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White glaze streamlined incense burner Yu Okada

White glaze streamlined incense burner Yu Okada

Regular price $1,374.00
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Width: 15.0cm Height: 14.4cm

White Glazed Incense Burner with Flowing Line Design by Okada Masaru - "The white porcelain reflects the moon's shadows, and a subtle fragrance stirs the breeze."


Introduction: The "fragrant space" created by incense burners

In the tea ceremony, the incense of a single stick announcing the arrival of a guest and the lingering fragrance that wafts through the room after the ceremony quietly announce the passage of time. This incense burner was conceived as a tool to support such an incense room. The tranquil texture of the white glaze and the flowing lines that evoke the wind resonate with each other, and simply placing it in the room creates a clear and refreshing atmosphere.


Characteristics of the design: A three-legged form that embraces the wind

Attractions Commentary
The dynamics of the tripod The three gently curved legs create a light, floating feeling. When placed in a tokonoma alcove or on an incense stand, the shadow falls inside, creating the visual effect of an incense cloud rising from beneath the vessel.
A flash of flowing lines The ridges rising from the body to the rim are reminiscent of the moment when the wind blows a white cloth. When you change the viewing angle, the shadows shift, echoing the swaying of the incense smoke.
Silver-colored picking A long, thin silver knob in the center of the lid adds a point of light to the serenity of the white porcelain, elegantly guiding the gesture of picking it up.

A gentle view of white glaze

The translucent white glaze, like pale snow, changes its appearance subtly from milky white to ivory depending on the color of the light. The thick ridges of the glaze have a subtle luster, while the thinner surfaces have a silky matte finish, revealing multiple textures within the same white.


Arrangements at incense and tea ceremonies

Purpose Interest A little twist
Early Summer Tea Ceremony A refreshing stick of mint or agarwood. The cool feeling of the white glaze brings in the fresh green breeze. Using a slightly tall incense stand so that the shadow of the tripod falls on the tatami mat will accentuate the three-dimensional effect.
Night Stories The rich aloeswood is burned, the silver handle reflects the candlelight, and the white porcelain floating in the darkness deepens the mysterious feeling. The lights are dimmed to emphasize the shadows of the flowing lines, creating a “gap between light and darkness.”
Kodo lessons When combined with a white incense burner and incense tray, the pure appearance brings out the fine fragrance of the incense wood. If you light the incense charcoal at a low temperature so that the fragrance slowly rises, the white glaze will not sweat and will maintain its beauty.

Masaru Okada's creative intent

Okada Masaru, who studied at Gojozaka in Kiyomizu, Kyoto and speaks to nature at the Sumiyama kiln in Uji, has consistently upheld the concept of "as if the wind were blowing leisurely inside and outside the vessel." In this incense burner, the openness of the tripod visualizes the "path of the wind," the flowing lines trace the "trajectory of the wind," and the white glaze and silver color express "tranquility under the moon." Although the fragrance itself cannot be seen, the depiction of "wind and moon" with the shape and color of the vessel allows the user to enjoy the lingering aroma of the incense wood being burned more deeply.


Conclusion

The serenity of the white porcelain, the light of the silver-finished finish, and the flowing lines wrapped in the wind - the White Glazed Streamline Design Incense Burner is a tool that makes the flow of time transparent as the burning incense flows through your body and mind. Every time you pick it up, the incense smoke gently drifts along the ridges of the burner, and the moonlit night breeze floats down on the tea ceremony. Please use it for a long time and enjoy the quiet story that this incense burner nurtures along with the scent of each season.

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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