Though there are several major categories
for defining Ki-Seto glazes, I like to think of them in to only two distinct, broad styles; dry
and wet surfaces. The illustrated tsubo falls in to the drier surface category
which cloaks the clay and gives way to a myriad of variations in the color and
texture all of which paint the identity of the maker in to and on to the pot.
This particular Ki-Seto tsubo was made by Ningen Kokuho potter, Kato Kozo and
shows the influences of Mino's Momoyama heritage not to mention that of his
master, Arakawa Toyozo. Thrown with a definite attention to the wheels rhythm,
this pot was paddled a bit flat on opposing side which he used as his canvas, embellished with a quick and fluid grass decoration on either side and
then glazed in his distinctive glaze. The rich color and texture highlight this
tsubo from mouth all the way to the transitional area above the foot with ash
"pebbles" bubbling up around the mouth where the glaze was a bit
thicker and the surface percolated to create these fine gems. As gravity took
over, some areas of the glaze ran, creating glassy ash runs making their
way to the cut foot ring and adding a bit more drama to the canvas. I like this
type of pot and Ki-Seto surface that sets the mind to thinking about the
past, present and future of a tradition and makes it even more difficult to
walk away from a conversation cut short with so much left to talk about.
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