Naruse Munenori (b.1901) CHASHAKU bamboo tea scoop from Japan #5122 for sale

Up for sale is this "Naruse Munenori (b.1901) CHASHAKU bamboo tea scoop from Japan #5122" If you have any questions please contact us before buy it. No reserve.

- width: approx. 18.2cm (7 11⁄64in)

- weight: 2g (gross 167g)

- writing on the case and box: After Kobari Enshu's "Arima-yama (Mt. Arima)" by Naruse Munenori.

Naruse Muneomi (1901- ?)
He was a bamboo artist especially good at tea ceremony art. Bamboo artist usually sharps bamboo with Nomi (chisel), however, Naruse made his art with Kogatana (small knife). Although many tea ceremony masters are fun of his art, nobody know his date of death. He also left his art in his 91 years old. 

I have found a text where the monk Inokuchi Zenjo discusses Naruse Munenori, and I will introduce it with an English translation.

Bamboo Teascoop and Naruse Munenori

The bamboo teascoop serves merely to scoop matcha from the container into the teabowl, fulfilling no other role as a piece of tea ceremony equipment. Despite its simple and purely functional form, devoid of any decoration, when one holds the teascoop during the viewing of the tea utensils and examines it closely, it reveals a deep, profound appeal.

As of 1979, at the age of 78, Munenori Naruse, who silently and diligently carves bamboo teascoops, embodies such a character. It is well known that the creators of teascoops were traditionally the hidden presence behind the head of the school or the grandmaster, with renowned figures such as Shuko, Shotoku, Shoo, Sosui, Rikyu, and Sokei, none of whom were ever ostentatious.

Munenori also carves under the aegis of a Zen temple's sub-temple but never puts his name forward publicly. His modest and dignified nature suits this work well.

His distinctive technique involves carving with a single chisel without using small knives. Using the chisel with his left hand, he crafts delicate works that are truly astonishing.

The Munenori family could be described as a family of artists. Besides carving bamboo teascoops, he is proficient in flower arranging and calligraphy, while his wife is a woodcarver, and his daughter is a metal engraver who has won awards at traditional craft exhibitions. Each member of the family excels in a particular art, leading a life that is truly enviable.

Munenori creates unique items such as incense containers and tea utensils, but despite being encouraged to participate in tea utensil exhibitions, he persistently declines, saying, "I am just an amateur." I would like to recommend Mr. Naruse Munenori.

Inokuchi Zenjo

Kobori Enshu
1578-1645
male

Practitioner of the art of tea ceremony and feudal lord of the Omi-Komuro domain during the early Edo period. He was born in Omi province. From a young age he received special education from his father Shinsuke Masatsugi, took over the main school of tea ceremony continued by Sen no Rikyu and Furuta Oribe, and ascended to the position of tea ceremony instructor for the originators of the Tokugawa dynasty. In year 13 of the Keichou era (1608), he took the role of overseer for the construction of Sunpu Castle, and in doing so, he was bequeathed the official court title of Lord of Totomi, junior fifth-class lower – from this point on, he began to be known as “Enshu”.

During his lifetime he conducted over 400 tea ceremonies, at the request of feudal lords, court nobles, vassals, townsfolk – members of all classes – reaching some 2000 people. A master of both calligraphy and waka poetry, he constructed an elegantly graceful and simplistic tea ceremony known as “Kirei-sabi”, combining tea ceremony with the ideals of dynastic culture. Beginning with Emperor Mizunoo, he became a figurehead for culture salons during the Kanei era, and demonstrated his talents in the construction and landscape design for Katsura Imperial Villa, Sendougosho, Nijo Castle, and Nagoya Castle, among others. Daitokuji-kohoan and Nanzenji-konchiin are his exemplary works.

In the realm of artistic handicraft, he left a lasting impression in both his selection of “Chuuko-Meibutsu (Revival Goods)” (items chosen based on Enshu’s own aesthetic sense) as well as his leadership of the various schools of kuniyaki pottery – Takatori, Tamba, Shigaraki, Iga, and Shitoro. He also concentrated his efforts on importing pottery from China, Korea, and The Netherlands.

 

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