This teapot’s surface is coated in a serene, speckled stone-grey glaze. The exterior showcases artful glaze variations, with white flowing streaks that highlight the teapot’s unique handcrafted form. The seamlessly crafted tea strainer, built right where the spout begins, ensures all tea leaves remain inside while pouring your favorite teas.
CHF 100
Each piece is handmade individually, so slight variations in shape, texture and color may occur. Distortions, roughness or uneven tones are part of the charm and character of handcrafted work. Size and weight are approximate and may vary slightly from piece to piece. We’ve done our best to capture the true color and texture of each item in the photos, but please note that they may appear differently depending on your screen settings and lighting conditions.
Born in 1970 in Japan’s northern Iwate Prefecture, Tsunokake Masahi began his formal training at the Tokoname Ceramic Art Institute in 1992. After working various part-time jobs and teaching pottery classes, he established his own studio at the age of 27.
Though Tokoname is celebrated as one of Japan’s Six Ancient Kilns¹, Tsunokake always followed his own artistic path. Unconcerned with market trends, he creates what inspires him, regardless of whether it will sell. His passion for experimentation is especially evident in his glazes, which he crafts by blending different materials to achieve unique effects.
¹ The category of the Six Ancient Kilns was developed in the post-war period to describe the most noteworthy ceramic kilns of Japan. It comprises of:
• Bizen, Okayama
• Echizen Odacho and Miyazaki, Fukui
• Seto, Aichi
• Kōka, Shiga
• Sasayama and Tachikui, Hyōgo
• Tokoname, Aichi
Tsunokake renovated his workshop himself, turning an old wooden building from the Taisho period (1912–1926) into a functional studio. The space includes several storage areas and rooms where he throws pottery, as well as a dedicated kiln room with both a large gas kiln for full firings and a smaller one used to test new glazes and clays. He is now in the final stages of constructing his own wood-fired kiln on the outskirts of his town.
New pieces often emerge through an unorthodox process. While some follow classic forms, others are boldly eclectic in shape and color. Rather than beginning with a fixed plan, decisions are often made spontaneously at the wheel, guided by intuition and the feel of the clay.
Tokoname is known for its abundant clay, which is particularly well-suited for pottery. Not far from his home, Tsunokake collects raw soil from old, abandoned rice fields. This type of clay is prized for its fine texture, high plasticity and the natural filtering process that occurs over years of cultivation, removing impurities and enhancing workability. The iron-rich soil and centuries of sediment build-up also contribute to distinctive firing effects and exceptional durability, making it ideal for ceramic work.
He experiments with various glazes, including Nagaishi glaze, which incorporates raw feldspar as a key ingredient. When fired at approximately 1250°C, this mineral transforms into a glass-like surface, adding a distinctive texture and depth to his ceramics.
Another intriguing feature of his work is the presence of small black specks that emerge on the surface after firing. These result from iron powder naturally contained in the clay, creating subtle, organic variations. Tsunokake appreciates these unpredictable nuances, embracing the way his ceramics defy pure white or black, instead revealing a unique interplay of tones and textures.
The character of pottery is deeply influenced by the way the clay is prepared. To refine it, the clay is dissolved in water through a process called suihi². However, removing too many natural elements can result in a surface that feels overly uniform and lacking in depth. He carefully balances the refinement process, ensuring just enough texture and variation remain to give each piece its unique expression.
² Suihi (水簸) refers to the water purification method, where clay is suspended in water, allowing fine particles to settle while heavier impurities are washed away.
A quiet neighborhood with old-fashioned, narrow roads leads to Tsunokake’s workshop, which is located just a few streets away from the fishing port.
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