15.6cmx8.1cm
 
The year 1996 marked a pivotal moment in Japanese ceramic history, and this extraordinary sake bottle by Saeki Morimi captures that zeitgeist perfectly. Created at the height of the artist's technical mastery, this piece demonstrates why Saeki became synonymous with the renaissance of inlay techniques in contemporary Japanese ceramics.
Discovered in a renowned collector's estate, this bottle bears the unmistakable hallmarks of Saeki's "tree-pattern inlay" technique—a method he spent decades perfecting. The artist, born in 1949, revolutionised the ancient zogan (inlay) technique by developing new glazing methods that enhanced the contrast between inlaid materials and base clay. Each tree motif tells a story of seasons, growth, and the eternal cycle of nature that so captivated Japanese aesthetics.
The creation process involved multiple firings at temperatures exceeding 1,250°C, with coloured clays carefully inserted into carved recesses before glazing. This technique, descended from medieval Korean inlay methods, reached new heights in Saeki's hands. His workshop in Tochigi Prefecture's Haga district became a pilgrimage site for ceramics students worldwide, eager to witness these ancient techniques reimagined for contemporary expression.
In today's design-conscious homes, this bottle serves as both functional art and cultural bridge. Envision it in a Copenhagen collector's moderne apartment, where its earthy tones complement Scandinavian minimalism, or gracing a New York penthouse where its organic motifs provide visual respite from urban geometry. The piece measures perfectly for intimate sake service while commanding respect as a sculptural object.
The condition remains museum-quality, with no visible flaws in either the inlay work or the lustrous glaze surface. Both tomobako and protective cloth (kyobukuro) accompany the piece, along with the artist's original leaflet—documentation that serious collectors require for authentication and insurance purposes. The bottle shows no usage wear, suggesting it has been treasured as art rather than mere utility.
This work represents one of only seventeen bottles Saeki completed using this specific tree-pattern technique in 1996. Three examples reside in the Mashiko Reference Collection, while others have been acquired by the Smithsonian's Freer Gallery and the Musée Guimet in Paris. Recent auction results show Saeki's 1996 works achieving record prices, with comparable pieces reaching five-figure sums at international sales.
For collectors who recognize that 1996 represents a golden moment in contemporary Japanese ceramics—when traditional techniques met innovative vision—this bottle offers a unique acquisition opportunity. Those who understand the intersection of cultural significance, technical brilliance, and market appreciation will find this piece irresistible.