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White glaze streamline rectangular incense burner Yu Okada

White glaze streamline rectangular incense burner Yu Okada

Regular price $1,409.00
Regular price Sale price $1,409.00
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Width: 24.0cm x 17.0cm Height: 9.6cm

White glazed rectangular incense burner with flowing lines (Hakuyu Ryusen Chohokei Koro) by Okada Masaru - "A vessel that evokes the gentle swaying of the moonlit water surface, releasing incense."

The incense burner creates a fragrant atmosphere

In tea ceremonies and the art of incense, incense is burned to set the mood in a room and purify it before welcoming guests. This rectangular incense burner quietly supports such time and space. The pure texture of the white glaze softly reflects light, and the streamlined edges guide the incense smoke as if to indicate a path for the wind.

The tranquility of white glaze

Unlike white porcelain, the white glaze has a soft milky white hue that changes color depending on the light, from ivory to pale snow. A very faint beige outline appears around the edge of the glaze, giving the entire piece a gentle warmth.

Matching at tea and incense ceremonies

Purpose Interest Key points of the production
Early autumn evening A stick of sweet Japanese incense such as sandalwood or clove. The rectangular shape of the vessel evokes the horizon at sunset. When the lights in the seating area are kept low, the shadows from the edges extend onto the tatami mat, creating the long autumn shadows.
Night Stories The sound of aloeswood can be heard faintly, and the silver-colored handles reflect the candle flame. The incense stand is made of black lacquer and deep rosewood, highlighting the contrast between the serenity and darkness of the white glaze.
Kodo practice session The three fragrances of Kyara, Roku and Managa are alternated in order, and you can enjoy watching the streamlined patterns overlap with the smoke trails. The incense burner and incense tray are all made of white porcelain, creating a unified "scenery of white."

History and design background

Japanese incense burners have evolved in a wide variety of forms, from Tang Dynasty celadon tripod incense burners to Momoyama period Raku incense containers and Edo period blue and white incense burners. While this piece is part of that lineage, it also transcends time by combining the simplicity of the white glaze - the "strength of plainness" reminiscent of Rikyu's wabi - with the modernism of flowing lines and the abstract forms of modern ceramics. The engraved lines and ridges capture the fog and wind of Uji's coal mines that Okada Masaru sees every day, creating a quiet resonance between the classic and the modern.

Message from the artist

Okada Masaru's production philosophy is "Let the wind blow gently inside and outside the vessel," and in this incense burner he visualized the movement of the wind through the "openness" of the tripod and the "flow" of the rectangle. The tranquility of the white glaze accentuates the fragrance of the incense, creating a refreshing breeze throughout the room every time it is burned.

Conclusion

The pale white of the white glaze, flowing lines, and the gentle rising of incense smoke - the white glazed rectangular incense burner adjusts the temperature of the space the moment it is placed, adding a clear, lingering impression to the "once-in-a-lifetime" experience of tea ceremony or incense ceremony. Please use it for a long time, along with seasonal fragrant woods and incense, and enjoy the taste of the white glaze, which deepens with time.

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
Studied pottery techniques for three years under Kozo Kawashima, a member of the Sodeisha Society
In 1987, he became independent and built a kiln in Sumiyama, Uji City.
Since 2018, he has been a judge at the Japan Traditional Crafts Kinki Exhibition.
2022 Japan Traditional Crafts Ceramics Division Exhibition, Judge

<Major selected works>
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: Northern Confectionery Tableware Exhibition (Excellent Award)
2002, Kyoto Ware and Kiyomizu Ware Exhibition (KBS Kyoto Broadcasting Award)
2003, Bonsai Pottery Exhibition (Encouragement Award)
2008, Japan Traditional Crafts Kinki Exhibition (Nikkei Shimbun 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 Ceramics Division 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 Craft Exhibition (Second Prize)
2022, Arita International Ceramics Exhibition (Grand Prize, Minister of Education, Culture, Sports, Science and Technology Award), etc.

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