An ovoid, ‘bronze’ glazed porcelain Ikebana vase. The colour, finish and weight give this high quality porcelain stoneware vase a curious heft and presence. Extensive research is leading us closer and closer to the kiln and perhaps, in time, the maker.
Our closest verifiable identification is Kyoto, Kiyomizu-yaki, (Kiyomizu Ware), Kobayashi Pottery Works, Shōmei Kiln (正明窯) [some attributions give Masaaki Kobayashi but we can’t confirm yet], late Shōwa period (70s, 80s)
The glaze, in dark grey/green with grey speckling, has a lovely satin finish, closely imitating aged bronze. The whole has great visual weight and stillness. Incised glyphs deepen the play of light and shade across the surface. Signed, unclear, but we are pulling together a catalogue of similar marks and it’s looking more an more like the work of one kiln, one family, but perhaps several generations of potters. If we’re right, this is the work of the revered Shomei Kiln, which specialised in Ikebono - vases for Ikenbana flower arranging.
This vase was brought back from Japan by a Melbourne socialite in the 1970s or 80s, after she’d visited for lessons with an Ikebana master. So. Damn. Cool.
MEASURES
27.5cm H × 15cm W x 9cm D
CONDITION
Very good, some very minor glaze flaws appear as spots where glaze is indented and showing underlying porcelain. A couple of very minor scuffs. I’m a stickler for condition. This vase’s condition is very good.
An ovoid, ‘bronze’ glazed porcelain Ikebana vase. The colour, finish and weight give this high quality porcelain stoneware vase a curious heft and presence. Extensive research is leading us closer and closer to the kiln and perhaps, in time, the maker.
Our closest verifiable identification is Kyoto, Kiyomizu-yaki, (Kiyomizu Ware), Kobayashi Pottery Works, Shōmei Kiln (正明窯) [some attributions give Masaaki Kobayashi but we can’t confirm yet], late Shōwa period (70s, 80s)
The glaze, in dark grey/green with grey speckling, has a lovely satin finish, closely imitating aged bronze. The whole has great visual weight and stillness. Incised glyphs deepen the play of light and shade across the surface. Signed, unclear, but we are pulling together a catalogue of similar marks and it’s looking more an more like the work of one kiln, one family, but perhaps several generations of potters. If we’re right, this is the work of the revered Shomei Kiln, which specialised in Ikebono - vases for Ikenbana flower arranging.
This vase was brought back from Japan by a Melbourne socialite in the 1970s or 80s, after she’d visited for lessons with an Ikebana master. So. Damn. Cool.
MEASURES
27.5cm H × 15cm W x 9cm D
CONDITION
Very good, some very minor glaze flaws appear as spots where glaze is indented and showing underlying porcelain. A couple of very minor scuffs. I’m a stickler for condition. This vase’s condition is very good.
Image 1 of 10
Image 2 of 10
Image 3 of 10
Image 4 of 10
Image 5 of 10
Image 6 of 10
Image 7 of 10
Image 8 of 10
Image 9 of 10
Image 10 of 10
