春山 Master Shunzan
Yoshi En has recently grown out of Sunday Natural to become an independent premium tea store. As part of this transition, some products may still be shipped in Sunday Natural packaging.
| Type | Side handle cans: yokode kyūsu (横手急須) |
| Kiln | Tokoname Yaki (常滑焼) |
| Studio/Artist | Master Shunzan (春山) |
| Origin | Tokoname, Aichi, Japan |
| Capacity | 300ml |
| Recommended fill line | For optimal pouring, fill only up to the last third of the integrated strainer |
| Dimensions (Diameter without handle x height without knob) |
8,3 x 8,4cm |
| Weight | 440g |
| Clay | 朱泥 (Shudei: roter Naturton) mit Bengara (弁柄) |
| Firing | Special combination of reduction and oxidation firing with random colouring (Yohen; 窯変). |
| Glaze | unglazed (Jap.: Yakishime; 焼き締め) |
| Strainer | Integrated, hand-stitched ceramic sieve |
| Production | The components of the lid and jug are hand-potted on the potter's wheel and then assembled to fit exactly. (Rokuro; 轆轤) |
| Packaging | Wooden box |
A kyusu is a traditional Japanese teapot used for the preparation of Japanese green tea. Fired from natural clay and unglazed on the inside, the body reacts with the tea and water to bring out certain aromas while subduing others. With the tea allowed to steep free-floating in the pot and the leaves lying across the integrated strainer when pouring to prevent them from entering the cup, the kyusu allows for a more complete extraction of flavours and ingredients. The tea should always be brewed fresh, but several infusions are customary. The side handle and the knob on the lid allow for safe handling of the teapot despite the high temperature of its contents.
Throughout history, there have been hundreds of ceramic centres in Japan, located wherever the volcanic soil was rich in clay. Some are still active today, including the Six Ancient Kilns (Jap.: Rokkoyo) Bizen, Shigaraki, Seto, Echizen, Tamba and Tokoname, others such as Karatsu, Hagi, Mino, Shino, Oribe, Setoguro Ki-Seto and Kyo-yaki, as well as Banko in Yokkaichi, which specialises in tea ceramics in particular.
Kyusu differ according to the composition of the clay, which varies from region to region, the firing method, the handmade production steps taken, the decoration and glazing techniques as well as the overall quality, which can range from delicate to deliberately coarse. The clay as well as chosen firing technique determine the character of the kyusu, i.e. which types of flavours are lifted or subdued. Therefore, tea lovers often have different kyusu of different qualities at home in order to optimally prepare all their favourite teas. Among the finest and most valuable kyusu are those made by artists famous for their special talents in manufacturing, decoration and unique natural clay production as well as for their perfected firing techniques.
Led by the most highly awarded masters, the hierarchy of craftsmanship includes studios that still draw on the reputation of past masters, young and wild studios and family-run micro-enterprises which produce the bulk of everyday ceramics. Vintage kyusu are important collector's items made entirely from now exhausted deposits of the highest quality natural clay of the respective region, achieving tea infusions of an incomparable calibre.
The oldest of the legendary Six Ancient Kilns (Jap.: roku koyo, 日本六古窯), Tokoname has been producing high-quality earthenware since the 12th century. Present-day Tokoname, housing about 200 kilns, is now the largest site of ceramics production. The pure natural clay (shudei) is red, rich in iron and has a special influence on the taste and effect of green tea. Unlike other regions, Tokoname still has reserves of its famous natural clay, although they are diminishing.
For the famous Shudei kyusu, the clay used is as ferruginous and fine-grained as possible (Jap.: tatsuchi). This type of clay is found under rice fields in Tokoname and gives the teapot its special properties and colour. Genuine Hon Shudei clay, which contains the ideal iron content, is now so rare, however, that the clay is now enriched with natural iron oxide in order to achieve the desired shade.
For differently coloured kyusu, the potter sprays on a mixture of red clay and natural pigments after shaping the base. This process is called chara-gake. The kyusu is then fired. Finished Shudei pots have a special shine, which is achieved by polishing the kyusu with a metal spatula or cloth before firing. For this reason, glazes or painted decorations are often dispensed with, leaving the clay to speak for itself.
In the production of Tokoname kyusu, firing is done using gas or electric kilns (oxidation firing for red shards and reduction firing for black shards). Some studios, especially those of well-known artists, use a combination of the two techniques. Oxidation firing is done between 1,100 and 1,200 degrees Ceslsius, depending on the clay, and must be extremely carefully controlled die to the colour changes that occur and the risk of cracks developing.
The introduction of the multi-vaulted, multi-chamber hang kiln (Jap.: renboshiki-noborigama, 連房式登窯) in 1834 improved the control of the firing process compared to earlier kilns. This, and the help of specialists from China, made the development of red unglazed shudei ware possible. Tokoname has become famous for the shudei kyusu made of red toki. However, the studios of the region are also known for many other techniques, such as the ash glaze (yakishime), the dark firing marks made by carbon impregnation (koge), celadon work and the mixing of different types and colours of clay.
