{"product_id":"284","title":"Minister of Education Award Winner, Councilor of Nitten, and Artist Permanently Housed in the Museum of Fine Arts, Boston: Kano Mitsuo. Masterpiece: Hariyu-yusai Large Flower Vase, Large Bowl, Ice Bowl #284","description":"\u003cp data-path-to-node=\"26\"\u003eThis is a large-sized vase featuring the finest techniques and designs of Kano Mitsuo (1903-1970), a legendary master who reigned at the pinnacle of glaze research based on scientific analysis in the history of modern Japanese ceramics, yet held only six solo exhibitions throughout his lifetime. Born into the prestigious Kano family of Kiyomizu ware and a graduate of the Kyoto Ceramic Testing Institute, Kano Mitsuo studied under Komori Shinobu, a renowned pioneer of scientific ceramics in Japan. In 1920, he joined the Chinese Ceramics Research Institute in Dalian, where he thoroughly investigated the glazes and firing mechanisms of ancient Chinese ceramics. In 1943, he was commissioned by the Manchukuo government to select sites for official kilns, and his overwhelming knowledge and astonishing technical skill would shock the Japanese art world shortly after the war. Beginning with a Special Selection Award at the Nitten Exhibition in 1949, his works were permanently acquired by authoritative museums and national institutions worldwide, including the National Museum of Modern Art, Kyoto (purchased by the Ministry of Education), the Paroris Museum (purchased at the Contemporary Ceramic Exhibition in Paris), donated to the Museo Internazionale delle Ceramiche in Faenza, and acquired by the Museum of Fine Arts, Boston, the Museu de Arte de São Paulo, and the Japan Art Academy. In 1967, he received the Minister of Education Award at the Nitten Exhibition, and in 1968, he became a Nitten councilor. Highly praised for his refined aesthetic spirit, he produced a white porcelain vase for the Imperial Household at the time of the new palace construction in 1969, leaving behind an unparalleled legacy and honor as a master craftsman.\u003c\/p\u003e\n\u003cp data-path-to-node=\"27\"\u003eKano Mitsuo's ceramic philosophy was rooted in the modernization of Eastern traditions based on thorough scientific evidence, and the pursuit of functional beauty that maximizes the potential of clay and glaze within the constraints of a vessel. This overwhelming spirit of functional beauty and perfect technical skill significantly changed the life of his nephew and direct disciple, Kano Tetsuo (Kano Shokoku II), a founding member of the Sodeisha group. In the early Sodeisha, which was spearheaded by Yagi Kazuo and aimed at establishing purely three-dimensional objects completely devoid of practicality, Kano Tetsuo experienced deep spiritual conflict in abandoning the ultimate functional beauty that his master, Kano Mitsuo, had built through arduous research. As a result, he left the group at a very early stage around 1951 and embarked on the orthodox succession of practical vessels that fused tradition and modernism. Kano Mitsuo's global and outstanding modern aesthetic sense was also evident in the numerous cutting-edge Western tableware he created at the request of Noémi Raymond, wife of the renowned architect Antonin Raymond and herself a prominent designer. He embodied a universal modernism that harmonized with contemporary living spaces, rather than merely recreating classics.\u003c\/p\u003e\n\u003cp data-path-to-node=\"28\"\u003eThe Hariyu-yusai (glass glaze with variegated colors) technique employed in this work is an extremely important representative technique, with a similar masterpiece published in Kano Mitsuo's collection of works. It is rooted in his unique glass glaze technology, which he perfected in July 1942, before the war, by deriving a precise blending ratio of 75 parts Nango feldspar and 25 parts lead-free white jade. A professional analysis of the inside of the piece reveals a thickly melted, precisely calculated glass glaze, with ice crackle crazing, finely and densely spread like jewels from the bottom to the rim. This layer of transparent, delicate crazing reflects light in a beautiful, kaleidoscopic manner depending on the angle of incidence, lending immeasurable depth to the interior of the vessel. In contrast, the exterior of the vessel is uniformly covered with a deep black glaze, creating a vivid contrast with the serene world within. Furthermore, the lower part of the body features a sophisticated interlocking pattern in a continuous band, created by intricate stamping (indented patterning). In these textured patterned areas, the Yusai technique, where iron content and complex colors blend intricately, is fully utilized, precisely revealing changes in the crystallization, such as reddish-brown and slight bluish hues, as if floating from the jet-black background. The contrast between the hard black luster and the organic crystallization residing within the regular patterns is the epitome of extremely difficult glaze control that only Kano Mitsuo could achieve.\u003c\/p\u003e\n\u003cp data-path-to-node=\"29\"\u003eFurthermore, what determines the artistic value of this work is the presence of a highly special potter's mark applied within the foot rim at the base of the vessel. In contrast to the simple incised marks seen on the bottom of ordinary vases and practical vessels, fine white slip clay is applied within the foot rim, and Kano's painted signature is inscribed beautifully over it in a vivid blue cobalt pigment. This blue potter's mark serves as a vibrant accent that jumps out at the viewer when the bottom is revealed, transitioning from the jet-black exterior. It possesses extremely high precision and visual impact, as if a blue design has been embedded using meticulous inlay techniques. Kano Mitsuo's uncompromising dedication to perfectly controlling his artistic signature down to the invisible details is condensed in the uniqueness of this single potter's mark, eloquently testifying that this work is an undeniable authentic masterpiece from his own hand. The lid of the accompanying wooden box features a dynamic inscription of the title \"Hariyu-yusai Kaki\" (Glass Glaze Variegated Vase) and Kano's signature, complete with a clear red seal.\u003c\/p\u003e\n\u003cp data-path-to-node=\"30\"\u003eThe production period of this work is identified as the mature period of the mid-Showa era (circa 1942-1970). This logically supports that it was produced over approximately 28 years, from July 1942, when Kano Mitsuo completed his unique glass glaze blending ratio, through his journey to Manchuria in 1943, the period from 1946 when he began exhibiting extensively at the Nitten exhibition and his overwhelming technique of functional beauty entered its golden age, the 1940s and 1950s when he drew his direct disciple Kano Tetsuo back to the succession of tradition, until the artist's passing in August 1970. The historical background of this work being a genuine piece from the master's mature period, produced directly by his hands and transcending the turbulent wartime and postwar periods, further solidifies its artistic value.\u003c\/p\u003e\n\u003cp data-path-to-node=\"31\"\u003eWith dimensions of approximately 15 cm in height, 30 cm in body diameter, and 26.5 cm in mouth diameter, it boasts a commanding, impressive extra-large size. While its sculptural beauty can, of course, be enjoyed as a large vase that creates an elegant indoor atmosphere, it also offers rich practicality as a special accent in modern, sophisticated table settings. When enjoying fine aged sake or vintage wine, it can be placed in a space as a large ice bowl filled with ice or an exquisite wine cooler to chill bottles. The beautiful ice crackle of the glass glaze on the inside will resonate with the ice and condensation, creating breathtakingly luxurious and executive moments. This is a museum-quality, one-of-a-kind piece that embodies the essence of Kano Mitsuo's functional beauty, which has been highly praised and permanently collected by leading museums around the world, allowing you to directly experience its luxury in your daily life. It is something you will never encounter again, whether domestically or internationally.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Kano Mitsuo (1903-1970)\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"32\"\u003eArtist's Major Career Highlights:\u003c\/b\u003e [1920] Joined the Chinese Ceramics Research Institute in Dalian and engaged in research on ancient Chinese ceramics; [1943] Traveled to Manchuria as a Manchukuo government consultant to select sites for official kilns; [1946] First exhibited at the Japan Fine Arts Exhibition (Nitten); [1949] Received a Special Selection Award at Nitten; [1953] Received the Hokuto Award at Nitten; [1957] Appointed as a Nitten judge; [1958] Became a member of the Nitten Association; [1967] Appointed as a Nitten judge and received the Minister of Education Award; [1968] Appointed as a Nitten councilor; [1969] Produced a white porcelain vase for the new palace construction.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"728\"\u003eWorks in Collections:\u003c\/b\u003e National Museum of Modern Art, Kyoto; Museum of Fine Arts, Boston (USA); Museu de Arte de São Paulo (Brazil); Japan Art Academy; Musée Paroris (France); Museo Internazionale delle Ceramiche, Faenza (Italy).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"957\"\u003eProduction Period:\u003c\/b\u003e Mid-Showa period (circa 1942-1970 \/ from the completion of the technique until his death).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1067\"\u003eProduct Condition:\u003c\/b\u003e Very good (no chips, no cracks, box has age-related cracks and dirt).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1156\"\u003eAccessories:\u003c\/b\u003e Comes with original wooden box (note age-related deterioration).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1234\"\u003eMaterial:\u003c\/b\u003e Pottery (glass glaze, variegated glaze).\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1285\"\u003eDimensions:\u003c\/b\u003e Height approx. 15.0 cm, body diameter approx. 30.0 cm, mouth diameter approx. 26.5 cm.\u003c\/li\u003e\n\u003cli data-path-to-node=\"32\"\u003e\u003cb data-path-to-node=\"32\" data-index-in-node=\"1384\"\u003eNote:\u003c\/b\u003e Even if the products we offer are new and unused, they are from a very old production period and are all listed as used items. Products may have age-related damage, so please understand and confirm before considering purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Antique Liquor","offers":[{"title":"Default Title","offer_id":47974192283835,"sku":null,"price":300000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0652\/0510\/8923\/files\/IMG_8291_result.jpg?v=1782049469","url":"https:\/\/antiqueliquor1926.com\/en\/products\/284","provider":"Antique Liquor","version":"1.0","type":"link"}