15.5cmhigh
 
Picture this: a vase that captures the very essence of spring awakening, created by hands that carry over a century of artistic lineage. The title "Hōshun" (萌春 – "Budding Spring") is no mere poetic flourish; it represents the moment when winter's grip releases, when colour floods back into the world, when possibility itself seems to shimmer in the air. This 15.5 cm Kutani porcelain vase by the fourth-generation Yasokichi Tokuda embodies that transformative instant, frozen in ceramic form.
Yasokichi Tokuda IV (1961–present) stands as one of contemporary Kutani-yaki's most celebrated voices, carrying forward a family tradition established by his great-grandfather. The Tokuda workshop's journey through four generations mirrors the evolution of Kutani ware itself – from the Edo period revival to today's international recognition. Fourth-generation Yasokichi earned particular acclaim for his innovative approach to yōhen (glaze transformation) techniques, creating surfaces that seem to shift and breathe with organic life. His works regularly appear in Japanese department store exhibitions and have been acquired by serious collectors across Asia and Europe. The Tokuda name has become synonymous with technical excellence married to artistic vision, a reputation hard-won over more than 100 years.
Kutani-yaki's history stretches back to 1655 in Ishikawa Prefecture, where the discovery of quality porcelain stone in the village of Kutani sparked a ceramics revolution. After a mysterious hiatus in the early 18th century (the "Old Kutani" period), the kilns were revived in the early 1800s, establishing the bold, overglaze enamel style that defines Kutani to this day. What sets Kutani apart from other Japanese porcelains is its fearless use of vivid colour – the celebrated "Kutani five colours" (green, yellow, red, purple, and navy blue) applied with confidence and precision. The distinctive palette, combined with often dramatic compositions, creates pieces that command attention rather than whisper.
This particular vase demonstrates Yasokichi IV's mature style – the glaze work suggests natural phenomena, perhaps the dappled light through spring foliage or the mottled colours of new growth. The surface treatment likely employs his signature yōhen technique, where controlled kiln atmospheres create unpredictable, organic colour variations. At approximately 8 × 8 cm width and 15.5 cm height, it offers substantial presence without overwhelming a space. The proportions feel deliberately considered – not too tall to become unstable, not so squat as to lose elegance. This is a piece designed for contemplation, to be rotated slowly in the hands, revealing new colour interactions with each turn.
In contemporary European interiors, this vase bridges worlds effortlessly. The organic, almost abstract glaze patterns align beautifully with Scandinavian design principles, while the rich colour palette provides the warmth that minimalist spaces often crave. Imagine it on a white marble console in a London townhouse, catching afternoon light through tall Georgian windows. Picture it grounding a floating shelf in a Parisian apartment, its colours echoing a vintage kilim rug. The scale makes it versatile – substantial enough for a dining table centrepiece (perhaps with a single dramatic stem) yet intimate enough for a bedside table or bathroom vanity. Japanese ceramics have experienced surging popularity in Western design circles precisely because they offer this combination: artistic pedigree, cultural depth, and remarkable visual accessibility.
The vase arrives in its original signed wooden box (tomobako), with the artist's inscription confirming both title and authorship. This original box significantly enhances both authenticity and value – it's the ceramic equivalent of a painting's provenance documentation. The condition report notes "some age-related wear and minor marks" – admirably honest language for a piece that has existed in the world rather than languishing in bubble wrap. Examination of the auction images suggests these are truly minor: no chips, cracks, or restoration evident. The surface shows the natural patina of a piece that's been handled, perhaps displayed, which many collectors actually prefer to sterile "mint" condition. This is art meant for living with, not merely storing.
The name Tokuda carries considerable weight in Kutani circles. Galleries representing fourth-generation Yasokichi include major venues in Tokyo, Osaka, and Kanazawa. Similar works by this artist have appeared at auction houses internationally, typically commanding four-figure sums when condition and provenance align. Museum collections including the Ishikawa Prefectural Museum of Art hold earlier Tokuda generation works, establishing the family's historical significance. This is not speculative collecting; this is acquiring work by a living master from an established artistic dynasty.
Contemporary Kutani by recognized artists has become increasingly sought after as Western collectors discover what Japanese connoisseurs have known for generations: these are museum-quality pieces available at accessible prices. Production is limited not by artificial scarcity but by the time-intensive nature of the work itself. Each piece requires multiple firings, with glaze application demanding both technical precision and artistic intuition. The yōhen effects cannot be exactly repeated; each piece emerges from the kiln slightly different, genuinely unique. In an age of mass production and digital reproducibility, there's profound appeal in objects that remain stubbornly, gloriously singular.
For those building a collection of Japanese studio ceramics, a Tokuda piece offers an essential reference point – technically accomplished, aesthetically resolved, properly documented. For those simply seeking beauty, this vase delivers the rare satisfaction of discovering something new in repeated viewings. The "Budding Spring" title proves apt: like spring itself, the piece rewards patient observation, revealing subtle complexities that initial glances might miss.