– Work by Sandai (Third Generation) Terada Bizan from Bizan Pottery, a kiln with roots in the Akatsu district of Seto since the late Edo period – Classic Shino glaze: thick, milky-white surface with natural pinholes, subtle orange-brown 'hi-iro' flashing, and fine crazing – Softly distorted form reflecting tea ceremony aesthetic; unglazed foot reveals warm clay body Summary: This is a Shino tea bowl (chawan) by Sandai (Third Generation) Terada Bizan, whose family kiln, Bizan Pottery, has operated in Seto's Akatsu district since the late Edo period. The Terada lineage spans five generations, with the third-generation Bizan (who passed in 2007) being recognized for balancing production work with individual artistic practice. This chawan exemplifies the Shino style: a thick, milky-white feldspathic glaze applied generously, fired in a way that produces characteristic surface textures – pinholes, subtle colour variations, and the warm orange-brown 'hi-iro' flashing where the glaze thins or the flame has kissed the clay. The form is gently irregular, as though the vessel has settled into its own shape over time, embodying the wabi-sabi philosophy central to Japanese tea culture. The piece comes with its signed wooden box (tomobako), confirming its provenance. Some tea bowls announce themselves loudly. This one whispers. It sits in your palm with a weight that feels just right – not too light to be insubstantial, not so heavy as to tire the hand. The surface is tactile in a way that invites touch: rough, porous, almost lunar. Run your thumb across it and you feel the subtle peaks and valleys left by the glaze as it melted and cooled in the kiln. This is not industrial smoothness; this is the record of fire and time. The Terada family has been making ceramics in Seto since the late 1800s, initially focusing on Oribe tableware for the hospitality trade. Seto itself is one of Japan's oldest and most storied ceramic centres, with a history stretching back over a thousand years. The Akatsu district, where Bizan Pottery is located, is particularly known for its continuation of traditional glazing techniques – Oribe, Ki-Seto (yellow Seto), Shino – that date back to the Momoyama period (late 16th century). Sandai Bizan, the third generation, pursued both production ceramics and individual art practice, exhibiting his work and earning recognition within the ceramic community before his death in 2007. His work bridges the everyday and the exceptional: functional objects made with an artist's eye. Shino ware is one of Japan's most celebrated ceramic styles, characterized by its thick white glaze made primarily from feldspar. The technique originated in Mino (now Gifu Prefecture) during the late 16th century but was later adopted and adapted by kilns across central Japan, including Seto. What makes Shino distinctive is the way the glaze behaves in the kiln: it can turn milky white, develop warm orange or pinkish tones (called 'hi-iro' or 'fire colour'), and produce a pitted, textured surface full of tiny pinholes. These are not flaws; they are the glaze's fingerprint, the signature of a high-temperature firing in which chemistry and chance collaborate. This chawan displays all the classic Shino characteristics. The glaze is thick and opaque, pooling in some areas and thinning in others, creating a landscape of subtle tonal shifts. Where the glaze is thickest, it's a pure, creamy white; where it thins, especially near the rim and on the exterior curves, you see flashes of warm orange and brown – the clay body peeking through, transformed by the heat of the kiln. The surface is covered in fine crazing (a network of tiny cracks in the glaze) and scattered pinholes, giving it a texture that is both ancient and organic. It looks like something that has weathered centuries, though it may have been made only decades ago. The form is quintessentially chawan: a wide, generous bowl that tapers to a modest foot. But look closer and you see that the rim is not perfectly round; it undulates gently, rising slightly on one side, dipping on the other. The walls are soft and yielding, with a slight belly that makes the bowl feel full of life rather than rigidly geometric. This irregularity is intentional, a nod to the tea ceremony's embrace of natural imperfection. In the world of chanoyu (Japanese tea ceremony), perfection is suspect; it is the flawed, the asymmetrical, the slightly off-centre that speaks to authenticity and humanity. The foot is left largely unglazed, revealing the clay body in its natural state: a warm, earthy tone that contrasts beautifully with the cool white of the glaze. When you lift the bowl, you feel this contrast tactilely as well – the dry, slightly coarse clay against your fingertips, the smooth glaze against your lips. It's a reminder that this object is made of earth, shaped by hands, and transformed by fire. For collectors of Japanese tea ceramics, this chawan represents an accessible entry into a tradition that stretches back centuries. It is not a museum piece by a Living National Treasure, but it is a serious, accomplished work by an artist working within one of Japan's oldest ceramic lineages. It functions beautifully in actual tea ceremony practice – the size, weight, and texture are all considered – but it also stands alone as a sculptural object, a meditation on material, process, and time. In a contemporary interior, it brings warmth, texture, and a sense of quiet continuity with the past. Place it on a shelf, in a tokonoma alcove, or use it as intended: filled with whisked matcha, cradled in both hands, brought slowly to the lips. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in authentic Japanese ceramics and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.