3.1cm high x 5.3cm width
 
The lid lifts to reveal layers upon layers of coloured clay, each stratum painstakingly assembled before firing—Saeki Morimi's nerikomi technique transforms ceramic into something approaching geology, where tree silhouettes emerge from marbled earth tones as if excavated from ancient strata. This incense container belongs to Mashiko's experimental tradition, where post-war ceramicists rejected mass production to pursue intensely personal artistic visions.
Saeki studied under masters who themselves apprenticed in the mingei folk-craft movement, that philosophical return to handwork as spiritual practice. His nerikomi method involves stacking coloured clays—iron-rich reds, titanium whites, manganese browns—then slicing cross-sections to reveal hidden patterns. The tree motifs adorning this container didn't receive surface decoration; they existed within the clay body itself, revealed only through the artist's blade. It's a technique demanding absolute confidence—one miscalculation and weeks of preparation collapse into unusable fragments.
The container comes with its signed tomobako (artist's wooden box), authentication pamphlet, and protective cloth—the complete presentation expected at Japanese tea gatherings where such objects occupy honored positions. Saeki's seal appears clearly impressed on the base, alongside remnants of kiln debris that collectors recognise as marks of wood-fired authenticity rather than flaws. The lid seats perfectly, its inner rim ground to ensure secure closure whilst allowing gentle rotation during ceremonial use.
This piece speaks fluently to current design sensibilities—the organic forest motifs anticipate contemporary biophilic design, whilst the geometric precision of nerikomi technique satisfies minimalist aesthetics. London's design-conscious collectors have begun displaying such containers on floating shelves, backlit to emphasise translucency where thin clay walls glow amber. Others position them alongside Scandinavian glass and Italian marble, creating material dialogues that transcend cultural boundaries.
Condition inspection reveals exemplary preservation. No chips compromise rim integrity, no hairlines threaten structural soundness. The surface retains its original satin finish, unmarred by handling oils or environmental exposure. Minor scuffs on the box exterior suggest careful storage rather than neglect—precisely what one hopes to encounter when acquiring pieces directly from Japanese collections.
Mashiko ceramics occupy institutional collections including Tokyo's National Museum of Modern Art and Tochigi's Mashiko Museum of Ceramic Art. Collectors worldwide recognise the region's contribution to twentieth-century studio pottery, particularly works demonstrating technical virtuosity married to artistic vision. Saeki's nerikomi containers appear infrequently at auction; when they do, bidding reflects understanding of the labour-intensive process behind each piece.
For those drawn to objects requiring sustained contemplation—pieces revealing new details with each viewing—this container offers rewards proportional to attention invested. The forest motif shifts perspective depending on lighting angle and viewing distance, creating an almost cinematic experience from static ceramic.