– Ayano Mito bronze tea incense burner with zōgan maple inlay, complete original documentation – Sakamoto Toshio guinomi (sake cup) featuring geometric inlay in harmonising earth tones – Companion pieces exploring contrasting approaches to象嵌 (zōgan) inlay tradition Burner: Approximately 13.6 cm in height, approximately 11.6 cm in width Cup: Approximately 5 cm in height, approximately 6.5 cm in width Summary: This pairing represents two contemporary masters' distinct interpretations of象嵌—the ancient Japanese technique of embedding contrasting materials into metal or ceramic surfaces. Ayano Mito's bronze incense burner depicts autumn maple leaves in precious metal inlay, capturing seasonal transience through naturalistic imagery. Sakamoto Toshio's guinomi takes a radically different path, employing bold chevron patterns in earth-toned象嵌 that echo textile design and ancient geometric traditions. Together, they demonstrate the breadth of contemporary Japanese inlay work whilst creating an aesthetically coherent set for contemplative rituals—whether burning incense during tea ceremony or savouring sake in quieter moments. Both arrive with complete provenance documentation, the hallmarks of serious Japanese craft collecting. Imagine the first frost settling on vermillion leaves, that fleeting moment when autumn's palette burns brightest before winter's arrival. Now imagine the patterned shadows those branches cast across stone pathways—nature's geometry translated into repeating forms. This pairing captures both visions: Ayano Mito's maple incense burner preserves autumn's literal beauty, whilst Sakamoto Toshio's guinomi abstracts seasonal rhythms into chevron waves that ripple across the cup's surface like wind through dying leaves. The incense burner arrives with its original signed wooden box (共箱, tomobako), protective cloth (共布, tomogire), and artist's descriptive leaflet (栞, shiori)—the trinity of provenance that serious collectors recognise as authenticating marks in Japanese art commerce. An accompanying upper dish and candleholder complete the presentation, suggesting this burner was conceived as part of a larger aesthetic arrangement. The metalwork itself demonstrates Mito's characteristic approach to象嵌, embedding contrasting metals to depict maple leaves caught in their autumnal transformation. Each leaf appears individually considered, with subtle variations in scale and orientation that prevent the decoration from feeling mechanical or repetitive. Ayano Mito works within a lineage of Japanese metal artists who have revitalised象嵌 techniques for contemporary contexts. Unlike the purely decorative inlays that adorned samurai sword fittings during the Edo period, modern practitioners like Mito approach the medium with sculptural sensibilities. Her maple motif draws from classical Japanese aesthetics—the autumn leaf (紅葉, momiji) holds profound cultural significance, celebrated in poetry since the Heian period and central to the aesthetic philosophy of mono no aware, the gentle sadness of transient beauty. The bronze body provides warmth and gravitas, its patina developing character over time in that uniquely Japanese appreciation for aged materials. Sakamoto Toshio's guinomi offers counterpoint through abstraction. Where Mito renders nature literally, Sakamoto distills it into pattern. His chevron象嵌—likely executed in contrasting clay slips before firing—creates rhythmic bands that encircle the cup in earth tones ranging from charcoal to ochre to pale cream. The technique recalls ancient Japanese textile patterns (矢絣, yagasuri) and architectural decoration, yet feels thoroughly contemporary in its bold graphic clarity. This is象嵌 stripped of pictorial narrative, celebrating instead the hypnotic power of geometric repetition. The pairing creates dialogue between representation and abstraction, metal and ceramic, incense ritual and sake ceremony. Both objects serve contemplative practices—the incense burner facilitating meditation through fragrant smoke, the guinomi elevating sake drinking from casual refreshment to mindful ritual. Together, they suggest a complete aesthetic environment, the kind of carefully curated assemblage that defines Japanese taste at its most refined. One can imagine them displayed side by side: the bronze burner's organic maple leaves playing against the guinomi's strict geometry, creating visual tension that rewards sustained observation. For the European interior, this pairing offers remarkable versatility. The incense burner's compact proportions (approximately 10–12 cm diameter) and the guinomi's intimate scale allow them to anchor a console table, bookshelf, or meditation space without overwhelming the setting. The burnished bronze and earth-toned ceramic create a muted, sophisticated palette that complements contemporary minimalism whilst asserting handcrafted integrity. Consider displaying them where natural light can animate their surfaces—side-lit, the inlaid maples cast delicate shadows whilst the guinomi's chevrons create subtle depth through varying glaze thickness in the inlaid bands. Both象嵌 traditions represented here—metal inlay and ceramic inlay—demand exceptional technical skill. Mito must cut precise channels in bronze, then hammer softer metals (likely copper, silver, or gold alloys) into those recesses before finishing the entire surface to unified smoothness. Sakamoto employs nerikomi or象嵌 clay techniques, where contrasting coloured clays are inlaid into the leather-hard body before firing, requiring precise moisture control to prevent cracking as different clays shrink at slightly different rates. These are not decorative shortcuts but disciplines requiring years of apprenticeship to master. The cultural context enriches appreciation further. Japanese aesthetic philosophy has long celebrated the relationship between paired objects—the concept of 取り合わせ (toriawase), or "combination," where carefully chosen objects create meaning through juxtaposition. Tea masters spend lifetimes perfecting the art of selecting ceramics, metalwork, and textiles that converse across materials and eras. This pairing embodies that principle: two contemporary artists, two distinct象嵌 approaches, unified by autumnal colouration and contemplative function. Condition merits honest discussion. The incense burner shows "no noticeable scratches or dirt," indicating excellent preservation. The included upper dish and candleholder suggest minimal use—these components typically show wear first. Bronze naturally develops oxidation; expect subtle colour shifts across the surface that enhance rather than detract from its character. The guinomi, acquired during the Shōwa era and described as unused, retains kiln-fresh character without tea staining or handling wear. Both pieces include their original共箱 and documentation, critical for future provenance should you choose to pass these works to another collection. Contemporary Japanese craft of this calibre appears infrequently outside specialist galleries. Both Mito's metalwork and Sakamoto's ceramics bridge traditional techniques and modern artistic sensibilities, appealing to collectors who appreciate technical mastery without historical pastiche. The maple theme and chevron patterns ensure year-round relevance whilst carrying particular resonance during autumn months when nature itself performs its annual exercise in transient beauty. Similar scale contemporary works by established Japanese craft artists command substantial premiums in the international market, making thoughtfully assembled pairs like this compelling acquisitions for those building comprehensive collections of post-war Japanese decorative arts. The presence of complete documentation cannot be overstated. In Japanese art collecting, the共箱 serves as both certificate and container, its calligraphy providing authentication that photographs alone cannot convey. The inclusion of artist leaflets adds another layer of legitimacy, offering insights into each maker's intentions and technical approaches. These elements transform both pieces from attractive decorative objects to properly documented artworks suitable for serious collections or museum consideration. 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