One of the things that I really like about both old and modern yuteki-temmoku chawan is when the glaze terminates in a thick, gravity defying roll. The glaze roll is both visually pleasing and tactilely engaging adding a definitive characteristic to the area of the kodai. Illustrated is the kodai of a chawan by Takahashi Wasaburo who I have written about before. Combining his study with iron specialist and Ningen kokuho, Shimizu U'ichi and Shigaraki veteran Ueda Naokata, this chawan is glazed in a thick, dark, rich yuteki-temmoku and the roll of glaze meets up to the wet hi-iro that covers the foot except where the pot was stood on wads during the wood firing. The crisply cut foot fits the chawan well as does the mixture of fat glaze and the effects of the wood kiln to create a unique and well executed kodai that pays tribute to both of his former teachers and his inescapable reliance on tradition.