Incense holder by Rakusai Onishi

Width: 5.5cm x 2.8cm Height: 6.6cm

Shibi-kogo incense container (made by Onishi Rakusai)

--A tower in the palm of your hand, gently topped with a Tenpyo-era cypress bark roof--

1. Overview of the work

This incense container is in the shape of a shibi (ridged tail) and was created by Onishi Rakusai, the eighth generation master of Akahada ware in Nara. Shibi are decorative tiles that are generally placed on both ends of the ridges of temples and palaces, and their shape, resembling a leaping fish, has been considered auspicious for warding off fires. This piece condenses the original form into a charming size of about five centimeters in height, and by dividing the lid into two parts, top and bottom, it is also functional for storing fragrant wood or paste incense.

2. Shape and design characteristics

Particularly eye-catching is the kiln-changed purple glaze that runs across the entire back. A copper-based coloring agent is applied to a milky white base glaze, and the flickering of the reducing flame creates purple, blue, and green patterns. This is reminiscent of the kiln-changed Tenmoku (Yao Pian Tianmu) of the Song Dynasty Jun Kilns, and creates a unique texture woven by the coincidence of time and temperature.

3. Techniques and contemporary developments in Akahada ware

Clay : The clay used contains iron sand collected from around Mount Akahada, and by leaving fine iron powder in the base, a warm white color is brought out.

Forming : The clay slab is bent and placed against a template, creating the hard texture of roof tiles. The joints are left uneven, reminiscent of the joints of roof tiles, creating a visual rhythm.

Glazing : A highly transparent feldspar glaze is applied to the bottom, and a copper-red glaze is applied on top. An iron glaze is then brushed onto the rim to give it a subtle metallic luster.

Firing : Reduction firing at over 1200°C for approximately 14 hours. As the copper-red glaze loses oxygen, it undergoes a phase transition from reddish purple to blue-purple, revealing tiny crystals.

4. Historical and cultural background of the Shibi motif

Shibi originated in China during the Northern and Southern Dynasties period and was introduced to Japan along with Buddhism during the Asuka period. As seen in the Golden Hall of Horyuji Temple and the Great Buddha Hall of Todaiji Temple, they were valued as talismans for protecting the nation and preventing fires, and later spread to the design of imperial court architecture and shrines and temples. In the tea ceremony, incense containers that replicated architectural decorations became popular from the Momoyama period onwards, giving rise to famous pieces such as Sen no Rikyu's "Mitsuuroko Shibi Incense Container." This work pays homage to these ancient works by reinterpreting them using modern Akahada ware techniques, and can be said to be a reproduction of the architectural beauty of Nara on the desktop.

5. Arrangements at tea ceremonies

6. Onishi Rakusai's ceramics philosophy

Onishi Rakusai's motto is to "embodied the climate and prayers of Nara in his vessels," and he has sublimated local symbols such as deer, temple bells, and shio (decorative ornaments) into tea ceremony ceramics. In order to produce a unique kiln effect for each piece, he changes the position of each piece when loading it into the kiln, and works closely with the flame to create a dialogue with it. The shio incense container is one of the pinnacles of this exploration, and is a rare example that combines the scale of an architectural relic with the lovability of a piece that fits in the palm of your hand.

This masterpiece condenses the symbolism of Nara's temple architecture, a symbol of its more than 1,300 years of construction, into an incense holder measuring just a few centimeters. The mottled purple glaze shimmers against the tranquility of the milky white glaze, creating a color reminiscent of the dawn light shining on the temple buildings in the early morning. The incense smoke that rises the moment the lid is opened is reminiscent of purifying fire rising from the shio on the roof into the sky, bringing the spiritual energy of the ancient capital to the tea room. Please take your time to appreciate the beauty of the form and the exquisite kiln changes that are unique to Onishi Rakusai in the palm of your hand.

A conversation with Rakusai Onishi