16cm highx 10cm width
 
Can ceramic art capture atmospheric phenomena—the way light changes through layers of air, the horizontal stratification visible at sunset, the bands of colour defining morning haze? This tall tapered cylinder by Masami Kobayashi attempts precisely that capture, its surface moving through sandy yellows, cream mid-tones, and charcoal greys like a vertical cross-section through atmosphere itself.
The form exhibits elegant simplicityTapering gently upward with subtle undulations along its length suggesting organic growth rather than mechanical uniformity. The proportions create visual lightness despite the piece's actual substance—it appears to float rather than sit, reaching upward with botanical determination. The narrow rim and gentle taper guide the eye naturally from base to crown, creating compositional flow that feels inevitable rather than forced.
The glaze treatment here represents Kobayashi at his most atmospheric and abstract. Sandy yellows and warm ochres dominate the upper reaches, evoking dawn light or desert horizons. These transition through cream and tan middle registers before settling into deep charcoal greys at the base—a complete tonal journey from light to shadow compressed into vertical space. The gradations appear almost watercolour-like in their subtlety, colours bleeding into one another without harsh boundaries or abrupt transitions.
What distinguishes this piece is the abstract quality of the inlay work. Rather than representational tree branches, here Kobayashi employs flowing lines suggesting topographical contours, water currents, or wind patterns—natural forces rather than natural objects. These silver-white patterns trace horizontal and diagonal trajectories across the surface, their placement creating rhythm that complements rather than competes with the vertical form. The patterns seem to map invisible forces, giving visual form to ephemeral phenomena like air movement or light refraction.
The surface finish maintains Kobayashi's characteristic matte quality with subtle lustre—enough sheen to catch light without creating distracting reflections. The metallic inlay compounds create ethereal glow, their silver-white catching ambient light and seeming to emit gentle luminescence. This quality gives the piece contemplative, almost meditative character—it rewards extended viewing, revealing new pattern relationships and colour interactions the longer one looks.
Kobayashi's technical mastery shows in achieving such smooth colour gradations across a vertical surface. Gravity naturally causes glazes to flow downward during firing, often creating unwanted drips or pooling at the base. Maintaining controlled gradations requires understanding glaze viscosity, application thickness, and firing schedules—variables Kobayashi manipulates with decades of accumulated experience. The result appears effortless, inevitable, as though the colours arrived at their positions through natural processes rather than artistic intervention.
Born in Hokkaido in 1952 and trained under Kouji Nakano, Kobayashi has spent five decades refining his distinctive approach to landscape-inspired ceramics. His extensive prize collection—including the 1982 International Ceramic Exhibition Gold Prize, multiple Kita-Kanto Ceramic Exhibition Grand Prizes, and the prestigious 2001 Barcelona Batlló House Grand Prize—establishes him among Kasama's international representatives.
For European collectors drawn to abstract art or atmospheric aesthetics, this piece offers particular appeal. The colour palette—warm yellows, neutral creams, sophisticated greys—works beautifully in contemporary neutral interiors where subtle colour becomes statement. Position this vase against white walls, and it reads as vertical colour study. Place it on light wood surfaces, and the warm tones create harmonious dialogue.
The tall, narrow form naturally suggests vertical floral arrangements—imagine single tall grasses or minimalist branches—though the artistic merit alone justifies display empty. The piece functions equally well as pure sculpture, its form and surface treatment providing sufficient visual interest without additional elements.
Condition remains excellent: no chips, cracks, or restoration. The inlay work retains crisp definition throughout despite the abstract, flowing nature of the patterns. The glaze surface shows no wear, and the foot sits flat and stable.