编号 99938840

已售出
森登岳 — 备前烧花瓶,双把手款 — Kampu Ōgama Kiln - 瓷 - 日本 - Shōwa period (1926-1989)
最终出价
€ 3
13小时前

森登岳 — 备前烧花瓶,双把手款 — Kampu Ōgama Kiln - 瓷 - 日本 - Shōwa period (1926-1989)

– Esteemed Bizen potter Mori Togaku, working from the historic Kampu Ōgama kiln – Classic unglazed stoneware with rich earth tones and natural ash deposits – Striking twin-handled form, approximately 23.5 cm tall – ideal for seasonal branch arrangements Summary: This is a Bizen-yaki flower vase (hanaire) by Mori Togaku, created at the Kampu Ōgama kiln. Bizen ware is one of Japan's oldest and most revered ceramic traditions, celebrated for its unglazed surfaces that reveal raw clay and fire markings. Mori Togaku works within this lineage, producing pieces that balance rustic authenticity with refined form. This twin-handled vase measures approximately 19 cm wide, 15 cm deep, and 23.5 cm tall, with a narrow 5.5 cm mouth opening – proportions that suit ikebana branch arrangements or seasonal displays. The piece shows light dust accumulation around the rim and interior, consistent with age and handling, but remains structurally sound and highly displayable. Bizen pottery comes from Okayama Prefecture and has been fired in climbing kilns (anagama or ōgama) for over a thousand years. Unlike most Japanese ceramics, Bizen ware uses no glaze. Instead, its character emerges entirely from the clay body and the kiln's atmosphere. Long firings – sometimes lasting two weeks – allow natural ash from the wood fuel to settle on the surface, creating subtle colour shifts from warm ochres to deep charcoals. Flame paths, placement in the kiln, and even straw wrapped around certain areas all contribute to the final appearance. Each piece is unique, shaped by fire rather than human intention alone. The Kampu Ōgama is a wood-fired climbing kiln that carries forward traditional Bizen firing methods. Potters working at this kiln adhere to the slow, meditative pace required for true yōhen (kiln change) effects – the unpredictable patterns that make Bizen collectors prize certain pieces as one-of-a-kind works. Mori Togaku's practice respects these time-honoured techniques while allowing the clay and flame to dictate the final aesthetic. The result is pottery that feels ancient yet immediate, grounded in Japanese wabi-sabi philosophy. This vase's twin handles (mimitsuki hanaire) give it a sculptural presence even when empty. The vertical form and narrow mouth are designed for minimalist arrangements – a single willow branch, autumn grasses, or a spray of winter berries. In contemporary European interiors, such pieces bridge the gap between functional vessel and abstract sculpture. The muted, unglazed surface works effortlessly alongside natural materials: linen, oak, concrete, raw wool. It anchors a sideboard or console without competing for attention, instead offering a quiet focal point that shifts with the light. Condition-wise, the piece shows light dust and minor surface marks consistent with age and previous use. There are no chips, cracks, or structural issues. The interior and rim area display some residue, easily cleaned if desired. For collectors of Japanese ceramics or those drawn to the elemental beauty of wood-fired pottery, this vase offers an accessible entry point into the world of Bizen ware – a tradition that values imperfection, irregularity, and the honest marks left by fire. Bizen pottery has long been collected in Japan and is increasingly appreciated in Western markets for its raw, tactile beauty. Pieces from established kilns like Kampu Ōgama are valued for their adherence to traditional firing methods, which are labour-intensive and increasingly rare. While this vase is not marked as a museum-level work, it represents solid craftsmanship within an important regional tradition. Collectors of Japanese folk craft, tea ceremony utensils, and minimalist design will recognise its quiet authority. If you appreciate ceramics that bear the honest imprint of fire and time, this Bizen vase offers a grounded, meditative presence – one that invites you to slow down and notice the subtle beauty in natural materials. 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. Questions welcome – we reply within 24 hours. 1157

编号 99938840

已售出
森登岳 — 备前烧花瓶,双把手款 — Kampu Ōgama Kiln - 瓷 - 日本 - Shōwa period (1926-1989)

森登岳 — 备前烧花瓶,双把手款 — Kampu Ōgama Kiln - 瓷 - 日本 - Shōwa period (1926-1989)

– Esteemed Bizen potter Mori Togaku, working from the historic Kampu Ōgama kiln – Classic unglazed stoneware with rich earth tones and natural ash deposits – Striking twin-handled form, approximately 23.5 cm tall – ideal for seasonal branch arrangements

Summary: This is a Bizen-yaki flower vase (hanaire) by Mori Togaku, created at the Kampu Ōgama kiln. Bizen ware is one of Japan's oldest and most revered ceramic traditions, celebrated for its unglazed surfaces that reveal raw clay and fire markings. Mori Togaku works within this lineage, producing pieces that balance rustic authenticity with refined form. This twin-handled vase measures approximately 19 cm wide, 15 cm deep, and 23.5 cm tall, with a narrow 5.5 cm mouth opening – proportions that suit ikebana branch arrangements or seasonal displays. The piece shows light dust accumulation around the rim and interior, consistent with age and handling, but remains structurally sound and highly displayable.

Bizen pottery comes from Okayama Prefecture and has been fired in climbing kilns (anagama or ōgama) for over a thousand years. Unlike most Japanese ceramics, Bizen ware uses no glaze. Instead, its character emerges entirely from the clay body and the kiln's atmosphere. Long firings – sometimes lasting two weeks – allow natural ash from the wood fuel to settle on the surface, creating subtle colour shifts from warm ochres to deep charcoals. Flame paths, placement in the kiln, and even straw wrapped around certain areas all contribute to the final appearance. Each piece is unique, shaped by fire rather than human intention alone.

The Kampu Ōgama is a wood-fired climbing kiln that carries forward traditional Bizen firing methods. Potters working at this kiln adhere to the slow, meditative pace required for true yōhen (kiln change) effects – the unpredictable patterns that make Bizen collectors prize certain pieces as one-of-a-kind works. Mori Togaku's practice respects these time-honoured techniques while allowing the clay and flame to dictate the final aesthetic. The result is pottery that feels ancient yet immediate, grounded in Japanese wabi-sabi philosophy.

This vase's twin handles (mimitsuki hanaire) give it a sculptural presence even when empty. The vertical form and narrow mouth are designed for minimalist arrangements – a single willow branch, autumn grasses, or a spray of winter berries. In contemporary European interiors, such pieces bridge the gap between functional vessel and abstract sculpture. The muted, unglazed surface works effortlessly alongside natural materials: linen, oak, concrete, raw wool. It anchors a sideboard or console without competing for attention, instead offering a quiet focal point that shifts with the light.

Condition-wise, the piece shows light dust and minor surface marks consistent with age and previous use. There are no chips, cracks, or structural issues. The interior and rim area display some residue, easily cleaned if desired. For collectors of Japanese ceramics or those drawn to the elemental beauty of wood-fired pottery, this vase offers an accessible entry point into the world of Bizen ware – a tradition that values imperfection, irregularity, and the honest marks left by fire.

Bizen pottery has long been collected in Japan and is increasingly appreciated in Western markets for its raw, tactile beauty. Pieces from established kilns like Kampu Ōgama are valued for their adherence to traditional firing methods, which are labour-intensive and increasingly rare. While this vase is not marked as a museum-level work, it represents solid craftsmanship within an important regional tradition. Collectors of Japanese folk craft, tea ceremony utensils, and minimalist design will recognise its quiet authority.

If you appreciate ceramics that bear the honest imprint of fire and time, this Bizen vase offers a grounded, meditative presence – one that invites you to slow down and notice the subtle beauty in natural materials.

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. Questions welcome – we reply within 24 hours.

1157

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