Compact yet visually animated, this porcelain container by Nagakusa Yohei demonstrates how the artist adapts his flowing glaze vocabulary to smaller, intimate forms. Titled Ryūsai-ji Heiji (“Flowing Glaze Porcelain Lidded Container”), the vessel’s rounded body is structured with gentle vertical fluting that guides the descent of glaze during firing. From a soft ivory-white rim the surface gradually deepens into cool blue and indigo tones that gather toward the base, creating a luminous gradient reminiscent of light dissolving into deep water. The mouth is finished with a delicately scalloped rim that introduces a subtle rhythmic profile, while the small porcelain lid—with its upright knop—fits neatly within the opening. This interplay between the crisp articulation of the rim and the fluid movement of glaze emphasizes Nagakusa’s balance between precise porcelain craftsmanship and the atmospheric effects of kiln transformation. Both functional and sculptural, the piece transforms a simple container into a refined study of depth, light, and rhythm in porcelain. The work measures approximately 9.3 cm (3-3/4 inches) in height and 5.5 cm (2-1/4 inches) in diameter, and in excellent condition, directly from the artist.
Nagakusa Yohei was born in Aichi prefecture in 1986. He studied Mechanical Engineering and design in University, and worked for several years in that field before turning to ceramics. He graduated from the Tajimi Ceramics Research Facility in 2014, and was awarded that same year special prize at the Mino Ceramic Art Exhibition as well as being first accepted into the Nihon Dento Kogeiten (National Traditional Crafts Exhibition). He states “Glaze, light, and color are central themes in my work. For this exhibition, I have focused primarily on my ryūsai pieces, which I have been making for the longest time. In ryūsai, several types of fluid glazes are applied separately. During firing, the glazes flow and melt into one another, forming gradients of color. While I control the flow to a certain extent, the final result is entrusted to the firing process, and it is precisely this balance of difficulty and appeal that draws me to the technique. Another element I value deeply is form. I study time-honored shapes and continue to pursue forms that allow both beauty of proportion and the natural movement of glaze to be fully expressed”.
