo Period
Late 16th Century - Early 17th Century
- Weight
- 207 g
- Diameter
- 10.7 × 10.4 cm
- Height
- 7.2 cm
- Base Diameter
- 4.1 cm
- Accessories
- Paulownia Box
- Condition
- - There is one hairline crack on the rim (Refer to the image)
- There are four minor gold repairs on the rim (Refer to the image)
- There is a kiln flaw (accretion) on the rim (Refer to the image)
- There is one production flaw (small hole) on the rim (Refer to the image)
Ko-Karatsu
Karatsu ware refers to the pottery produced in the Hizen region, particularly within the Karatsu Domain of Hizen Province. Its name derives from the fact that these wares were shipped out from the port of Karatsu. Highly esteemed as tea ceramics, Karatsu ware has long been cherished by tea practitioners, to the extent that it is celebrated in the phrase, “First Raku, second Hagi, third Karatsu.” Its origins trace back to the late 16th century in the Kitahata area of Karatsu City in northern Saga Prefecture. It is said that Hata Chikashi, Mikawa-no-Kami, lord of Kishidake Castle, invited potters from the Korean Peninsula to establish kilns, and numerous early kiln sites from this formative period remain scattered around the castle town. When the Hata clan was dispossessed in 1593 (Bunroku 2) after incurring the displeasure of Toyotomi Hideyoshi, the potters dispersed throughout Hizen—a historical event known as the “Kishidake Kuzure.” Shortly thereafter, Terasawa Hirotaka, Shima-no-Kami entered the domain, marking the establishment of the Karatsu Domain. This dispossession and the subsequent abandonment of the kilns serve as important evidence that Karatsu ware was already being produced before 1593, that is, during the Tensho era (1573–92). The techniques brought by Korean potters during the Bunroku–Keicho invasions (1592–98) further supported the flourishing of Karatsu ware from the Momoyama period into the early Edo period. During Hideyoshi’s encampment at Nagoya Castle, Furuta Oribe is said to have stayed in the region for about a year and a half from 1592 (Bunroku 1), providing guidance to the various Karatsu kilns. Moreover, the multi‑chamber climbing kiln (renbo‑shiki noborigama) was transmitted from Karatsu to Mino, where it was constructed at the Kujiri Motoyashiki site. The influence of Korean ceramic technology on Japanese kiln culture was profound and far‑reaching. The name “Karatsu ware” first appears in the Oribe Tea Gathering Records (Oribe chakai‑ki) of 1602 (Keicho 7) as “Karatsu‑yaki dish,” and it is frequently mentioned throughout the Keicho era (1596–1615). By the mid‑17th century, the term “Ko‑Karatsu” (“Old Karatsu”) also appears, indicating that its historical value was already recognized at that time. Although much of Karatsu ware was mass‑produced for everyday use, the popularity of tea preparation from the Momoyama to early Edo periods brought these wares to the attention of tea connoisseurs, who began to appreciate them as tea ceramics. Some pieces were even made to order for tea masters, and such works are highly valued today for their rarity. In the 17th century, the discovery of porcelain stone at Izumiyama by the immigrant potter Yi Sam‑pyeong (Japanese name: Kanagae Sanbei) and his success in porcelain production brought a major turning point to Karatsu ware. The rise of Imari ware led to the decline of Karatsu ware; although distinctive styles such as Mishima‑Karatsu and Nisai‑Karatsu emerged in the early Edo period, they could not rival the appeal of Ko‑Karatsu. Thereafter, only the official kilns (the “O‑chawan‑gama”) continued in limited operation. In the early Showa period, research by scholars such as Kanehara Tohen (1897–1951), Mizumachi Wasaburo (1890–1979), and Furutachi Kuichi (1874–1949) advanced significantly, and tens of thousands of ceramic shards were excavated from old kiln sites throughout the Hizen region. With its unadorned clay texture and warm, nostalgic hues, Karatsu ware embodies a sense of brightness and vitality. It stands as a true expression of the essence of Japanese ceramic art—an art born from the union of earth and flame.