240. BUNKYŌ Masaki (fl. 1772-89), “Hinode jūrō” chawan (Sunrise Longevity [God] teabowl)

240. BUNKYŌ Masaki  文京柾, fl. 1772-89. “Hinode jūrō” chawan 日の出壽老茶盌 (Sunrise Longevity [God] teabowl)

Description provided by seller: 

“This extraordinary tea bowl, eloquently named ‘Sunrise and Longevity,’ emerges as a masterful creation by the tea master Bunkyō Masaki. A visual symphony unfolds within the bowl, as a pristine white glaze delicately cascades over a vibrant reddish canvas, echoing the gentle hues of the morning sun. Amidst this enchanting surface, the discerning eye can trace the graceful figure of Jūrōjin 壽老神, the deity symbolizing longevity.

“Indeed, this tea bowl stands as a resplendent masterpiece, encapsulating the very essence of a sunrise. Bunkyō Masaki's meticulous craftsmanship and artistic vision radiate, transforming this piece into a profound testament to the beauty and artistry inherent in his pottery.

“Residing in Miyamachi near Nagoya Castle during the An’ei-Tenmei era (1772-89), Bunkyo Masaki was not merely a doctor but also a dedicated practitioner of the tea ceremony. His renown extended beyond medical expertise to encompass exceptional pottery craftsmanship, notably in the creation of tea utensils such as chawan (tea bowls), mizusashi (water jars), kōrō (incense burners), and lid holders. Notably, Bunkyō Masaki's approach embraced the artisanal technique of handcrafting (te-giri  手切 ) rather than relying on a wheel.

“Bunkyo Masaki's creative palette extended to various glazes, including Kisetō, Oribe, as well as traditional Setō iron and ash glazes. His aspiration to emulate Momoyama pieces, coupled with experimentation in glazing techniques, attests to the depth of his artistic exploration.

“Of particular intrigue is the indirect revelation within Bunkyō Masaki's work, shedding light on the rich tapestry of pottery techniques in Setō during his era. Remarkably, his pottery endeavors predate Katō Shuntai's birth by 20-30 years, the renowned artisan celebrated for his impeccable replicas of Momoyama pottery. This chronological distinction suggests that the techniques for Momoyama imitations had already taken root in Setō during the latter half of the 1700s. Bunkyō Masaki's contributions to the art form, coupled with his commitment to replicating historical styles, contribute significantly to the cultural legacy of Setō pottery.”

Dark brown clay. Glazed in orangish-pink and white with black figures; base and a narrow band around base left unglazed. Weight: 272 g (9.7 oz). Width top, 11.8 cm (4-5//8 in); base, 5 cm (2 in). Height: 6.3 cm (2-1/2 in). 

This was handmolded by pinching. It sits on an uneven base, roughly circular. The interior of the base was gouged out in an irregular shape. Because of the unevenness of the base, the bowl wobbles a bit. From the base, the walls rise in convex arc to roughly two-thirds the height and then continue in a straight line to the rim, flaring outwards slightly. The walls are quite bumpy and vary considerably in thickness. The rim is very irregular. A small chip in the rim was repaired at some point using red lacquer. On the back side, just above the base, a round stamp was pressed into the wall. It is slightly large in diameter than a quarter. There appear to be raised figures of characters within the stamp, but they may just be protrusions in the clay. There is a circle of the same size on the interior of the bowl, in a different location. The surface is quite smooth to the touch. 

A glaze that fired in the color range of orangish-pink to rusty pink was first applied to the interior and exterior of the pot. The figure of Jūrōjin was drawn in black (probably the iron-rich glaze used in Japanese pottery for such drawings) on the front. On the right-hand side of the pot a small circular squiggle was drawn just above the unglazed portion. A white glaze was then splashed over the exterior wall, largely obscuring the drawing of Jūrōjin. Some of this white glazed dripped down the interior. 

This came in a box, with two old wrapping cloths. The top of the box is inscribed, in two lines, 文京柾 / 日の出壽老茶盌文京柾  (Bunkyō Masaki  /  Hinode jūrō chawan).  The underside of the lid has a long inscription in larger characters, followed on the extreme left with lines in smaller characters. Both are written in Classical Chinese, and each is followed by the personal seal of the writer stamped in red. The first inscription is dated “the first ten-day period, September 1915.”  I am unable to read all the characters. The first inscription praises Bunkyō’s skills in general terms. The second supplies the correct character for “kyō” in the potter’s name.

Purchased from Treasures of Old Times, in Bangkok, Thailand, February 2024. (Purchase receipt)