The Nabeshima family kilns were founded in 1660. They produced wares to be used by the feudal lord Nabeshima as presentation pieces for the shogun or other feudal lords, and as a result, the wares were of extremely fine quality. Secrets of manufacture were closely guarded. During the Meiji period, Nabeshima wares were allowed to be sold outside the “family.” The Imaizumi family of decorators, who worked at the Nabeshima kilns from the beginning, has continued to carry on the Nabeshima tradition.

Imaizumi Imaemon gradated from Tokyo University of Art before becoming the thirteenth Imaemon in 1975, and he was designated a “Living National Treasure” in 1989. The iro Nabeshima (colored Nabeshima) style was registered as an important cultural property In 1971. Nabeshima wares produced to this day are of uniformly superior quality in materials, shape, painting and glazing. These wares are of the finest quality and are decorated in refined taste – technically, almost equal to the old specimens.

CONDITION is excellent.

Yasokichi III is famed for his mastery of Kutani glazes, and the astonishing depth and color he has achieved with this vase are an excellent example of that skill. His works are mostly done in simple forms which do not compete with the spectacular colors and graduated glazes which so thoroughly dominate his ceramic art. Pieces made by this highly sought Japanese artist are consistently displayed at national and international exhibitions, and they are well represented in many museum and private collections as well.

Born Tokuda Masahiko in Komatsu, Japan, he started potting at the age of 18. He studied Kutani glazing with his grandfather, the first Yasokichi (1873-1957) and modern pottery with his father, Yasokichi II (1907-1997). Tokuda graduated from Kanazawa College of Art and won the NHK Chairman's Prize with his first entry in the Japan Traditional Crafts Exhibition in 1971. He won the highest award at the Japan Traditional Crafts Exhibition: the Japan Crafts Association's Chairman's Prize in 1977, the Hokkoku Shimbun Cultural Award in 1985, and the Japan Pottery Association Prize in 1986, when he was also designated an Intangible Cultural Asset of Ishikawa's kutani-yaki pottery. In 1988, he took the potter’s name Yasokichi. He won the Chichibunomiya Cup, the most prestigious prize at the Japan Pottery Exhibition in 1991. He was designated Important Intangible Cultural Asset (Living National Treasure) in 1997.

The Nabeshima family kilns were founded in 1660. They produced wares to be used by the feudal lord Nabeshima as presentation pieces for the shogun or other feudal lords, and as a result, the wares were of extremely fine quality. Secrets of manufacture were closely guarded. During the Meiji period, Nabeshima wares were allowed to be sold outside the “family.” The Imaizumi family of decorators, who worked at the Nabeshima kilns from the beginning, has continued to carry on the Nabeshima tradition.

Imaizumi Imaemon gradated from Tokyo University of Art before becoming the thirteenth Imaemon in 1975, and he was designated a “Living National Treasure” in 1989. The iro Nabeshima (colored Nabeshima) style was registered as an important cultural property In 1971. Nabeshima wares produced to this day are of uniformly superior quality in materials, shape, painting and glazing. These wares are of the finest quality and are decorated in refined taste – technically, almost equal to the old specimens.

This porcelain cask has been molded to resemble the straw-wrapped cypress kegs (“komokaburi”) used for transporting sake, with high relief molded “ropes” to hold the molded “straw wrapping” in place. During the Edo period, rural sake brewers needed a method of transporting their brew to the large cities. These large porcelain casks could be carried on pack horses or transported on special ships called “taru kaisen” or cask ships. Until the 1940’s, they continued to be used to dispense draft sake in shops. Customers would come into the shop with their own smaller ceramic bottles and have them refilled with their favorite brand. These large casks are handsome decorative items that make an appealing accent to any décor, either by themselves or recycled into lamps.

CONDITION is excellent, with normal wear consistent with age and considerable usage. The bamboo wrapping on the handle has come loose on one end. The wood plug in front is a replacement.

Kutani (which means nine valleys) is a small village in Kaga Province on the northwest coast of the main island of Japan with a long history of porcelain production. In 1904, Yaguchi Iwakichi (1870-1952) began the Eiju kiln, which produced high quality porcelain wares. His son, Yaguchi Eiju II continued the kiln, and it is still in operation today.

The bottom of the vase bears the red signature “Kutani, Suiho.” There is also a stamped Kutani mark beneath the glaze on the base. The wood storage box (“tomobako”) has the red seal “Kutani Yaki” and reads “Kabin (vase), Kutani, Suiho saku (made).” Suiho (Muranaka) was a studio potter who studied pottery fundamentals in the early 1900’s and later under master potter Nakamura Suitsune. Suiho received many awards in Ishikawa Prefecture Art Associations.

The kachoga motif of kingfisher and iris is more commonly found on Japanese painted scrolls and woodblock prints and less frequently on porcelains. The irises depicted on this vase, with their delicate blue, purple and yellow blossoms, are the type known as “kakitsubata.” Although this type of iris has long been cultivated in Japan, it is best known there as a wild plant growing in damp areas alongside bodies of fresh water. It is the iris most celebrated in Japanese poetry and art.

CONDITION is perfect.