Item Description: This striking flower vessel exemplifies the technical mastery and artistic vision of Isezaki So (b. 1968), a contemporary ceramic artist working within the distinguished tradition of Bizen ware. Born as the third son of Isezaki Mitsuru, who holds the title of Important Intangible Cultural Property holder for Okayama Prefecture, Isezaki represents a new generation of the Isezaki family lineage—one of the most prominent names in the world of Bizen ceramics. The vessel showcases the essential characteristics that have made Bizen ware celebrated for over a millennium: the warm reddish-brown color that emerges from firing iron-rich clay without any glaze, and the natural surface effects created through interaction with flame and ash during the extended firing process. The form demonstrates a contemporary sensibility while respecting the fundamental principles of Bizen aesthetics—a balance between rustic naturalism and refined craftsmanship. The piece displays the subtle variations in surface color and texture that are the hallmark of unglazed Bizen ceramics. These variations emerge organically during the firing process, as the clay responds to temperature fluctuations, flame patterns, and the accidental deposition of wood ash. Some areas may show a deeper, almost burnished quality, while others retain a more matte, earthy appearance. These unpredictable surface effects, known as "yohen" or kiln changes, are highly valued in Bizen aesthetics as they represent the collaboration between maker and fire. The vessel's form is both functional and sculptural, designed to serve as a container for floral arrangements while maintaining its presence as an independent work of ceramic art. The proportions and the handling of the clay body demonstrate Isezaki's command of traditional forming techniques combined with a contemporary approach to vessel design. This piece comes with its original signed wooden box (tomobako), authentication cloth (tomogire), and information card (shiori), providing comprehensive documentation of its authenticity and provenance. These accompaniments are essential for collectors of contemporary Bizen ware and ensure the piece's value is properly recognized. Isezaki So trained under Yamashita Joji after graduating from Okayama Prefectural Technical High School's Industrial Design Department. This educational background, combining traditional apprenticeship with formal design training, informs his approach to ceramic creation—one that honors historical techniques while exploring contemporary aesthetic possibilities. Size Height: 26.5 cm Width: 18 cm Depth: 12 cm Weight: 2,107 g Condition The piece is in excellent condition with no notable damage. Artist Profile Isezaki So (b. 1968) is a contemporary ceramic artist working in the Bizen tradition, born into one of the most distinguished families in the history of Bizen ware. As the third son of Isezaki Mitsuru, who holds the prestigious title of Important Intangible Cultural Property holder for Okayama Prefecture, Isezaki So inherited not only technical knowledge but also a deep understanding of the cultural significance of Bizen ceramics. The Isezaki family has played a pivotal role in maintaining and advancing the tradition of Bizen ware throughout the modern era. Isezaki So's uncle, Isezaki Jun, was designated as a Living National Treasure (holder of Important Intangible Cultural Property at the national level) for Bizen ware, representing the highest recognition of mastery in traditional ceramic arts. This family legacy provides Isezaki So with a foundation of knowledge that spans multiple generations of ceramic innovation and excellence. Born in the historic pottery district of Imbe in Bizen City, Okayama Prefecture, Isezaki grew up surrounded by the materials, techniques, and aesthetic principles that define Bizen ware. After graduating from Okayama Prefectural Technical High School's Industrial Design Department in 1987, he apprenticed under Yamashita Joji, gaining additional perspective beyond his family tradition. This combination of family heritage and outside mentorship allowed him to develop a personal approach that respects tradition while incorporating contemporary design sensibilities. Bizen ware is distinguished by its complete absence of glaze, relying instead on the natural qualities of the local clay and the effects produced during firing to create its characteristic appearance. The clay used in Bizen ceramics contains high levels of iron, which produces the warm brown and reddish tones for which the tradition is known. During the extended firing process in traditional kilns, wood ash settles on the clay surface and fuses with it, creating natural ash glazes and color variations. The positioning of pieces within the kiln, the type and amount of wood used, and countless other variables influence the final appearance of each work, making every piece unique. Isezaki So's work demonstrates mastery of these traditional firing techniques while exploring how contemporary forms can emerge from historical methods. His training in industrial design provides him with a conceptual framework that complements his technical training in traditional ceramics. This dual perspective allows him to create works that honor the centuries-old aesthetic principles of Bizen ware while speaking to contemporary sensibilities. Working in Bizen in the present era means engaging with both preservation and innovation. The tradition has been maintained continuously for nearly a millennium, yet each generation of artists must find ways to make the tradition relevant to their own time. Isezaki So approaches this challenge by maintaining absolute fidelity to traditional firing methods and materials while allowing his own artistic vision to guide the forms and surface treatments he creates. His dedication to the circular economy of ceramic production, including exploration of how broken ceramics can be recycled and reused as raw materials, demonstrates a forward-thinking approach to sustainability within traditional craft. This engagement with contemporary concerns about resource use and waste reduction shows how traditional ceramic practice can address modern challenges while maintaining its essential character. NOITICE: The lot will be carefully packaged and sent by Japan Post, DHL or FedEx depend on the situation. It takes about 3 weeks to receive normally. 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