Celadon Peony Leaves Kumidashi Teacup - 80ml

Sugita Takaaki (Kazami Kiln)
Regular price $64.00
Description

This elegant celadon kumidashi (shallow teacup) is modeled after the famous Longquan and qingbai wares from Song Dynasty China, with a classic shape and an interior decorated with an embossed peony leaf design that fades into the celadon glaze. 

The soft blue-green-grey of this celadon is achieved with small amounts of iron in the glaze, which turns blue-green when fired in reduction. 

Specifications

Made in Japan. Ships from the United States.

Width: 9.2 cm (3.6 in) (Widest Point)
Height: 4.9 cm (1.9 in)
Capacity: 90 ml

Generally speaking, celadon (青磁 - seiji) refers to high-fired stoneware or porcelain wares covered with a pale, translucent, bluish-green-grey glaze. Typically, these glazes get their colour from small amounts of refined iron fired at high temperature in a reducing atmosphere.

The earliest proto-celadons were developed in the Shang Dynasty in China, but it was only in the Song Dynasty (960-1279) that celadon production became more popular and refined, with Ru, Yue, Yaozhou, Ge, Guan, and Longquan celadons defining the aesthetics of the era. Ranging from pure light blues, to crazed greens, the jade-like ceramic became the standard of the Song Imperial Court.

Celadon from the Longquan kilns (龍泉, pronounced ryūsen in Japanese), was produced in large quantities and exported outside of China. Efforts to mimic these wares in Goryeo Dynasty Korea resulted in a new and unique Korean style of celadon, often with delicate inlay.

In Japan, Longquan celadon was highly regarded, but rarely imitated at first, due to the ceramic technology required. Domestic celadon production only began in Japan in the 1600s.

Originally from Yokohama, Sugita Takaaki (杉田貴亮) studied product design at university but wanted to work with his hands instead of at a computer. After developing a taste for simple folk pottery, he apprenticed at Shodai-yaki Fumoto Kiln in Kumamoto. After moving to Yame, Fukuoka, he established Kazami Kiln (風見窯) in 2017 in a response to a call for local artists to revive the Onoko-yaki (男ノ子焼) tradition of the region.

After first trying to replicate rustic Vietnamese celadon, Sugita-san soon learned that the refined beauty of Chinese celadon suited his personality better than more rustic folk styles. Ever since, he has been experimenting with local Yame clay and materials with the goal of reproducing the elegance Song-dynasty celadon wares, like the Longquan and Yaozhou celadons that once entered Japan through the port city of Yame (then called Hakata) some 800 years ago. He crafts his own clay and glazes, constantly trying new formulations and techniques after studying fragments of old wares.

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