This Wide and gently flaring porcelain bowl by Nagakusa Yohei emphasizes the dramatic visual depth created by his flowing glaze technique enclosed in the original signed wooden tox titled Ryūsai-ji Hachi. The vessel spreads outward from a small foot into a broad, shallow interior that becomes the primary field for the movement of color. The glaze begins in pale, milky tones near the rim before gradually deepening through cool blues into a dark indigo pool at the center, producing a radiant gradient that suggests the sensation of looking into deep, still water. Fine radial variations in tone appear to emanate from the center, creating a subtle starburst effect across the interior surface. The wide, thin rim and gently sloping walls lend the piece an elegant lightness despite its generous scale, while the glossy glaze amplifies reflections of light across the surface. Balancing precise porcelain craftsmanship with the fluid, almost atmospheric effects created in the kiln, the bowl transforms a simple open form into a contemplative study of depth, light, and movement. The work measures approximately 30.3 cm (12 inches) in diameter, 11.5 cm (4-1/2 inches) tall 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”.
