– Karatsu revival ware (Ko-Karatsu utsushi): Edo late period to Meiji reinterpretation of Kyushu tea ceramics – E-Karatsu-style iron-oxide brushwork under ash glaze; “kujirakawa” (whale-skin) texture intentionally sought – Tea-bowl proportions suitable for chanoyu; wabi-sabi taste shaped by later tea culture and collecting Summary: This is a Karatsu revival chawan—an Edo late period to Meiji utsushi (reinterpretation) inspired by Ko-Karatsu tea bowls. It features E-Karatsu-style iron-oxide brushwork beneath an ash glaze and a deliberately cultivated kujirakawa (“whale-skin”) surface. From the late Edo period onward, tea culture and connoisseurship drove renewed interest in Momoyama and early Edo tea wares. Potters responded by creating revival pieces that captured the rustic spontaneity of early Karatsu while offering a more controlled form and finish. The result is a bowl that embodies the wabi aesthetic through later eyes: carefully made to look unpretentious, with kiln effects encouraged rather than accidental. During the late Edo to Meiji era, collectors and tea practitioners increasingly valued the rough, humble character of early tea ceramics—especially Karatsu, Shigaraki, Iga, and other wares associated with the wabi ideal. At the same time, demand grew for bowls that could be used confidently in practice and display. Kilns in Kyushu and elsewhere produced Ko-Karatsu utsushi: works that referenced early models, sometimes quite faithfully, but often with more deliberate planning in shape, trimming, and surface effect. The iron-oxide painting here reads as E-Karatsu in spirit—swift marks executed with a loaded brush under a translucent glaze. In revival works, this “spontaneity” is frequently staged: the brushwork is free yet composed, aiming to evoke the authority of early Karatsu motifs without the raw unpredictability of sixteenth–seventeenth-century production. After firing, the iron turns dark brown to near black depending on atmosphere, echoing classical E-Karatsu examples. The bowl’s kujirakawa texture—pitted, granular, and organic—appears as an effect intentionally encouraged through glaze choice and firing. In the revival context, such texture is prized precisely because it suggests age, natural ash interaction, and the “living” surface celebrated in tea bowls. Rather than an incidental by-product, the cratered skin becomes a designed aesthetic: it catches light, softens reflections, and provides tactile interest, aligning with the late Edo–Meiji taste for ceramics that look and feel “of the kiln.” As a tea bowl, the form aims to be convincing in the hand: the weight and balance are practical, the rim comfortable, and the foot neatly trimmed—details that suit repeated use. This kind of bowl speaks to the tea world’s enduring love of Karatsu: rustic without being crude, expressive without being excessive. As a late Edo–Meiji utsushi, it offers the pleasure of classical Karatsu atmosphere with the reliability and finish expected by later practitioners and collectors. Its quiet beauty deepens with handling—an object made not only to be seen, but to be lived with. 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. 1243