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A LARGE BIZEN WARE BROWN-GLAZED FLOWER VASE (HANAIRE), MEIJI PERIOD Japan, Okayama Prefecture, c. 1900. Finely modeled, of elongated conical form rising from a flat base to a slightly flaring neck, with softly organic contours, fitted on either side with two small bean-shaped handles. The exterior decorated with a densely ribbed surface of double lines in high relief, interrupted on opposite sides by a flattened band, and entirely covered in chocolate-brown glaze with peanut-brown speckling concentrated toward the neck. The base incised with the maker’s signature reading Kinetsu. Provenance: From The Sam and Myrna Myers Collection, Paris, France. Acquired between circa 1965-2012. Condition: Excellent condition with only minor wear and firing-inherent irregularities. Weight: 805.3 g Dimensions: Height 27.1 cm Hanaire is a traditional Japanese flower vessel employed primarily within the context of the tea ceremony, or ‘chanoyu’, for the display of seasonal floral arrangements known as ‘chabana’. Within the aesthetic and ritual framework of tea practice, flowers hold a position of particular significance, embodying notions of impermanence, seasonal change, and restrained natural beauty. As a result, vessels intended to support and present flowers assume an essential role within the architectural and symbolic composition of the tea space. Bizen ware designates a tradition of Japanese stoneware produced in and around the village of Imbe, in the former province of Bizen. Its technological and aesthetic foundations derive from Sue ware produced during the Heian period, beginning in the sixth century, while a clearly defined ceramic identity emerged in the course of the Kamakura period in the fourteenth century. The tradition was later identified by the ceramic historian Koyama Fujio as one of the Six Ancient Kilns of Japan. Production reached its apogee in the sixteenth century, during the Momoyama period, when ceramic culture assumed a central role within elite artistic practice. In the Edo period, from the early seventeenth century onward, sustained patronage by the Ikeda lords of the Okayama domain ensured institutional continuity, with kiln-operating families granted formal privileges and long-term protection. The restrained and austere visual language of Bizen ware resonated strongly with the aesthetic principles of the tea ceremony, contributing to its enduring cultural authority. From a technical perspective, Bizen ware is distinguished by exceptional density and hardness, achieved through prolonged firing at high temperatures in wood-fueled kilns. Surfaces display an earthen, iron-rich tonality ranging from reddish to deep brown and remain characteristically unglazed, although incidental deposits of vitrified ash may produce glaze-like effects. Surface markings and tonal variations result from the interaction of flame, ash, and placement within the kiln, and constitute an integral component of the material and visual character of the ware. Literature comparison: Compare a related Bizen ware flower vase in the form of a drum with ribbed surface, Edo period, 18th century, 22.9 cm high, in the Victoria & Albert Museum, accession number 201-1877. Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2003, lot 95 Price: GBP 5,377 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A rare Bizen-style pounder shape vase, by Kaneshige Toyo, 20th century Expert remark: Compare the related form, color of the glaze and the finely striated surface of the vase. Note the slightly smaller size (22.3 cm).