[Tea utensils/tea ceremony tools, brazier base plate] Small board, rough grain board, true lacquer, 9.5 inches, Kawase-omote complete work, wooden

●Shikiita (small board) is one of the boards that is placed under the furo, and is a square board on which only the furo is placed.
There are various types of furo depending on the type, style, and preference, but the most commonly used ones are 9.5 inches square. There are also ones that are 5 inches shorter and are 9 inches square. The size of the small board is said to be based on the inner dimensions of the furo, or the size of a round board cut into a square.
There are small and large ones, and the large one is used for small furo, while the small one is used for large furo.
There are various types such as true lacquer, scratched, rough grain, and planed grain.
Shin-nuri is used for Kara-kane furo, Kagoe-nuri is used for both Kara-kane and earthen furo, and rough-grained board is used for earthen furo.

A rough-grained board is a lacquered board with horizontal planed marks that gradually become finer from coarse. It is used for clay braziers. When in use, the rough grain is placed towards the front. The rough grain represents water in contrast to fire, and is said to represent the appearance of waves lapping on the shore, or the rings of a tree, which become wider as they go out.
There are two Rikyu-style pieces, one large and one small; the general sizes for the large are 9.5 sun long and 9.2 sun wide, and the small is 8.6 sun long and 8.2 sun wide; in Urasenke it is 9.4 sun long, 9.2 sun wide and 6 sun thick.

The planed board was favored by the 14th head of the Urasenke school, Tantansai, for use with kirikake furo. It is a large small board with three or two planed teeth, and by placing the two at the front, it can also be used for a doburo.

Tokiwa boards were favored by the 11th Urasenke master Gengensai to match the Tokiwa furo, and are made of paulownia wood, blue lacquer, and have mountain path carvings in vermilion around the edge of the wood. They can also be used with earthenware furo and copper furo.
The small Tokiwaita was favored by the 14th Tantansai.
The floor boards are classified into large, small and round boards according to their shape, and there are various boards depending on the type of furo, style and preference, such as shin-nuri (shin-nuri), kakiawase (kakiawase), arame (arame), kanname (kanname), etc. There are also ceramic floor tiles.

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Weight: Approx. 600g
Size: Approx. 28cm length x 28.8cm width x 1.8cm thickness
Artist: Kawase Omote Kansaku (Higashiyama Omote Kansaku)
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[Current (real name: Tadashi Kawase)] Pen name: 3rd generation Higashiyama Hyoukan
Born in 1964 in San Francisco, USA. Raised in Kyoto.
In 1980, while attending night school, he studied under his father, the second Toyama Omote Kan (Atsushi).
1981: Kyoto City Industrial Research Institute Lacquerware Graduation (Chief instructor: Kyoto Lacquerware Artist Masaharu Yamane)
1985, Kyoto City Industrial Research Institute, Makie Kasoto (Chief lecturer: lacquer artist Kyohei Mizuuchi)
Graduated from Kyoto College of Art and Design in 1987 as a ceramic artist (now Kyoto University of Art and Design)
1991: Kyoto City Industrial Testing Center Makie Kaso (Chief lecturer: lacquer artist Toshito Hattori), Kyoto Lacquerware Store Chairman's Award (hereafter referred to as Tetralogy, Chairman's Award)
Selected for the Kyoto Exhibition in 1992 (and has been selected twice since then)
1999: Organized the Kyoto Emerging Artists Exhibition (held around 20 times nationwide over 7 years by a group of young tea ceremony utensil artists)
2003: Certified Kyoto lacquer traditional craftsman by the Ministry of Economy, Trade and Industry, and at the Kyoto Takashimaya Art and Crafts Salon Classic
2004: Participated in the design of furnishings for the Kyoto State Guest House (participated as a craftsman), suffered a cerebral infarction and developed right-sided paralysis (since then, mainly worked with his left hand)
2007 3rd generation Higashiyama front complete succession
Lecturer at the Aoyama Green Academy Kyoto Lacquerware Lecture (hosted by the International Tea Ceremony Association and Urasenke)
In 2008, the Imperial Treasure Restoration Cross was awarded for the Ise Shrine Ceremony (work for 20 years from now has already been accepted).
Hakata Daimaru Art Gallery, Tokyo Daimaru Art Gallery, Fukuyama Tenmaya Art Gallery, Broadcasting Hall
2009: Succeeded in the Daimaru Shinsaibashi Art Gallery, Okayama Takashimaya Art Gallery, Kyoto Takashimaya Art Gallery, and Nagata Chaho
2010 Kyoto Shimbun Sophia Project: Today's Painting Park at Otsuka Elementary School; Ninnaji Temple Publications: Kyoto Lacquer Articles; Successor Shop Jujiya Yamagata Store Art Gallery; Gallery Association; Tokyo Nihonbashi Takashimaya Art Gallery; Ryumondo; Ono Art; Yokkaichi Kintetsu Art Gallery; Yokohama Takashimaya Art Gallery
In 2011, he took over the Takasaki Takashimaya Art Gallery, Yokkaichi Kintetsu Matsusaka Branch Store, Kobe Sogo Art Gallery, Takaoka Yamatoga Gallery, and Yonago Takashimaya Art Gallery.
2012 Solo exhibitions at Wakayama Kintetsu Art Gallery, Houeido, Daimaru Shinsaibashi Art Gallery, Okayama Takashimaya Art Gallery, Nihonbashi Takashimaya Art Gallery (two-person exhibition), Kyoto Shimbun Publishing Center published "Unexpectedly Unknown Kyoto" and wrote an essay on Kyoto lacquerware
2013 Solo exhibitions at Takasaki Takashimaya Art Gallery, Yokohama Takashimaya Art Gallery, Kyoto Takashimaya Art Gallery, Gifu Takashimaya Art Gallery, Eno Gallery, Yamako, Tankosha Publishing, featured in the article "Today's Masterpieces for Tea Masters"
2014 Solo exhibition at Gallery Kawatoku, Parc Avenue, Kyoto lacquerware lectures at Omotesenke Chiba Prefecture Youth Division Soukai and Omotesenke Yamaguchi Prefecture Youth Division Soukai, article on Rikyu's Aesthetics: Shinuri Nakanatsume published by Shogakukan in March issue of Waraku
Published by Tankosha Publishing, Kyoto Tea Ceremony Utensil Artist Directory, Photos and Articles
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Box: Wooden box