Flower vase in Kobushi-yaki (こぶ志焼) style from Hokkaido by Yamaoka Sanshū – Namako glaze (海鼠釉, "sea cucumber glaze") with characteristic blue-grey flowing tones – Regional Japanese ceramics with rustic appeal, approximately 23.8 cm height Summary: This slender vase represents Kobushi-yaki, a ceramic tradition from Hokkaido, Japan's northernmost main island. Created by Yamaoka Sanshū, the piece features namako glaze—literally "sea cucumber glaze"—known for its flowing blue-grey tones that pool and streak across surfaces. Standing approximately 23.8 cm tall with a 10.3 cm width and 9.3 cm opening, the vase offers elegant proportions suitable for ikebana flower arrangement or standalone display. Hokkaido ceramics carry distinct regional character, less widely known internationally than Kyoto or Mino wares but increasingly appreciated for rustic charm and individual expression. Not all Japanese pottery emerges from ancient kiln towns with centuries of documentation. Some traditions root themselves in newer soil—literally. This vase by Yamaoka Sanshū represents Kobushi-yaki from Hokkaido, where ceramic production developed primarily during the twentieth century as the northern island transitioned from frontier territory to integrated prefecture. Hokkaido's ceramic history differs markedly from Honshu's established centres. Where Kyoto, Seto, Bizen, and other mainland regions trace lineages back centuries or millennia, Hokkaido pottery evolved alongside modern settlement patterns. The island's clay bodies, firing fuels, and aesthetic sensibilities developed independently, influenced more by Ainu indigenous traditions and twentieth-century mingei (folk craft) philosophy than by tea ceremony orthodoxy or court patronage. Kobushi-yaki specifically refers to pottery produced around the Kobushi (likely referencing magnolia, "kobushi" in Japanese) area, though precise geographical and historical details remain less documented than major ceramic centres. This relative obscurity works in the pottery's favour for collectors seeking pieces with genuine regional character rather than over-refined technique. The work exhibits honest craftsmanship—well-made without preciousness, decorated with focus on glaze beauty rather than complex surface embellishment. The namako glaze deserves particular attention. Named for sea cucumbers (namako) whose mottled blue-grey-brown colouring the glaze resembles, this category encompasses various formulations producing flowing, streaky effects through specific ratios of wood ash, feldspar, and metallic oxides. During firing, the glaze moves down vertical surfaces, pooling at horizontal transitions and creating thick-to-thin variations that catch light beautifully. The blue-grey tones suggest this particular namako formula includes cobalt or copper, though iron can also produce similar cool tones depending on kiln atmosphere. Namako glazes achieved particular prominence during Japan's mingei movement, championed by philosopher Yanagi Sōetsu and potters like Hamada Shōji and Kawai Kanjirō in the 1920s–1940s. These figures elevated regional folk pottery traditions, arguing that beauty emerged most authentically from functional objects made by trained but unself-conscious craftspeople. Whilst Yamaoka's work postdates the movement's founding generation, the aesthetic lineage remains clear: emphasis on natural glaze behaviour, acceptance of asymmetry and "imperfection," and valorisation of handcraft over industrial production. The vase form—tall, relatively slender, with gentle curves and a flared opening—suits ikebana practice whilst functioning equally well as sculptural object. The proportions (approximately 23.8 cm height, 10.3 cm maximum width, 9.3 cm opening) create vertical emphasis without instability, and the opening accommodates substantial floral arrangements or simply a few carefully chosen branches following nagiere (thrown-in) style principles. For contemporary interiors, Hokkaido ceramics offer refreshing alternative to more commonly encountered Japanese pottery styles. The namako glaze's cool blue-grey tones coordinate beautifully with Scandinavian design aesthetics, industrial materials like concrete and steel, and the neutral-plus-blue colour schemes popular in current residential and hospitality design. The piece brings organic texture and handmade warmth without reading as overly "ethnic" or theme-park Japanese. Some surface soiling—both consistent with a piece that has been gently used and displayed rather than hermetically sealed. For studio pottery and folk craft traditions, such signs of life often enhance rather than diminish appeal, evidencing the object's journey from maker to current steward. Regional Japanese ceramics represent an collecting category ripe for discovery. Whilst Kyoto and Mino wares command established markets with well-documented prices, pottery from Hokkaido, Okinawa, and other peripheral regions offers quality and character at more accessible entry points. Yamaoka Sanshū's work exemplifies this potential—well-executed, aesthetically compelling, culturally authentic, and refreshingly distinct from mainstream Japanese ceramic production. 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. Seller Guarantee We specialise in authentic Japanese ceramics and guarantee this piece's authenticity. 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