How to choose jujubes

1. Overview: What is Natsume?

A natsume (棹目,棹目) is a container used to temporarily hold matcha during the tea ceremony, before scooping it up with a tea scoop and transferring it to a tea bowl . It is mainly used for thin tea, and thick tea is generally served with a tea caddy, but depending on the style and tea ceremony, a large natsume may also be used. The name comes from its rounded shape, which resembles the natsume fruit.

The basic structure is made by turning a wooden base (wooden base) on a lathe, and then applying a lacquer process from undercoating to intermediate and final coating . The body and lid fit together at a joint, and the precision with which they fit together smoothly is the key to their practicality. The standard dimensions (medium-sized natsume) are often around 7cm in diameter and height , but this can vary depending on the design.

Its usage is simple: for long-term storage, use a tea caddy, etc. , and just before the tea ceremony, transfer the required amount into the natsume, seal the lid tightly , and serve. Matcha is sensitive to moisture, light, and oxidation, so it is best to understand that the natsume is a tea ceremony vessel to use in order to handle it stably .

2. Origins and Historical Development (From Chinese Tea Ceremony to Modern Lacquerware)

Its origins are said to date back to the Chinese tea-making culture, but after its introduction to Japan, it developed uniquely with a Japanese aesthetic of simplicity as tea ceremony styles matured during the Muromachi period. In the lineage that stretches from Murata Juko to Takeno Joo to Sen no Rikyu , utensils converged in a more austere direction, and tea caddies also gained refined forms and moderation in lacquering and decoration . After the Momoyama period, during the Edo period, the vocabulary of maki-e (flat, high, polished) , pear-skin, and mother-of-pearl inlay became more sophisticated, and local techniques matured.

In the modern era, the Rinpa style and classical designs were reinterpreted (revived), and for example, several later-made natsume tea caddies bearing the inscription "Made by Korin" were produced. One known example is a Hagi makie raden snow-blown natsume tea caddy with the same design and style that was acquired by the Victoria and Albert Museum in London in 1916, and it is a valuable example of the combination of the elegance of the Rinpa school and the lacquerware techniques of the Meiji and Taisho periods . After the war, with the establishment of an exhibition system and an intangible cultural property system, natsume tea caddies with a strong artistic character also coexisted, and continue to do so to this day.

3. Classification by shape

The proportions and opening shape of the tea caddy determine the ease of tea ceremony and the impression it leaves on the guests. Typical types are as follows:

Medium-sized dates
Standard size. Highly versatile for use in practice or formal occasions. Easy to put in and take out matcha, and great flexibility in combination.

Small dates
It is slightly smaller than a medium-sized natsume. It is highly portable and useful for outdoor tea ceremonies. There are many examples where the decorations stand out due to the adorable scale.

Hiranatsume (flat jujube)
It has a low body and a wide opening, making it easy to pour matcha tea out of it . It also has a cool visual appearance, so it is often used during the brazier season .

Large Jujube
A fine piece. It stands out on a stand or tray . It requires precision in the joints and weight distribution.

Snowstorm
The edges of both the lid and the body are chamfered , making it difficult to distinguish between the top and bottom, creating a unique shape. The abstract nature of the design gives it a quiet elegance.

Design shapes (bunrin, gourd, drum, etc.)
This type makes the shape itself the highlight. As the third or subsequent option, it is easy to define the look of the seat.

4. Materials, coating, decoration, and origin (key points of wood-based lacquerware)

material

Wood-based lacquerware (standard) : Magnolia, chestnut, cypress, etc. Lightweight, with an excellent balance of rigidity, and comfortable to hold .

Hinoki (cypress) : It has a fragrant aroma, moisture resistance, and neat grain, and is used for high-quality products.

Dry lacquer : Lacquer base is layered on linen cloth to create a light and modern look.

Bamboo/basket : Breathable and suitable for creating a summer tatami room atmosphere.

Ceramic base/ceramic : A highly decorative type that allows you to enjoy the texture and glaze of the pottery. Handling is delicate.

*Historically, materials such as ivory, tortoiseshell, horn, and metal (Nanryo and sand-covered) are also known.

Painting and decoration

Shin-nuri (black and vermilion) / Tamenuri : The royal road to beauty in utility. Black is "passive beauty" and can be combined with a wide range of colors. Vermilion has a clear, bright appearance, while Tamenuri has a deep luster .

Maki-e (flat, high, polished) : Gold represents festivity, silver represents serenity. The placement of the powder, the sharpness of the lines, and the quality of the polishing are the points of evaluation.

Nashiji, mother-of-pearl, eggshell, and inlay : emphasizes the subtle light and texture of the material, elevating the quality.

Characteristics of major production areas

Wajima lacquerware (Ishikawa) : Achieves both strength and elegance with a powdery base. Known for the clarity of its maki-e.

Tsugaru lacquerware (Aomori) : A unique pattern that appears through multiple layers of coating and polishing. The depth of the layers is appealing.

Aizu lacquerware (Fukushima) : Delicate carvings and warm designs (Aizu-e).

Negoro (Wakayama) : With use, the black color appears underneath the red, creating an aged look. Time increases its value.

5. How to Choose (Checklist, Price Range, Certificate and Box, Appraisal)

5-1. Basic flow of movement to achieve both practical use and appreciation

Black lacquered medium-sized natsume (year-round, shelf-safe)

Adding a seasonal feel ( Hiratsume = Furo season, Tamuke-nuri = Ro season)

Individuality of the design ( modest maki-e , Yukibuki, Bunrin, etc.)

5-2. Checklist (Key points to consider when inspecting the property)

Joint : Closes smoothly and comes out easily. There are no steps or rattles.

Center of gravity and grip : Stable in the palm of your hand. The lid does not bounce when you swing it sideways.

Coating surface : Gloss and evenness of the surface. Presence or absence of pinholes, waviness, and cloudiness.

Decoration : Density of maki-e powder, sharpness of lines, quality of polishing. Presence or absence of unevenness in mother-of-pearl and pear-finish.

Condition : Marks on the rim, scuffs, peeling, cracks, thin base (settling).

Suitable for combination : Moderation so as not to clash with the main subject (tea bowl, flower, scroll).

Included : Original box, bookmark, and artist information. The box inscription matches the design and inscription on the book itself.

5-3. Price range (guideline) and value index

Beginner (mass-produced lacquerware and wood-based lacquerware) : 10,000 to 30,000 yen

Mid-career artist (Tamari-nuri and modest maki-e) : 50,000 to 120,000 yen

Maki-e artist's work (flat to high maki-e, pear-ground) : 150,000 to 600,000 yen

Masterpieces, exhibitions, and design masterpieces : 800,000 yen and up (sometimes several million yen)

Generally speaking, value judgments are often based on the product of " precision of the wood base x lacquering process x quality of decoration x degree of design perfection ." (It may be best to avoid judging based solely on the inscription or name.)

5-4. Notes on certificates and original boxes/identification

There are examples where the head of the family's signature and inscription can be found on the inside of the lid of the original box . Check that the box inscription matches the design of the main body and the artist's inscription. When an artist's work is accompanied by a head of the family's signature, it tends to be more rare and have a higher secondary value .

Inscriptions such as "Made by Korin" often indicate that the work is a stylized piece . The quality of the paint, design, and wood are given priority over the presence or absence of an inscription.

With second-hand or vintage pieces, pay attention to any adjustment marks at the joints or an unnatural shine (excessive polishing).

6. Representative Artists and Examples / Storage and Care / Glossary and Reference Information

6-1. Representative authors/famous names

Nakamura Sotetsu (one of the Ten Craftsmen of the Sen family and a famous lacquer artist)
It is known for the balance between beauty and practicality of its Shin-nuri and Tamuke-nuri surfaces.

Kawabata Konza (famous lacquerer employed by the Omotesenke school)
It is well-known for its elegant design and the combined strength of its maki-e and lacquerware.

Ichigo Ichio (a famous lacquerware design associated with Kaga)
It has the sophistication and decorativeness of Togidashi and Hiramaki-e.

Tatsuaki Kuroda (Woodwork and Lacquerware / Important Intangible Cultural Property Holder)
The uniqueness of this piece lies in the tension between the wood composition and the vermilion and mother-of-pearl inlay.

Kiyose Ikko (Maki-e)
Gorgeous and sophisticated expression based on the idiom of Rinpa and Yamato-e.

Masamine Maeda (Maki-e)
The restrained gold background and the composition of the natural theme are elegant. The snow flakes, flat jujubes, and other works are excellent.

6-2. Storage and care

After use : Brush off the powder with a tea brush or soft brush and wipe gently with a dry cloth .

Dirt : Wipe with a tightly wrung cloth, then wipe dry immediately . Do not use detergent or alcohol .

Environment : Avoid direct sunlight, high temperatures and humidity, and sudden drying. Store in the original box . Do not allow direct contact with the desiccant. Be careful not to leave it in the box too long to prevent it from drying out.

Inspection : Regularly check for loose or too tight joints, uneven rims, and cloudiness of the lacquer surface. If there are any defects, they can be adjusted at the lacquer workshop .

6-3. Glossary

Aikuchi : The part where the body and lid fit together. Precision determines the quality of the tea ceremony.

Shinnuri : Mirror-like black and vermilion lacquer. The most elegant.

Tamenuri : A painting technique that makes the color appear to accumulate deep within the transparent lacquer layer.

Nashiji : A finish in which gold and silver powder is sprinkled to create a fine, pear-skin-like sparkle.

Yukibuki : A unique shape with chamfered edges on both the lid and body.

Box inscriptions and signatures : Titles and signatures inscribed on the box lid and bookmark. Clues to authenticity and history.

6-4. Reference items (basic tone of combination)

Tea bowls with a strong landscape are finished with black lacquer .

The elegant black lacquerware features understated designs of autumn grasses .

Celadon ware has depth with urushi lacquer (the foil is less prominent).

Flat tea caddies and baskets add a cool feeling to shelves during the furo period .

---

Summary Natsume are not only practical vessels , but also the epitome of lacquer art and maki-e (gold-lacquered lacquer). The shape (medium-sized natsume/small natsume/flat natsume/large natsume/yukibuki/designed shape), material (wood base/cypress/dry lacquer/bamboo/ceramic), lacquer (shin-nuri/tamari/nashi-ji) and decoration (maki-e (gold-lacquered lacquer), mother-of-pearl inlay, etc.) are all interrelated , and the key points are to check the joint, lacquer finish, condition and accessories (inscriptions, original box). Prices vary widely, but if you always focus your evaluation on the precision of the wood, the accuracy of the lacquering process, the quality of the decoration and the degree of perfection of the design , you can achieve a balance between practicality and appreciation. Taking into account the diverse range of works from the early modern to modern and contemporary periods, you should choose one by one, keeping in mind the balance between the host and guest at the table.