Luminous yellow vessel where gold leaf glows beneath transparent glaze—a legacy of technical mastery passed from mother to son. Description: This tall, gently oval vessel rises to approximately 30.5 cm with a softly compressed body and an elongated oval opening at the top. The form is slim and vertical, tapering slightly toward a rounded base. The surface is finished in a glossy, translucent yellow glaze that allows light to pass through its layers. Beneath this clear coating, gold leaf has been applied in bold, vertical strokes that create a dynamic rhythm across the body—some strokes are solid and saturated, others reveal delicate internal textures where the gold has been layered or folded during application. These golden passages appear to float beneath the glaze, their edges soft yet distinct, achieving a depth that shifts subtly as the viewer moves around the piece. The yellow ground itself varies in tone, displaying areas of warmer amber and cooler lemon hues that interact with the gold to produce a sense of inner illumination. The base is unglazed, revealing a smooth white clay body with an incised artist's seal. Cultural & Art Context: Yūri-Kinsai—literally "gold under glaze"—is one of the most technically challenging ceramic decoration methods in Japanese porcelain traditions. The process requires applying delicate gold leaf to the bisque-fired surface, covering it with a transparent glaze, and then firing the piece multiple times at precise temperatures to fuse the metal beneath the glaze without burning or distorting it. The result is a radiant surface where precious metal is permanently embedded within the ceramic structure, protected yet visible, creating effects of light and depth impossible to achieve through overglaze enameling. This technique was refined and elevated by Hakuko Ono (1915–1996), Jiro's mother, who was designated by Saga Prefecture as an official Preserver of the Yūri-Kinsai technique in 1992. Jiro inherited this legacy and expanded it by introducing platinum leaf alongside gold, allowing for more nuanced tonal contrasts and broadening the expressive potential of the tradition. The technique's labor-intensive nature—requiring multiple firings and precise control at every stage—means that each piece is effectively unique, with variations in how the metal fuses and how the glaze interacts with the leaf. Collector Appeal: This vase represents a direct artistic lineage from one of Japan's most important modern ceramic innovators. Jiro Ono's work bridges his mother's foundational achievements with his own experimental approaches, making his pieces rare documents of technical evolution within a highly specialized tradition. The clean, modernist form allows the Yūri-Kinsai surface to speak without distraction, while the bold vertical brushwork of gold leaf suggests both calligraphic energy and abstract expressionism. The piece was acquired by the British Museum in 2001, affirming international recognition of Jiro's contribution to contemporary Japanese ceramics. For collectors interested in post-war Japanese studio ceramics, works that combine traditional craft techniques with modern aesthetic sensibilities, or pieces with documented institutional provenance, this vase offers a compelling example of all three. The luminous yellow glaze and the rhythm of gold strokes create a visual experience that rewards close observation, revealing new details as light conditions change throughout the day. Dimensions: Width: 7.5 cm Depth: 13.5 cm Height: 30.5 cm Weight: 930 g Condition: No chips, cracks or restorations. Artist Profile: Jiro Ono (1953–2010) was a Japanese ceramic artist from Ureshino, Saga Prefecture, born into a distinguished pottery family. As the second son of celebrated ceramic artist Hakuko Ono, he grew up around the family kiln Kozangama, founded by his grandfather, and naturally followed the path of ceramics. At age 21, he began formal training in wheel-throwing at the Arita Ceramics Research Laboratory. After his training, he joined the family kiln and began producing work in earnest in the late 1970s. He was selected for major competitions such as the Japan Kogei Association West Japan Exhibition, the Kyushu–Yamaguchi Ceramic Exhibition, the Japan Ceramic Art Exhibition, and the Nishinippon Ceramic Art Exhibition, earning multiple awards and establishing a strong reputation throughout the 1980s. Following the passing of his mother Hakuko Ono in 1996, Jiro inherited and further developed her signature techniques—Yūri-Kinsai (Gold Leaf Under Glaze) and Kinrande. Yūri-Kinsai requires applying gold leaf, coating it with glaze, and firing multiple times to fuse the gold beneath the surface, resulting in a luminous yet enduring radiance. Jiro expanded this tradition by introducing platinum leaf for more subtle "silver" expressions, adding new depth and refinement to the technique. In 2001, one of his works was acquired by the British Museum, marking a significant milestone in international recognition. In 2002, he founded his own studio Kohaku Tōgeisha, dedicating himself fully to gold and platinum leaf ceramic work. Until his passing in 2010, Ono continued to push the potential of Yūri-Kinsai, producing highly original works that blended brilliance, transparency, and structural strength. Due to the labor-intensive process and multiple firings required, each piece was effectively one-of-a-kind, and his works remain highly prized today. About Hakuko Ono: Hakuko Ono (1915–1996) was a distinguished ceramic artist from Ureshino, Saga Prefecture, celebrated for her pioneering work in Yūri-Kinsai (underglaze gold leaf). This demanding technique—applying gold leaf beneath a layer of transparent glaze and firing the piece multiple times—was refined by Ono into a style noted for its quiet depth and luminous elegance. From the late 1960s onward, her Yūri-Kinsai works received significant recognition, earning awards at major exhibitions including the Kyushu–Yamaguchi Ceramic Exhibition, the Western Japan Kōgei Exhibition, and the Japan Ceramic Art Exhibition. Her pieces are now housed in important public collections such as the National Crafts Museum (formerly the Crafts Gallery of the National Museum of Modern Art, Tokyo). In 1992, she was officially designated by Saga Prefecture as a Preserver of the Yūri-Kinsai ceramic technique, acknowledging her essential role in advancing and transmitting this highly specialized art form. Her legacy continued through her later works and through her son, Jiro Ono, who inherited and expanded upon her techniques. Additional Notes: Please review all photos carefully as they are part of the item description. Shipping Information: All items are shipped from Japan via DHL or Japan Post, depending on the destination. Each piece is carefully packed using professional materials suitable for fine art shipping. A tracking number will be provided once the shipment has been dispatched. Shipping costs vary by item depending on the nature of the work, its size, and shipping requirements. For some pieces, shipping may be included as part of the overall service. Shipping conditions are clearly stated for each individual listing. 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