Nr. 103687635

Sōshō – japanische Maulbeerholz-Chū-natsume-Teedose mit Senmen-Faltfächer-Maki-e - Porzellan - Sōshō - Japan - Shōwa Zeit (1926-1989)
Nr. 103687635

Sōshō – japanische Maulbeerholz-Chū-natsume-Teedose mit Senmen-Faltfächer-Maki-e - Porzellan - Sōshō - Japan - Shōwa Zeit (1926-1989)
– A signed chū-natsume tea caddy by the maki-e artist Sōshō
– Hand-turned in kuwa (mulberry wood), allowing the rich brown grain to show through a thin protective lacquer
– Decorated with senmen (folding-fan) maki-e in gold – an understated, scholarly motif
Summary: A refined chū-natsume by the Japanese maki-e artist Sōshō, hand-turned from kuwa (mulberry wood) and decorated with elegant senmen (扇面 / folding-fan) imagery in gold maki-e. Where many natsume are built in lacquer over plain wood, the kuwa-natsume celebrates the natural figure of the mulberry: a warm, slightly amber-toned timber whose grain is allowed to show through under a thin transparent lacquer, with the maki-e decoration applied directly onto this living surface. A serious working utensil for the way of tea (chanoyu) and a quietly luxurious small object.
The natsume is the most intimate vessel of the Japanese tea ceremony, holding the powdered matcha during a thin-tea (usucha) procedure. It is repeatedly handled, opened, and tapped with the bamboo scoop, and so its decoration is calibrated for very close inspection. The kuwa-natsume style enjoys particular respect within tea circles, since it allows the host to share with the guest both the fine craftsmanship of the lacquer artist and the natural beauty of the chosen wood.
The senmen motif – literally “fan-face” – is a much-loved theme of Japanese decorative art. Folding fans are arranged in seemingly casual but carefully choreographed compositions, sometimes overlapping, sometimes drifting apart, evoking the cultivated literary world of court poetry and Heian-period ladies-in-waiting. Worked here in gold maki-e, the fans glow softly against the warm wood ground.
Sōshō (宗祥) is recorded as a maki-e specialist working in the lineage of named Japanese lacquer artists who supply utensils to tea-ceremony practitioners.
In a European interior, this kind of object lives best in close range: on a writing desk, an open shelf, a tea-room display, or a glazed cabinet. As a working utensil, it suits anyone with a serious interest in matcha and chanoyu. Its scale is comfortably hand-held, inviting the viewer to pick it up rather than simply look.
Condition is described as comparatively good, with only minor surface rubs and minor signs of careful long-term use. The maki-e decoration and wood grain are clearly readable.
An understated, scholarly tea caddy of the kind genuinely cherished within the chanoyu tradition.
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1560
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