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.

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.

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 word “Kakiemon” is sometimes used as a generic term describing wares made in the Arita factories using the characteristic Kakiemon enamels and decorative styles. Kakiemon decoration is of the highest quality, delicate and with asymmetric well-balanced designs. These were sparsely applied to emphasize the fine white porcelain background body known in Japan as “nigoshide” (milky white) which was used for the finest pieces.

The Japanese potter Kakiemon Sakaida (1596-1666) is popularly credited with being one of the first potters in Japan to discover the secret of enamel decoration on porcelain in the 17th century. He developed the distinctive palette of soft red, yellow, blue and turquoise green overglaze enamels on a fine milky white body. The family is now in its fourteenth generation. This plate is of the same superior quality as porcelains emanating from the Kakiemon workshop.

The Japanese potter Kakiemon Sakaida (1596-1666) is popularly credited with being one of the first potters in Japan to discover the secret of enamel decoration on porcelain in the 17th century. He developed the distinctive palette of soft red, yellow, blue and turquoise green overglaze enamels on a fine milky white body. The word “Kakiemon” is sometimes used as a generic term describing wares made in the Arita factories using the characteristic Kakiemon enamels and decorative styles. However, authentic Kakiemon porcelains have been produced only by direct descendants of the family, now in its fourteenth generation.

Kakiemon decoration is always of the highest quality, delicate and with asymmetric well-balanced designs. These were sparsely applied to emphasize the fine white porcelain background body known in Japan as “nigoshide” (milky white) which was used for the finest pieces. Because manufacture of nigoshide is difficult due to hard contraction of the porcelain body during firing, its production was discontinued from the 18th century until the mid-20th century, when Kakiemon XII and his son Kakiemon XIII joined forces and finally succeeded in recreating it in 1953. Kakiemon XII was designated an Intangible Cultural Asset at that time, and his works are widely sought by collectors.

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.

Hibachi were finely crafted braziers used in old homes and shops to provide heat, warm sake and boil water for tea. This portable fireplace was also the emotional center of the home, since family and friends gathered around its welcoming warmth. Ceramic hibachi made their appearance during the Meiji period and at once gained widespread popularity. A porcelain hibachi became the status symbol of the day. In today’s homes, these old hibachi make stunning coffee tables (just cover it with a round piece of glass) or impressive jardinieres. They are prized for their craftsmanship and can be utilized in many imaginative ways very different from their original purpose. We know of several collectors who use porcelain hibachi to display their treasures such as inro, netsuke, sword furniture or lacquer combs beneath the glass top.

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.

Because of the Japanese preference for “sabi” and “shibui,” the very simplicity and unaffectedness of this piece makes it a perfect accoutrement for the tea ceremony. There is no English translation of the word “shibui.” It connotes the power of quietness and understatement -- especially in commonplace things -- to create an inner beauty. Utensils and implements with such quiet elegance were a special favorite among tea ceremony connoisseurs.