Japanese porcelain pale celadon glazed pinched ‘lotus’ flower vase of slender beaker form, with double pinched foliate rim, covered overall on the base and interior in an even pale celadon glaze, slightly thinning at the rim, the flat unglazed foot rim revealing the biscuit body.
10 ¾ inches, 27.3 cm high.
Kawase Shinobu, 1988.
Wood box, described as ‘celadon flower vase’, signed and with artist’s seal, Shinobu, on the interior of the cover and the orange cloth.
Provenance & Additional Information
- Purchased at the Shiyu-kai Auction, Tokyo, March 2020.
- One of the earliest pinched ‘lotus’ flower vases with a celadon lavender Ru-type glaze was included in the 4th solo exhibition at Kandori, The New Otani Hotel, Tokyo, 1983, illustrated in colour in the catalogue, no. 8; the form developed and a pale celadon slender example was included in the 1st solo exhibition at Kochukyo, Tokyo, 1985, illustrated in the catalogue, no. 32; another was included in the solo exhibition at Ginza Kurodatohen, titled Ginjo no Utuwa (Utensils on Precious Tray), 2009 and illustrated in the hardback catalogue, no. 26.
- Two others dated to 1988 and 2004 were included by the Musée Tomo, The Kanjitsu Kikuchi Memorial Tomo Museum of Art, Tokyo, in their retrospective exhibition of Beyond Tradition – Seeking His Serene Blue: Celadon Works by Kawase Shinobu, 2011, illustrated in the catalogue, nos. 29 & 52, pp. 32/3; another example circa 1990, from Rice Foundation Fund, Bertha E. Brown Endowment, is in the collection of the Art Institute of Chicago, reference no. 2000.93.
- Two taller examples in a pale celadon lavender glaze were included in the 9th solo exhibition at Kochukyo, Tokyo, titled Rimka – Rimpa (Lotus Flower, Lotus Leaf),
- Two others dated 1988 and 2014 respectively were included by the Musée Tomo, The Kanjitsu Kikuchi Memorial Tomo Museum of Art, Tokyo, in Fifty Years in Making Celadon, The Special Retrospective Exhibition of Kawase Shinobu, 2018, illustrated in the catalogue, no. 33, p. 45 and no. 52, p. 62 (this piece is in the National Museum of Modern Art, Tokyo).
This form is considered to be one of the most desirable forms in Kawase Shinobu’s pantheon of ceramic manufacture and is inspired by the lotus flower.