A Raku IX (Ryônyû) Red Tea Bowl with Extraordinary Lacquer Repairs
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- Era:
- Late Edo
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Raku-ware carries with it a very naturalistic aura; with its implements made of raw clay, its use of fire/ water/ and air to shape and harden these implements, and with its myriad processes that produce smooth glossy surfaces—like those often found in nature. In fact, if you look more deeply into Raku, you find that many of the shapes and motifs are inspired directly by nature.
Born the second son of Raku VII, Chônyû (1714 - 1770), Ryônyû took over the title of Kichizaemon (head Raku potter) at the very young age of 14 after his elder brother fell ill only several years after assuming the title. Ryônyû is known as an innovative potter within the Raku line, especially for his use of a scraping technique that produced bold lines and demarcations on the surface of the hand-molded Raku implements. He is also known to have been a stabilizing force for the Raku lineage after several tragedies befell the household including the death of his older brother Tokunyû at a young age and later a fire that would destroy all of the family’s works since the time of Chojiro. He forged strong alliances with the Senke schools and was known to have been especially close with Sotsutakusai, the 8th generation head of the Omotesenke. Ryônyû is known to have used three main stamps to sign his creations, the first, (ages 15-33) is known as ‘Hizen-in’ (the pre-fire seal); the second (ages 34-56) was the middle period seal ‘Naka-in’; and finally his retirement seal ‘Inkyo-in’ (ages 57-79). The seal on the vessel above is from the middle period placing the year of production between 1784 and 1812.
In fine antique condition with some of the most extraordinary lacquer repairs I have seen on any piece of Japanese pottery, this 200+ year old ceremonial tea bowl is 4.7 inches (12 cm) in diameter and stands 3.2 inches (8 cm) tall. It bears Raku Kichizaemon Ryônyû’s stamp clearly impressed into the distinctive "ju-raku" clay that can be seen on the base and comes with its original box also signed and sealed with his Naka-in stamp (detailed examples of all signatures and seals available upon request). In addition, there are a few other trappings that let us know this piece was prized and well-cared for including the corner bumper cushions inside the box and the white custom-fit cushion inside the tea bowl that you only tend to see with exceptional works cared for by experienced cha-jin. Finally, one other intriguing detail noted on the included auction tag is that this piece was granted a poetic name ( 銘 ) and that name is "Funi no Akebono"; literally translated as “Not Two, The Beginning,” or… with a bit more nuance the best translation would likely be, “The Dawn of Non-Duality.”
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