White Glazed Ridge Water Jar by Okada Yu

Width: 17.0cm Height: 17.2cm

"White Glazed Ridgeline Water Jar" by Masaru Okada - A modern "white" that combines serenity and tension

Though entirely white, Okada Masaru's White Glazed Ridge Water Jar leaves a strong presence on the viewer - such is its quiet power. It fuses the functional beauty of a tea ceremony water jar with the aesthetic beauty of contemporary ceramics on a high level, standing as if speaking to the beauty of the blank spaces. Below, we will introduce the appeal of this work in detail from four perspectives : history, technique, design, and spirituality .

1. Historical Background and the Role of Mizujars

Mizusashi (water jar) is a vessel for storing "raw water" to be poured into the tea kettle, and symbolizes "purity" and "moderation" in the tea ceremony. Following on from the tradition of highly prized Chinese celadon water jars during the Muromachi period, Japanese porcelain water jars rose to prominence in the Momoyama period in response to Raku tea bowls. From the mid-Edo period onwards, diversification of designs and materials progressed, particularly in Kyoto ware, and the combination of a lid made of the same material as the vessel and a lacquered lid (a separate lid made of wood or lacquer) became popular.

While basing his work on this tradition, Okada Masaru has chosen the "plain canvas" of white glaze , and by intentionally creating ridges, he is attempting a minimalist yet sculptural challenge.

2. Techniques and Materials - Delicate Shadows Created by Pure White

2-1 Mixing the white glaze

The white glaze on this piece is made from a semi-porcelain base with a low feldspar content, and is mixed with a matte blend mainly made of silica, then reduced and fired at around 1,270°C, achieving both a snow-like matte texture and a slightly transparent warm cream color.It softly scatters light, so it does not stand out too much even in the faint light of a lantern at a tea ceremony, and blends naturally with the set of utensils.

2-2 Ridgeline carving

The curves running down the body are carved out in one go with a plane after molding, and the width is adjusted to maintain a sense of tension by calculating the difference in shrinkage from drying to bisque firing. These slender, dignified lines give the sphere a slight distortion, lending a dynamic rhythm to the static form, which is an outstanding feature.

3. Design - Moon-like sphere and flashing lines

Inclination towards spherical shapes <br data-end="900" data-start="897">The rounded body, reminiscent of the "moon jars" of the Joseon Dynasty, suggests a cosmic expanse within the limited space of a four-and-a-half-tatami tea room. By narrowing the top slightly, the surface of the water becomes less visible, psychologically emphasizing the "depth" of the raw water.

The effect of the line (ridge) <br data-end="1026" data-start="1023">The single carved line acts as a guidepost to guide the viewer's gaze, similar to the contrast between white space and brushstrokes in white porcelain. The line shifts slightly in accordance with the movement of opening and closing the lid, creating a once-in-a-lifetime expression that can be said to be an expression of Mr. Okada's idea of ​​"completing the piece by including the movement of tea ceremony."

4. Spirituality and modernity

Okada Masaru creates works using earth and fire that are reminiscent of minimalist art, combining "wabi" (a Japanese aesthetic sense) with "serene tension." Because the white glaze is pure, the oils from fingers and traces of water droplets are slightly visible, gently absorbing the time of the user. In contrast to the crazing of a tea bowl, which gradually deepens in appearance, this proposes a new axis of time that could be called "white space on which traces are engraved."

5. Examples of arrangements at tea ceremonies

While firmly rooted in the context of traditional tea ceremony utensils, the White Glazed Ridgeline Water Jar embodies the pared-down beauty that can only be expressed through contemporary ceramics. It will have the power to quietly dominate the space not only at tea ceremonies, but also in the gallery spaces of contemporary architecture or hotel lobbies.

The time of the tea master and the viewer seeps into each line and surface of the piece.
This vessel evokes such a future.

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