– By Okuda Akane (奥田茜), contemporary Kasama potter – Small covered container (kōgō or incense box) with contrasting lid and body treatments – Lid: atmospheric purple/mauve rim with pale celadon center, white slip grape vine decoration – Body: architectural carved vertical facets in dark green/black glaze – Dark charcoal interior creating visual surprise when opened Summary: This small covered container by Okuda Akane demonstrates how contemporary Japanese ceramics can honour multiple aesthetic traditions simultaneously whilst creating something distinctly personal. The lid continues Okuda's signature atmospheric glazing—soft purple and mauve tones surrounding a pale celadon center, with delicate white slip decoration depicting grape vines, clusters, and scrolling tendrils. But the body departs dramatically: deeply carved vertical facets create architectural structure, glazed in dark forest green that reads almost black, creating bold textural contrast with the lid's smooth, atmospheric surface. The interior reveals dark charcoal glaze, that moment of visual surprise when the container is opened. This combination of delicate decoration and bold structure, of atmospheric colour and architectural form, exemplifies the experimental spirit driving contemporary Kasama ceramics—young potters confident enough in their technical mastery to combine seemingly contradictory aesthetic approaches within single objects. Some objects reveal their character immediately; others unfold in stages. This covered container by Okuda Akane belongs to the second category. The lid presents itself first: atmospheric purple and mauve tones fading into pale celadon, delicate grape vine decoration traced in white slip. It suggests the same twilight sensibility as her bowls and vases—soft, poetic, suffused with seasonal awareness. But lift the lid and surprise: the body beneath contradicts entirely. Deep vertical facets carved into the clay create bold architectural rhythm, glazed in dark forest green so saturated it reads almost black. The interior reveals yet another shift: smooth charcoal glaze, functional and austere. This deliberate contrast—delicate lid, bold body—demonstrates sophisticated understanding of how objects function both closed and opened. When the lid sits in place, the container reads as soft, atmospheric, feminine perhaps in its pastel palette and grape decoration. When opened, it reveals structural strength, bold faceting, darker masculine energy. The two elements need each other: the lid would be too sweet without the body's architectural weight; the body would be too severe without the lid's decorative softness. The lid deserves close attention. The glaze work continues Okuda's exploration of atmospheric colour transitions—here purple and mauve tones surrounding the perimeter, fading through blue-grey zones toward the pale celadon center. These aren't flat, uniform colours but living surfaces that shift in different lights, the result of wood-firing where flame path and ash fall create subtle variations no electric kiln can replicate. The textured, slightly crystalline surface records the firing's unique conditions, making each piece subtly different even when following the same glaze recipe. Over this colour field, white slip decoration depicts grape vines—clusters of small circles suggesting fruit, scrolling tendrils and curling leaves creating organic rhythm around the lid's circumference. The grape motif carries multiple associations: in Japanese decorative arts, grapes (budō) represent abundance and fertility, adopted from Chinese artistic vocabulary where they symbolised prosperity. The vine's meandering growth pattern lends itself to circular compositions, tendrils naturally following curved surfaces. The decoration is spare—it occupies perhaps one-third of the lid's surface, concentrated around the rim—allowing the atmospheric glaze to dominate whilst adding narrative interest. The contrast with the body couldn't be more dramatic. Where the lid flows and suggests, the body structures and declares. Deep vertical facets—perhaps sixteen or twenty around the circumference—create architectural rhythm, each carved channel catching light differently, creating shadow patterns that shift as the viewer moves. This faceting technique has precedents in Korean ceramics, particularly Goryeo celadons where carved or molded patterns added textural complexity. But Okuda deploys it boldly, the facets deep enough to create genuine sculptural presence rather than merely decorative surface variation. The dark green-black glaze pooling in these carved channels emphasises their depth. Where glaze thins on the facets' peaks, warmer tones emerge—touches of brown or grey-green suggesting the clay body beneath. This colour variation across the carved surface adds visual complexity, preventing the dark glaze from reading as flat or dead. The overall effect suggests bamboo culms, architectural columns, or perhaps the vertical ribbing found on certain traditional Japanese lacquerware boxes. The interior, revealed when the lid is removed, presents dark charcoal glaze—smooth, functional, unadorned. This attention to unseen surfaces reflects Japanese craft values where nothing should be merely adequate. The dark interior serves practical purpose as well: it won't show staining or wear, and it creates dramatic contrast when the container is opened, that moment when pale exterior gives way to dark interior. The form itself is compact and portable—this is clearly a small container meant to be handled, opened, closed, perhaps carried. The cylindrical shape suggests several possible functions: it could serve as kōgō (incense container) for tea ceremony, as small storage for precious tea leaves or spices, as jewelry box, or simply as sculptural object whose function is aesthetic contemplation. Japanese ceramic tradition includes many such small covered containers, objects that occupy the boundary between utility and art. For contemporary European interiors, this piece offers particular appeal. The compact size suits urban living where space constraints reward objects that combine sculptural presence with modest physical footprint. The purple and celadon lid provides colour interest without overwhelming, whilst the dark body grounds the composition, preventing it from reading as too decorative or feminine. Display it on a desk, shelf, or side table and it becomes both functional storage and conversation piece—the kind of object guests pick up to examine, discovering the carved body's textural complexity and the interior's dark surprise. The grape vine decoration adds accessible narrative—unlike more obscure Japanese motifs requiring cultural knowledge to interpret, grapes register immediately as beautiful botanical pattern whilst carrying deeper symbolic resonance for those aware of East Asian decorative traditions. This dual legibility makes the piece appealing to diverse audiences. Functionally, the container could serve multiple purposes in Western contexts. Use it to hold rings and small jewelry on a nightstand. Store loose tea, spices, or salt at the kitchen counter. Keep desk supplies—paper clips, rubber bands, small notes. Or simply display it as sculptural object, occasionally opening it to reveal the dark interior and architectural body. Each use brings different pleasures: the tactile satisfaction of lifting the lid, the visual surprise of discovering the carved body, the quiet beauty of the grape vine decoration. Condition appears excellent throughout. The lid's atmospheric glaze shows no crazing or damage. The white slip decoration remains intact without flaking or loss. The body's carved facets are crisp and undamaged, the dark glaze pooled in channels showing no chips or wear. The interior glaze is pristine. The lid fits snugly, suggesting the piece has been stored carefully rather than subjected to heavy use. The presence of Okuda's work demonstrates her growing confidence in combining seemingly contradictory aesthetic approaches. Earlier pieces might emphasise either atmospheric glazing or bold structural form; this container synthesises both, creating dialogue between delicate and bold, soft and architectural, decorative and structural. This willingness to juxtapose contrasts reflects contemporary ceramic practice at its best—technically masterful enough to attempt ambitious combinations, aesthetically confident enough to trust that apparent contradictions can create harmonious wholes. This covered container suits multiple collecting approaches. For those building surveys of contemporary Japanese ceramics, it demonstrates the new generation's experimental spirit—young potters comfortable combining multiple aesthetic vocabularies within single pieces. For collectors focused on functional objects, it provides genuinely useful storage whilst maintaining sculptural presence. For those interested in women ceramicists claiming space in Japanese pottery, it represents Okuda's distinctive voice—atmospheric colour sensibility combined with bold structural confidence. The piece also functions as gateway for those new to Japanese ceramics. The grape vine decoration provides familiar entry point—beautiful floral pattern anyone can appreciate. The atmospheric colour transitions demonstrate what wood-firing can achieve. The carved body shows how surface treatment creates sculptural presence. And the dark interior illustrates Japanese attention to unseen surfaces. Encountering this piece, viewers experience multiple aspects of ceramic craft simultaneously: decorative painting, atmospheric glazing, structural carving, functional design. Japanese aesthetics value the concept of miegakure (見え隠れ)—the interplay between revealing and concealing, the pleasure of discovery through stages. This covered container embodies that principle perfectly. Closed, it reveals only the decorated lid. Opened, it discloses the carved body and dark interior. Each stage offers new visual and tactile experiences, rewarding sustained attention and physical interaction. If you collect contemporary Japanese studio pottery, if you appreciate objects that function as both utility and sculpture, if you value work demonstrating technical versatility and aesthetic confidence, if you seek pieces by the emerging generation of women ceramicists, this covered container deserves consideration. Use it daily for jewelry or tea and it will bring quiet pleasure through repeated handling. Display it and it will hold visual ground through its combination of delicate decoration and bold structure. Whatever role it assumes, it will demonstrate that serious contemporary craft can embrace multiple aesthetic modes simultaneously, creating objects that are both functional and beautiful, both traditional and thoroughly contemporary. 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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