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Hello, this bowl is a mystery to me, but it has a Japanese feel to it, the paste is pretty white and hard. I hope someone knows the type.
Kind Regards
Michael
So...Shino ware is a subset of Mino ware, it turns out. Hence, my confusion. Shino ware would be the more specific category of your chawan. Here’s the one I picked up the other day. You can see the orange peeking through the white glaze, same as in your tea bowl, very recognizable as this type.
take it with a grain of salt
Hey Michael,
Todd already "slam dunked" the answer - and provided his beautiful photos as well; making me jealous - and probably a lot of other readers.
Yours, is very lovely to look at also. Extremely soothing.
Shino ware to me too; this evidenced by what @watership pointed out astutely with the orange (hi-e) hue/tint [this is due to the composite of some feldspar mixed with clay and then revealing itself during the firing process] resembling what some call "orange peel" in a way on certain Chinese productions, but I do also find this is a complicated/convoluted field full of misinformation/misconceptions in itself; so I add a large *my opinion is* to tail-end the above correlation to Shino (I'm glad Todd thinks so too though, as that's what I have mine listed as), as these bowls have given me trouble for a long time and only in the past few months have I attributed them somewhat confidently.
I will include more info on that below - and some tedious history to scratch the surface and add context; but it shows you that the specialists who can really hone their knowledge and are kind enough to share it, are truly valuable.
(I share with you mine as well, although I envy yours far more admittedly: lovely example!)
Feel free as always to disregard the ramblings to come; and the short relevant info was featured in this post 🙂
Best,
-JRN
As an aside:
It's really confusing for me and many others often - as some would also perhaps place this in the Hagi-yaki range as well: especially given the Ido style shape and form - while my personal opinion is above and I feel it is likely, I wanted to offer context as to why this can be harder than thought sometimes..
Over the past few months since the virus kicked-off, I started sorting through some of my older more sentimental based collection pieces from my upbringing and travels over the years; and the ones included in my above post came from owners who were expats with both Korean and Japanese pieces from the 19th/20th century.
It gave me a lot of trouble to distinguish as one or the other for a long time, and I had to do a lot of research: and subsequently found out a lot of trivia, which I share below..
Not only confusing (Ido) as a prior tribute in itself to original Korean forms produced during the Joseon/Choson period, then subsequently produced in Japan later by potters of Korean heritage and their descendants (who originally were taken back as prisoners during Hideyoshi's failed invasion, halted by the Korean king and China's emperor Wanli) but keeping in mind there's a lot of cross-over between this and certain regional styles, and additionally enjoyed resurge of demand during the 20th century throughout both Korea and Japan.
Also, the information readily available on origin/date ranges, ect, is a minefield to navigate for tea-wares of several varieties..
This is more or less muddled by the politicization of archeology/art history and past disputes within the priorly mentioned fields between the two countries, and especially when they enjoyed much more commercial success as emerging (and re-emerging) world markets; of course with their global art demand following suit.
So, there's a lot of information still remaining that may or may not have a bias; but generally the reliable sources are pretty objective when explaining these wares - just sometimes hard to find.
Keep in mind: the necessity to correct any of the remaining misinformation, is simply not a priority given the drop-off of global desirability for Korean and Japanese wares compared to decades prior.
To most, it doesn't really matter any more all too much.
There are less than a couple of recognized doctoral and research programs/positions for Japanese and Korean art history of this nature (now commonly bundled together) and the generation involved is retiring with age; and there's less and less people who want to pursue that field as a career.
The handful of research and department head positions that opened up? Now filled by Chinese nationals who had "limited" priorly demonstrated interest, and "supposedly" given "scholarship funding" by the Chinese government to continue in their "studies".
So take that however you wish, it may require some revision correction in the near future by upcoming experts 🙂
Thank you very much Todd, thanks JRN. It is a nice bowl, a keeper!
Kind regards
Michael
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