– Created by Kobayashi Masami, contemporary Japanese ceramic artist working in sculptural, expressive forms – Deep aubergine glaze with carved leaf motifs and triangular pierced windows; gilt bronze opening – H 18 cm, W 14 cm – commanding sculptural presence for ikebana or modern floral display Summary: This is a sculptural flower vase by contemporary Japanese ceramist Kobayashi Masami, titled 'Murasaki no Utsuwa' (Purple Vessel). The work exemplifies the artist's approach to functional ceramics as expressive sculpture—deeply coloured, texturally rich, and imbued with quiet drama. The vessel's rounded, organic form is enriched by a lustrous aubergine glaze, hand-carved leaf or floral motifs, and two triangular cutout windows that create dynamic negative space. The small neck opens to a gilt bronze mouth, adding restrained elegance whilst providing a narrow aperture for minimalist ikebana arrangements. The piece is accompanied by the artist's signed wooden box, affirming its status as a considered, individual work rather than production pottery. For collectors of contemporary Japanese ceramics, this represents the intersection of traditional craft lineage and modern sculptural sensibility—a vessel that transforms floral display into an act of curation. Some ceramic objects exist purely to be looked at. Others are designed to hold flowers. The finest examples occupy both worlds simultaneously, and this vase by Kobayashi Masami achieves precisely that balance. It is sculpture and vessel in equal measure—a form you could place on a plinth empty or arrange with a single branch, and it would feel entirely appropriate in either state. Kobayashi Masami is a contemporary Japanese ceramic artist whose work draws on traditional forms whilst embracing a distinctly modern aesthetic. His pieces often feature bold glazes, sculptural silhouettes, and a willingness to push functional objects toward the realm of art. This vase, titled 'Murasaki no Utsuwa'—literally 'Purple Vessel'—demonstrates that philosophy clearly. It is not a utilitarian container dressed up with decoration; it is a statement piece that happens to hold water and stems. The form itself is striking: a rounded, slightly flattened ovoid body rising to a narrow neck crowned with a gilt bronze opening. The proportions feel organic, almost seed-like, as though the vessel grew rather than was thrown. The body stands approximately 18 cm high and 14 cm wide—substantial enough to command attention yet intimate enough to work on a mantelpiece, dining table, or bedside surface. The base is subtly flattened, allowing the piece to rest securely without requiring a separate stand. The glaze is where Kobayashi's artistry truly reveals itself. A deep aubergine purple envelops the entire surface, rich and saturated, with a subtle lustre that shifts depending on the light. This is not a flat, opaque purple; it has depth, almost a translucency in places where the glaze pools slightly thicker. The colour evokes traditional Japanese aesthetics—the deep purples of court robes, the shadows in twilight, the tones found in certain Bizen or Shigaraki wares—but it is handled with a contemporary confidence that feels entirely modern. Carved into the surface are delicate leaf or floral motifs, rendered in low relief. These appear on multiple sides of the vessel, their lines organic and flowing, as though drawn freehand rather than stencilled. The carving is subtle; it does not dominate the form but enriches it, adding texture and visual interest without overwhelming the glaze's beauty. This restraint is characteristic of Japanese craft philosophy, where less often achieves more. The leaf motifs feel particularly appropriate for a flower vase, establishing a quiet conversation between the vessel and whatever stems it holds. The two triangular cutout windows are perhaps the most unexpected and compelling detail. Positioned on opposite sides of the body, these geometric apertures contrast sharply with the vessel's soft, rounded form. They introduce a modernist sensibility, breaking up the silhouette and inviting the viewer to see through the vessel into the space beyond. The interplay between the organic body and these sharp, angular voids creates tension—a push-pull that keeps the eye moving and transforms the vase from a closed form into something more open and architectonic. These windows also serve a practical purpose in floral arrangement. They allow stems or branches to be positioned at unexpected angles, emerging from the side rather than simply rising from the top. This opens up possibilities for more dynamic ikebana-style compositions, where negative space and asymmetry are as important as the flowers themselves. A single pussy willow branch threaded through one window, or a cluster of dried grasses emerging at an angle, would exploit the form's sculptural potential beautifully. At the top, the small neck opens to a gilt bronze mouth. The metal gleams softly against the matte-lustre purple glaze, a warm counterpoint to the cool depth of the ceramic. This detail feels deliberate, almost ceremonial, elevating the piece beyond rustic earthenware into something more refined. The gilt is not garish; it catches the light quietly, adding a note of luxury without ostentation. The narrow opening—approximately 3-4 cm in diameter—naturally encourages restrained arrangements: a single branch, three stems, perhaps a sculptural dried seed pod. This is not a vase for abundant bouquets but for considered, minimalist compositions. The piece is accompanied by a signed wooden box, inscribed by Kobayashi Masami himself. In Japanese ceramic tradition, the tomobako—artist-signed box—is not merely packaging; it is authentication, provenance, and an extension of the work itself. The presence of this box indicates that the artist regarded this piece as a finished, resolved work worthy of his signature. It suggests this is not a production item but a unique or specially made object, created with intention and care. For collectors, this vase offers several layers of appeal. Firstly, it is a functional object that can be used—fill it with water, arrange a single camellia branch or a stem of dried lunaria, and the vase comes alive, the flowers in dialogue with the form. Secondly, it is a sculptural work that stands alone as a display piece, compelling even when empty. The triangular windows, the gilt mouth, the carved leaf motifs—all of these details reward close looking. Thirdly, it represents contemporary Japanese ceramics at a moment when the boundaries between craft, function, and fine art are increasingly fluid. In a modern interior, this piece thrives in spaces that value artistry and restraint. Place it on a low sideboard where its silhouette can be appreciated in profile, on a marble plinth where the purple glaze contrasts with pale stone, or on a dining table as a sculptural centrepiece. The deep aubergine works beautifully against white walls, natural oak, blackened steel, concrete, or pale plaster. It complements both minimalist interiors—where it becomes a focal point—and more layered, eclectic spaces, where it holds its own among other collected objects. When arranging flowers, think sparingly. A single branch of quince blossom threaded through one of the triangular windows. Three stems of allium emerging at different heights from the gilt mouth. A cluster of dried pampas grass, their feathery plumes echoing the carved leaf motifs. This is a vase that rewards restraint and encourages you to see stems and negative space as part of the same composition. It asks you to slow down, to consider each placement, to treat flower arranging as an act of sculpture rather than decoration. This is not a piece for those seeking conventional ikebana containers or safe, symmetrical vases. It is for collectors who appreciate when tradition is filtered through a contemporary lens, when function meets sculpture, and when an artist's hand is unmistakably present. Kobayashi Masami has created a vessel that honours centuries of Japanese ceramic craft whilst feeling entirely of the present moment. It asks to be looked at closely, used thoughtfully, and appreciated for what it is: a quiet, confident work of art that happens to hold flowers. 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. 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