Yakushiji Temple East Pagoda Foundation Soil, Heartstone Incense Holder, Byani Rakusai

Width: 5.8cm x 6.3cm Height: 4.5cm

Yakushiji Temple East Pagoda Base Clay Incense Holder - By Rakusai Onishi

This incense holder, created by Onishi Rakusai, is made by blending the clay from the base of the central stone of the East Pagoda of Yakushiji Temple, a famous pagoda built in the Nara period, with the clay itself, and then layering ash and iron glazes to create a kiln-transformed effect. The word "central stone," which supports the central pillar of the East Pagoda, has traditionally meant "the central pillar of a temple = the center of prayer," and this piece also serves as a symbol of quiet prayer in the tea room. Below, we will introduce its appeal in detail from five perspectives.

1. Clay - Ancient soil that holds 1,300 years of prayer

The ancient clay collected from around the central stone of the East Pagoda of Yakushiji Temple has undergone recrystallization of iron and silica over the years, and even after firing, stardust-like quartz grains still remain. By combining it with rough Shigaraki clay, the clay is given a unique reddish-brown color and rough texture, giving the impression of the "earth of Yamato" the moment you pick it up.

2. Glaze and kiln changes - A moonlit scene floating on deep moss greenery

The body is covered in a composite glaze made primarily from straw ash with a small amount of iron added, and fired at a high temperature using reduction firing to create a three-layered landscape: 1) the entire piece is a deep moss-blue color, 2) the area near the rim is strongly reduced, creating a copper-colored border, and 3) milky-white to moon-white glaze pools appearing in the shape of droplets at the corners.These tranquil colors evoke the image of a temple at night, with moonlight filtering through the moss-covered foundation stones.

3. Sculptural Beauty - Squares and Soft Distortions Reflecting the Foundation

Yoho-zukuri (four-sided construction) : Based on the angular shape of the temple's foundation stones, the sides are slightly bulged to ensure a curved surface that fits comfortably in the palm of your hand.

The lid and body are machined together as a single unit : The joint is highly precise, and when turned lightly, it closes as if "sucking in air," providing airtightness.

Exposed base : The base is cut away without a foot, exposing the reddish-brown color of the old clay, creating a striking contrast with the glaze.

4. Functional beauty - Prayer tools that come to life in the tea ceremony

This piece is perfect for storing aromatic wood and incense during charcoal tea ceremonies, as well as for prayer and tranquility occasions such as moon-viewing ceremonies and Shuni-e ceremonies. The stability it feels in the hand and the subtle sound it makes when opening and closing the lid bring a pure tension to the tea room.

5. Cultural significance: A symbol of the heart that supports the Shinbashira

The central stone is the stone that supports the spiritual core of the temple. The act of crafting an incense holder from the ancient clay obtained from this stone is like holding a Buddhist lamp in the palm of your hand . When incense is lit, the smoke rises up the central pillar of the tower, creating a current of prayer, and guests will feel a timeless peace of mind.

The deep moss-colored glaze is permeated with moon-white kiln changes, and the reddish-brown clay conveys the heartbeat of the earth - Onishi Rakusai's "Yakushiji East Pagoda Foundation Clay Shinso Incense Container" is an elegant tool crystallized by a thousand years of prayer and the coincidence of flame. When placed at a tea ceremony, the sound of the sermons from the East Pagoda quietly fills the air along with the incense smoke, undoubtedly leading to a deeper reverence for this once-in-a-lifetime encounter.

This piece is made using 100% clay from the Yakushiji Temple grounds, with all impurities thoroughly removed, and is characterized by its clear beauty. The clay has aged over time and is homogeneous, and when fired it acquires a clear luster, and when fired it takes on a gentle color reminiscent of old roofing tiles. Its smooth texture and resistance to warping are also appealing. The story of the clay, which embodies 1,300 years of history, brings a sense of peace every time you hold it in your hands. This is a special piece that combines material, beauty, and spirituality.

A conversation with Rakusai Onishi