Japan Nanbu Tetsubin, Koizumi Nizaemon, Araremon-nanbugata-tetsubin 日本南部铁瓶，霰文南部形 御釜屋 小泉仁左衛門 十一代 供箱
Araremon Nanbu Gata tetsubin
The Nanbu style is renowned for its traditional and orthodox design, with the Ubaguchi Arare-mon, or granny's mouth hail pattern, standing out as a quintessential representation. This classic pattern is characterized by a delicate and intricate arrangement, resembling hailstones, and it holds a special place in Nanbu Tetsubin craftsmanship.
In addition to the Ubaguchi Arare-mon, Nanbu artisans often skillfully incorporate other motifs into their designs, such as cherry blossoms and horses. These motifs not only showcase the artisans' technical prowess but also add a layer of cultural and aesthetic significance to the Tetsubin.
Nanbu Tetsubin comes in a variety of sizes, catering to different preferences and purposes. Whether it's a smaller, more intimate piece or a larger, more ornate one, the Nanbu-style adapts to various dimensions while maintaining its distinctive characteristics.
Furthermore, within the Nanbu-style repertoire, Tetsubin with a rim mouth, known as "輪口" (waguchi), is frequently observed. The rim mouth adds a unique touch to the overall design and functionality of the Tetsubin, showcasing the versatility and creativity of Nanbu craftsmen.
This masterpiece is characterized by its adherence to traditional patterns like the Ubaguchi Arare-mon, while also embracing variations that highlight the craftsmanship's adaptability and artistic expression. A testament to the rich heritage and skilled artistry of this traditional Japanese craft.
Approx 1.8 L
W 18, H 13 (body), 25(with handle) Base 12 cm
Tea Ceremony Masterpiece.
南部形といえば姥口霰文がオーソドックスです。桜や馬の文様もよく作られます。大きさは多種制作されます。口が、輪口の作品もよく見かけます。
日本小泉仁左卫门第一代是京都釜师，1659年受第28代南部藩主重直公邀请，封“南部御用釜师”，這就是“南部釜”的起源。
南部鐵瓶 的开山鼻祖
到了1750年前後，第三代小泉仁左衛門決心製作『使用方便的燒水茶壺』，南部鐵瓶（ 南部鐵壺）最早就是由他創作的。
鐵壺的功用
第10代仁左衛門對鐵壺的功用作了如下說明。
首先是有益於健康。現在，日本五個人中有一人是貧血或準貧血。科學研究的結果表明，鐵壺燒出的開水對補充鐵份具有很好的效果。
第二，燒出的開水味道純正。飲用水味道變差已成為全國問題，在這種情況下，用鐵壺的開水沏茶、沖泡咖啡等，能使飲料、食物非常美味。
第三，是審美觀。在已經西化的日常生活中，出於對空寂古雅的「和風」（或許來自日本人的DNA）的執持偏好，日本人喜用鐵壺並能從中得到心靈的安樂。
繼續南部鐵器的啟蒙与传承
仁左衛門現在的工作，都是十代清明和接班人岳広齊心協力共同完成的。每把精品都用獨特的精細加工處理，所以色調會隨時間越用越古雅。而且，形狀、質地具有獨特的氛圍和格調，在製作、創作中，既重視空寂、古雅、幽邃，又不忘為作品注入吻合時代的新感覺。
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