焼締茶碗 信楽黄瀬土

窯内の前の棚で焼き、仕上げとして熾きの上に置いて焦げの表情をねらいました。思った通りの焼きが出ました。

Yakishime Tea Bowl: Shigaraki Kinose Clay

Fired on the front shelf of the kiln, this piece was then deliberately placed atop live embers to achieve a precisely calculated scorched expression. The resulting finish flawlessly reflects the intended mastery of the flame.

焼締茶碗 信楽土

銘 不白

もしも光悦が今を生き、穴窯を使って茶碗を焼いていたなら•••。私なりの解釈にて作品にしました。

Yakishime Tea Bowl: Shigaraki Clay

What if Koetsu were alive today, firing tea bowls in a kiln...? This is my interpretation of that question. 

焼締茶碗 信楽黄瀬土

銘 玄照

激しく流れるビードロと、緋色の対比が鮮やかな一碗です。ひと窯で一つ生まれるかどうかの作品。窯の神に感謝。

 Yakishime Tea Bowl: Shigaraki Kinose Clay

A singular tea bowl defined by the vivid contrast between its intensely cascading natural ash glaze and brilliant scarlet tones. To have yielded even one such masterpiece from a single firing is a rare gift, for which I offer my deepest gratitude to the spirits of the kiln.

焼締茶碗 信楽土

銘 巌苔 

この渋い色合いはどうでしょう。時代のある古い茶碗といっても通ることでしょう。侘び寂びを具現化した一碗です。

 Yakishime Tea Bowl: Shigaraki Clay

The profound, subdued tones of this bowl possess an aura so timeless they might be mistaken for those of a well-seasoned antique. This singular vessel is the very embodiment of Wabi-sabi, capturing a beauty born from simplicity and the quiet passage of time. 

焼締茶碗 信楽土

シンプルな造形にこそ生きる景色もある。この複雑な景色には削りなどの作為は無用です。

 Yakishime Tea Bowl: Shigaraki Clay

There are landscapes that only come to life within the simplest of forms. Believing that any intentional carving would be extraneous to such intricate natural textures, I crafted this vessel to stand as a pure testament to the unadorned essence of the clay. 

焼締茶碗 信楽黄瀬土

激しく流れるビードロが、高台の手前ですべて止まりました。偶然がなせる業とはいえ、手を合わせずにはおれません。

 Yakishime Tea Bowl: Shigaraki Kinose Clay

The intensely cascading natural ash glaze came to a complete halt just before reaching the foot of the bowl. Though a feat of pure chance, such a profound occurrence leaves one with no choice but to press their hands together in silent reverence.

焼締茶碗 越前土

この土の持つ表情は何と侘びているのでしょう。越前の風土が生んだ枯れた色、まさしく愛でるにふさわしい一碗です。

 Yakishime Tea Bowl: Echizen Clay

The expression of this clay exudes a profound sense of wabi; its weathered, austere tones are a direct gift from the natural landscape of Echizen. This vessel is truly worthy of one’s deepest appreciation and affection.

焼締茶碗 信楽黄瀬土

この白はどこから来たのでしょうか。すべてが薪の灰。広葉樹に赤松、様々な灰の成分が土と反応し、結晶化しました。

 Yakishime Tea Bowl: Shigaraki Kinose Clay

From where did this ethereal white originate? It is a snowy accumulation born entirely of wood ash. The components from various species—hardwoods and red pines—have fused in a delicate alchemy with the clay to create this singular expression.

 焼締茶碗 信楽黄瀬土

窯の後ろの棚、その中段で生まれたこの一碗。灰がかかりすぎず窯中の風を感じる焼き上がりになりました。

Yakishime Tea Bowl: Shigaraki Clay

Born on the middle tier in the depths of the kiln, this bowl captures the fleeting essence of the firing process. The natural ash remains delicate, artfully revealing the subtle currents of air and flame that danced through the kiln. A singular piece that embodies the quiet power of the Shigaraki earth.

焼締茶碗 越前土

侘びた風情。この雰囲気は渋すぎます。両手に包んで抱える茶碗。これもまた、古きよきものを感じる一碗です。

 Yakishime Tea Bowl: Echizen Clay

An embodiment of wabi—the profound beauty found in austere simplicity. This piece possesses a deep, seasoned character (shibu-mi) that resonates with the soul. Designed to be cradled in both hands, it evokes the timeless spirit of ancient masterpieces, offering a quiet dialogue between the clay and its holder.

 赤茶碗 低火度焼成

赤土の種類や他の土とのブレンドの仕方によって様々な表情が生まれます。敢えて様々に試みているところです。

 Aka-Chawan (Red Tea Bowl): Low-Fire Ceramics

A study in the limitless expressions of red clay. Through a deliberate process of blending diverse clay bodies, each piece reveals a unique character and depth. By intentionally embracing low-fire techniques, I continue to explore the delicate balance of texture and hue—an ongoing journey to uncover the hidden beauty within the earth itself.

赤茶碗 低火度焼成

長次郎を祖とする楽家代々が受け継いできた楽茶碗。赤楽を名乗ることを許されるのは楽家のみ。よって「赤茶碗」。

 Aka-Chawan (Red Tea Bowl): Low-Fire Ceramics

The lineage of Raku-yaki, established by Chojiro, has been preserved by the Raku family for centuries. Only they may carry the title of "Aka-Raku." In deference to this heritage, I call my works "Aka-Chawan" (Red Tea Bowls). While inspired by tradition, each piece is a contemporary exploration—a deliberate study in blending various clays and firing at low temperatures to reveal the earth's most intimate expressions. 

白茶碗 低火度焼成

赤茶碗と同じ焼成法で、釉薬も同じものを使っています。違いは土、白土を使って900℃程度で焼いています。

 Shiro-Chawan (White Tea Bowl): Low-Fire Ceramics

Sharing the same firing technique and glaze as the Aka-chawan, this series finds its distinct identity through the choice of white clay. Fired at approximately 900°C, the vessel reveals a delicate translucence and a faint, ethereal luster.
In the shadows of a tearoom, it emerges with a soft, lunar glow—a quiet presence that captures the subtle interplay of light and dark.

 白茶碗 低火度焼成

茶碗の下部に入った貫入を、敢えて際立たせるため、焼成後にもみ殻の中に入れています。茶碗が煙を吸うのです。

Shiro-Chawan (White Tea Bowl): Low-Fire Ceramics

Fired at 900°C, this white clay vessel is buried in rice husks while still hot, allowing the piece to "inhale" the smoke.
The carbon seeps into the crazing around the base, defining the cracks with a deep, earthy shadow. It is an intentional embrace of the fire’s breath, etching a permanent memory of the kiln into the clay.

焼締壺 信楽黄瀬土

緋色とビードロの緑色が目に鮮やかに写ります。窯の前の棚の下に寝かせて配置しました。

Yakishime Jar: Shigaraki Kinose Clay

A striking visual interplay between brilliant scarlet tones and the vivid green of natural ash glaze. This jar was fired lying on its side beneath the kiln shelves, capturing a unique dance of flame and earth.

焼締壺 丹波土

丹波の土味と降りかかった菜種色の自然釉がこの壷の景色を作り出しました。この面は火裏になります。

Yakishime Jar: Tamba Clay

The raw, earthy character of Tamba clay merges with cascading flows of rapeseed-yellow natural ash glaze to create the unique landscape of this vessel. This particular side reveals the subtle beauty of the "hiura" (the side facing away from the flame), where the fire's touch is most delicate.

焼締壺 信楽土

棚の上で寝かせて焼いた壷です。窯の上はことのほか高温になるため、寝かせた下面がフラットになってしまいました。

Yakishime Jar: Shigaraki Clay

This vessel was fired on its side upon the kiln’s upper shelves. Exposed to the extraordinary intensity of the heat in the upper chamber, its base has flattened—a testament to the fierce power of the fire and the vessel’s endurance within the heart of the kiln.

焼締壺 信楽土

薪を投げ込む火袋で焼いた壷です。下半分は熾きに埋もれていたため予想以上にすっきりと仕上がりました。

Yakishime Jar: Shigaraki Clay

This vessel was fired within the "hibukuro"—the very heart of the kiln where wood is cast into the flames. As the lower half remained buried deep within the glowing embers, it emerged with a surprisingly clean and refined finish, a serene contrast to the intensity of its birth.

焼締酒器 ぐい呑み 信楽土

自然釉による繊細で複雑な表情を際立たせるために形はできるだけシンプルにと心がけています。

 Yakishime Sake Cup (Guinomi): Shigaraki Clay

I strive for the utmost simplicity in form, allowing the delicate and complex expressions born of the natural ash glaze to take center stage. Within this minimalist shape, one can truly appreciate the subtle artistry of the fire. 

焼締酒器 ぐい呑み 信楽土

ビードロのブルーから土味のスカーレットへと変化する表情がとても美しい逸品です。

 Yakishime Sake Cup (Guinomi): Shigaraki Clay

A truly exquisite piece, defined by a breathtaking transition from the deep crystalline blue of the natural "bidoro" glaze to the warm, earthy scarlet of the clay. This seamless movement of color captures the very essence of the kiln's alchemy. 

焼締酒器 ぐい呑み 丹波土

自然釉のテカリを抑えてマットな感じに仕上がりました。これがめざすところでもあります。

Yakishime Sake Cup (Guinomi): Tamba Clay

By restraining the characteristic luster of the natural ash glaze, I have achieved a profound, matte finish. This subdued texture is precisely the aesthetic I strive for—a quiet elegance that speaks more through its presence than its shine.

焼締酒器 ぐい呑み 信楽土

同じ窯から様々な表情の作品が生まれ出る奇跡。信じられますか。一つ一つの作品が自らを主張しているのです。

Yakishime Sake Cup (Guinomi): Shigaraki Clay

Within a single firing, a miracle unfolds—vessels emerge, each bearing a vastly different expression. Can you believe it? Every single piece asserts its own unique identity, as if possessing a voice of its own.

焼締酒器 ぐい呑み 丹波土

自然釉がマットに器体を覆い、茶色が表面を支配しています。土と自然釉の協奏曲が聞こえてきます。

Yakishime Sake Cup (Guinomi): Tamba Clay

The natural ash glaze envelops the vessel in a matte embrace, allowing deep earthy browns to dominate the surface. If you listen closely, you can hear a concerto performed by the clay and the natural glaze.

焼締酒器 ぐい呑み 信楽土

ブルーのビードロが流れて景色を作っています。緑から青へと変化する様を楽しんでください。
 

Yakishime Sake Cup (Guinomi): Shigaraki Clay

Cascading flows of blue "bidoro" glaze create a stunning natural landscape across the vessel’s surface. I invite you to linger over the exquisite transition as the hues shift from deep green to vibrant blue. 

焼締酒器 徳利 丹波土

三筋の自然釉が器体を垂れ下がり、その先端が青く輝いています。これで飲む酒はどのような味になるのでしょうか。

Yakishime Sake Flask (Tokkuri): Tamba Clay

Three distinct streaks of natural ash glaze cascade down the vessel, their tips shimmering with a brilliant blue light. I can only wonder—what subtle notes will the sake reveal when poured from a vessel born of such fire?

  焼締酒器 徳利 信楽土

信楽は緋色が美しい。それは間違いありません。その上に銀河のような模様が刻まれました。

Yakishime Sake Flask (Tokkuri): Shigaraki Clay

There is no doubt that the scarlet tones of Shigaraki clay are inherently beautiful. Yet, upon this vibrant surface, a pattern reminiscent of a distant galaxy has been etched by the fire.

焼締酒器 徳利 信楽土

深緑のビードロが器に深みを与えています。もしも100年間使われたら、どのような景色になるのでしょうか。

Yakishime Sake Flask (Tokkuri): Shigaraki Clay

Deep forest-green "bidoro" glaze lends a profound sense of depth to this vessel. I find myself wondering—if this flask were to be cherished and used for a hundred years, what kind of "landscape" would it evolve into? 

 焼締酒器 徳利 信楽土

浅黄色のビードロが美しい。窯の中で激しく灰が降り注ぎ、それが溶けて力強い流れを作りました。

Yakishime Sake Flask (Tokkuri): Shigaraki Clay

The pale, primrose-yellow "bidoro" glaze is truly sublime. Within the kiln, a fierce rain of ash descended upon the vessel, melting into a powerful, cascading flow that defines its character. 

 焼締酒器 徳利 丹波土

何という発色。鮮やかなブルーはどこから来たのでしょう。このテカリは本意ではありませんが、それでも美しい。

Yakishime Sake Flask (Tokkuri): Tamba Clay

Such breathtaking color—from where did this vibrant blue emerge? While this intense luster was not my original intent, I cannot deny its profound beauty. Nature has offered its own answer.

焼締酒器 徳利 丹波土

艶やかな緑のところどころに水色が生じています。広葉樹の薪にふくまれる成分が関与していることは疑いありません。

Yakishime Sake Flask (Tokkuri): Tamba Clay

Within the lustrous green surface, hints of pale light blue emerge here and there. There is no doubt that the minerals contained within the broadleaf firewood played a vital role in this alchemy.

焼締花器 信楽黄瀬土

この作品は窯の前部の火袋で焼いています。薪を投入するため口が欠けましたがこれがまた自然で美しいのです。

Yakishime Flower Vase: Shigaraki Kinose Clay

This vessel was fired within the "hibukuro"—the intense firebox at the front of the kiln. During the casting of firewood, a part of the rim was chipped away; yet, this very imperfection bestows a rugged, natural beauty that feels profoundly right.

 焼締花器 信楽黄瀬土

この作品は火前で三度焼きました。耳がありましたが全て取れました、熾きに埋もれたところが黒く仕上がっています。

Yakishime Flower Vase: Shigaraki Kinose Clay

This vessel was subjected to the intense heat of the "himae" (the area closest to the fire) through three separate firings. Though it originally had decorative handles, they were completely shed during the process. The base, where it remained buried deep within the glowing embers, has emerged with a profound, blackened finish.

 焼締花器 信楽土

この作品も火前の作品です。少し弱々しげですが、花を生けるときっと実力を発揮してくれます。 

Yakishime Flower Vase: Shigaraki Clay

This vessel, too, was born from the "himae"—the fierce heat near the front of the kiln. While it may appear somewhat delicate at first glance, I believe its true strength will reveal itself the moment it holds a flower. 

 焼締花器 信楽黄瀬土

火前の作品。薪が当たって口が欠けています。最後にやさしく熾きの上に寝かせて仕上げました。激しい景色です。

Yakishime Flower Vase: Shigaraki Kinose Clay

Born from the "himae" at the front of the kiln, this vessel bears a rim chipped by the direct impact of falling firewood. For its final moments, I gently laid it to rest upon a bed of glowing embers. The resulting "landscape" is one of extraordinary intensity.

焼締花器 信楽土

これは二度焼いています。灰がかかりすぎて下まで達しました。この作風は作者の本意ではありません。しかし美しい。

Yakishime Flower Vase: Shigaraki Clay

This vessel has undergone two separate firings. An overwhelming amount of ash descended upon it, cascading all the way to its base. To be honest, this particular style was not my original intent as a creator—and yet, its beauty is undeniable.

 焼締花器 信楽土

下半分が炭化しました。火前の作品としては珍しく、土の発色である緋色がかすかに見られます。

Yakishime Flower Vase: Shigaraki Clay

The lower half of this vessel has been transformed through intense carbonization. Rare for a piece born from the "himae" (the front of the kiln), subtle traces of scarlet—the clay’s natural voice—still flicker through, offering a delicate contrast to the dark coal-like finish.

焼締小壷 信楽土

窯の後ろの下段で焼かれた蹲る(うずくまる)です。灰が溶け切らずにマットな肌になっています。

Yakishime Small Jar (Uzukumaru): Shigaraki Clay

This "Uzukumaru" (crouching jar) was fired on the lower shelves at the very back of the kiln. In this cooler zone, the ash has not fully melted, resulting in a serene, matte surface that invites the touch. 

 焼締小壷 信楽土

攻め焚きの段階で灰がぽつぽつと模様を作りました。小さな宇宙がこの小さな蹲る(うずくまる)に取り込まれました。

 Yakishime Small Jar (Uzukumaru): Shigaraki Clay

During the "semedaki" (the final, intense stage of firing), falling ash formed a delicate, staccato pattern across the surface. A miniature cosmos has been captured within the form of this small "Uzukumaru" jar. 

 焼締小壷 丹波土

信楽土とは違った美しさ。侘び寂を感じる作品に仕上がりました。土、岩といった自然そのものの色。花が映えます。

Yakishime Small Jar: Tamba Clay

A beauty distinct from that of Shigaraki clay. This piece embodies the essence of "Wabi-sabi," revealing the raw, primal colors of earth and stone. Its natural presence provides the perfect stage for any flower to shine.

焼締小壷 信楽土

信楽焼特有の緋色。浅い黄色から深いオレンジまでのスペクトラム。これはいわゆるスカーレットと呼ばれる色。

Yakishime Small Jar: Shigaraki Clay

The signature scarlet of Shigaraki. This vessel displays a magnificent spectrum, ranging from pale primrose-yellow to deep, resonant orange—the iconic hue famously known as "Scarlet."