5.6cmhigh 7.3cm width
 
To hold Sudo Tadataka's 'Rainbow Wind Cup' is to cradle controlled chaos—a swirling vortex of colour frozen mid-spin, captured in ceramic form that defies conventional pottery aesthetics while remaining deeply rooted in Japanese craft traditions.
The nerikomi (marbling) technique employed here represents one of Japanese ceramics' most technically demanding approaches. Sudo begins with multiple clay bodies—each stained a different colour—then slices, stacks, twists, and compresses them into a single block before throwing on the wheel. What emerges resembles geological strata or perhaps weather patterns photographed from space: amber, cream, charcoal, and ochre bands swirl in organic patterns no two viewers will interpret identically. The name 'Rainbow Wind' captures this perfectly—it's meteorological, ephemeral, caught between states.
Sudo Tadataka works in the lineage of mingei (folk craft) philosophy that prizes honesty of materials and directness of technique, yet his colour palette and compositions feel decidedly contemporary. The nerikomi tradition dates to eighth-century Tang China, arriving in Japan centuries later before nearly disappearing until twentieth-century revivals. Sudo's work honours that heritage while pushing boundaries—his rainbow striations feel almost Op Art in their psychedelic intensity, yet the cup's form remains classically restrained. It's this tension between exuberant decoration and disciplined shape that makes the piece compelling.
In European interiors, such a cup becomes an instant focal point. Display it on open shelving where natural light can illuminate the marbled layers, or group with neutral ceramics to let the colours sing. The compact scale means it works in even the smallest London flat or Parisian apartment. Beyond sake service, collectors often use such pieces for jewellery, flowers, or simply as sculptural objects—the swirling patterns reward prolonged viewing, revealing new colour relationships with each glance.
The cup comes with its tomobako (artist-signed wooden box), essential for Japanese craft authenticity and a significant value marker. The box itself is an artwork—signed, stamped, and calligraphed by Sudo, serving as both provenance certificate and protective housing. Condition is excellent throughout. The marbled surface shows the subtle irregularities inherent to nerikomi work—these variations prove hand-craftsmanship rather than industrial replication. No chips, cracks, or restoration. The rim is smooth and even, demonstrating skilled finishing.
Acquiring work from active Japanese ceramic masters with tomobako documentation represents a particularly sound collecting strategy. As Western auction houses increasingly feature Japanese studio pottery, authenticated pieces with original boxes appreciate steadily. Sudo's work appears primarily in regional Japanese exhibitions; international availability remains limited, making this an opportunity for discerning collectors building serious collections.