Japanese Bamboo Tea Scoop by Omotesenke School 10th Kyukosai #5371

length: approx. 18.5cm (7 9⁄32in)
title: “Kasugano-sakigake” Harbinger of Spring
weight: 3g (w/ case and box 113g)

This is a Japanese bamboo tea scoop (chashaku), approximately 18.5 cm in length, bearing the poetic name “Kasugano-sakigake.” It comes with a storage box (tomobako) inscribed by Kyukosai Sosa, the 10th iemoto of the Omotesenke school, who held the position from 1818 to 1860. The chashaku is carved from a single piece of bamboo, showcasing a natural node and a gently curved tip, finished with meticulous craftsmanship. The set includes a calligraphed wooden box and cylindrical case, both bearing inscriptions. The item is in excellent preservation, free from visible damage or stains, indicating careful storage over the years. Kyukosai is remembered for upholding the orthodox tea tradition during the tumultuous late Edo period, and works bearing his inscription offer valuable insight into the aesthetics and preferences of his time.

Kyukosai Sosa, 10th Iemoto of the Omotesenke School (1818–1860)

Kyukosai Sosa, the tenth head of the Omotesenke school, became iemoto at the age of eight following the death of his predecessor. He served for approximately thirty years during the turbulent final years of the Edo period and passed away at the age of 42 in 1860.

From a young age, Kyukosai was supported by Tokugawa Harutomi, the retired lord of the Kishu domain, who had received full transmission (kaiden) from Ryoryosai, the ninth iemoto and Kyukosai’s predecessor. Harutomi, a man of refined taste, acted as Kyukosai’s guardian, waiting until he matured before granting him kaiden. The preservation of the orthodox lineage of Sen Rikyu’s tea tradition owes much to Harutomi’s patronage, and even today, the Omotesenke school honors his contribution.

A key example of Harutomi’s influence is Kyukosai’s revival of Oniwayaki, a practice that began under Ryoryosai where tea wares were fired in kilns set up in the daimyo’s residence gardens. After a period of suspension, Kyukosai reinstated the practice, inviting renowned kilns such as Otokoyama-yaki, Zuishi-yaki, and even Jinbe-yaki—a kiln originally used for roof tiles—along with the Raku family, one of the ten official tea ware artisans. Many masterpieces were created during this period, and numerous examples bearing Kyukosai’s inscriptions still exist today. These works offer rare insights into both Kyukosai’s and Harutomi’s artistic preferences.

Kyukosai’s taste, while grounded in classical forms, featured a subtle brilliance and refined elegance that quietly commanded attention. This understated style is seen across his tea utensils, and especially in his use of unfinished wood display shelves and compact platforms, which were uncommon in traditional tea aesthetics. Though it may be speculative to connect personal taste to historical transitions, Kyukosai’s fleeting and elegant sensibility may reflect the final brilliance of an era approaching its end—the Meiji Restoration would occur just eight years after his passing.