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.
.JPG)