Matcha natsume tatsuta-gawa 高橋峯房 Takahashi Minefusa

This exceptional natsume was crafted by renowned Japanese lacquer master Takahashi Minefusa (高橋峯房) , known for his refined urushi techniques and dedication to the aesthetics of the Japanese tea ceremony. The piece reflects a harmony between craftsmanship, nature, and poetry. The model has an upright, convex form ( tate-maru-gata ) executed in the austere Rikyū style (利休形) named after the legendary tea master Sen no Rikyū, who emphasized simplicity and natural beauty.

The keyaki wood (欅) grain remains visible and is enhanced by a warm, transparent urushi lacquer layer in the kijidame (木地溜塗) style . This technique literally means “wood-base finish” ( kiji = wood, dame = to seal) and allows the natural structure of the wood to subtly shine through. The result is a surface that looks both vibrant and understated.

The Tatsuta-gawa motif refers to the Tatsuta River in Nara, a classic symbol of Japanese autumn. In literature and art, this river represents transience (無常, mujō ) , falling leaves, and the passing of the seasons. The decoration is executed in maki-e: fine powdered gold and lacquer work depicting floating autumn leaves on a flowing river. This poetic image embodies the spirit of wabi-sabi, the beauty of simplicity, stillness, and time.

The original wooden box (tomobako) is complete and features the handwritten text “立丸形棗利休形” The terms 立丸形棗tate-maru-gata natsume and 利休形Rikyū-gata describe the shape and proportions of the natsume plus the signature “峯房（高橋）印” refers to a personal seal or signature ( insho印章) of Japanese lacquerware artist Takahashi Minefusa (高橋峯房).

Why this piece is special

By Takahashi Minefusa, a specialist in lacquerware for the tea ceremony, the work is both functional and artistic. The use of keyaki wood and transparent lacquer makes this piece visually and tactilely rich: you can feel the wood grain and see the sheen of the lacquer, a combination of nature and technique. The tatsuta motif, rarely used in natsume, adds a literary-poetic layer to the object. The presence of the original tomobako reinforces the provenance and makes it suitable for collectors who value documentation.

Condition & maintenance

The piece is in excellent condition: the lacquer is even and glossy, there are no visible cracks or chips, and the wood grain is clear. The tomobako is also well-preserved, with clear calligraphy and seal. To preserve it, avoid direct sunlight, strong temperature fluctuations, and keep it away from moisture and dust. Clean with a soft, dry cloth.