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White Glazed Ridge Incense Burner by Okada Yu

White Glazed Ridge Incense Burner by Okada Yu

Regular price $1,146.00
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Width: 11.6cm Height: 11.7cm

"White Glazed Ridgeline Incense Burner" by Masaru Okada - A lotus flower shape embracing the wind, a white that reflects tranquility

Okada Masaru's "White Glazed Ridge Incense Burner" is an impressive piece with an outwardly curved opening reminiscent of a lotus flower and a teardrop-shaped silver handle. The body, which stands out lightly on its three legs, is divided into four petals by very faint ridges, quietly reflecting the fluctuations of the air created by the incense smoke. In the following five chapters, covering history, technique, design, spirituality, and incense seating use , we will delve deeper into the aesthetics of this piece.


1. Historical Background - Lotus and Incense Burner Symbolism

Lotus design : The lotus is a symbol of purity in Pure Land Buddhism, and has been widely used since ancient times as a decoration for the lids of Buddhist altars and incense burners. This piece, with its curved rim reminiscent of a flower opening its petals, sublimates that tradition into a modern, minimalist form.

Lineage of the tripod incense burner : The tripod seen in the bronze ware "Kanae" and Chinese incense burners has been revered in tea houses and incense-storing venues as a design that combines stability and auspiciousness. By shaping the tripod into a teardrop shape, Masaru Okada expresses both antique style and gentleness at the same time.


2. Techniques and materials: Pure white texture and silver glaze

The clay used in this piece is a unique blend by Masaru Okada, which is a semi-porcelain clay mixture with only 30% porcelain clay. This ratio of clay is intended to minimize distortion even when fired at high temperatures, while creating a fresh, taut feel on the curved surface.

In the process of carving the ridges, a plane is used to cut the vessel into four equal parts in one go, and the ridges are adjusted to an exquisite height that can be "sensed by touch rather than sight." This is designed to make the tactile sensation when picking up the vessel part of the appreciation experience.

The glaze is a semi-gloss white glaze made mainly of feldspar with a very small amount of titanium oxide, and then reduced firing is used to finish it off. This glaze softly scatters light, gently highlighting the shadows of the lotus flower mouth and further enhancing the modulation of the form.

The silver-colored teardrop-shaped knob is designed to be smooth to the touch and produce a cool metallic sound when opening and closing. Each of the above processes is a testament to Okada Masaru's attention to detail and outstanding technique that combines beauty and functionality.

3. Deciphering the design: Lotus rim, four-petal body, teardrop-shaped knob

Lotus flower mouth (curved mouth)
By opening the rim horizontally outward, the incense smoke is dispersed horizontally in 360 degrees. Visually, it evokes the image of "petals floating on the surface of water," spreading tranquil ripples throughout the incense chamber.

Four-petal body and ridges <br data-end="991" data-start="988">Very shallow ridges divide the body into four petals, creating a rhythm of light and shadow. This is a minimalist, abstract modern design that is reminiscent of the diamond-shaped Tang dynasty censer.

Teardrop-shaped Silver Pick <br data-end="1079" data-start="1076">The silver glaze, modeled after a single drop of dew, adds a point of cool brilliance to the white porcelain and symbolically demonstrates the contrast between the different materials of metal and clay.


4. Spirituality - "White Space" and "Infinity of Fragrance"

White is the Zen symbol of "nothingness," and incense is the formless "something." Masaru Okada has combined the two to embody the paradox of "holding something in a vessel of nothingness."

Over time, the white glaze picks up small amounts of oil from the user's hands and perfume, giving it a deeper luster.

Silver picking is repeatedly oxidized and polished to develop a patina that ages with time.
In this way, the vessel undergoes subtle changes each time the incense is burned, and grows into a being that exudes the **"scent of time**.


summary

The White Glazed Ridgeline Incense Burner is an incense burner that combines the purity of a lotus, the ancient style of a tripod, and the modernity of silver drops .

The curved rim and four-petal body create the illusion of incense smoke flowing, the white glaze spaces reflect the seasons and light, and the silver handle marks the passage of time.

Whether placed in a teahouse, modern architecture, or minimalist art space, it will sharpen people's sensibilities as a "quiet focal point." — The pure white is colored by fragrance and time.
This philosophy quietly intersects with the hearts of its users, weaving a deep, lingering impression.

Biography
Born in Kiyomizu-Gojo, Kyoto
After working as a trainee at the Kyoto Prefectural Pottery Training School Molding Department and the Kyoto Municipal Industrial Research Institute
Learned pottery techniques for three years under Mr. Kozo Kawashima, a member of the Sodeisha Society.
In 1987, he became independent and established a kiln in Sumiyama, Uji City.
Since 2018, he has been a judge for the Japan Traditional Crafts Kinki Exhibition.
2022 Japan Traditional Crafts Ceramics Division Exhibition, Judge

<Main winning entries>
Japanese Traditional Crafts Exhibition, Japanese Ceramic Art Exhibition
Kikuchi Biennale,
Contemporary Tea Ceremony Exhibition
Chozo Award Ceramic Art Exhibition, Ceramic Art Exhibition,
Mashiko Pottery Exhibition,
Itami International Craft Exhibition
Hagi Grand Prize Exhibition,
Kobe Biennale
Contemporary Ceramic Art Competition, etc.

<Major Awards>
1998: The Northern Confectionery Utensils Exhibition (Excellent Award)
2002, Kyoto Ware, Kiyomizu Ware Exhibition (KBS Kyoto Broadcasting Award)
2003, Bonsai Pottery Exhibition (Encouragement Award)
2008, Japan Traditional Crafts Kinki Exhibition (Nikkei Newspaper Award)
2009, Otaki Hokkai Live Pottery Exhibition (NHK Broadcasting Award)
2010, Otaki Hokkai Live Pottery Exhibition (Hokkaido Shimbun Award)
2012, Kyoto Art and Craft Biennale (Grand Prize)
2013, Japan Traditional Crafts Ceramic Art Exhibition (Japan Crafts Association Award)
Kobe Biennale Contemporary Ceramic Art Exhibition (Second Prize)
2014: Invited to exhibit at the Gwangju Biennale
2016, Osaka Crafts Exhibition (Arts and Crafts Grand Prize)
2019, Osaka Crafts Exhibition (Second Prize)
2022, Arita International Ceramic Exhibition (Grand Prize, Minister of Education, Culture, Sports, Science and Technology Award), etc.

Currently, he is a regular member of the Japan Crafts Association and a member of the Ceramic Art Association.
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