Iga Yohen Flower Vase with Ears by Hideki Yanashita

Width 14.0cm Height 26.0cm

The intention of the shape that resides in distortion

This work, "Iga Kiln-Transformed Eared Vase," adheres to the traditional format of Iga ware, yet the artist's clear design intent can be felt throughout. In particular, the distortions and carvings on the body are not merely coincidence or the result of handwork, but are the result of thorough consideration of the balance of the vessel's shape. The mouth is fitted with a rounded, bulging koujiguchi (a type of tangerine-shaped opening), and symbolic ears are attached to both sides. Similar forms can be found in old Iga ware, but this work is not a reproduction of those forms, but rather an interpretation and reconstruction from a modern perspective.

Kiln changes and firing control

Due to the way the flame hits the piece during firing and the fall of ash, different appearances appear on the front and back of the piece. The front has a strong fire color due to the high temperature firing, while the back has a slight green tint. Both are the result of carefully calculated positioning in the kiln and adjusting the firing conditions, and are not "the product of chance." These appearances can only be created by the ability to read the flame and accumulated firing experience.

The history of Iga ware and the position of this work

Iga ware is a type of pottery that made great strides as tea ware during the Azuchi-Momoyama period, and many masterpieces were created under the guidance of the military commander and tea master Furuta Oribe. It is characterized by highly artificial designs such as wavy cuts (yamado-te), lattice patterns, selvedge edges, indentations, green glaze (vidro), ash covering, and scorching. All of these have supported the aesthetic beauty of the tea ceremony as the "beauty of unconventional harmony."

This work clearly follows in that tradition, but it is not simply an imitation of an older work; it is the result of a search for the ideal form of Iga ware in the modern era. The shape, scenery, and balance of the vessel reference the typical forms of old Iga, but have a more sculptural power.

The function and visual effect of a vase

As a vessel for flowers, the curved body and bulging mouth are structural elements that bring out the movement of the flowers. The curved body guides the eye, and the contrast between the height and width of the vessel has the effect of giving a unique sense of movement and space to the arrangement of flowers. The way the view behind it changes as it catches the light also greatly changes the impression of the vessel depending on the installation environment, leaving ample room for it to respond to the user's design intentions.

Yanagishita Tokiki's creative philosophy

Yanagishita Tokiki is a contemporary ceramic artist based at his own Kanda Kiln in Iga, Mie Prefecture. While focusing primarily on Momoyama porcelain, including Yakishime, Raku, and Oribe, he closely examines the historical and expressive potential of each technique, elevating them into contemporary artistic expression. This work clearly demonstrates the reinterpretation of the ancient Iga vocabulary with a modern sensibility. Another defining feature of Yanagishita's work is that his vessels are not simply objects to be viewed, but rather "functional objects" that are fully realized only when filled with flowers and used. While incorporating traditional Iga ware design elements, the "Iga Kiln-Vase with Ears" does not simply borrow from them, but instead pursues a balance between use and viewing. The vessel itself is highly refined, and the control of the appearance through firing, the intention behind the design, and an understanding of the materials all come together to create a piece that quietly explores the possibilities of Iga ware in the present day.

Hideki Yanashita Profile
Ceramic artist 1967 –
Born in Tokyo, Yanagishita currently lives and works in Iga City, Mie Prefecture. Fascinated by pottery from the Momoyama period, he embarked on a career in ceramics. After training in Shigaraki , he built his own anagama kiln in Iga, Mie Prefecture, and opened the "Kanda Kiln." Under the tutelage of Sadamitsu Sugimoto, he delves deeply into the world of wabi-sabi from his own unique perspective, producing a diverse range of works, including Raku ware, Yakishime, Ido, and Oribe ware. An important theme in Yanagishita's creative endeavors is the pursuit of new heights , born from the incorporation of modern materials and unique approaches, while deeply studying the techniques and spirit of his predecessors. His works question essential beauty that transcends time and invite viewers into a deeper world of art.

Base of operations : Iga, Mie Prefecture

A conversation with Toki Yanagishita