Like most pottery, there is Bizen
that I do and don't like, then there is Kaneshige Michiaki (1934-1995).
Michiaki was an outstanding potter who made a subtle yet substantial
contribution to Bizen-yaki prior to his all too soon departure. Son of
legendary Bizen potter, Kaneshige Toyo, brother to Kosuke (b. 1953) and father
of Iwao (b. 1965), Michiaki's career was filled with acolades and milestones
including his contact with many of his father's circle of friends, such as
Arakawa Toyozo and the highly influential Kitaoji Rosanjin and Isamu Noguchi at
the family kiln. Kaneshige Michiaki was also named Okayama Prefectural
Intangible Cultural Property in 1990. In the end, what set Michiaki apart from
the throngs of Bizen potters was a distinct vision and firing style that is
obvious when looking at his body of work or a singular pot. The way in which he
handled clay, created vessels and fired his pottery speaks of a potter who made
full use of the past while striving to add something to the tradition amplified
by his own powerful voice; from guinomi to tsubo, his individuality is echoed
in his pottery.
"Tradition (dento) is
sometimes confused with transmission (densho). Copying Momoyama period
(1568-1615) pieces is transmission. Producing contemporary pieces incorporating
Momoyama period techniques is tradition. Tradition consists of retaining
transmitted forms and techniques in one's mind when producing a contemporary
piece. Tradition is always changing. A mere copy of an old piece has not
changed, it is nearly the same as its prototype of three hundred years ago.
Tradition consists of producing something new with what one has
inherited." An excerpt from an interview with Kaneshige Michiaki conducted
by Robert Moes and published in MODERN JAPANESE CERAMICS IN AMERICAN
COLLECTIONS.
Illustrated is a squared and
pierced Bizen vase by Kaneshige Michiaki. The rich purple-red fire color
surface is highlighted by ash which has settled on the vase during the intense
firing adding to the geometric design repeated through the sides and top of the
vessel. The structure appears just a bit visually precarious, yet in reality
the form is bolstered by the creative experience of the potter and the heat of
his Bizen kiln.
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