Kostenloser Versand - Hodaka Ryuji (穂高隆児, b. 1976) — facettierter Oribe-Stil-Becher mit Kobaltblauer - Porzellan - Hodaka Ryuji - Japan - Reiwa-Zeit (2019-heute)

– By Hodaka Ryuji (穂高隆児, b. 1976), Kasama-based ceramicist who trained for sixteen years as a professional Japanese chef before turning to clay
– Bold faceted form with flat angular planes — a contemporary reinterpretation of the Oribe aesthetic, replacing traditional copper-green with deep cobalt blue
– Graphic interplay of glossy navy glaze, raw sandy clay, warm orange kiln-blush, and scattered iron-oxide dots — every face of the cup tells a different story

Summary:
A faceted stoneware cup by Hodaka Ryuji that channels the bold, rule-breaking spirit of Oribe ware through a distinctly contemporary lens. Deep cobalt-blue glaze is applied in broad, confident sweeps across the angular exterior, leaving generous areas of raw, sandy clay body exposed in dramatic contrast. Warm peach and orange tones bloom where the kiln's heat has kissed the unglazed surfaces, while dark iron-oxide dots of varying sizes are scattered across both glazed and bare areas, adding a graphic, almost playful punctuation. The result is a piece that feels both ancient and utterly modern — rooted in four centuries of Mino ceramic tradition yet unmistakably the work of a maker who sees the world through a chef's eye for composition, colour, and plating.

Hodaka Ryuji's path to ceramics is unlike any other working potter in Japan. Born in Yokohama in 1976, he entered the world of professional Japanese cuisine (kappo/kaiseki) straight from high school, spending sixteen years as an itamae — a trained chef. During that time he served as a cook at the Japanese Embassy in Spain, where he prepared meals for visiting dignitaries including the Crown Prince of Japan. He rose to the position of head chef at a Tokyo restaurant before, at the age of thirty-four, making the extraordinary decision to leave the kitchen and dedicate himself entirely to making the vessels he had once chosen so carefully for his dishes. He enrolled at the Ibaraki Prefectural Ceramics Training Institute in 2011, completed the course by 2013, and established his own kiln in Kasama.

This background is not biographical footnote — it is the engine of his aesthetic. A chef who has spent years plating food understands instinctively how a surface receives colour, how a rim frames a composition, how a vessel's weight and texture affect the experience of a meal. Hodaka's cups and bowls are made to hold food and drink, and they carry that knowledge in every proportion and glaze decision.

The form of this cup is built from flat, hand-carved planes that meet at defined ridges, creating a faceted, almost crystalline silhouette. The walls taper slightly toward a small foot, and the rim undulates with organic confidence — neither perfectly round nor aggressively distorted, but alive with the relaxed irregularity that characterises the best Oribe-descended work. Each facet presents a different balance of glaze and clay, so the cup reveals a new composition with every quarter-turn.

The glaze itself is a rich, glossy cobalt blue — deeper and cooler than traditional Oribe green, yet applied with the same fearless, gestural abandon. It pools thickly on some planes, runs thin on others, and stops abruptly at the edges of raw clay windows, creating sharp boundaries between glossy colour and matte earth. This tension between coated and uncoated surfaces is a hallmark of Oribe sensibility: the beauty of incompleteness, the deliberate asymmetry that Japanese aesthetics have prized since the Momoyama period.

The exposed clay body is itself a rich terrain. Sandy and coarse-grained, it ranges from pale cream to a warm orange where the kiln atmosphere has induced iron-blush — subtle flashes of heat-born colour that no brush could replicate. Scattered across both glazed and unglazed areas, small iron-oxide dots and circles add a final layer of graphic interest. Some are tight and precise; others bleed softly into the surrounding surface. They recall the playful spotting found on traditional Oribe and Shino wares, reinterpreted here with a looser, more spontaneous hand.

The interior is restrained by comparison: a pale, warm-toned glaze with visible throwing rings and a few dark spots, providing a quiet backdrop that would frame food beautifully — a matcha sweet, a small portion of sunomono, or a few cubes of seasonal fruit.

In a European home, this cup bridges the gap between tableware and art object. Used for tea, sake, or a small dessert, it brings the energy of a working chef's aesthetic to the table. Displayed on a shelf, the faceted form and vivid colour contrasts command attention. The compact scale and confident surface make it an ideal entry point into contemporary Kasama ceramics — and into the singular world of a potter who knows, from years of first-hand experience, exactly what a great vessel should do.

The cup appears to be in excellent condition with no chips, cracks, or repairs. The raw clay textures and glaze irregularities are intentional features of Hodaka's hand-building and firing process.

A cup made by a man who spent half his life deciding which vessels were worthy of his food — and then set out to make them himself.

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