Hasuda Shugoro – Brass Ikebana Vase – Modernist Single-Flower Bronze by Order of Cultural Merit - Brass - Hasuda Shugoro - Japan - Shōwa period (1926-1989)

– Hasuda Shugoro (1915–2010), leading post-war bronze sculptor, Order of Cultural Merit 1991 – Elegant brass (ōdō) ikebana vase with slender neck and stable base, refined minimalist form – Dimensions: 16 cm height, 10 cm base diameter, 851 g; perfect for single-stem arrangements

Summary: This brass ikebana vase by Hasuda Shugoro exemplifies the modernist restraint that defined his celebrated metalwork career. Created in yellow brass (ōdō), the vase features a slender neck rising from a broad, stable base—proportions that balance sculptural presence with practical function. Hasuda, who received Japan's Order of Cultural Merit in 1991, transformed traditional bronze casting into a contemporary art form, and his works are held in major collections worldwide. This single-flower vase demonstrates his gift for reducing form to its essence whilst maintaining warmth and tactile appeal. In excellent condition, it serves equally well for ikebana practice, single-stem flower display, or as a standalone bronze sculpture in refined interiors.

Some objects announce themselves loudly. Others simply occupy space with such rightness that you cannot imagine the room without them. This brass vase by Hasuda Shugoro belongs to the second category—a presence rather than a statement.

Standing 16 cm tall with a 10 cm diameter base, the vase weighs 851 grams—substantial enough to anchor a table, light enough to relocate at will. The form is elemental: a broad, circular foot provides stability, tapering upwards to a narrow neck designed to hold a single stem. This is not a vessel for abundant arrangements; it's made for the quiet drama of one perfectly chosen branch, one blossom, one dried grass. In Japanese flower arranging (ikebana), less is perpetually more. The vase enforces discipline, encouraging the arranger to select carefully, to consider line and negative space, to honour the relationship between flower and container.

Hasuda Shugoro's biography reads like a masterclass in dedication. Born in 1915 in Kanazawa—a city famed for its craft traditions—he devoted his life to the ancient art of bronze casting whilst simultaneously pushing it towards abstraction and modernism. His work synthesised deep technical knowledge with a sculptor's sensibility. By the 1970s and 1980s, his reputation extended far beyond Japan. In 1991, the Japanese government awarded him the Order of Cultural Merit, recognising his contribution to the nation's cultural heritage. Today, his bronzes appear in Christie's and Sotheby's catalogues, commanding respect for their innovation and impeccable craftsmanship.

This vase demonstrates his approach: simplicity achieved through rigour. The yellow brass (ōdō) has a warm, golden tone that softens with age, developing a natural patina that enriches the surface. Unlike industrially produced metalwork, this piece was cast using traditional methods—pouring molten metal into a mould, cooling, finishing by hand. The result is a subtle irregularity, a slight variation in thickness and texture that speaks of human touch rather than machine precision.

Brass and bronze have been used in Japanese decorative arts for centuries, appearing in Buddhist temple fittings, tea ceremony utensils, and scholar's objects. Hasuda worked within this lineage whilst rejecting ornament and excessive decoration. His pieces feel contemporary precisely because they refuse to date themselves with stylistic flourishes. A vase like this could have been made in 1960 or 2000—it exists outside fashion.

In a modern interior, this vase functions beautifully. Its warm metallic sheen complements natural wood, stone, and linen. It suits a minimalist sideboard, a Japanese-inspired alcove, or a desk where a single seasonal branch can mark the passing weeks. The narrow neck holds stems securely, eliminating the need for additional support. Fill it with a single dried hydrangea, a bare winter branch, or a stalk of fresh pampas grass—each choice transforms the piece into a different composition. Empty, it reads as pure sculpture, a testament to the enduring appeal of well-considered form.

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