Tea ceremony utensils "Colored Kaede no Tsukazu Tea Bowl (Mut Nakazorokuzo)" (rare antique colored tea bowl)

"Anzoroku" is a master craftsman of Kyoto ware who succeeded the second generation, Mashimizuzoroku. A paulownia box with a color that gives off a sense of age, a four-sided slat lid, distinctive boards, and leather straps. The blue co-woven fabric has no name mark and the stains and dirt may not have been used as the original co-woven fabric. It was stored with tea ceremony utensils, and usage conditions are unknown. The front of the lid is a "colored rice cakes tea bowl", and the back is a box labelled "Mutchuzorokuzo" and an inscription (signature) of "Zarokuroku". The bowls have the words "Mutchuzoroku" on the right and "Added Paintings" on the left, and both the pottery paintings are by themselves. Most of the second-generation ceramic works on the Internet are celadon, white porcelain, dyed and ancient Iga copies, and there are only two examples of multi-colored coloured works. The "Combined Paintings" appears to be a writing that emphasizes his own paintings, and it is not clear that it may be the second generation of rare and valuable color paintings. The size (cm) and weight are roughly as follows. Caliber (outer) 12 (inner) 11.5, height 7.1, Height 0.7, height pedestal diameter 5/weight 210g/ With box 13.5 square, height 10.2/ This is a rare antique and colored tea bowl from the second generation, "Mashimizuzoroku," which has been around 100 years old. There are almost no stains or damage except for some scratches from the manufacturing process. We hope you can use it as a tea ceremony utensil. The following "" will be used as a reference from online articles. "The first "Mashimizuzoroku" was born in 1822 in Otokuni County, Yamashiro Province (Kyoto City) as the third son of the Shimizu family. He studied pottery at the age of 13, and opened at the age of 21 at Gojozaka, and was renamed Kuraku. Later, he received the character "Shin" and changed his surname to Mashimizu. He learns tea from the Genrensai Munemitsu's house and is given the seal of a can. In the early Meiji period, he was encouraged by the government to exhibit at foreign exhibitions, and also engaged in trade, working on color painting and gold columns for overseas use, and celadon and dyeing for domestic use, but he was the best at matcha utensils. He used the two-character stamp of the sect can for his favorite vessel, but most of them stamped the zoroku stamp. He was 56 years old. In the second generation, "Mashimizuzoroku," from 1861 to 1936 (Sho 11), his childhood name was Jutaro, his name was Harutaro and Kuraroku, and his name was Haruizumi and Dochuan. After his father passed away, he worked hard in pottery under the guidance of his mother Chika, and succeeded the second generation in 1884. He received a reward at the Kyoto Expo in 2017 and a first-class gold medal at the Nanto Expo in Nara. In 1920, the kiln was moved to Yamashina Ward, Kyoto City, and in 1930, the kiln was moved to Nishikyo Ward, Kyoto City. He specializes in the style of celadon, white porcelain, dyed and Mishimate. He has a deep knowledge of ancient ceramics both inside and outside, and is also excellent at forensicizing ancient ceramics. The "Shunsen" stamp will be used from the age of 18, and the "Zuraku" stamp will be used from the age of 25. '

「泥中（庵）蔵六（でいちゅう（あん）ぞうろく）」は、２代目「真清水蔵六（ましみずぞうろく）」を襲名した京焼の名工です。 経年を感じさせる色合いの桐の共箱、四方桟蓋、特徴的な板目、革のかけ紐。青色の共布には銘印はなくシミ汚れが、元々の共布ではなかったのかも。茶道具と一緒に仕舞われていたもので、使用状況などは不明です。 蓋表に「色絵楓ノ図茶碗」、裏に「泥中蔵六造」の箱書きと「蔵六」の銘印（落款）が。 茶碗には、右に「泥中蔵六」、左に「作併画」と、作陶色絵ともに自らがといった意味でしょうか。ネット上の二代目の陶磁器作品の大半は青磁、白磁、染付、古伊賀写しなどで、多色の色絵作品はニ例程度と小例です。「作併画」は自らの絵付けを強調した書き付けと思われ、二代目の希少で価値のある色絵作品かも分かりません。 大きさ（㌢）重さはおよそ次の通り。 口径（外）１２（内）１１．５、高さ７．１、 高台０．７、高台径５／重さ２１０㌘／ 共箱１３．５角、高さ１０．２／ 二代目「真清水蔵六」の経年１００年前後の骨董で希少な色絵茶碗です。製造由来の若干の傷以外汚れや損傷はほぼ見られません。茶道具としてお使いいただければ幸いです。 以下『』はネット記事の引用、参考にしていただければ幸いです。 『初代「真清水蔵六」は、１８２２年山城国乙訓郡（京都市）で清水家の三男として生まれる。十三歳から陶芸を学び、二十一歳で五条坂に開窯、名を蔵六と改名。後に「真」の字を賜り真清水に改姓。玄々斎宗室に茶を学び、宗缶の印を授かる。 明治初年政府の奨励を受け外国博覧会に出品、また貿易に従事し国外向けに色絵・金欄手を、国内向けとしては青磁・染付を手掛けたが、抹茶器を最も得意とした。 自ら好んだ製器には宗缶の二字の印を用いたが、多くは蔵六の印を捺した。享年五十六歳。 二代「真清水蔵六」１８６１～１９３６年（昭１１）は、幼名を寿太郎、名を春太郎・蔵六、号は春泉・泥中庵。 父が逝去して以後は母・チカの指導の下に陶業に励み、明治１５年二代目襲名。同１７年京都博覧会で褒状、奈良の南都博覧会で一等金賞を受賞。 大正６年に京都市山科区に移窯、昭和５年には京都市西京区に移窯。 青磁、白磁、染付、三島手等の作風を得意とする。内外の古陶磁に造詣が深く、古陶磁の鑑識にも優れる。１８歳より「春泉」印、２５歳以後は「蔵六」印を用いる。』