OrientalTeabox

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OrientalTeabox You'll also find some exquisite teaware from us to help you make a perfect cup of tea.

Discover the essence of Japanese aesthetics: the gentle poignancy of mono no aware, the mysterious depth of yūgen, and the serene beauty of imperfection in wabi-sabi
Visit: www.orientalteabox.com
Etsy: https://www.etsy.com/shop/OrientalTeabox In addition to our own brand products, we have some highly recognisable brands from Taiwan and Japan to broaden your choices!

SOLD! A Shino Tea Bowl (志野彩碗) by Kato Toyohisa (加藤豊久)
18/10/2026

SOLD! A Shino Tea Bowl (志野彩碗) by Kato Toyohisa (加藤豊久)

SOLD! A White Raku Ware Tea Bowl (Chawan) by Raku Kichizaemon XII Kōnyū (楽吉左衛門十二代 弘入)
17/10/2026

SOLD! A White Raku Ware Tea Bowl (Chawan) by Raku Kichizaemon XII Kōnyū (楽吉左衛門十二代 弘入)

17/10/2026
Dark, near-black iron glazes juxtaposed against thick, creamy feldspar. A compact Jukō Yōhen Oni-Shino ceramic jar (珠光窯変...
17/10/2026

Dark, near-black iron glazes juxtaposed against thick, creamy feldspar.

A compact Jukō Yōhen Oni-Shino ceramic jar (珠光窯変鬼志野壷) by Japanese master Murata Jukō (Tetsuo, 村田珠光 / 哲夫, b. 1922).

Featuring a rounded body and a narrow, near-black neck, glossy olive, ochre, and pale cream glazes cascade down the shoulder in organic trails over warm, wild Oni-Shino clay. Its dramatic bottle silhouette makes it an extraordinary vessel for minimalist floral arrangements (hanairi) or standalone display.

Mentored by legendary figures of Mino ceramics—including Katō Kōbei, Katō Tōkurō, and Katō Hajime—Murata dedicated his studio in Toyoyama, Aichi to mastering these fire-forged, expressive glaze transformations.

Complete with its original signed wooden box (tomobako).

Dimensions: 13.5cm (h) x 10.5cm (w) | Weight: 451g

Period: Showa / Heisei Era

Origin: Toyoyama, Aichi Prefecture, Japan

Warm reddish-orange clay and sweeping flame trails. A substantial Bizen fresh water jar (備前水指) for the tea ceremony by m...
16/10/2026

Warm reddish-orange clay and sweeping flame trails.

A substantial Bizen fresh water jar (備前水指) for the tea ceremony by master ceramicist Mori Togaku (森陶岳, b. 1937).

Featuring visible throwing lines and an organic, hand-shaped profile, a sweeping diagonal fire mark cuts across the unglazed body, highlighting the natural warmth of Imbe clay. Fitted with a custom black lacquer lid (nuri-buta), the piece creates a refined aesthetic contrast tailored for chanoyu.

Descended from one of the six ancestral potting families of Bizen, Mori Togaku is world-renowned for his reconstruction of medieval mega-kilns—most notably the historic 85-meter Sabukaze Shin Ōgama.

Complete with its original signed wooden box (tomobako).

Dimensions: 17.0cm (h) x 16.8cm (w)

Period: Showa / Heisei / Reiwa Era

Origin: Imbe, Bizen, Okayama Prefecture, Japan

Soft pinks, cloudy whites, and dramatic olive-brown glaze runs. A captivating Jukō Yōhen Shino sake cup (珠光ぐい呑) by celeb...
16/10/2026

Soft pinks, cloudy whites, and dramatic olive-brown glaze runs.

A captivating Jukō Yōhen Shino sake cup (珠光ぐい呑) by celebrated Japanese ceramic artist Murata Jukō (Tetsuo, 村田珠光 / 哲夫, b. 1922).

Featuring a compact, hand-formed shape, its surface displays vibrant kiln transformations (yōhen)—where soft pink blushes and cloudy white glazes mingle with trails of olive-brown descending from a darker rim.

Mentored by legendary masters of Mino ceramics, including Katō Kōbei, Katō Tōkurō, and Katō Hajime, Murata dedicated his studio in Toyoyama, Aichi to perfecting these organic, fire-forged glaze effects known as Jukō-Shino.

Complete with its original signed wooden box (tomobako), wrapping cloth, and artist leaflet.

Dimensions: 5.7cm (h) x 7.0cm (w) x 6.8cm (d)

Period: Showa / Heisei Era

Origin: Toyoyama, Aichi Prefecture, Japan

Why would a potter choose not to glaze a ceramic? In traditions such as Bizen, the clay and firing process become the de...
15/10/2026

Why would a potter choose not to glaze a ceramic? In traditions such as Bizen, the clay and firing process become the decoration. Flame, ash and contact with kiln materials can create unexpected colours and markings. Look closely and discover how the kiln itself becomes part of the creative process.

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