Kokuryo Hisato (1939–2020) was a Japanese ceramicist from Kyoto, whose work combines the tradition of Kyō-yaki ceramics with a strong personal creativity. The vase presented here, made of silver-plated stoneware with metallic reflections, approximately 25.5 cm high, perfectly illustrates his late 20th-century production. Its irregular parallelepiped shape is adorned with an original design of green glazed pastilles circled in red, a bold and eye-catching motif. This unique piece testifies to the artist's rich career, from his training with the ceramic masters of Kyoto to his artistic independence within his own Mizuho-gama kiln, and is part of Kokuryo Hisato's stylistic evolution in the years 1985–1995.

Kokuryo Hisato's career and training

Born in 1939 in Kyoto, Kokuryo Hisato trained in the purest tradition of Japanese ceramics. He was the last disciple of the great master Kenkichi Tomimoto – recognized as a Living National Treasure – and also received instruction from Kanjiro Kawai and Kiyomizu Rokubei, two eminent figures in Kyoto ceramics. From the very beginning, Kokuryo distinguished himself by his talent: while still young, he won awards at prestigious fairs and exhibitions in Japan, notably at the Nitten, the Takumi-kai, the Asahi Exhibition, and the Kyoto Municipal Art Exhibition. This apprenticeship with illustrious masters, coupled with early recognition, forged his technical mastery and aesthetic sense. He inherited the rigor and refinement of Kyoto's ceramic tradition, while developing his own sensitivity that would lead him towards his own artistic path.

Artistic independence and the Mizuho oven

Despite his initial success in artistic circles, Kokuryo Hisato chose to break away from traditional paths to assert his own vision. He founded his personal studio, the Mizuho kiln (Mizuho-gama), whose name – as well as his artist name Tōsai – was given to him by the Buddhist monk Ekishū Takeda, head of the Kennin-ji temple in Kyoto. Towards the end of the 1960s, faced with the ceramic art world, which he considered too attached to titles, notoriety and commercial interests, Kokuryo left official associations and competitive salons to devote himself to independent creation. This distancing marked the beginning of a total artistic freedom: freed from the constraints of schools and competitions, he was now able to experiment with forms and techniques according to his inspiration. His Mizuho kiln became the crucible of his innovations, a place where he combined the heritage of Kyoto (polychrome glaze, stoneware expertise) with a personal quest for authenticity and simplicity. Kokuryo then oriented his work towards pieces intended to embellish everyday life, believing that true cultural wealth lies in everyday objects that bring joy and beauty to everyday life. He made it a point of honor to create ceramics that were not only decorative, but also functional and accessible, in keeping with his philosophy of the art of living.

A unique vase from the years 1985–1995

This silver-plated stoneware vase with metallic reflections is part of Kokuryo Hisato's mature period, created between 1985 and 1995. During this decade, the artist, then at the height of his creative freedom, explored new forms and surface effects. The shape of this vase—an irregular parallelepiped with rounded edges—reflects a resolutely modern and sculptural approach. Kokuryo departs from symmetrical throwing in favor of a freer shaping technique.

Visually, the irregular, silvery surface with metallic reflections like oxidation is the work's most striking feature. This moiré and slightly shiny finish is achieved through a special metalliferous glaze obtained by a controlled reduction firing – which deposits a silvery veil with changing reflections on the stoneware. This treatment gives the piece a precious and contemporary aura, while retaining the robustness and textured depth of the stoneware. The polychrome decoration, meanwhile, brings a touch of exuberance: small circular pastilles glazed in green are arranged on the faces of the vase, each one highlighted by a fine red and gold border, traditional colors of Kitani enamels. This pattern of circles creates a dynamic contrast with the silver background.

Style and techniques: a work between heritage and innovation

This vase embodies the stylistic characteristics developed by Kokuryo Hisato following his artistic emancipation. The freedom of form—illustrated by the asymmetrical geometry of the vase—reflects the artist's independence of mind. By freeing himself from formal constraints, Kokuryo was able to integrate varied influences into his creations: one can see, in the pattern of the enameled pastilles, a nod to the traditional ornamental decorations of Kyō-yaki (such as floral or geometric medallions), revisited here in a very personal way. The chromatic audacity—this marriage of green and red on a silver background—is emblematic of his style of the 1980s and 90s, where he did not hesitate to combine ancestral enameling techniques with innovative visual effects. On a technical level, the mastery of the metallic-reflecting glaze demonstrates the potter's high level of expertise. This type of glaze requires great precision in the composition of the glazes and in the conduct of the firing, in order to obtain this metallic shine without altering the applied colors. Kokuryo, strong in the teaching of Tomimoto (oriented towards decorative glazes) and Kawai (focused on glazes and spontaneity of gesture), succeeds in merging these legacies in this vase: decorative refinement coexists with the refined form and the free use of materials. We also recognize in this piece the importance he gives to the utilitarian function of the art object. Indeed, although sculptural and intended to be admired, this vase remains a functional container, designed to hold a floral arrangement (ikebana) or to serve as a decorative centerpiece in an interior. It thus responds to Kokuryo's vision according to which the beauty of ceramics must be integrated into everyday life

Kokuryo's signature is present under the base of the vase as well as on its original tomobako.

25.5 x 15 x 10 cm