tag:blogger.com,1999:blog-27096878899570801522024-03-18T14:46:55.206-07:00I,PotterA Rambling Blog About A Potter And PotsCraig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.comBlogger2163125tag:blogger.com,1999:blog-2709687889957080152.post-52527992692377486192024-03-18T14:46:00.000-07:002024-03-18T14:46:02.612-07:00LONE SURVIVOR<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-OlJSyTyri-msk0FfLKoR3gFb67snRI1voX8IbH3cq8hRJLv-8GYZI8XEYRllBS0_9h7xOu-5TAzkMRNY-xeHgUDruV2DoHoSlPPIHmsRktOKS_yXJNJpiantzqCt1sQMJTdeIhPtNLSwiB2bJji1GcyRGFW_bZpVp6IK8XZa5Vu2zvWsngI5tbXlz6eG/s2932/20240212_171408ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2932" data-original-width="2755" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-OlJSyTyri-msk0FfLKoR3gFb67snRI1voX8IbH3cq8hRJLv-8GYZI8XEYRllBS0_9h7xOu-5TAzkMRNY-xeHgUDruV2DoHoSlPPIHmsRktOKS_yXJNJpiantzqCt1sQMJTdeIhPtNLSwiB2bJji1GcyRGFW_bZpVp6IK8XZa5Vu2zvWsngI5tbXlz6eG/w376-h400/20240212_171408ip2.jpg" width="376" /></a></div><b><span style="font-family: arial; font-size: medium;">Remembering
that Mondays are normally referenced as Mugshot Mondays, I pulled down this old
mug and decided to take a quick picture of it. I know I have mentioned that I
don't tend to make a lot of mugs but there is a back story to this particular
mug. Back when I was teaching at Wesleyan potters, one of my classes was teens
and toward the end of the session I made a dozen mugs, glazed each one
differently and then let the students each pick one to take home, I had 11
students and this was the lone survivor that no one seemed interested in and so
here it is, dusted off and photographed nearly 20 years later!</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-77835096658176969372024-03-15T14:59:00.000-07:002024-03-15T14:59:16.735-07:00RUSTY ROLL<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPZXKF-OmQYQ90aS9isYuwE6goAljuIxq6wZY_Q7m3wa3fb9d9wu-geD6OeATa0YPB4P11vIzxGiat-OuGJmhv5TJSY4T-EtRc-joPhUnruXRpaUKW-vnEpyBCNq72mZUQpA2We76TTyCOEj3iLwBLrWslH2h-pmbA6XZvzQGw-9v40DE59oLRPdtoKOR/s2929/20230727_165027ip3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2394" data-original-width="2929" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPZXKF-OmQYQ90aS9isYuwE6goAljuIxq6wZY_Q7m3wa3fb9d9wu-geD6OeATa0YPB4P11vIzxGiat-OuGJmhv5TJSY4T-EtRc-joPhUnruXRpaUKW-vnEpyBCNq72mZUQpA2We76TTyCOEj3iLwBLrWslH2h-pmbA6XZvzQGw-9v40DE59oLRPdtoKOR/w400-h328/20230727_165027ip3.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">I have to
admit, in my initial encounter with this chawan all I could think was what a
simple, even quiet but perfect chawan. Looking at the distilled form, the
thoughtful, concidered lip and perfect lift from a crisp, simple foot, what
more could you ask for from a bowl? Well as luck would have it, besides the
well conceived bones of the chawan, the surface is just alive with glimmering
iron crystals that make up strand or tendril of movement that add to the
vertical quality of the piece and creates quite the active and enticing
appearance. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">This chawan was made by
Kimura Morinobu who along with his two sibling has dedicated a lifetime to the
pursuit of exploring iron in glazes like temmoku and yuteki-temmoku, all
influenced by their Chinese archetypes. Along with Morinobu's continued
experimentation with "iron in the fire", he has burnt to a cinder
numerous types of vegitation to create a wide and exotic at times, array of ash
glazes. This particular temmoku glaze has a beautiful flare with the
intermingling of dark temmoku and a rusty trail all culminating in a vivid,
undulating glaze roll that is a beauty to look at and to feel. The glaze roll
culminates near the foot, exposing the clay and just feels good, cupped in the
hands. Even though this isn't one of Morinobu's ash glazed wonders, it would be
rather hard to consider this anything other than another homerun (at least to
my personal taste).</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-49723178433773818072024-03-13T16:08:00.000-07:002024-03-13T16:08:18.673-07:00SILO<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHirfXm7Sp4YnMv8QJj2gPbfnRrAKjOYWHOpoen8pKDXpxAPbfO5AQmF9mA6Xlc4zscS6M2KF504BhJrweAo6uUqJDF12Fl8ZAGzvm66gWOd7j5jMIG5xVzC4VhuiJFUv4wVj_UCOebsDJE6z3NZdSBx1tQjkFPxM0m80r5ppxjuSAyDSptrBpW0eel8we/s2805/20221124_112744ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2805" data-original-width="2341" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHirfXm7Sp4YnMv8QJj2gPbfnRrAKjOYWHOpoen8pKDXpxAPbfO5AQmF9mA6Xlc4zscS6M2KF504BhJrweAo6uUqJDF12Fl8ZAGzvm66gWOd7j5jMIG5xVzC4VhuiJFUv4wVj_UCOebsDJE6z3NZdSBx1tQjkFPxM0m80r5ppxjuSAyDSptrBpW0eel8we/w334-h400/20221124_112744ip.jpg" width="334" /></a></div><b><span style="font-family: arial; font-size: medium;">Not much to
say about this Oribe style covered jar with B.C. (johnny Hart) or Prometheus
inspired finial with combed white over black slip. The form is loosely based on
old storage building from Africa, looking a bit like a grain bin or silo and
have three feet cut from the base. Considering that I really enjoy making
lidded pots from cannisters, covered jars, cap jars all the way to covered
boxes, this ongoing series of box forms, many resting on three or four feet are
not likely to disappear anytime soon but I am thinking that soda blue and amber
glazes may add a touch of diversity to the pieces. Perhaps next time (?).</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-13383456838783209192024-03-11T15:29:00.000-07:002024-03-11T15:29:53.573-07:00MOUSEY<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSjpMTslJBzH1a7mqV0fer7L_2vSYTHvrQuBDja7Q26khL4hSrCGoKN_vzhuowti5kwPfxN_ENJ0v6m40upg9x4jdEGf85ShrcbGrn51IT11l9h8ioPogxpsudObvYTIrsrzX0OXo-SYTh4IzsjkjWQXjYeS14YAuTLIqX6h5QmIFiNDHsx_jKEw8YCw1/s2924/Tsukigata%20Nahiko%20Snowy%20Oni-Shino%20Vase%20ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2924" data-original-width="2602" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSjpMTslJBzH1a7mqV0fer7L_2vSYTHvrQuBDja7Q26khL4hSrCGoKN_vzhuowti5kwPfxN_ENJ0v6m40upg9x4jdEGf85ShrcbGrn51IT11l9h8ioPogxpsudObvYTIrsrzX0OXo-SYTh4IzsjkjWQXjYeS14YAuTLIqX6h5QmIFiNDHsx_jKEw8YCw1/w356-h400/Tsukigata%20Nahiko%20Snowy%20Oni-Shino%20Vase%20ip.jpg" width="356" /></a></div><b><span style="font-family: arial; font-size: medium;">Though
perhaps best known for his original and innovative Oni-Shino, besides being an
all round renaissance artist, Tsukigata Nahiko was well versed in the full
spectrum of the Mino tradition. Having a foundation in a wide array of glaze
making, Tsukigata made a large number of pots that have quite a bit in common
with their classical antecedants and this particular vase is no exception.
Though neither rare or common, this vase dates to the late 1980s to the late
1990s and is typical of work which he described as Nezumi-Shino, once again
taking his unique approach to the style where a highly active iron/ cobalt underglaze
was used with a thick, viscous Shino glaze leading to this vivid look. There is
an array of "special effects" where some of the colorants have boiled
up through the surface; browns, blacks, blues, greens and turqouise perculate
to the top layers of the glaze creating a rather unique landscape that like
much of Tsukigata's works can easily be attributed to his hand (and mind) where
what seems ordinary becomes anything but. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">Intentional or not, I immediately think
of thick melting ice and snow slowing revealing the stone underneath though I
suspect this type of landscape conjures up all kinds of memories and
associations to each individual viewer. Perhaps one of the outstanding aspects
to Tsukigata work is that no matter how many of a particular form you see, each
and every pot has its own unique voice and especially landscapes. As I have
seen a number of this form in varying sizes in this Nezumi-Shino surface,
Ki-Seto, Oni-Shino, Muji-Shino and others, each piece is connected initially by
form but each piece presented a nearly alien appearance to the other making it
clear that though manipulated by the maker through glaze and firing, it was the
fire that had the final say on what each pot would look like, maybe more than
any other factor. In the end experience, technique and knowledge are one thing
in the creation of a pot but without surrendering the pot and at least a bit of
one's ego to the kiln and flames, these pots would be all the less so let's be
thankful for those crucial decisions.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-18156469037395294912024-03-08T15:29:00.000-08:002024-03-08T15:29:09.997-08:00ILLUSION OF MAGIC<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg3mdvy29_1MXCV5GVAkYs_OFRL23j8SbAzhB6iqMLTuG73eYookTVORKmSyDoEOq4ryE2wbYRB6miPB7EQ23WxxbELPDCaL2zs6-8x8v4mGiLo382R04CVrT4tpiuP5ZqdmH8Tye9NGuw1FrsLMfbHAmWLsktpTOiKaAWzeDLH-v8asdAKfWbEP9hVA1p/s4032/20240308_114136ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg3mdvy29_1MXCV5GVAkYs_OFRL23j8SbAzhB6iqMLTuG73eYookTVORKmSyDoEOq4ryE2wbYRB6miPB7EQ23WxxbELPDCaL2zs6-8x8v4mGiLo382R04CVrT4tpiuP5ZqdmH8Tye9NGuw1FrsLMfbHAmWLsktpTOiKaAWzeDLH-v8asdAKfWbEP9hVA1p/w400-h300/20240308_114136ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Pure magic is
the best way I can describe the glazes and surfaces of Kimura Moriyasu and I
suspect that anyone who has seen his work in person or in a book or catalogue
would agree. The illustrated detail is from a chawan made in the late (?) 1990s
where the overwelming color is blue enhanced by shades and nuances of many
other tones all running into the interior to create a nebula of effects all surrounding
the center composed of golden hues, adrift in some far off galaxy. I am simply
amazed at how a handful of chemicals, some intense heat, a bit of alchemy
thrown into the mix together with decades of experience can conjure up this
illusion of magic locked within a three dimensional object. I think that the
such work can better be described by poet or sage so I will let the photo tell
its story all on its own as if a picture is worth a thousand words, I can
imagine quite a bit more being written on the ceramics of Kimura Moriyasu.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-63255096229290482782024-03-06T15:14:00.000-08:002024-03-06T15:14:29.269-08:00ROAD TRIP<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIa2pgj7QafiFv6IfswmW3WlkRCAuy4zw0P1NUWgNLR-AVQ4QNDqt4MAZrjxVki7TAVA6HGJkL8yzT6JAaMVcn69nfjYGm2dimzFublRxpgM0YrM-sY7oTON52JbnVZaJdBfSmTLmOvtXhMNKKOyM43R4wX2zb0loN3CS0-aE6CpvrZ84HmuhxKYbfg50V/s2711/20240306_121510ip2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2220" data-original-width="2711" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIa2pgj7QafiFv6IfswmW3WlkRCAuy4zw0P1NUWgNLR-AVQ4QNDqt4MAZrjxVki7TAVA6HGJkL8yzT6JAaMVcn69nfjYGm2dimzFublRxpgM0YrM-sY7oTON52JbnVZaJdBfSmTLmOvtXhMNKKOyM43R4wX2zb0loN3CS0-aE6CpvrZ84HmuhxKYbfg50V/w400-h328/20240306_121510ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">I am not sure
how often this happens to other potters but I ran out of clay recently, I still
have a good cache of terra cotta and porcelain but not stoneware. Part of this
problem stems from the fact that a clay supplier I used to get deliveries from
was goobled up by a really big company so now I have to make a supply run an
hour west or two hours east to get heavy supplies like clay and chemicals for
glazes and slip. Compounding this new issue is that our vehicle can only really
carry about 500lbs at a time so I am limited with each trip. I know, things
could be a lot worse, I could have to dig my clay and mine my own materials but
truthfully i wasn't paying enough attention and "poof" the stoneware
was gone. </span></b><div><b><span style="font-family: arial; font-size: medium;"><br /></span></b></div><div><b><span style="font-family: arial; font-size: medium;">Illustrated are two, well
three pasta/ salad/ what-have-you omnibowls that along with a spare teabowl
were thrown off the hump and represent the last bag of clay. I threw these
bowls to proof, test the amber and soda blue on shallow pieces as well as
making sure that the glazes will work considering I am using newly sourced
materials. Shouldn't be a big problem but better to be safe than sorry as the
old days of saying; "well f#ck it" and filling a kiln with an iffy
glaze are well behind me or at least I hope so.</span></b><p class="MsoNormal"><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></p><p></p></div>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-34770920276664257912024-03-04T15:07:00.000-08:002024-03-04T15:07:24.780-08:00LOCATION, LOCATION, LOCATION<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_ThKicsj-Zp2EOeQJVs89GVfdgTPw52Nho_2UzD0S_mdW1825DaaS9rBH54gHF9pNJOhKwdLMSqyy8IjHSBlikNL72UT-IAUgtBo7i0_BiGzrTs09xW-TQG2NPEopEwShAVvdsgUZXaSbpyo-eiJvi-yN2zeLrd9bXEi3BlApoECHtBDx9wehwxiWnH2/s3321/IMG_6859aa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3321" data-original-width="3036" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ_ThKicsj-Zp2EOeQJVs89GVfdgTPw52Nho_2UzD0S_mdW1825DaaS9rBH54gHF9pNJOhKwdLMSqyy8IjHSBlikNL72UT-IAUgtBo7i0_BiGzrTs09xW-TQG2NPEopEwShAVvdsgUZXaSbpyo-eiJvi-yN2zeLrd9bXEi3BlApoECHtBDx9wehwxiWnH2/w366-h400/IMG_6859aa.jpg" width="366" /></a></div><b><span style="font-family: arial; font-size: medium;">Illustrated is a rather wonderfully fired Shigaraki
uzukumaru style pot or is it? Made in Nagaoka City in Niigata the works of Kon
Chiharu are sometimes called Echigo Shigaraki as they are made in what used to
be Echigo Province prior to the Meiji Era but does it boil down to location,
location location? Despite where it was made, this haikaburi tsubo was guided
along its pathway from Shigaraki traditional pottery under the guidence of
Tsuji Seimei who himself did not reside in Shigaraki proper. Under Tsuji's
tutelage, Kon Chiharu master the insight into medieval style pottery, use of
clay and firing where today his works are highpoints of the tradition
irrespective of geography. This tsubo clearly has a sturdy and powerful form
with a well defined neck and mouth that has a playful and wandering quality
that makes for a rather distinctive and alluring vessel. Fired on its belly,
the scars and ash flow surround the pot in a gravity defying embrace where the
horizontal movement adds a trememdous
amount of animation to a form that seems rooted to the ground through
its purposeful form and base. In this case the pot just happened to be at the
right place at the right time and the sun did the rest of the heavy lifting.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-65913371549737598662024-03-01T14:57:00.000-08:002024-03-01T14:57:58.358-08:00WASHIZOME<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3zLvehgnFoil6hP8LvLGPVAyBmTv9OmHfMsKTD-M2v7ov8B_C7agR9RsF8YHWo08gcCE-yNKCDXLYi3AC2TW7_Ec5lz-kstMI5jLVp5HSBM0sMW-j3go_ON6bKHEKnnAhE8J7GHhfzLSMupf8qzR4wX2oRngzszyrz6sR9ilUlDBR7d_6RMr3AfkNalO/s2567/20240208_113901(0)ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2393" data-original-width="2567" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3zLvehgnFoil6hP8LvLGPVAyBmTv9OmHfMsKTD-M2v7ov8B_C7agR9RsF8YHWo08gcCE-yNKCDXLYi3AC2TW7_Ec5lz-kstMI5jLVp5HSBM0sMW-j3go_ON6bKHEKnnAhE8J7GHhfzLSMupf8qzR4wX2oRngzszyrz6sR9ilUlDBR7d_6RMr3AfkNalO/w400-h373/20240208_113901(0)ip.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Illustrated
is a small washizome futamono by Saga prefecture potter, Eguchi Katsumi. This
small covered box was skillfully thrown out of a dense, white porcelain with
deocration using dyed paper to create the overall design before adding accents
in sometsuke blue style. The entire covered box for is covered in a simple,
brilliantly transparent clear glaze with the piece being deocrated entirely
around the form with a single larger blossom depicted in the inside of the
bottom and lid. As one might expect the fit and finish of this little box is
equal to his large pieces, skillfully thrown, tooled and meticulously decorated
with an exacting fit between the two pieces, top and bottom. This covered form
is bigger than a kogo and measuring in at about 12cm across, not 100% sure of
its intended purpose but even at this size, the possibilities are almost
endless. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">As mentioned Eguchi
Katsumi is well known for his skilled use of this washizome technique using
traditional handmade Japanese paper in the pursuit of his decoration. Unlike
many other Saga/ Arita potters, Eguchi is hands on for all of the processes in
the creation of his work from throwing, tooling, decorating and firing making him
a bit different than many in his community. Though this small covered box is
simple with a simple design, this piece clearly portrays the style and
technique developed by Eguchi Katsumi to its fullest and shows a dedication to
not only his unique decorative approach but to his indigenous materials, firing
and heritage blending tradition and traditional materials with a modern sensibility.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-88176344734910219042024-02-28T15:00:00.000-08:002024-02-28T15:00:16.793-08:00HANABI II<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0x_DVUDixnfVfMAVx5tKUW-mo2Xr13V9q0-Ex8OTGrUBQP0Wbf8alX680wfuVBU9X9UpPM0o9qAAR710cdVK3988Ta4WQllMSpTHL8QZNnJAmgy4WKicEDnb1GwgkjCLyzEA9wTCJ1slefGGERorlPhfSQnFbE4R8j869Z-8WJg8WjkBqUFcUDFXPuMS3/s2659/20240201_171946ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2587" data-original-width="2659" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0x_DVUDixnfVfMAVx5tKUW-mo2Xr13V9q0-Ex8OTGrUBQP0Wbf8alX680wfuVBU9X9UpPM0o9qAAR710cdVK3988Ta4WQllMSpTHL8QZNnJAmgy4WKicEDnb1GwgkjCLyzEA9wTCJ1slefGGERorlPhfSQnFbE4R8j869Z-8WJg8WjkBqUFcUDFXPuMS3/w400-h389/20240201_171946ip.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Recently I
was contacted regarding making another hanabi fireworks teabowl but they didn't
want an "exact" copy of the orginal set, rather something that had
the same general decoration and feel but would stand apart from the other bowl. I was
rather relieved they wanted something in the same style and technique because
whenever you actually try to make a copy, exact or close, things don't normally
pan out well, at least from my experience. On top of that, revisting something
almost a year later I know I always wonder if I will get to the heart of why
the individual wants it in the first place, does it have the same spirit or
sensibility. I know this is basically a simple bowl with a very simple
technique employed and not complex rocket science but when someone wants something the goal is to try to
live up to the expectation. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">Illustrated
is the recreated hanabi technique, the white areas and the bowl shape are made
a bit more formal with high mostly straight sides and just a hint of throwing
rings around the form. As for the colors, they were easy to match and the bowl
has that deep black, glossy look broken up with the white panels and colors
punctuated and splashed across the surface. I would like to think I succeeded in my goal as the customer was happy so I guess that is about as good as it gets.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-59066481073845069172024-02-26T15:25:00.000-08:002024-02-26T15:25:17.940-08:00WELL CONSIDERED ADVENTURE<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tiRu9NuA18nlVLtkrweBRT7VusjPN9B2KuHoM2FJ2j9N8q9nxKo1RHs1Uu-og8YMjASOBQrXhtTtSYXgrwrr1ORtuDJTe8jxWEVTEvoTdiu-gS3etw5wdot6k8Nw9IxFbT1_QoaBdHkecpqPPR-Fk4Nqt_Py8w6-lXfUy322jyUWFKRlwyt1Xadz5SwL/s3232/20240116_142915(0)IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3232" data-original-width="2709" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2tiRu9NuA18nlVLtkrweBRT7VusjPN9B2KuHoM2FJ2j9N8q9nxKo1RHs1Uu-og8YMjASOBQrXhtTtSYXgrwrr1ORtuDJTe8jxWEVTEvoTdiu-gS3etw5wdot6k8Nw9IxFbT1_QoaBdHkecpqPPR-Fk4Nqt_Py8w6-lXfUy322jyUWFKRlwyt1Xadz5SwL/w335-h400/20240116_142915(0)IP.jpg" width="335" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjviWGi4LeS0xLU-mcTQiwMM6RiNongWewrAUCWUSQl-v2df22XwttKIwDGKWTbuYcND6e1-Aex30XxkSPTjLqX3qMVHU9kQqT6vOSx1tcwJ3aN2_YeURddNUGqS0xkv0xZw4bmhSeYASJTk2avMD_GT-t-lEsJjudfdS74JF5RzRXc7cteiyERoMQQnex4/s3125/20240116_142958(0)IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3125" data-original-width="2476" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjviWGi4LeS0xLU-mcTQiwMM6RiNongWewrAUCWUSQl-v2df22XwttKIwDGKWTbuYcND6e1-Aex30XxkSPTjLqX3qMVHU9kQqT6vOSx1tcwJ3aN2_YeURddNUGqS0xkv0xZw4bmhSeYASJTk2avMD_GT-t-lEsJjudfdS74JF5RzRXc7cteiyERoMQQnex4/w318-h400/20240116_142958(0)IP.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUE5PxhUJDLpxB88Eo6QDNOWdJJUyiNVLvz-Iv6xYmHvDWmYDB5K4s_0l2_pH6bV6j3547asSz3Z90Z07HG4NsTsdPCosUsfx2xtOvCyHuEmgAdNFdtbpJz5PLpNEIGQEvE6LP-yNkqMM_FmfT73phjzt0rJ8gFB0g9nL9XVZ_lNRpUAE9osMRjfD5ulav/s3581/20240116_143106IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3581" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUE5PxhUJDLpxB88Eo6QDNOWdJJUyiNVLvz-Iv6xYmHvDWmYDB5K4s_0l2_pH6bV6j3547asSz3Z90Z07HG4NsTsdPCosUsfx2xtOvCyHuEmgAdNFdtbpJz5PLpNEIGQEvE6LP-yNkqMM_FmfT73phjzt0rJ8gFB0g9nL9XVZ_lNRpUAE9osMRjfD5ulav/w338-h400/20240116_143106IP.jpg" width="338" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy5mHGlz04RBzoHAeiGx6npg6IoonFLBoOwXDkMX3lmJ4yH727tJ0rs7R7zPUExwytLkQG6lSYZgFhaskB3cOIihJPEWf1eUzpjg6wP19orC0BKqlW5Ph71FY3f9zmNXr0uZgz1-zuq2mMvvypmEjS14X9OE_lqj-tqSFlI4AnncsT7hUMAY1oDoZd4UvS/s3294/20240116_143150IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3294" data-original-width="2793" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy5mHGlz04RBzoHAeiGx6npg6IoonFLBoOwXDkMX3lmJ4yH727tJ0rs7R7zPUExwytLkQG6lSYZgFhaskB3cOIihJPEWf1eUzpjg6wP19orC0BKqlW5Ph71FY3f9zmNXr0uZgz1-zuq2mMvvypmEjS14X9OE_lqj-tqSFlI4AnncsT7hUMAY1oDoZd4UvS/w339-h400/20240116_143150IP.jpg" width="339" /></a></div><b><span style="font-family: arial; font-size: medium;">Illustrated
is another Kuro-Bizen tokkuri by Oiwa Tomoyuki and this one is of a different
form and approach than the previous one, another well considered adventure.
Composed of a number of focal points and various angles and crisp, sharp shoulder
the raised band around the waist and the inviting flare of the mouth all work
well together while modelling its new suit of ash and lusterous black that breathes life into paints the form and paints
the narrates. The waisted center of the tokkuri calls to the user and makes for
a perfect purchase for pouring of just admiring in hand while the dual texture
of the glossy black and the semi-matt ash appeal to both eye and hand. There is
something captivating about the posture and goals involved in the creation of
this tokkuri; the body is a perfect size and the neck and mouth compliment the proportions
and all together it carries out a conversation regarding function and
aesthetics. To my eye, Oiwa has struck a wonderful balance of taking what he
learned under his master, Kakurezaki coupled with his own vision and blended it
into a statement about an evolving, modern tradition where new techniques,
ideas and firing usher in a whole new understanding of what it means to be
Bizen now and well into the future.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-82811043887564671432024-02-23T14:19:00.000-08:002024-02-23T14:19:49.477-08:00NULLUS SUBSITUTUS<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGZh9MlW_xIHkAhbCxjwN1oxf5AoWNanrPweGmKP0hKH2hbcBpSu0hFVM1GKP2C1tXa5TOwAGeNGFUHPfA-OH5Nv8sF8ubtfIEvvaB5JEtCMrhAMSOCc0bvo7VLAp1lDBgiOpnsR3s0qGVzruDVjzZv9qt0hq6KMuAq7bgZfb0TmBJr0nvlwJVcn54mGDW/s3829/IMG_0403ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3181" data-original-width="3829" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGZh9MlW_xIHkAhbCxjwN1oxf5AoWNanrPweGmKP0hKH2hbcBpSu0hFVM1GKP2C1tXa5TOwAGeNGFUHPfA-OH5Nv8sF8ubtfIEvvaB5JEtCMrhAMSOCc0bvo7VLAp1lDBgiOpnsR3s0qGVzruDVjzZv9qt0hq6KMuAq7bgZfb0TmBJr0nvlwJVcn54mGDW/w400-h333/IMG_0403ip.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">I'll start
out by saying that I realize there is no substitute* for the real thing, in
this case a gosu hakeme chawan by Kawai Kanjiro but when I first saw this bowl,
I immediately thought that this was in the top percentage of work by one of his
pupils, Mukunoki Eizo. Both the broad bowl form and foot are reminescent of
Kanjiro's chawan but there is a subtle difference in shape and the bold
application of thick hakeme slip, a difference that is easily identifiable yet
all the features of Mukunoki's pot quickly add up to one is truly a remarkable
work by a student and not the master. Consideration has been paid to the form
and function of this chawan with a lip
that is both sturdy and narrow enough to drink from with a broad, pleasant
curve and volume to the bowl and a strong, pedestal foot that acts as a perfect
resting place as well as a stark visual feature that weighs in as a
counterbalance to the overal aesthetic. The interior of the bowl has a thick,
crackled clear glaze while a gosu covers the highly textural hakeme slip in
blue with areas of rich iron make their way to the surface adding even more
dimension to a study in ceramic topography. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">Just to be clear, this chawan is in
no way a substitute for the work of Kawai Kanjiro but given the difference in
everything from foot to surface is it even possible to make that leap when you
are judging the pot on its own merits and that of the potter, Mukunoki Eizo. </span></b></p><p><b><span style="font-family: arial; font-size: medium;">( *I wrote this post after an exchange with a
fellow collector who asked me if this wasn't just a "poor mans"
substitute for the original, a contention I strongly disagree with.)</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-69449958296368183332024-02-21T15:32:00.000-08:002024-02-21T15:32:03.934-08:00SOCIAL MEDIA<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghBINJz7GNlqbpJq_CzbIzSsF-VeY3aB1Ty8eu21JR5phQA14yNNFw6Z5UaK49LyksY1KtastNsTUp7d4DwKFpIOeLki804jX-jCwfOZSVj3yHwtSOJrSD77rc8dp0LFjqIGXeSFBlcEmWVvHP_1W8F930ItuQi8a_0WJw3pVqWftl9-XOLxMrJVG7Sehy/s4032/20240221_182427ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghBINJz7GNlqbpJq_CzbIzSsF-VeY3aB1Ty8eu21JR5phQA14yNNFw6Z5UaK49LyksY1KtastNsTUp7d4DwKFpIOeLki804jX-jCwfOZSVj3yHwtSOJrSD77rc8dp0LFjqIGXeSFBlcEmWVvHP_1W8F930ItuQi8a_0WJw3pVqWftl9-XOLxMrJVG7Sehy/w300-h400/20240221_182427ip.jpg" width="300" /></a></div><b><span style="font-family: arial; font-size: medium;">Being an
individual more than willing to embrace the 21st century, I just wanted to take
a momnet to let any bloggers know that I am also on both Instagram and
Facebook. These outlet are using a lot of the old posts used first here on I,
POTTER but there are some new and slightly different content if you wish to
take a look.</span></b><p></p><p><b><span style="font-family: arial; font-size: medium;"><a href="https://www.instagram.com/albedo3studio/" target="_blank">https://www.instagram.com/albedo3studio/</a></span></b></p><p class="MsoNormal"><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></p><p></p><p class="MsoNormal"><a href="https://www.facebook.com/profile.php?id=100074959900457" target="_blank"><span style="font-family: arial;">https://www.facebook.com/profile.php?id=100074959900457</span></a><br /></p><b></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-68730309719513049802024-02-19T15:01:00.000-08:002024-02-21T08:32:27.045-08:00ANOTHER CLASSIC II<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLTH8rK3Y9nmyNYtaXtX2TIZJ2Lg8S6TrG8y8MtMLHT1pjfmHpcsS3smrzVVi659Fg08vJ1OajsX4nyhxdmNh6hiBCCBYrcpzvtOXGuxCrevYFLaBp5Lnrrk6ML56tV9EF4Ruf0q_-ZMIYQVZaLdtEeBUbTj4Fn-L3fiNNMI86dyjTq_gtzoD6FTfsP_w/s2461/20210917_164139ip2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2461" data-original-width="2461" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLTH8rK3Y9nmyNYtaXtX2TIZJ2Lg8S6TrG8y8MtMLHT1pjfmHpcsS3smrzVVi659Fg08vJ1OajsX4nyhxdmNh6hiBCCBYrcpzvtOXGuxCrevYFLaBp5Lnrrk6ML56tV9EF4Ruf0q_-ZMIYQVZaLdtEeBUbTj4Fn-L3fiNNMI86dyjTq_gtzoD6FTfsP_w/w400-h400/20210917_164139ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Quite some
time ago, 2012 to be exact, I put up a dealer's photo of a classic Furutani
Michio Iga mizusashi and now here is an impromptu photo of the same mizusashi
showing off the opposite side in situ. I am sure there is a wide array of
superlatives that could be used to describe this piece but I will use a few;
classic, modern archetype and elementally rustic. What is abundantly clear in
this photo and the previous one is that this strong, sturdy form is like a
completed puzzle of details that bring life to the piece from the casual
potter's marks, the lugs, the lid and knob surrounded by a vivid lake of pure
green glass. Through a carefully crafted blend of experience, happenstance and
firing acumen, Furutani Michio's pottery stand out among his contemporaries
helping to bring a tradition well into the 21st century and leaving behind a
tremendous body of work which can be enjoyed at face level of act as an ongoing
tool to teach modern potters what it means to have dedicated a lifetime to the
dual traditions of Iga and Shigaraki pottery.
</span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">You can see the original 2012
post by following this link;</span></b></p><p><b><span style="font-family: arial; font-size: medium;"><a href="https://albedo3studio.blogspot.com/2012/09/another-classic.html" target="_blank">https://albedo3studio.blogspot.com/2012/09/another-classic.html</a><br /></span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-78870772398857718902024-02-16T15:12:00.000-08:002024-02-16T15:13:30.680-08:00YAKISHIME PART II<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtIMl_JVZF8dWrqAfUVV8yG3GKRg5I1ZAY93GCQKRu01svrsbTnHXMX0fHT80u2BPO7hd7SqHs1WUdagqfKeZl7KjNpsSO1SX3qhlMawg29ukcMth15nYqEY5F4ATRkdp9_6O8X4hyphenhyphenVqdRWLyR_dIuGcpjW1Dr1lryYX7gNQoTgfuI2O03i1NK1K_dD60/s2878/Kimura%20Morinobu%20Shigaraki%20Kintsugi%20Mizusashi%20%20(30)ip4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2878" data-original-width="2560" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtIMl_JVZF8dWrqAfUVV8yG3GKRg5I1ZAY93GCQKRu01svrsbTnHXMX0fHT80u2BPO7hd7SqHs1WUdagqfKeZl7KjNpsSO1SX3qhlMawg29ukcMth15nYqEY5F4ATRkdp9_6O8X4hyphenhyphenVqdRWLyR_dIuGcpjW1Dr1lryYX7gNQoTgfuI2O03i1NK1K_dD60/w356-h400/Kimura%20Morinobu%20Shigaraki%20Kintsugi%20Mizusashi%20%20(30)ip4.jpg" width="356" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><b><span style="font-family: arial; font-size: medium;"></span></b><p></p><p class="MsoNormal"><span style="line-height: 115%;"><b><span style="font-family: arial; font-size: medium;">Back in 2018 I put up a post
entitled, YAKISHIME about an unglazed, wood fired mizusashi by Kimura Morinobu.
Little did I know at the time that this mizusashi would come my way and
secondly it would also be only my second kintsugi piece of pottery ever collected. I was
surfing around a site and happened to spy this Shigaraki mizusashi when I
immediately recognized it from the retrospective book; KIMURA MORINOBU SAKUTO
GOJU NEN, 1951-2000 and it was put up with a total of ten photo. What I had not
realized when I first saw this photo was that it had two kintsugi repairs where
the lip cracked as the pot was fired on its side with yet another pot's weight
on top of it. In the firing the form compressed oval and the lip, top and
bottom split a small amount and were both later repaired/ filled, kintsugi
style which is shown in the retrospective catalogue. </span></b></span></p><p class="MsoNormal"><span style="line-height: 115%;"><b><span style="font-family: arial; font-size: medium;">Illustrated is the mizusashi in question
which is described as "Shigaraki Mizusashi" and living only a few
miles away from Shigaraki perhaps the description is close to spot on. The face
of this pot is covered in a thin, fine layer of ash that breaks and gives way
to some ash, lots of hiiro fire color and various areas of buff, feldspar saturated
clay where the mizusashi laid on its side during firing. The form, distorted
from the firing process has become
wonderfully animated where it has been squeezed a bit ovoid which also
lead to the mouth splitting at what was north and top and bottom during the
process. The lacquer repairs bring a bit of restored dignity to the integrity
of the mizusashi and the custom lacquer lid fits perfectly in the kidney shaped
aperture of the mouth. </span></b></span></p><p class="MsoNormal"><span style="line-height: 115%;"><b><span style="font-family: arial; font-size: medium;">In retrospect I find it a small dose of serendipity that
I pot that I admired and decided to post should five years later come my way
and at the same time teach me an interesting lesson about kintsugi and how that
process has added to the presence and aesthetics of a pot that benefits greatly
from the specific and caring traditional attention it received.</span></b><span face="Arial, "sans-serif"" style="font-size: 12pt;"><o:p></o:p></span></span></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-35643201059304528022024-02-14T15:18:00.000-08:002024-02-14T15:18:54.458-08:00WHAT A PAIR II<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Us02b8Xc68dhSQUWmOuLB18DQtOlu_lnHHg5VJt4kyUOUyGS8W_zdNTgYFGyiDndbDt2HnPAQxkatgRtCmCe1xEN-Pu6XMD57PffLBr7dzAPAmbzySOKwKRJv3hX2R9Rp1ntKgWLmSK9wf7GXOakIVqwXa7XAMS6-XbGJhaQ-xEQ4aKjxegFB0Wa9Wp3/s1816/Oiwa%20Tomoyuki%20Duo%20IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1816" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Us02b8Xc68dhSQUWmOuLB18DQtOlu_lnHHg5VJt4kyUOUyGS8W_zdNTgYFGyiDndbDt2HnPAQxkatgRtCmCe1xEN-Pu6XMD57PffLBr7dzAPAmbzySOKwKRJv3hX2R9Rp1ntKgWLmSK9wf7GXOakIVqwXa7XAMS6-XbGJhaQ-xEQ4aKjxegFB0Wa9Wp3/w400-h333/Oiwa%20Tomoyuki%20Duo%20IP.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">I received
this (and quite a few other) picture(s) the other day from a shuki enthusiast
in Europe. We have been trading back and forth pictures of various pots but
mostly guinomi and tokkuri and this was his latest addition. When I first saw
these two pieces together all I could truly think was 'what a pair", these
pieces just work well together in form and surface and must be a joy to have
just hanging around on a desktop. Both the Bizen tokkuri and guinomi were made
by Oiwa Tomoyuki, a former apprentice of Kakurezaki Ryuichi and despite some of
the obvious influences of the master, Oiwa has carved out a nice niche for
himself where his voice, handling of clay and his firings have become rather
distinctive. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">The tokkuri has a
wonderfully sturdy form where the potter has tied in various details from the
tapered foot, swelled out mid-section and faceted top culminating in a crisp
and depressed shoulder that serves as a great foundation for the perfectly
proportioned neck and mouth and death defying drip, front and center. As you
can see, this tokkuri was fired on its side where the running ash has beaded up
near the shell scars of the wadding creating a nice focal point of unintended
decoration. </span></b></p><p><b><span style="font-family: arial; font-size: medium;">Not to be outdone, the guinomi was fired upside down ending up with
two, nearly perfectly placed drip of ash suspended as if gravity was not one of
newton's laws or a guiding principle of the universe. The rich, shiny black
interior is comingled with deposited ash the runs vividly toward the lip
creating a rather intoxicating appearance and perfect for its intended use. I
am sure that at the end of the day, every collector and sake enthusiast has
there own definition of what makes for a perfect pair but I think these pieces
speak volumes about gravity and determination which is clearly written across
their surfaces and form from top to bottom and to my eye, they just belong
together.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-5638716196897529082024-02-12T14:47:00.000-08:002024-02-12T14:47:33.619-08:00SIMPLE MUGSHOT<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9-Q1ovUyC_ZbetEXJokVnp00A20wpXqy4phOPVqS-qSi4Q3vpXeGX9om0E6y1txgXdJspyWE9RpK_wB3gkiEoEr9cq_17A2Hb3xa3QRyrJQNBMMGZnTUHfnZk_rp7-njsYvTvmpG9n02DmfZU1UfR5RwO7P9GTEjkpzq-Lxejp7TmNPNOT7Vk6AC8j29/s3286/20240212_171608ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3286" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9-Q1ovUyC_ZbetEXJokVnp00A20wpXqy4phOPVqS-qSi4Q3vpXeGX9om0E6y1txgXdJspyWE9RpK_wB3gkiEoEr9cq_17A2Hb3xa3QRyrJQNBMMGZnTUHfnZk_rp7-njsYvTvmpG9n02DmfZU1UfR5RwO7P9GTEjkpzq-Lxejp7TmNPNOT7Vk6AC8j29/w368-h400/20240212_171608ip2.jpg" width="368" /></a></div><b><span style="font-family: arial; font-size: medium;">Today was
supposed to be a productive day, lots of plans, slip and glazes to make up,
tooling a few pieces thrown yesterday on a whim and clean some stuff up around
the studio. Instead, phonecalls, slight household hiccup, emails and other distraction
but at least I got things cleaned up which lead me to uncover this rather old
mug. I thought this would be perfect for a mugshot Monday thing, so I dusted it
off, it is quite old after all and took an impromptu picture. At least now if
you should spot one of these out in the wild you'll be able to recognize where
it came from.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-42020560216675746882024-02-09T15:06:00.000-08:002024-02-09T15:06:23.411-08:00APPERANCES CAN BE DECEIVING<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJdxMQ7Z05tZIhHdGnOo28keeEh4HqTmq5F-8MihhrsHkjbFkY_tcUmsxOWZPZlU22g361GNWAxV0rbR9zHjFnHj-J1wnPjxuYTbYjrgKtYVpieiqJ1NHj0Ulz-kbMZlyZBP7-8G66tUx_wyAZKQXkYAO8fDbHctJZQPvFdO2f2t4RpxWAOxfhJghx8Bvw/s2879/20240203_132319ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2879" data-original-width="2713" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJdxMQ7Z05tZIhHdGnOo28keeEh4HqTmq5F-8MihhrsHkjbFkY_tcUmsxOWZPZlU22g361GNWAxV0rbR9zHjFnHj-J1wnPjxuYTbYjrgKtYVpieiqJ1NHj0Ulz-kbMZlyZBP7-8G66tUx_wyAZKQXkYAO8fDbHctJZQPvFdO2f2t4RpxWAOxfhJghx8Bvw/w378-h400/20240203_132319ip.jpg" width="378" /></a></div><b><span style="font-family: arial; font-size: medium;">I guess the maxim "appearances can be
deceiving" makes quite a bit of sense. especially when pots are involved. When
I first saw this vase (a single picture) I was sure I was looking at one of the
Miraku Kamei potters, XIII, XIV or XV though I suspected one of the earlier
generations. Once it arrived, I realized I was rather far afield on this one
judging solely from the single, static image, it turned out to be by well known
studio potter, Yasuhara Kimei. As you can see this piece bares absolutely no
resemblance to Yasuhara's best known sekki stone texture but rather showcases
his diversity and technical glaze mastery which he inherited from his master
Itaya Hazan during his days at the Totokai in Tokyo. Once he established his
own studio in the very late 1920's much of Yasuhara's work centered around more
traditional or classic glazed wares of which this almost Takatori style vase
fits well into that body of work. </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;">Thrown
skillfully out of porcelain this classic form had wonderful molded fish lugs
applied to either side of the neck which brings this piece to like and breaks
up the lines of the form. The glaze, running and streaking about the pot is the
perfect surface accentuating each component of the vase including th addition
of iron to the tips of the fins of each fish lug. I have to admit that given
what is mostly considered synonomous with Yasuhara Kimei this glazed, simple
pot has a simple sense of classicism and formality. This formality distinguishes itself
from his later work but clearly shows his grasp of the fundamentals needed
before moving on to a style filled with more freedom and adventure, even a
potter needs to learn to walk before he can run.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-72866025172452887712024-02-07T15:33:00.000-08:002024-02-07T15:33:03.561-08:00POWER DOWN<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSrBBlXg2fyCoaGy5mB2DqwYV59Hr97IBbubbYrwb4EfqX_XfGHrkN5Vvmf4bOICwBTM2kvAjB2BpZWMdYOeXz0QGizTamyOCU9p1vEtk2TqNnds6_q2zv7TExRqIkkZ86my3ZY3Ca3hW8v4V1ABkZfPLQVkjMD5hyk8RWBCO_s3LPpUPp-7RNPXw5Ot0j/s2807/20240123_141252(0)ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1905" data-original-width="2807" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSrBBlXg2fyCoaGy5mB2DqwYV59Hr97IBbubbYrwb4EfqX_XfGHrkN5Vvmf4bOICwBTM2kvAjB2BpZWMdYOeXz0QGizTamyOCU9p1vEtk2TqNnds6_q2zv7TExRqIkkZ86my3ZY3Ca3hW8v4V1ABkZfPLQVkjMD5hyk8RWBCO_s3LPpUPp-7RNPXw5Ot0j/w400-h271/20240123_141252(0)ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Since I am
sure everyone is on pins and needles, my terra cotta cycle concluded last Weds
with an array of slip trailed, carved and black pieces for decorating all now
in the drying phase. Illustrated is the first two pieces that I threw at the
beginning of the cycle last week, two covered serving bowls, tooled and black
slipped, carved and then the dots of white slip were added. My intention is to get
the group of greenware blanks decorated and hopefull everything in a bisque
this Friday or Saturday, it is cool and damp in the studio so only time will
tell.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-68427578804657221782024-02-05T15:02:00.000-08:002024-02-05T15:02:21.958-08:00RARE?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ0FArd792r4Q5JgDSeg-miMCkNTMZVkKLSsCUmE7VpfafLGAbzmsIX8WEDxIqwtvHU-8Ixntza_3GXAhLiabV6wGSxGmHTaYqBSqWcFMduHLhQNk3TM9LduFONwKsm8BMuAPbfqMxYweZYs3-6wDyhP1pMxtwCocCeqrfzblWaVEW_dlxAbux4eLHfI9G/s579/TAKAHASHI%20RAKUSAI%20III%20SHINO%20CHAWAN%20ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="579" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ0FArd792r4Q5JgDSeg-miMCkNTMZVkKLSsCUmE7VpfafLGAbzmsIX8WEDxIqwtvHU-8Ixntza_3GXAhLiabV6wGSxGmHTaYqBSqWcFMduHLhQNk3TM9LduFONwKsm8BMuAPbfqMxYweZYs3-6wDyhP1pMxtwCocCeqrfzblWaVEW_dlxAbux4eLHfI9G/w400-h305/TAKAHASHI%20RAKUSAI%20III%20SHINO%20CHAWAN%20ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">RARE /rer/ not found in large numbers and consequently of interest or value; unusually good or remarkable </span></b><p></p><p><b><span style="font-family: arial; font-size: medium;"> A lot of people end up using the term, "rare" when describing object to infer monentary value or aesthertic or cultural value and over the years I have wondered how often the term actually applies. I am in no way inferring that I somehow have the monopoly of what is or is not rare but rare is not defined as an object that is just rarely observed or come in contact with. I believe there is more to the word, beyond unusual, not typical or other descriptive terms, it has to be something that is uncommon, out of an artists or craftsman normal ouvre of being of such a incredible example that it deserves such a moniker. I will start by saying that I am not sure if this simple Shino chawan is rare or not simply because it is the only one I have ever seen but rather it is not at all typical of the potter who made it. </span></b></p><p><b><span style="font-family: arial; font-size: medium;">This simple Shino chawan was thrown out of a dense, white Shigaraki clay and glazed in Shino prior to firing, the bowl was glazed and fired at Toyozo Arakawa's kiln and fired in a sagger. As for the potter, this was made by Shigaraki pioneer, Takahashi Rakusai III sometime in the late 1950s or early 1960s. The form of the chawan is not exactly typical of the potter and the glaze and simple XXX design around the top portion of the bowl is not something you would encounter on a normal day strolling into Rakusai's studio. This chawan was made and fired at a time when some of the most important potters of the day where sharing ideas and space in their kilns to the effect of seeing Bizen, Shigaraki and Karatsu pots by Arakawa and other combinations by potters like Rakusai III and Kaneshige Toyo making for a rather fertile exchange of traditions leading to this possibly rare Shino chawan that is certainly outside of the tradition that the potter is certainly best known for and connected to the heart of Shigaraki. </span></b></p><p><b><span style="font-family: arial; font-size: medium;"> I should apologize for the quality of the photo as well, this was taken nearly 20 years ago using a digital camera when they were in their infancy and it has been converted from an old discette to jpeg after jpeg and this is what I have ended up with. I don't have the option to rephotograph this pot so as they say, it is what it is.</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-867011888239919932024-02-02T15:18:00.000-08:002024-02-02T15:18:00.028-08:00SAIYU<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBvvegLMEOPG2WEA5v8w0gLKqFMiDwbn5qW5gBY0ilGtoDlfQcKdCmIkYQYIukfS0OTdP69qqTfVqPzLpHkEmBlz683akff_rPzuSNQiPT1Ta4IJmZ77N1VjhIGDVO_e0yeI41NkbhhERXymUnPkyu4DAv3e6yEGJYNO5x4xd_0shxw4YFFqverMLlAsZm/s3088/20231118_133854a%20asano%20norio%20sairyu%20ip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3088" data-original-width="2861" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBvvegLMEOPG2WEA5v8w0gLKqFMiDwbn5qW5gBY0ilGtoDlfQcKdCmIkYQYIukfS0OTdP69qqTfVqPzLpHkEmBlz683akff_rPzuSNQiPT1Ta4IJmZ77N1VjhIGDVO_e0yeI41NkbhhERXymUnPkyu4DAv3e6yEGJYNO5x4xd_0shxw4YFFqverMLlAsZm/w370-h400/20231118_133854a%20asano%20norio%20sairyu%20ip.jpg" width="370" /></a></div><b><span style="font-family: arial; font-size: medium;">At first glance I thought this saiyu mizusashi looked quite a bit like a piece by Shinkai Kanzan only to find out it was in fact by the Kutani potter, Asano Norio. Where Shinkai was influenced in this technique by Kiyomizu Rokubei VI, Asano came by this from his master Kitade Fujio before he moved on and set up his own studio and kiln, Kyokusen-gama. Like Shinkai, this technique uses paper resist with applied slip and then an almost Persian blue style glaze which has culminated into a thick blue roll at the base of the pot. A very thin cobalt wash was applied to the surface to accent the geometric design all of which is brought out to its fullest potential in the afternoon sunlight. This appears to be fairly early work of Asano and the the form, lid and knob are very simple in many respects it had to be to create a balance with the colorful and moving surface, a rather nice blend of form and function with a rather particular aesthetic thrown in for good measure.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-10823403382149045952024-01-31T16:28:00.000-08:002024-01-31T16:28:44.468-08:00THE VERY FIRST<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40amKdYJbxwi3YtxRfX5ZAUAsMee6gGIRGbsE_jWdhXET8oRl57YLnBvizfpHAk8vBNXahYWm7bp_kOk7oy5CkWUfNe621bbQ1pRQMFRqZTVBPSNOg9WiPlqHA3gt9oG2K7rl4gAF3NHybvvXwupzXA7l8xVyKO-Wia5RoSu53VamB6q54DEPmovs0EQR/s3151/20240125_121801ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3151" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40amKdYJbxwi3YtxRfX5ZAUAsMee6gGIRGbsE_jWdhXET8oRl57YLnBvizfpHAk8vBNXahYWm7bp_kOk7oy5CkWUfNe621bbQ1pRQMFRqZTVBPSNOg9WiPlqHA3gt9oG2K7rl4gAF3NHybvvXwupzXA7l8xVyKO-Wia5RoSu53VamB6q54DEPmovs0EQR/w384-h400/20240125_121801ip2.jpg" width="384" /></a></div><b><span style="font-family: arial; font-size: medium;">I was digging through a box in the studio filled with pottery tools, sponges, clock parts and more when I found a little pot wrapped in a piece of THE CLEVELAND PLAINDEALER newspaper from 1990 where I discovered the very first. To be clear, this is the very first "tea caddy" that I ever made or fired and not at all traditional like a chaire I basically made a diminutive covered jar with a cut, tripod foot. The surface is four layers, three sprayed to create this look and well the squares were liberally borrowed from a well known Hagi potter. This series of pots were a lot of fun to make and though it isn't really anything but a small covered jar, this was how I thought an American potter would develop a pot specific for powdered tea if chanoyu evolved here. That is my story and I am sticking to it.</span></b><p></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-49806501656624202132024-01-29T15:02:00.000-08:002024-01-29T15:02:08.443-08:00FIRST<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_p0CBtkPQPwe6x2P027Fkd27U-Y9OwX-rti2TUl37DAyRKu4IurzkBP3Y3dP_wsa6ifHPIt2fc5K34IUn1zY20M7CMt6biRhgtnKPLh5GcvcyzRzZGRNU-mdPFKn9bocye0RspejfRTZKfxrHDkr_BpyTJFr7eE4MbaVTGHGLiAR9GOJFbJcODsiIAjbo/s2856/20240126_134917ip2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2576" data-original-width="2856" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_p0CBtkPQPwe6x2P027Fkd27U-Y9OwX-rti2TUl37DAyRKu4IurzkBP3Y3dP_wsa6ifHPIt2fc5K34IUn1zY20M7CMt6biRhgtnKPLh5GcvcyzRzZGRNU-mdPFKn9bocye0RspejfRTZKfxrHDkr_BpyTJFr7eE4MbaVTGHGLiAR9GOJFbJcODsiIAjbo/w400-h361/20240126_134917ip2.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">It seems only fitting that the last piece I received last year and the first piece for 2024 were by siblings*, the previous a maple ash glazed guinomi and the later a yuteki-temmoku one. Illustrated is a yuteki-temmoku guinomi by Kimura Moriyasu which depending on the dimensions could be a guinomi or a chawan, a form typically used in both for this potter along with the way in which the piece was glazed. The background is deep and dark, almost black on which the rusty, spotted iron is sprinkled about excepting the lip which has a band of solid color that helps act to define the diminutive form. The foot's exposed clay is a rich dark black with a wonderful crinkled texture and a simple excised foot looking as if over a thousand or more have proceeded its creation. Perhaps a curious feature of this guinomi is whether by happenstance or planning there is a large rusty spot on the inside and out at almost exactly the same place adding a hint of visual flavor to the small pot. This particular piece has a nice weight and solid proportions feeling quite nice in the hand with a perfect lip for use and holding a generous but not unweildy amount of liquid and when all is said and done, it is quite clear this was not Kimura Moriyasu's first run at making a guinomi or even his 1000th.</span></b><p></p><p><b><span style="font-family: arial; font-size: medium;"> (There were three siblings actually; Kimura Morikazu, Kimura Moriyasu and Kimura Morinobu.)</span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-10561480750738222912024-01-26T14:28:00.000-08:002024-01-26T14:28:03.994-08:00IMAGINATION<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f1ouMi17fx7C7c5tjnjS83MQ3qObYsn3cGsCW5VbcaDt2n5p44L2lmxT95a1J_LbyHk-rt-SMOXd-iHPZ0C_G5RQ3oE4qkhi0CzvND7LTK22eJYK1GQQQbKIDyjaqlCadnYKQy13FQJdb3IGMzsia3JGTJJBahQFBYigptIHlSX9xJT64z2bwyq2ai_8/s1024/Tsukigata%20Nahiko%20chawan%20IP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="646" data-original-width="1024" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1f1ouMi17fx7C7c5tjnjS83MQ3qObYsn3cGsCW5VbcaDt2n5p44L2lmxT95a1J_LbyHk-rt-SMOXd-iHPZ0C_G5RQ3oE4qkhi0CzvND7LTK22eJYK1GQQQbKIDyjaqlCadnYKQy13FQJdb3IGMzsia3JGTJJBahQFBYigptIHlSX9xJT64z2bwyq2ai_8/w400-h253/Tsukigata%20Nahiko%20chawan%20IP.jpg" width="400" /></a></div><b><span style="font-family: arial; font-size: medium;">Illustrated is an Oni-Shino chawan by Tsukigata Nahiko likely made sometime in the early 1980s that was originally put up on my blog and Youtube a decade ago as a slideshow video. This style of Oni-Shino is predominantly a feldspar Shino with some iron perculating up from the surface and a coating of ash about the surface having a passing resemblance to Bizen tamadare. As you can see the form is low and wide with a prominent and sturdy foot and lip that meanders just enough to get one's attention. The overall surface has wonderful punctuations of iron trying to seep out of the pocks of the glaze and there is a shadowy darkness under the white exterior composed of iron which together other features makes for an engaging landscape. Though this is neither my pot, nor my photo and I have not handled this piece, what I can say from previous observations is that this shape is sturdy and comfortable in the hand or just resting on a shelf, it has an almost defiant posture and commands its space with just the right lift from the kodai to create a wonderful shadowline and be just inviting enough to handle its form, feel its surface and get a sense of its weight, volume and presence. I realize a photo just does not suffice to fill in all the gaps but sometimes you have to make due with a crisp static image and a well tuned imagination or you can get a bit more perspective by going to Youtube.</span></b><p></p><p><b><span style="font-family: arial; font-size: medium;"><a href="https://www.youtube.com/watch?v=L_AGtIE4w7k&t=49s" target="_blank">https://www.youtube.com/watch?v=L_AGtIE4w7k&t=49s</a><br /></span></b></p>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-22477599573201602452024-01-24T09:02:00.000-08:002024-01-24T09:02:29.964-08:00TEXTURE IN MOTION<b><span style="font-family: arial; font-size: medium;">Before this chawan was pulled from rotation as we rotate our small collection, I decided to make this short video of this vividly textured Shigaraki chawan by Kengo Saeki. I was hoping that this video may convey the sense of form, surface and texture far better than a single, static photo would. Let me know if I succeeded at that task.</span></b><div><b><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cn9AnpVqTGk" width="320" youtube-src-id="cn9AnpVqTGk"></iframe></div><br /><span style="font-family: arial; font-size: medium;"><br /></span></b></div>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0tag:blogger.com,1999:blog-2709687889957080152.post-73727053303891735332024-01-22T13:45:00.000-08:002024-01-22T13:45:57.314-08:00IF ITS MONDAY, ITS A NEW CYCLE<div class="separator"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCwyaFmJiNB0yIQj5Cqp0-UmT1KkvFacS7qWMELjr-CRaSITnukW3FFkr17olDDtVScqIjq44yBpq1DJcWC9SbjUZ53hYz019s1Cyh8NBe4iMSig1EBuPl3GgWtGywfGqtkvmVw8UA2DAVl3PsoWs9STPIKcup-OCg2ZtHLPUpYyLm_W-On_lAI2GD4Qc/s3767/20240122_155450ip2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCwyaFmJiNB0yIQj5Cqp0-UmT1KkvFacS7qWMELjr-CRaSITnukW3FFkr17olDDtVScqIjq44yBpq1DJcWC9SbjUZ53hYz019s1Cyh8NBe4iMSig1EBuPl3GgWtGywfGqtkvmVw8UA2DAVl3PsoWs9STPIKcup-OCg2ZtHLPUpYyLm_W-On_lAI2GD4Qc/w400-h258/20240122_155450ip2.jpg" /></a></div><b><span style="font-family: arial; font-size: medium;"></span></b><div><b><span style="font-family: arial; font-size: medium;">After getting pots made and delivered for the holidays, I had some down time partly to let my elbow rest up a bit (tendonitis) and honestly other than pottery addicts, who needs pottery directly after Christmas anyway? I decided over the week-end it was time to get some traction in the studio again and if its Monday, it's a new cycle which will be a terra cotta group of snowberry, falling leaves and tebori pieces. Before getting started, I got the studio cleaned up a bit, well cleaned up for me and then made up two different white slips, black slip and various colors (yellow, green and red). Illustrated is the first two pieces from this morning; two 3lb covered serving bowls and lids likely to be decorated in the snowberry design. These two pieces were followed by pieces for several vases, four wall bowls, and a group of small and medium v-bowls. I didn't end up throwing too much as I am a bit antsy about my elbow acting up but so far, so good. This will likely be a short cycle of about 30 pieces or so but at least I got started again and there is nothing wrong with that. (I should mention, I made up more slip than appears in the picture, these smaller containers are just far more manageable.)</span></b></div>Craig Birdhttp://www.blogger.com/profile/00118415106526234602noreply@blogger.com0