For the potter Banura Shiro, most times his work had only
just started once a piece was glaze fired. After the pot was fired, he would
set about adding various overglazes along with gold(kinji), silver (ginji)
luster to complete his vision for the piece. Wispy tendrils, moss, autumn foliage,
fauna, drifting leaves and a number of other devices decorated his surfaces
animating the pots and blending the Rimpa and Nihonga traditions with his Iga
sensibilities. Whatever he decided on, it came natural and his use of space on
a three-dimensional form brought the piece to life.
Illustrated is a close-up of a Banura Shiro large serving
bowl. The bowl is covered first in his well textured black base glaze to which
he then has several additional firings to add the pewter like leaves and the
gold and silver luster. It is easy to see how rapidly he laid on each and every
stroke, without a moment's hesitation as if he had already seen the pot
completed in his mind's eye.
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