– Rounded vessel by Kobayashi Masami (b. 1952, Hokkaido), award-winning Kasama-yaki artist with international exhibition record – Dramatic colour transition from celadon green upper body through rust tones to dark earth base, delicate silver-white tree branch inlay across surface – Contemporary spherical form with narrow opening, approximately 9cm diameter, suitable for ikebana or sculptural display Summary: This bulbous vessel exemplifies the contemporary spirit of Kasama ware—a ceramic tradition that deliberately rejects rigid rules in favour of individual expression and technical experimentation. Created by Kobayashi Masami, an artist born in Hokkaido's harsh northern climate in 1952, the piece demonstrates his signature approach to surface decoration and glaze chemistry. The form is boldly spherical, flattened slightly at top and bottom, with a small opening that suggests both containment and restraint. The glaze work is where Kobayashi's mastery reveals itself: a seamless gradient begins with soft celadon green at the shoulder, warming through amber and rust tones across the body, finally deepening to rich earth browns at the base. Over this chromatic landscape, delicate tree branches rendered in silver-white slip sprawl across the surface—incised, inlaid, and burnished to create crisp linear definition that reads like calligraphy written in frost. Kobayashi's career spans four decades of consistent recognition, including the 2001 Grand Prize at the Batlló House Art Exhibition in Barcelona and multiple awards at regional Japanese ceramic exhibitions throughout the 1990s. This piece embodies his interest in seasonal transformation, natural forms, and the subtle beauty that emerges when craft precision meets poetic vision. Kasama ware, or Kasama-yaki, originated in the mid-Edo period (18th century) in Ibaraki Prefecture, initially producing utilitarian storage jars and daily-use vessels from local iron-rich clay. Unlike ancient kilns with centuries of codified tradition—Bizen, Shigaraki, Karatsu—Kasama developed without rigid stylistic constraints, allowing each generation of potters to explore freely. This openness to innovation became Kasama's defining characteristic; as the saying goes, "Kasama-yaki's special feature is that it has no special feature." By the 20th century, this flexibility attracted artists seeking freedom from traditional hierarchies, transforming Kasama into a hub for contemporary ceramic experimentation. Today, over 300 potters work in the region, creating everything from rustic tea bowls to sculptural installations, unified only by their shared rejection of aesthetic orthodoxy and commitment to individual voice. Kobayashi Masami arrived in Kasama after training in his native Hokkaido, where brutal winters and dramatic seasonal contrasts shape perception and temperament. That northern sensibility permeates his mature work—these pieces don't merely depict seasonal change; they embody transformation's essence. This vase demonstrates his refined technical approach: the form is hand-built or wheel-thrown then carefully shaped to achieve its organic roundness, the surface meticulously prepared to receive multiple glaze layers. The celadon-to-earth gradient requires precise understanding of how iron oxide behaves under reduction firing—too much oxygen and the greens turn muddy; too little and the earth tones lose warmth. Achieving this smooth transition without harsh boundaries or chemical incompatibility between adjacent glaze layers demands decades of kiln experience and intimate knowledge of material chemistry. The inlaid tree branches represent Kobayashi's signature decorative technique, related to the Korean mishima tradition but interpreted with distinctly Japanese sensibility. The artist incises branching patterns into leather-hard clay, then fills these grooves with contrasting white slip mixed with metallic compounds. After bisque firing, the surface is carefully scraped and refined so the inlay sits flush with surrounding glaze, creating a smooth surface where pattern and ground exist on the same plane. The branches aren't botanically precise renderings but gestural interpretations—suggesting winter trees stripped bare by northern winds, or lightning frozen mid-strike, or the delicate tracery of frost on glass. This restraint, this refusal to over-explain or over-decorate, aligns perfectly with Japanese aesthetic principles where suggestion holds more power than explicit statement. In a contemporary European interior, this vase functions as both sculpture and vessel. The colour palette—cool celadon, warm rust, deep earth, metallic silver—harmonises beautifully with Scandinavian minimalism, where natural materials and muted tones create calm, contemplative spaces. Position it on light oak shelving against white walls and it becomes a jewel-like focal point; place it on a concrete console in an industrial loft and its organic form provides crucial softening counterpoint. The narrow opening accommodates single dramatic stems or minimalist ikebana arrangements—a bare branch, dried grasses, one bold bloom—though the form holds sufficient visual interest to command attention empty. The matte surface finish serves aesthetic and practical purposes: it eliminates distracting reflections, allowing the eye to trace branch trajectories without interruption, while the tactile quality invites touch and intimate acquaintance rather than distant admiration. Condition is very good overall. The surface shows the natural variations inherent to reduction firing—subtle colour shifts, minor glaze pooling, areas where iron content creates small speckles or spots. These are integral to the firing process and contribute to the piece's unique character. The inlaid pattern remains crisp and clear throughout. Light handling marks consistent with display and careful use are present. No chips or cracks observed; the vessel is structurally sound. Minor surface variations in glaze thickness and colour intensity—particularly where the gradient transitions—are characteristic of hand-applied multi-layer glazing and should not be considered flaws but rather evidence of authentic craft process. The piece holds water and is suitable for both display and gentle use. Kobayashi Masami's work appears in private collections and galleries specialising in contemporary Japanese ceramics, particularly those focused on Kasama ware's experimental tradition. His international exhibition record—including the 1993 Japan-Germany artists' exhibition at the Prehistoric Museum in Bad König and the 2001 Barcelona Grand Prize—demonstrates that his work transcends cultural boundaries, speaking universal visual language about nature, beauty, and seasonal transformation. Collectors drawn to contemporary Japanese studio pottery, particularly pieces that balance technical excellence with poetic sensibility, will find this vase a compelling addition. If you seek objects that embody the meeting of northern austerity and Japanese refinement—where silver branches trace winter's memory across earth and sky—this vessel offers quiet but profound presence. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. 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