THE CAT IN THE POT

In truth, not much to say, I put the pot on the floor to dust and turned my back for an instant and Khan decided to help clean the interior.

CARVED CADDY

Over the years I have seen a number of these carved, three piece tea caddies, both simply executed and carved to varying degrees. They seem rather prevalent during the Meiji Period and continue to be carved to this very day. Of all the ones I have seen, this one strikes me as a bit unique being heavily carved over most of the form with deep relief flowers with virtually no damage despite the fragile nature of some of the carving. Carved out of a single piece of wood, the caddy is wrapped, seductively, in flowers and leaves that bring the eye entirely around the form and give a rather pleasant feel when held in the hand. I am not sure as to the utility of these particular tea caddies in formal chanoyu, but as an experiment a while back, I placed loose tea inside and put it up on a shelf for nearly two months and the tea that emerged were still fresh and perfectly usable. The combination of beauty and utility makes the piece that much more special and a wonderful object to enjoy on a shelf or on the table ready for tea.

SOMETHING FOR MONDAYS

It has been a rather cold and overcast day here in the central Mohawk Valley. One of those days where it is a bit difficult to get things in motion. It also was a day where I had to get some things packed up with the assistance, or should I say interference of my new helper, Khan. I find days like this a bit challenging and thought what better way to lighten the mood than a musical interlude. Take a moment and enjoy a snippet from  the Richard Lester masterpiece; A FUNNY THING HAPPENED ON THE WAY TO THE FORUM. This will give you an insight in to the potential of hired help.

RISK-REWARD

Drawing on inspiration from both the astrological symbol for Pieces and the Asian yin-yang device, the opposing fish design found its way on to a large serving bowl. Using black, grey and white slip, I roughed out the design over the black slip using ink, sponged on grey slip and then trailed the white to bring the design to life. The clay used is terra cotta and I must admit that I  am very influenced by old English slipware in my work, but where possible I add whatever modern quirks that are possible. Though I  am usually confine myself to black or white slip, over the years I have also used a variety of colors, including; red iron, leaf green, turquoise, bright yellow, blue and a red created out of a German imported stain. Slip work is immediate, there is no time to be cautious, there is no going back if you make mistakes, it is the risk-reward aspect of making slip ware, together with its connection to a technique that is nearly two millennium old that makes it both enjoyable and rewarding.

KOH-TSUBO II

I was thinking about the small Kohyama Yasuhisa Shigaraki ko-tsubo that I posted the other day and it got me thinking about my stay with him back in 1993. As I was thinking about my time at his studio and home, I had the feeling that somewhere there was a picture of sensei throwing a similar ko-tsubo and after digging through files, I found the picture in question. Though the ko-tsubo on the wheel is a bit larger at about 8" tall or so, the form and especially the neck/mouth are spot on to the one illustrated. One of the hallmarks of a good design is the ability to create that design in a variety of sizes and this is a skill that Kohyama excels at. Many of his pots vary from small to large though based on a "standard" form or design making for an immediately recognizable style that points directly to the maker; it is quite possible that Kohyama's early study of design with Sakuzo Hineno (1907-1984) has something to do with this, but I think it is also about the years of developing a style and direction that makes fullest use of the Sueki inspiration and his creative voice.

PITFALLS

There was a time, back when the internet was new that I used to bid on pots on eBay. Now days, I am reticent to do so for a wide array of reasons including but not limited to; poor packing, pots not as described, photos so muddled you can not make out the details, hidden damages, mis-representation and the occasional unethical seller. I am not saying this is the totality of the market, but how many Not-Hamada, fake Arakawa Toyozo and Kato Tokuro do you need to see to realize the venue is the wild west. Provided you enter the process with a hearty dose of skepticism and a good library, at the very least, you can mitigate some of the pitfalls. I will say however, as all collectors know, despite excellent photos and a great description, you just don't know what the pot will actually look like until you have it in hand.

What brings this up is that, despite my better judgment, I bid and won a pot for what seemed to be a very good price and that was described as and I quote; "FLAWLESSNESS". I make my Paypal payment and four days later, the pot arrives from Japan. Though the packing was not great, it was adequate, but what was not adequate was the description and photos which did not reveal, the pot was chipped in a number of spots. I reported this to the dealer immediately sending along several good photos with the details highlighted. At first, I was told that it must have happened in transport, this is when I point out that a) there was no debris in the packaging and that b) once you knew what to look for, the chips were noticeable in the photos he provided in the auction, next came the gambit. As a Westerner, I just did not understand Shigaraki pottery and this was just part of the "original manufacture" of the vase. I then assured him, that having studied in Shigaraki and collecting Shigaraki and Iga pottery for nearly 30 years, I thought I had an inkling of what was and was not acceptable. What had happened was not a kamakizu or kiln flaw, but rather a good knock to one of the "ears" attached to the vase resulting in said chips. After nearly 20 emails back and forth through differing times zones and all carefully recorded through eBay, the seller finally agreed to refund my money. Though I would have been exceptionally happy to own the pot in pristine condition, I guess at the end of the day, all is well that ends well.

KOH-TSUBO

Illustrated is a rich, little Shigaraki ko-tsubo by pioneer and innovator, Kohyama Yasuhisa. For me, his work never fails to impress, whether older traditionally inspired teaware, shuki or cutting edge "object". This great, little pot at just 4" tall tells a nearly complete story of Kohyama's work; Sueki inspired form, anagama fired, lyrical posture, simply executed and cut decorative lines, rich hi-iro  and just the right amount of traditionally fired surface. Immediately recognizable as his work, Kohyama has spent his life dedicated to the infusion of ancient Sueki pottery with the energy and spirit of the present day. Each pot is a gift from the marriage of earth and fire which Kohyama Yasuhisa officiates over with a lifetime of experience and a very sharply defined aesthetic.

KUTSUGATA

Illustrated is a very fine and well fired Iga chawan by Kojima Kenji. This kutsugata chawan was fired on its side, resting on shells which have left permanent impressions on the bowl as ash runs down to what was the bottom of the pot during the firing. The landscape of the teabowl is painted with traditional paddled designs, rich hi-iro, tamadare, bidoro and a face covered in a dark brown to black ash where some charcoal also built up. The lip is banded with wet ash that invites the viewer in to the depths of the piece and the kodai is also covered in a rich coat of dark, wet ash which feels pleasant in the hand. Kojima Kenji rarely fails to please with his pottery and is, in my opinion, one of the most thoughtful and attentive potters dedicated to the traditions and ideals of old Iga pottery.

I realize a lot of my descriptions are very obvious and self explanatory, but the process of acting as narrator helps me to clarify my thoughts on the pots. From this pot, beyond the obvious, what stands out to most is the honesty of the bowl. There are no bells and whistles, it is bare excepting the wrath of the fire, it speaks of the essence of Iga, the harmony between potter, clay and fire. From my perspective, that is as good as it gets.

"Opinions cannot survive if one has no chance to fight for them."   Thomas Mann (1875-1955)

BLUE MONDAY XV

Illustrated is another wonderful, colorful and impromptu painting by master wood-block artist; Munakata Shiko. Munakata's spontaneous painting depicts a  gosu blue molded vase by his lifelong friend, Kawai Kanjiro filled with red camilla branches framing the pot along with a line of line of quickly rendered calligraphy. There are quite a few Munakata prints and paintings that use Kawai pottery as a central theme which is a touching tribute to not only their friendship by their great respect for each other and the mingei craft movement.

"Friendship is neither a formality or a mode; it is rather a life."   David Grayson

LYRICAL PATTERN

A friend sent me this picture that he found somewhere on the web, so I apologize if this is your picture. At first glance it looks like a Kawai school pot, possibly even Ueda Tsuneji, but in fact, it is another Kimura Ichiro molded vase, this time in vivid and active nerikomi patterning. Using his stoneware with oxides to darken it, Kimura made slabs out of the three clays, patterned together to push into a press mold made in the style of his teacher, Hamada Shoji. This bottle shape is very common and it is the subtle nuances that sets the potters apart as much as the decoration and glazing. The bottle, glazed in a thin clear has developed wonderfully lyrical pattern which emphasizes not only the vertical but the horizontal nature of the pot. I love the movement of the pot and once again, Kimura proves the value of two tried and true techniques in molded bottle and nerikomi but succeeds in making a personal statement with his own creative voice within the large body of Mashiko pottery.

"A man's style is his mind's voice. Wooden minds, wooden voices."   Ralph Waldo Emerson

GAMEDAY

After my post of the Kimura "cubist" henko, I was asked about the so-called football style henko. First off, the football moniker is entirely mine and it is how I see the piece from the perspective of viewing it straight on. Illustrated is one of these molded football pots that I handled a number of years ago. Once the pot came out of the plaster press mold, it was dipped in slip and once bisque, it was glazed in a transparent ash clear glaze with a rich kaki accent on the mouth and decorations of amber spots with copper squiggles over the whole in an Okinawan (Tsuboya )style. The pot looks very dated as it appears having been made sometime in the late 1950's or 1960's, but when used as a vase, it takes on an entirely different appearance. Ultimately, it is the simplicity of design and decoration and a dependence on the Mashiko tradition that makes exploring the works of Kimura Ichiro so enjoyable.

A BETTER VIEW

Illustrated is a large flared mouth, trumpet style vase with incised decoration of a repeated design around the shoulder of the pot. The vase was glazed first in one Oribe glaze and then dipped again in a thinner version of the same glaze with 1% iron added to the mix leading to wispy tendrils of running glaze effects which are especially noticeable at the bottoms of the grouped incised marks. I decided to add the larger, detailed view so that one could get a better perspective of what the surface actually looks like and how the glaze responds to the incised decoration. An overall shot, from a distance just doesn't give the fuller picture of what the surface has to say.

For more pictures of this recently fired pot, please take a look at the listing;

http://www.trocadero.com/albedo3studio/items/1225365/item1225365store.html

THOROUGHLY MASHIKO

My first encounter with the work of Kimura Ichiro was back in the very early 1980's, I had acquired a group of exhibition catalogues from a book dealer and among them was one on Kimura from 1976. There was quite the array of pieces from thrown to the molded henko pots and each had a distinctly folk art look of Mashiko-yaki. On our first trip to Japan in 1990 and subsequent ones we were able to see a large number of his pots especially in Mashiko, where his work was displayed in a number of galleries. What became immediately apparent was that while Hamada Shoji was a product of a variety of his experiences and travels, it is safe to say, Kimura Ichiro was a product of Mashiko and the community and lifestyle that Hamada and other Mashiko potters had crafted out of a long standing craft tradition. Kimura Ichiro (1915-1978) studied with Hamada Shoji prior to WW II and after his apprenticeship set up his studio and kiln in Mashiko and fired his first kiln load of pots in1947. Like fellow Hamada students Shimaoka Tatsuzo and Murata Gen, Kimua Ichiro has gone on to be a major fixture of Mashiko pottery and was part of a major exhibit of Mashiko potters in the late 90's. His son, Kimura Mitsuru, continues in his father's footsteps.

Illustrated is a form that appears creatively composed of stacked blocks around a central core; this signature vase by Kimura Ichiro changes with each angle and perspective it is viewed. Having a touch of M.C. Escher in its design, this clearly is one of his best and most well known forms along with his more traditional Hamada Shoji style molded bottle and his quirky "football" style henko. The pot is covered in a yellow ash glaze with red high-lighted quadrants with white and copper accented sprigs of floral decoration on both front and back. This vase is a rather purposeful and resolute piece that has volumes to say about Mashiko-yaki and Japanese pottery of the post-war period; function, design and presence.