Goki style Kasugae tea bowl by Rakusai Onishi

Width: 11.3cm Height: 7.8cm

This piece by Onishi Rakusai is a bowl that skillfully combines the powerful form of the "Gouki-gata" rice bowls of the Joseon Dynasty of Korea with the elegant colors of Kasuga-e painting. When you actually hold it in your hands, you can see that the volume of the base material and the lightness of the painting are perfectly balanced, and that this piece simultaneously embodies the "beauty of utility" and "beauty of conversation" required of tea utensils.

1. Beauty of Form - The Bold Form of Goki-gata Pottery

Neat bowl shape <br data-start="237" data-end="240">The slightly thick, rising base and gently curved rim create ideal proportions for holding the rich matcha foam.

Split-legged pedestal <br data-start="316" data-end="319">The split-legged pedestal (three-sided pedestal) that is unique to the Go-ware style is a direct copy of the rice bowls that were introduced from the Korean Peninsula, while ensuring the stability of a modern matcha bowl. Another notable feature is that it creates bumps that fit the shape of the hand, making it extremely stable when handling it during a tea ceremony.

Lustrous White Glaze <br data-start="441" data-end="444">The translucent white glaze that covers the entire base gives off a soft luster, bringing out the beautiful color of the matcha celadon. The iron-like scorches that appear slightly around the rim and sides of the foot add a touch of charm to the kiln transformation, as if framing a scene of decadence.

2. Design - Festivities at Kasuga Taisha Shrine

Vermilion torii gate and green pine tree <br data-start="593" data-end="596">The vermilion torii gate, the symbol of Kasuga Taisha Shrine, is clearly painted on the front of the tea bowl, with an evergreen pine tree placed next to it. The complementary colors of vermilion and green resonate vividly with each other on the white glaze.

Deer and the Procession <br data-start="689" data-end="692">The deer, messengers of Kasuga Taisha Shrine, are adorable as they stride lightly across a pattern reminiscent of Mount Wakakusa, while the figures in the festival procession are rhythmically lined up with light, deft brushstrokes. Their costumes, three colors - purple, blue, and green - echo the green interior of the matcha bowl, creating a sense of visual depth.

Accented with the vermilion umbrella (Karasa) The vermilion umbrella, which is the key element of the procession, symbolizes the ancient court culture and at the same time expresses a blessing to the guests at the tea ceremony. This vermilion plays the role of a "light" that tightens the overall color tone of the tea bowl.

3. Techniques - The sophistication and playfulness of Kyoto ware

Onishi Rakusai uses the traditional five colors of Kyoto ware (red, green, purple, yellow, and navy blue) as the base, but he does not break the brush strokes and maintains a free and neat outline. The faces of the figures are lightly raised with white chalk powder, bringing out a friendly expression while retaining a subtle sense of tension. In addition, the green leaves in the details are painted with iron paint as a base, and then copper green is layered on top to create depth, using a time-consuming two-stage coloring process.

4. Functional beauty at the tea ceremony

The inside is almost entirely unified with a plain white glaze, allowing the lustrous green of the matcha to shine through. The whisk hits it smoothly, creating a fine foam.

The Joy of Storytelling <br data-start="1252" data-end="1255">As you turn the tea bowl and look, images of a procession progressing and deer playing appear one after another, creating a "picture scroll"-like performance in which the host is telling a story to his guests.

5. Cultural background and modernity

Kasuga Taisha Shrine was worshipped by Heian aristocrats as the guardian deity of the Fujiwara clan, and in Japanese art, motifs such as deer, wisteria, and torii gates have been depicted with layered meanings. Based on this iconographic tradition, this work combines the cross-cultural form of Goki-gata to create a dual structure of "Japanese classicism" and "Korean simplicity." As a result, it embodies "border-crossing re-creation" rather than a return to the classics, elevating it to vessels that modern tea masters can freely spin stories with.

The bold presence of Go-ki style and the sophisticated coloring of Kyo-yaki Kasuga-e paint - this combination sharply reflects Onishi Rakusai's unique sense of the times. When placed at a tea ceremony, a rich world opens up as if a festival picture scroll were unfolded, even though it is just a single bowl, and it will become the perfect "stage setting" for deepening conversation with guests.

A conversation with Rakusai Onishi