Longquan Celadon · Kiln-Change Secret-Color · Eight-Petal Ruyi Incense Holder

Material: Ceramic (Celadon) | Colour: Secret-color (pale rice-green) Craft: Longquan celadon Di kiln wood-firing technique, fired at 1300°C in a traditional dragon kiln. Glossy, smooth glaze with a subtle, uniform rice-green hue — mysterious and refined. Place of Origin: Zhejiang, China Handcrafted by Wang Bin (Intangible Cultural Heritage Inheritor of Longquan Celadon, Master of Arts and Crafts, “Baijiang Master” of Longquan) Handcrafted. One of a kind. Signed collector’s certificate included. This piece comes from Longquan, where the craft has been passed down for a thousand years. It is made by Wang Bin, an inheritor whose hands carry the weight of tradition. The glaze is a rare secret-colour — a subtle, uniform pale rice-green that sits somewhere between grey-green mist and the warmth of ripened grain. Fired at 1300°C in a traditional dragon kiln, the surface emerges glossy and smooth, holding light with a quiet radiance — not flashy, but quietly, mysteriously refined. Secret-colour is one of the most difficult glazes to achieve in celadon — a delicate balance between green and beige, neither quite one nor the other. Like the ancient Longquan kilns that gave birth to fenqing, meiziqing, and rice-yellow, this piece’s pale rice-green is a rare treasure born of the kiln’s fire and the glaze’s chemistry. On the surface, a traditional eight-petal ruyi motif is carved by hand. Eight petals open evenly around the centre — each line fluid, each cut precise, each petal full and rounded. The ruyi and floral patterns are classic elements of Longquan celadon decoration, symbolising good fortune, harmony, and the fulfilment of wishes. Against the glossy rice-green glaze, the carved design stands out with exceptional clarity — as if the ruyi flowers are floating just beneath the surface, noble and serene. Each piece is unique. In the dragon-kiln wood-fire, every piece catches the flame differently. As the old saying goes, “one colour enters the kiln, ten thousand colours emerge.” Some lean slightly green, some warmer with a hint of rice-yellow. This is not variation. This is the signature of the fire — a dialogue between flame and clay, the mark of a piece that exists only once.