Noguchi Nen Iga Ash-covered Wall Vase – Contemporary Anagama-fired Kakehana with Natural Glaze Drama – Wall-hanging flower vessel by Noguchi Nen, contemporary Iga-yaki artist specialising in wood-fired ceramics with dramatic ash deposits – Rich ash-glaze surface (haikaburi) with natural variations in grey, ochre, and blue-green, approximately 14.5 cm height, coarse Iga clay body – Traditional kakehana form for alcove display, embodying the unpredictable beauty of multi-day anagama kiln firing Summary: This wall-hanging flower vessel represents the wild, uncontrolled beauty that defines Iga ware at its most expressive. Created by Noguchi Nen, a contemporary ceramic artist working within Iga's centuries-old tradition of anagama wood-firing, this kakehana exemplifies the aesthetic principle that true beauty emerges not from perfection but from the honest marks left by fire, ash, and time. The term haikaburi—literally "ash-covered"—refers to the thick deposits of wood ash that land on clay during days of continuous firing, melting into spontaneous glazes that range from milky grey to moss green to rust. This piece bears those marks proudly: its surface is a landscape of natural glaze flows, rough clay texture, and the subtle colour shifts that occur when flame and ash collaborate with the potter's hand. Measuring approximately 14.5 cm tall, the vessel is designed to hang on a wall or tokonoma post, holding a single branch or seasonal stem in the sparse, contemplative manner of Japanese flower arrangement. The signs of kiln firing—surface variations, ash deposits, and earthy texture—are not flaws but the very qualities that give Iga ware its character and distinguish it from refined, controlled ceramics. Iga ware's origins stretch back to the late 16th century, when kilns in Mie Prefecture began producing tea ceramics that embraced roughness, asymmetry, and the unpredictable effects of wood firing. Unlike the aristocratic elegance of Kyoto wares or the smooth perfection of porcelain, Iga ceramics celebrate the raw qualities of coarse local clay and the transformative power of flame. During the Momoyama period, tea master Furuta Oribe championed Iga wares for their bold, sculptural forms and the way ash and fire turned simple vessels into landscapes of texture and colour. The tradition declined during the Edo period but was revived in the 20th century by artists who rediscovered anagama firing—a multi-day process where wood ash continuously falls on clay, melting into natural glazes whose colours and patterns cannot be predetermined. Noguchi Nen works within this lineage, firing his pieces in traditional climbing kilns where temperature, flame direction, and ash deposits vary dramatically depending on where each piece sits in the kiln chamber. This kakehana is hand-formed from coarse Iga clay, its walls thick and substantial, the surface retaining the tactile memory of shaping. The body shows the characteristic Iga texture—rough, granular, with visible particles of feldspar and silica embedded in the clay—giving the piece a raw, earthy presence. The ash glaze, formed entirely through the natural process of firing, appears as irregular flows and pools across the surface, ranging from pale grey where ash landed lightly, to deep blue-green where it melted thickly, to exposed clay in areas the ash did not reach. These variations are not defects but the signature of authentic wood firing; no two anagama-fired pieces are identical, and the randomness of ash deposition is precisely what makes each work unique. The form itself is organic and asymmetrical, with a flattened back designed to hang flush against a wall or post. A small opening at the top allows for a water reservoir, while the irregularly shaped mouth accommodates a single stem or branch, in keeping with the Japanese aesthetic principle that restraint and simplicity reveal more than abundance. In a contemporary setting, this kakehana functions as both vessel and sculptural wall accent. Its muted palette—greys, ochres, mossy greens—complements natural materials like wood, stone, and linen, and its handmade irregularity provides a counterpoint to smooth, manufactured surfaces. Hang it in an alcove, on a feature wall, or beside a window where light can catch the textured surface and reveal the subtle shifts in colour. Use it for ikebana—a single flowering branch, dried grasses, or bare winter twigs—or display it empty as a sculptural element that brings the spirit of the anagama kiln into daily life. The piece invites touch; its surface is rough, alive, a record of fire's passage. This is not a decorative object meant to sit behind glass but a functional vessel that gains character through use. Condition reflects the authentic character of wood-fired ceramics and the deliberate imperfection central to Iga's aesthetic philosophy. The surface shows natural variations in glaze coverage, ash deposits, and clay texture—all inherent to anagama firing. At the rim, there is a small irregularity that appears to originate from the making or firing process rather than subsequent damage—a characteristic often seen in Iga ware where the intense heat and ash bombardment can create spontaneous breaks in the clay edge, or where the artist intentionally leaves such marks as a reminder of the object's handmade origins. In the wabi-sabi tradition, such imperfections are not merely tolerated but valued as 景色 (keshiki, literally "景色 or "landscape")—the term potters use for accidental beauty that emerges during firing. This rim feature, rather than detracting from the piece, reinforces its identity as a singular, unrepeatable work shaped by fire and chance. Minor surface wear and areas where ash glaze did not fully cover the clay are present, consistent with handling and the firing process. No structural cracks observed; the vessel is sound and holds water. The rough, earthy surface and firing marks are not damage but evidence of the piece's journey through fire—the very essence of Iga ware, where beauty emerges from impermanence, incompleteness, and the honest marks of making. Noguchi Nen's work sits within the larger revival of traditional Japanese wood-firing techniques. While less widely documented than masters like Atarashi Kanji, his commitment to anagama firing and his embrace of Iga's rough, unpredictable aesthetic place him among the contemporary artists preserving this demanding craft. Collectors of Iga ware, wood-fired ceramics, and Japanese tea utensils value pieces like this kakehana for their authenticity, their connection to centuries-old firing traditions, and their refusal to conform to modern expectations of uniformity. If you seek objects that embody the philosophy that beauty lies not in perfection but in the honest traces of process and time—where a rim's irregularity tells the story of fire's passage and the maker's acceptance of chance—this wall vase offers a powerful and intimate encounter with one of Japan's most uncompromising ceramic traditions. 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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