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White glaze abacus bead shaped water finger Yu Okada

White glaze abacus bead shaped water finger Yu Okada

Regular price ¥330,000
Regular price Sale price ¥330,000
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Width: 23.4cm Height: 16.2cm

"White glazed abacus bead-shaped water jar" by Masaru Okada - "White abacus" crystallizes abstraction and functionality

Okada Masaru's White Glazed Abacus Bead-Shaped Water Jar is a beautiful fusion of a soft silhouette reminiscent of the curves of a series of abacus beads, and the tranquility created by the pure white glaze. The base, with its narrowed hem and highlighted with black paint, gently supports the white porcelain vessel, creating an atmosphere of both tension and serenity in the tea room. Below, we will introduce the charm of this piece from five perspectives: history, technique, design, spirituality, and use at the tea ceremony.


1. Historical Background - The Genealogy of "Abacus-jugata" and the Significance of Mizujar

The Roots of the Abacus Bead Shape <br data-start="310" data-end="313">The abacus (abacus) was brought to Japan from China during the Muromachi period, and from the Edo period onwards, its "bead" shape was applied to tea ceremony and incense ceremony utensils. The rhythm created by the contrast between roundness and edges suggests the "order" and "infinity" of a tool that governs numbers, and resonates with the abstract view of the universe at the tea ceremony.

Symbolism as a water jar <br data-start="457" data-end="460">In the tea ceremony, the water jar is a tool that symbolizes "purity" and "moderation ." With a small opening and a bulging body, its abacus-like shape visually emphasizes the "calmness of the water" and plays a role in creating a central center of gravity for the entire arrangement.


2. Techniques and materials: the dichotomy between white glaze and black finish

This is a masterpiece that Okada Masaru poured his passion into every detail, from the choice of materials to the finishing. While ensuring translucency, the design is thick enough to withstand the temperature changes of the tea water, achieving both practicality and beauty. For the glaze, a very small amount of zinc is added to the silica-based feldspar glaze and it is fired with a reducing flame to achieve a semi-gloss texture that is not too matte. This semi-gloss, which softly reflects the changes in light, delicately changes its appearance depending on the angle from which it is viewed, creating a quiet depth. Okada Masaru's unique ingenuity is also put into the treatment of the foot. The bottom of the rim is left unglazed, with black cosmetic clay applied and then deliberately rubbed off, creating a deep color reminiscent of black lacquer. This tightens the overall look and also alludes to the "grid" of abacus beads, functioning as a tranquil accent. Furthermore, the lid knob is a small octagonal knob carved out to achieve an exquisite size that fits naturally on the fingertips. The clear tone that is produced when the teacup is opened and closed is carefully polished to a mirror finish on the inside of the handle, creating a beautiful aftertaste that does not spoil the silence of the tea ceremony. In this way, each process of the clay, glazing, foot treatment, and lid picking are precisely coordinated, resulting in a piece of tea that is the culmination of Okada Masaru's aesthetic eye and craftsmanship. Just by gently picking it up, you can feel his deep understanding of the materials and his respect for the tea ceremony, making this a truly exquisite piece.


3. Design: Geometric shapes of overlapping cones and shadows of white porcelain

Bicone form <br data-start="1001" data-end="1004">The upper part of the body juts outward and tapers gently below the center, creating an abstract image of a succession of abacus beads. The curves that deflect the eye bring a sense of dynamic balance to the tranquility of the tea ceremony.

Expressions of the white glaze <br data-start="1107" data-end="1110">Although it appears pristine at first glance, upon closer inspection extremely fine crazing can be seen, along with a warm creamy white color caused by the reduction of the flame. It is brilliant in the way it conveys Japanese beauty, which celebrates shadow, with a minimum of information.


4. Spirituality - The transition between "calculation" and "emptiness"

While the abacus symbolizes the "knowledge" of manipulating numbers, the white color suggests the Zen-like "emptiness." In this work, Okada Masaru presents the paradoxical message of "innocence as the result of thorough calculation." The viewer can imagine the artist's trial and error hidden behind the perfectly controlled curved surface, and at the same time project their own heart into the blank space of the white porcelain. This deeply resonates with the fundamental ideal of the tea ceremony, which is to "align the hearts of the host and the guest."


summary

The White Glazed Abacus Bead-Shaped Water Jar is a masterpiece of modern tea ceremony utensils that combines abstract beauty, functional beauty, and spiritual beauty . This "white" that intersects mathematical design and Zen white space will have a strong presence not only in tea rooms, but also in the lobbies of modern architecture and gallery spaces that aim for minimalist art.

— Perfectly designed white space is what holds the most freedom in the universe.
Okada Masaru's philosophy comes across quietly but with a clear resonance.

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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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