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These are my newest addition to my Senchado teaware arsenal, I really like this particular cup shape, I tried to sort out what to call this shape and best I can tell it seems to be referred to as くみだし (Kumidashi). If anyone has more input on this particular style/shape cup feel free to let me know.

These are my newest addition to my Senchado teaware arsenal, I really like this particular cup shape, I tried to sort out what to call this shape and best I can tell it seems to be referred to as くみだし (Kumidashi). If anyone has more input on this particular style/shape cup feel free to let me know.

This is one of my rarer pieces, I don't use it often because for me it's quite a bit larger than my other cups that range between 40-70ml, and this one is 100ml which isn't super big, but still much larger than my other cups.

Sakaida Kakiemon (12th or 13th I believe not positive)

Thanks @LeoFox and @DailyTX. I do not enjoy hunting on auction sites so I will likely continue to wait for releases from tea vendors I trust and expand this search to Japanese ware. Underglaze decoration with intact glaze is a must for me in that vintage segment.

I've been experimenting with back to back tasting in a few cups I've got flying around and this shape uniformly works well for me for what I generally drink. Granted, all examples I have so far are modern porcelain, stoneware, or even borosilicate, as I have not yet found a vintage porcelain example, but the differences are more noticeable than I thought.
I think I am settling on middle of the road cups in terms of taste because a lot of teas seem to flatten (through a larger oxidation surface?) noticeably in wider and shallower cups, although I would otherwise prefer the faster cooling characteristics and aesthetics of wider, shallower cups. Especially roasted oolongs seem to change to their detriment in wide cups.

I am also under the impression that straight lips produce more aroma as the liquor is aerated more when slurping than on flared lips where the liquor flows into the mouth a bit more directly instead of pulling it over the edge.

Perhaps there is also an element to the slope of the vessel wall that contributes a little bit to perceived texture, although I don't have enough otherwise similar cups to verify this with, maybe it is a temperature gradient thing that produces a bit of variation that makes it richer.

The pictured cups are Jingdezhen with tianbai glaze but I wouldn't know how the glaze specifically compares to others.

One element I noticed is that I like the vessels to be translucent enough to spot whether there is any liquor remaining across the table when serving tea to others, instead of having to glance into their cups from above, to see if a refill is in order.

ultra late infusion of the 2005 Ban pen sheng from farmer leaf

Handmade Jingdezhen porcelain cup (Peaches).
This shape and size is nearly useless but I had to buy it because this is lovely tiny pet

Japanese cup with forest and river. It has very light blue color, like a sky in a morning haze. The glaze is very smooth and thick. It has also fairly thick walls, so I’m still finding out what tea it is suitable for. I was told it’s quite old, but I’m not very experienced in antique porcelain, so who knows..

filipes wrote: ↑

Sun Jan 14, 2024 9:01 am

Japanese cup with forest and river. It has very light blue color, like a sky in a morning haze. The glaze is very smooth and thick. It has also fairly thick walls, so I’m still finding out what tea it is suitable for. I was told it’s quite old, but I’m not very experienced in antique porcelain, so who knows..

Very nice antique Japanese cup. Could be old blue and white Kyoware or Imari. Even though there might not be a stamp or signature on bottom of cup, you can look through some of these links Japanese Kamajirushi (potters stamp, seal, mark) to familiarize yourself with different regional historical styles. I have antique blue and white Imari cups with no signature, they are also not thin, although not thick either.

Thank you for the link, I will look into it. It’s actually signed, if you are familiar with it.

I re-remembered these photos when sorting some rice grain stuff for sale. The exposure is unequal, but I couldn't very well fix it without distorting other things.

One of these gaiwans is what I believe to have come from the state owned factories (first half of the 1990s at the latest). The other was produced recently. Guess which is which.


Rice grain pattern gaiwan comparison by multaa, on Flickr


Rice grain pattern gaiwan comparison – bottom by multaa, on Flickr

filipes wrote: ↑

Sun Jan 14, 2024 11:43 am

Thank you for the link, I will look into it. It’s actually signed, if you are familiar with it.

Nice signature it looks sort of familiar, but I can’t put my finger on exact match.

filipes wrote: ↑

Sun Jan 14, 2024 11:43 am

Thank you for the link, I will look into it. It’s actually signed, if you are familiar with it.

The foot and texture suggest it is modern. JMHO.

That sign says 光達. I used to have a teapot from the same person/kiln but unfortunately it seems to be another one of these nebulous Kyoyaki potters with close to no information available online besides a few second hand listings. That being said I also think it's fairly modern.

Thanks for your comments. Do you think it’s modern because it’s in unused condition, or are there any other signs that would indicate this?

filipes wrote: ↑

Tue Jan 23, 2024 2:39 pm

Thanks for your comments. Do you think it’s modern because it’s in unused condition, or are there any other signs that would indicate this?

Gloss and material do no look like it would on older porcelain. Style is also fairly common to see in Japan on semi-vintage-modern era pieces. Generally, you'd go the other way: what would indicate that it is old? And then take it from there.