[Tea utensils/Tea ceremony tools thin board (flower vase base/flower stand)] Round incense stand Matsuzuri lacquer 130cm Kawase surface complete work

●What is a round incense stand? It is a thin board that is circular and has a rounded edge.
The board on which the incense burner is placed is said to be used as a flower vase.
The Rikyu style is made of paulownia wood with black lacquer.
It is used for flower vases made of "grass" such as Shigaraki, Bizen, and bamboo.
In Urasenke, it is used for Raku ware and bamboo vases.
The eighth generation head of the Omotesenke school, Takusai Ken'o Soza, favors pine wood-stained lacquer and pine wood-flour lacquer.
● Usui-ta (thin board) is a board that is placed under a vase when the vase is placed on a tatami floor.
There are three types: "Yahazuita" (arrow notch board), "Hamaguriba" (clam shell edge), and "Marukodai" (round incense stand), and they are used according to the rank of the vase: Shin, Gyo, or Kusa.
The Rikyu style Yahazuita (arrow notch board) is made of cypress wood with a black lacquer finish, the edge of the board is arrow-notch shaped, the top dimension is one bu larger than the bottom, and the wider side is placed on top, and it is used for real flower vases made of antique copper, celadon, or blue and white porcelain.
Hamaguriba, in the Rikyu style, is made of paulownia wood with a lacquered finish, and the edge of the wood resembles a clam shell. It is available in various finishes including true lacquer, lacquer, roiro lacquer, and black kakiawase lacquer, and is used for vases with glazed Kuniyaki.
In addition, "wooden clam leaves" made from paulownia, pine, cedar, cypress, and keyaki are used for unglazed bisque and yakishime pottery, bamboo, and gourd pieces that are used as flower vases for grasses.
In large halls, "large boards" and "long boards" are sometimes used, and "Haneda trays" are also sometimes used for antique bronze vases.
It is not supposed to be used when placing a basket vase.

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Size: Approx. diameter 31.8 x thickness 1 cm
Artist: Kawase Omote Kansaku (Higashiyama Omote Kansaku)
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[Current (real name: Tadashi Kawase)] Pen name: 3rd generation Higashiyama Hyoukan
Born in 1964 in San Francisco, USA. Raised in Kyoto.
In 1980, while attending night school, he studied under his father, the second Tozan Omote Kan (Atsushi).
1981: Kyoto City Industrial Research Institute Lacquerware Graduation (Chief instructor: Kyoto Lacquerware Artist Masaharu Yamane)
1985, Kyoto City Industrial Research Institute, Makie Kasou (Chief lecturer: lacquer artist Kyohei Mizuuchi)
Graduated from Kyoto College of Art and Design in 1987 as a ceramic artist (now Kyoto University of Art and Design)
1991: Kyoto City Industrial Testing Center Makie Kaso (Chief lecturer: lacquer artist Toshito Hattori), Kyoto Lacquerware Store Chairman's Award (hereafter referred to as Tetralogy, Chairman's Award)
Selected for the Kyoto Exhibition in 1992 (and has been selected twice since then)
1999: Organized the Kyoto Emerging Artists Exhibition (held around 20 times nationwide over 7 years by a group of young tea ceremony utensil artists)
2003: Certified Kyoto lacquer traditional craftsman by the Ministry of Economy, Trade and Industry, and at the Kyoto Takashimaya Art and Crafts Salon Classic
2004: Participated in the design of furnishings for the Kyoto State Guest House (participated as a craftsman), suffered a cerebral infarction and developed right-sided paralysis (since then, mainly worked with his left hand)
2007 3rd generation Higashiyama front complete succession
Lecturer at the Aoyama Green Academy Kyoto Lacquerware Lecture (hosted by the International Tea Ceremony Association and Urasenke)
In 2008, the Imperial Treasure Restoration Cross was awarded for the Ise Shrine Ceremony (work for 20 years from now has already been accepted).
Hakata Daimaru Art Gallery, Tokyo Daimaru Art Gallery, Fukuyama Tenmaya Art Gallery, Broadcasting Hall
2009: Succeeded in the Daimaru Shinsaibashi Art Gallery, Okayama Takashimaya Art Gallery, Kyoto Takashimaya Art Gallery, and Nagata Chaho
2010 Kyoto Shimbun Sophia Project: Today's Painting Park at Otsuka Elementary School; Ninnaji Temple Publications: Kyoto Lacquer Articles; Successor Shop Jujiya Yamagata Store Art Gallery; Gallery Association; Tokyo Nihonbashi Takashimaya Art Gallery; Ryumondo; Ono Art; Yokkaichi Kintetsu Art Gallery; Yokohama Takashimaya Art Gallery
In 2011, he took over the Takasaki Takashimaya Art Gallery, Yokkaichi Kintetsu Matsusaka Branch Store, Kobe Sogo Art Gallery, Takaoka Yamatoga Gallery, and Yonago Takashimaya Art Gallery.
2012 Solo exhibitions at Wakayama Kintetsu Art Gallery, Houeido, Daimaru Shinsaibashi Art Gallery, Okayama Takashimaya Art Gallery, Nihonbashi Takashimaya Art Gallery (two-person exhibition), Kyoto Shimbun Publishing Center published "Unexpectedly Unknown Kyoto" and wrote an essay on Kyoto lacquerware
2013 Solo exhibitions at Takasaki Takashimaya Art Gallery, Yokohama Takashimaya Art Gallery, Kyoto Takashimaya Art Gallery, Gifu Takashimaya Art Gallery, Eno Gallery, Yamako, Tankosha Publishing, featured in the article "Today's Masterpieces for Tea Masters"
2014 Solo exhibition at Gallery Kawatoku, Parc Avenue, Kyoto lacquerware lectures at Omotesenke Chiba Prefecture Youth Division Soukai and Omotesenke Yamaguchi Prefecture Youth Division Soukai, article on Rikyu's Aesthetics: Shinuri Nakanatsume published by Shogakukan in March issue of Waraku
Published by Tankosha Publishing, Kyoto Tea Ceremony Utensil Artist Directory, Photos and Articles
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Box: Wooden box
Note: Since natural wood is used, the grain and color may vary.