Incense holder, painted chrysanthemum design by Takahashi Dohachi

Width: 7.3cm Height: 4.4cm

This incense holder, with its pure contrast of white and green, is a three-dimensional chrysanthemum flower. Its elegant form is imbued with the refined color painting techniques unique to the ninth generation Takahashi Michihachi, and the elegance of Kyoto ware. Below, we will introduce its appeal and design background in detail from five perspectives.

1. Beauty of form - Elegant curves that resemble petals

The overall shape is a shallowly bulging circle, with radiating chrysanthemum petals carved in relief at the top. Each petal is meticulously arranged, and the yellow color in the center adds a warmth to the heart of the flower. While maintaining its functionality as an incense holder, the boundary between the upper lid and lower body blends naturally into the curves of the petals, creating a sense of unity as if a single flower had become the container itself. Although it fits in the palm of your hand, it exudes the beauty of a complete form.

2. Glaze - A tranquil glow created by the contrast of white and green

The glaze is a beautiful harmony of pure white petals and deep green leaves. The white glaze on top is slightly translucent, highlighting the shadows of the petals when exposed to soft light. Meanwhile, the green glaze on the bottom is thicker, with a moist luster that evokes the strength of the flower stems and leaves. At the boundary where the white and green blend naturally, a beautiful blur like dewdrops is created, and the coincidental scenery created by the firing process quietly decorates the vessel.

3. Design - The symbol of eternity and purity that resides in the chrysanthemum

Since ancient times, the chrysanthemum has been revered as a symbol of longevity, immortality, and nobility. In the tea ceremony in particular, it is not only an autumn flower, but a symbol of purity throughout the seasons. The design of this piece succinctly expresses this symbolism through the symmetry of the petals and the harmony of color. The composition, which makes use of white space, does not lean toward ornateness, but rather emphasizes tranquility and purity.

4. Technique: Fusion of three-dimensional sculpture and color painting

The chrysanthemum relief is intricately carved during the molding stage, and is softened by the thickness of the glaze after firing. The overlapping of the white and green glazes requires careful temperature control, and a yellow overglaze is then added to the center before the piece is re-fired at a lower temperature. Even after going through a firing process that involves multiple temperature changes, there is no distortion in the shape or cloudiness of the glaze, a testament to the ninth generation's solid kiln master skills.

5. Historical and Cultural Background - The Aesthetic Sense of Chrysanthemums and the Tea Ceremony

The chrysanthemum was introduced from Tang China during the Nara period, and from the Heian period onwards it has been beloved in imperial court culture as an auspicious motif symbolizing the Double Ninth Festival. Tea masters from the Muromachi to Momoyama periods prized the chrysanthemum's nobility and seasonal charm, and favored its use on tea utensils and incense holders. Takahashi Dohachi IX, the ninth generation, builds on this classical design while showcasing a new "form of purity" through his modern sense of form and color scheme.