**Made by ceramic artist Wang Chongxin**
Handmade wood-fired tea bowl
Firewood-fired Shino tea bowl meets Yamaguchi
A large tea bowl made entirely by hand, with beautiful and delicate lines
White and orange are Shino’s basic colors
Available from orange to slightly darker brown
Some are white with vermilion inside, and some are pure white with a warm and jade-like texture.
Unexpected red and orange fire marks will appear on the glaze.
Orange peel Brown eyes and moth-eaten effects
Produce various textures and textures on the surface of pottery such as density, undulation, and stacking.
Pottery leaves traces of the potter
With the participation of aesthetics, life experience and tea drinkers
Whether it's the simple Bai Zhino or Zhino
The artistic and cultural status of tea pottery has irreplaceable value.
**Light snow-like glaze color and translucent thick feldspar glaze**
**The unique silence that constitutes Shino**
There are many explanations for the name of Shino-yaki
The most common theory is that it comes from the tea people of the Muromachi period in Japan.
Hence the name for the style of pottery that Shino Munonobu favored.
Shino is a firing method for daytime purposes
Unlike Black Tenme, its glaze color is based on white feldspar glaze
The emergence of Shiro Shino is an epoch-making innovation in the history of Japanese ceramics
During the late Muromachi period
Two white tea bowls held by the great tea master Takeno Shoou
One of them reached the Kaga Maeda family
There is a sign written by Sen no Rikyu in the box that says "Shaoou and Baimeime".
The other one was later owned by Toyotomi Hideyoshi
Although these two have different appearances,
But they all have the same white glaze mixed with a little gray.
The Shino of the Momoyama period also had the same white glaze.
**The perfect interpretation of wabi-sabi aesthetics**
wabi sabi is a thing that is not perfect
Immortal and unfinished beauty
That is the beauty of prudence and humility
It is also a kind of spontaneous beauty that does not follow the rules.
- Leonard Koren
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Wood-fired pottery in use and vision
It is rough and warm
The beauty we pursue lies in nature, simplicity and solidity
The completion of a wood-burning work
Much reliance is placed on the potter's physical strength in making pottery and firing kilns.
Professional knowledge, adaptability and aesthetic ability
**It is impossible to produce an identical work**
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The control variables of wood-fired kilns are much more complicated than those of electric kilns.
Factors that should be considered in kiln firing may include:
Climate, schedule design, kiln location, heat
Wood thickness, dryness, wetness, and heating rate
Combination of fuel injection amount and air amount
The use and removal of carbon deposits and techniques for throwing firewood
And comply with the kiln characteristics and control the desired effect of the work
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**Handmade and fired in a wood kiln**
**The surface cannot be absolutely perfect**
**Perfectionists, please do not place an order**
**Thank you for your cooperation~**
**Material**
ceramics.
Each piece of soil is prepared personally using raw ore.
The products are all exported and have passed customs quality inspection.
Non-toxic, non-polluting, in line with environmental protection and sustainable coexistence of the environment
**Origin/manufacturing method**
Taiwan/Handmade by Wang Chongxin
Product Description
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- Handmade
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- Taiwan
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- Handmade by ceramic artist Wang Chongxin Firewood-fired Shino tea bowl meets Yamaguchi
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