Une seule branche près de la fenêtre
A vessel designed for one branch, not a bouquet. Place it where morning light enters — the jade glaze catches the warmth, and the single flower becomes the room's quiet center.
Hand-thrown on a traditional kick wheel in a Longquan studio, this vessel carries the jade-green glaze that has defined the region for over 1,700 years. The form is minimal — a narrow neck, a gentle shoulder, a base that sits with quiet weight.
Each piece is glazed twice and fired at 1,280°C. The iron in the glaze oxidizes in reduction to produce the pale green that Longquan masters call "meizi qing" — plum-green.
Longquan celadon has been fired continuously since the Northern Song dynasty. The kilns sit in the mountains of southern Zhejiang, where the clay is fine and the forests provide fuel for the long reduction firings.
The glaze — a combination of clay, feldspar, and iron oxide — turns green only when the kiln's atmosphere is carefully starved of oxygen. Too much air, and the iron turns yellow-brown. Too little, and it goes grey. The window is narrow, and the master's skill is in reading the flame.
This vessel was made by a third-generation celadon artisan who works in a family studio of four people. Each piece is signed on the base with a carved seal.
Read the full craft story →This vessel asks for restraint. One branch is enough — a prunus cutting in February, a peony spray in May, a single maple leaf in October. The vessel's quiet form lets the flower speak.
Place it where you pass often — a window sill, a reading desk, an entryway shelf. Change the water every two days. Cut the stem at an angle. That is the entire ritual.
The vessel also stands alone. After the flowers are gone, the glazed surface catches light like still water. It is enough.
Un vase pensé pour une seule branche, non pour un bouquet. Placez-le là où entre la lumière du matin : l'émail couleur jade capte la chaleur, et une fleur devient le centre silencieux de la pièce.