Wednesday, December 26, 2012


A friend of mine is a rather astute and veracious collector of fine Hagi chadogu and in particular the works of Miwa Kyuwa and Miwa Kyusetsu. His collection of Hagi ware, though not large is comprised of a number of Miwa chawan and mizusashi that run from exceptional to master works of the art. The pieces in his collection by Miwa Kyuwa are subtle, reserved and extraordinary examples of chadogu, while the pots by Kyusetsu (Jusetsu) are bold, powerful works of art that act as a counterpoint to his older brothers works. The works of the Miwa brothers covers the span of the 20th century from the traditional idiom of Hagi, the post-war developments to the advent of the Shira-Hagi and haikaburi techniques pioneered by the two Ningen Kokuho of Hagi.
Illustrated is a wonderful example of a large Hagi chawan made by Miwa Kyusetsu XI (now Jusetsu) in either 2000 or 2001. It is one of those quintessential chawan that only Kyusetsu is capable of producing with a vivid keshiki that evokes the atmosphere of melting snow in late winter. The vivid kairagi crawling is accented with black slip peering out from underneath the Shira-Hagi surface with a large area that has blushed pink along one side which spreads onto the obverse of the chawan. The surface compliments the strong classical form set atop a kodai only a master is capable of producing. Though often imitated, no one has come close to imitating the distinct qualities and characteristics of one of the finest Hagi potters in history, Miwa Kyusetsu XI.

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