This is a dyed soba cup from Aizu Hongo ware. The houses and figures are painted in the landscape, with sailboats depicting them, and the painting has a powerful touch typical of Tohoku.
History of Aizu Hongo ware↓
In 1966, he invited potter Kondo Heikichi from Edo to receive technical guidance on porcelain production in Aizu. Furthermore, in 1999, Sato Ihei set out on a journey to acquire the techniques of porcelain firing to Hizen Arita. This suggests that the feudal government would not only hope for the production of porcelain at the time. Ihei became a servant of the Nabeshima clan's family temple, and was trusted by the people around him, and while going to Arita's kilns, he learned in detail how to mix ceramic stones, glazes, and paints, and returned to Japan in 12 years. The porcelain was successfully fired. Ihei, the founder of Aizu Hongo-yaki porcelain, is enshrined in the shrine mausoleum of Joshoji Temple along with the pottery of Mizuno Genzaemon (Nihei Sei's "Aizu Cultural History"). The introduction of porcelain was a groundbreaking event, and although the ceramics that were previously produced had the protection of the domain, they were not yet considered to be the domain's industry. However, with the success of porcelain, it became an important national industry as a feudal ceramic industry.
The Setokata Hall will also be set up under the town magistrate, and Ihei will be appointed to Setokata Muneya. As the system was developed and expanded, the technical improvements were also improved, and during the Bunsei era, Teshirogi Koemon successfully fired a cemet (fired with a recycled flame), and finally got the white porcelain firing. Kato Heihachi, a potter from Aizu, also developed a technique for dyeing and shining painting during the Bunkyu era, with artist Saito Io instructing painting methods for landscapes and flowers, and Kyoto artwork Shigekichi in charge of the baking method of Nishikitte. The Aizu porcelain was handed down.
This soba cup has a chip about 4mm on the edge. There are also fine scratches on the line overall due to age.
We have photographed the line scratches so much that we can see on our side in photos 12th to 17th. Also, there are some unevenness on the high ground due to the firing, so please check the photos.
It is in good condition for its age, but as mentioned above, there are scratches and chips on the edges due to age, so please refrain from purchasing if you are looking for perfection or are sensitive to it. Please understand that this is an old item.
Personally, I think it's at a level where I can check the scratches carefully by staring at the camera, and I also light it up when I shoot.
Size: Height: approx. 6cm, diameter: approx. 7cm
Those who purchased the product immediately will recognize that they have been satisfied with the purchase, so please take a closer look at the photos before purchasing, so that there is no notice that it is different from what you expected.
#soba tuna
#antique
#antique
#porcelain
#Japanese food
#Aizu Hongo
#Tohoku
#Fukura
会津本郷焼の染付け蕎麦猪口です、山水に家屋と人物に帆掛け船が描かれております、東北らしい力強いタッチの絵付けです。
会津本郷焼の歴史↓
安永六年に江戸から陶師近藤平吉を招請し会津での磁器生産の技術指導が入る。さらに寛政九年に佐藤伊兵衛が肥前有田への磁器焼成の技術習得の旅に出る。これは当時藩の磁器製作への一方ならぬ期待がうかがえます。伊兵衛は鍋島藩の菩提寺の下僕となって、まわりの人からも信頼され、有田の窯場に出入りしながら陶石・釉薬・絵具の調合方法などを詳細に習得して帰国、寛政一二年磁器の焼成に成功しました。伊兵衛は会津本郷焼磁器の祖として、陶祖水野源左衛門とともに常勝寺の陶祖廟に祀られています(二瓶清「会津文化史」)。磁器の登場は画期的なことであり、従来から生産されていた陶器は藩の保護があったとはいえ、まだ藩の産業とはいえませんでした。しかし磁器の成功にともない、藩窯業として重要な国の産業となりました。
また町奉行の下に瀬戸方役場が置かれ、伊兵衛は瀬戸方棟薬に任命されます。こうして制度的にも整備拡充するうちに技術的にも向上し、文政年間には手代木幸右衛門はセメ焚き (還元炎焼成)に成功し、ようやく白い磁器の焼成を得ます。また同じ会津の陶工である加藤平八は、文久年間に染付密画の技法を開発し、画工斎藤伊緒が山水・草花などの画法を伝授、京都の画工茂吉が錦手の焼成法を伝授し会津磁器の完成となりました。
こちらの蕎麦猪口ですが縁に約4㎜程のカケがあります。また全体的に経年による細かい線キズがあります。
線キズは写真12~17枚目に当方にて確認出来る程の線キズを撮影いたしました。また高台は焼成由来の凹凸が若干あります、全て写真にてご確認下さい。
年代の割には状態は良いかと思われますが上記の通り経年による線キズや縁にカケがございますので完璧を求める方や神経質な方はご遠慮ください。古い物にご理解のある方宜しくお願い致します。
線キズに関しては個人的には注意深く凝視して確認出来るレベルかと思われます、撮影の際もライトを当ててます。
大きさ→高さ約6cm 口径約7cm
即購入された方は納得の上購入されたと認識しますので購入後に「思っていたのと違う」等無きようしっかりと写真を見てからご購入下さい。
#蕎麦猪口
#骨董
#アンティーク
#磁器
#和食
#会津本郷
#東北
#福良