Ivory Lotus | Handcrafted Ru Ware Ceramic Tea Tool Set
Ivory Lotus brings the traditional Six Gentlemen of Tea (茶道六君子) into a refined contemporary setting, pairing a warm ivory-toned modern Ru ware (汝窯) ceramic holder with five coordinated utensils used throughout Gongfu tea preparation.
The ceramic holder is finished in a softly muted 米黃汝窯 palette, giving the surface a warm ivory character rather than the brighter white associated with many modern ceramics. Its gently waisted silhouette provides a stable resting place for the tools while allowing the glaze and decoration to remain the visual focus of the set.
Across the body, the traditional scrolling lotus motif (纏枝蓮) unfolds in layered cobalt blue. Blossoms, curling leaves and continuous vines move around the ceramic in an uninterrupted composition, a pattern historically associated with continuity, abundance and enduring good fortune. Narrow ornamental borders around the rim and base give the floral design a more structured finish while preserving the restrained character of the Ru ware body.
One of the distinctive qualities associated with Ru ware is its relationship with crazing, or kai pian (開片). Fine networks of lines may gradually become more visible across the glazed surface through use, allowing the holder to develop an evolving surface character unique to the individual piece. These natural changes are appreciated as part of the visual language of Ru ware rather than treated as imperfections.
Traditionally known together as the Six Gentlemen of Tea, the set consists of the ceramic Tea Tool Holder (茶筒) and five specialised utensils, each supporting a different part of the tea ritual.
The Teacup Tongs (茶夾) are used to lift or reposition hot teacups without touching the drinking rim directly, particularly useful when rinsing or preparing cups for guests. The Tea Pick (茶針) helps clear a blocked teapot spout and can also assist with gently loosening compressed tea. The Tea Scoop (茶則) is used to measure, present and transfer dry tea leaves neatly into a teapot or gaiwan.
The Teacup Fork (杯叉) provides another precise way to lift or reposition smaller teacups during rinsing and service, while the Tea Brush (養壺筆) is traditionally used to brush away loose tea residue and to distribute tea liquor across the exterior of a teapot during use. Together, the five tools and ceramic holder create a compact, organised system for the small gestures that shape a considered Gongfu tea session.
When not in use, all five utensils rest neatly inside the ceramic holder, allowing the set to remain integrated into the tea-table presentation rather than being stored away between each step of brewing.
Two versions are available. The Ebony Edition pairs the ivory Ru ware holder with dark ebony-toned tea tools, creating a warm and traditional contrast between wood, metal and blue-and-white ceramic. The Alloy Edition uses coordinated alloy tools instead, giving the collection a cleaner metallic character and a more contemporary visual balance.
Ivory Lotus is designed for tea drinkers who appreciate not only the tea itself, but also the tools, gestures and traditions that surround its preparation. By bringing together modern Ru ware, scrolling-lotus ornament and the traditional Six Gentlemen of Tea, the set offers both practical function and an introduction to an enduring part of Chinese tea culture.
• Origin: Made in Dehua
• Product:
1 × Ru Ware Ceramic Tea Tool Holder
1 × Teacup Tongs
1 × Tea Pick
1 × Tea Scoop
1 × Teacup Fork
1 × Tea Brush
Handcrafted in Dehua with traditional ceramic-making methods, each with a unique design and texture.
Times
Orders take 2-3 business days to process after placing the order before shipping out.
Standard Shipping Times
• North America
United States (Mainland): 5 - 12 days
Alaska, Hawaii, and other US regions: 10 - 20 days
Canada: 5 - 14 days
Mexico: 10 - 17 days
• Europe: 5 - 12 days
• Australia/New Zealand: 6 - 14 days
• Asia
Southeast Asia: 5 - 8 days
Other Regions: 5 - 14 days
• Latin America: 10 - 20 days
• Other Countries: 10- 20 days
Express Shipping Times: 4 - 8 days
Available for Selected Products in the Following Countries:
• United States(Mainland)
• United Kingdom
• France
• Germany
• Italy
• Austria
• Spain
• Netherlands
Priority Shipping Times: 3 - 5 days
Available for Selected Products in the Following Countries:
• United States(Mainland)
• Canada
• United Kingdom
• France
• Germany
• Italy
• Austria
• Spain
• Portugal
• Netherlands
• Australia
• New Zealand
• United Arab Emirates
• Saudi Arabia
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A Legacy Of Porcelain
Dehua: Over 3,700 Years Of Ceramic Tradition
For more than 3,700 years, ceramics have shaped the cultural identity of Dehua in Fujian, China. Archaeological discoveries show that primitive celadon was already being produced in the region during the Xia and Shang periods, placing Dehua among the important early centres of Chinese ceramic culture.
During the Song and Yuan dynasties, Dehua porcelain became an important export along the Maritime Silk Road. By the Ming dynasty, its exceptionally refined white porcelain had achieved international recognition, later becoming known in Europe as Blanc de Chine, or “White from China”.
Yet Dehua’s ceramic tradition extends far beyond white porcelain. Across centuries, its artisans have produced celadon, blue-and-white porcelain, coloured glazes, sculptural works and richly decorated vessels. Today, this long heritage continues through both traditional craftsmanship and contemporary ceramic design.
From Earth To Form
Preparing The Porcelain Clay
The making of Dehua porcelain begins with carefully prepared clay. The raw material is refined, mixed and rested until its moisture, purity and consistency are suitable for forming. The stability created at this stage influences every process that follows, from shaping and trimming to decoration, glazing and firing.
For moulded works, the clay may be prepared as liquid slip and poured into plaster moulds. A fine layer gradually forms against the inner surface, creating an even porcelain body that can later be removed, refined and assembled by hand.
Careful preparation gives the porcelain body the consistency and strength required for the craftsmanship that follows.
Shaped By Hand
Form Begins With Balance
Depending on the design, Dehua porcelain may be thrown on the wheel, shaped by hand or formed using moulds. For teaware, wheel throwing establishes the vessel’s volume, curve and proportion through a series of small, controlled movements.
The artisan must understand how the clay responds while it remains soft and workable. Changes in pressure, speed or hand position can alter the wall thickness, symmetry and balance of the finished form.
What appears effortless on the wheel is supported by years of experience. The aim is to create a body that feels refined and light while retaining the strength required for the stages that follow.
Refined By Touch
Precision In Every Curve
Once the porcelain body has partially dried, it is carefully trimmed to refine its profile, thickness and foot. Excess material is removed gradually until the vessel reaches the intended balance between lightness, strength and proportion.
This is a process measured through both sight and touch. Removing too much clay can weaken the body, while leaving too much can make the finished piece feel heavy.
For teaware, these subtle adjustments also influence how the vessel sits, pours and feels in the hand. Precision at this stage creates the quiet refinement visible in the finished form.
Detail By Hand
Where Character Takes Shape
Once the form has been refined, decoration gives each piece its individual character. Depending on the design, artisans may carve, incise, model, paint or apply decorative details directly to the porcelain body.
Dehua craftsmanship ranges from intricate relief and sculptural work to hand-painted motifs, underglaze decoration and finely worked surface details. Each technique requires control, as every line and texture must remain clear through glazing and firing.
Whether restrained or richly ornamented, these details transform the porcelain from a functional form into a distinctive finished piece.
The Art Of Glaze
Colour, Depth And Surface
Glaze plays a defining role in the final character of Dehua porcelain. Applied before firing, it influences colour, translucency, texture and the way light moves across the finished surface.
Different pieces call for different expressions, from clear and softly luminous glazes to celadon tones, richer coloured finishes and surfaces designed to complement painted or gilded decoration. The thickness and evenness of the glaze must be carefully controlled so that it enhances rather than obscures the underlying form.
During firing, glaze and porcelain body fuse together, revealing a surface that may be quiet and restrained or rich with colour and depth.
Transformed By Fire
Where Fire Completes The Form
Firing is the decisive transformation in porcelain making. Inside the kiln, intense heat vitrifies the porcelain body and fuses it with the glaze, revealing the final colour, texture, density and character of the piece.
Temperature, kiln atmosphere, placement and timing can all influence the result. Painted decoration develops its final tone, glazes reveal their depth and surface, and the porcelain body gains the strength and resonance associated with high-fired ceramics.
Even after every earlier stage has been completed with precision, the finished result is only fully revealed once the kiln has cooled. Dehua’s long history of kiln firing remains one of the foundations of its ceramic tradition.
Revealed At Last
From Clay To Porcelain
Only after firing and cooling does the complete character of the piece emerge. Form, glaze, colour and decoration come together, revealing the result of every decision made throughout the process.
Dehua porcelain can take many expressions, from the luminous restraint of Blanc de Chine to blue-and-white painting, celadon and coloured glazes, gilded decoration and contemporary designs. What connects them is the same foundation of carefully prepared material, skilled craftsmanship and generations of porcelain-making knowledge. Dehua’s own historical record reflects this diversity, from early celadon and Song-Yuan qingbai wares to Ming white porcelain and the flourishing of blue-and-white and polychrome porcelain in later periods.
For teaware, refinement must also remain functional. A well-made vessel should feel balanced in the hand, comfortable in use and harmonious on the tea table.
What began as raw clay has become porcelain, shaped by human touch, transformed by fire and given its final character through craft.
