LEVELS OF INFLUENCE

Back in 1984, I was fortunate to see a wonderful Japanese calligraphy exhibition entitled;  WORDS IN MOTION; Modern Japanese Calligraphy. At the time I was just out of college and profoundly interested in ink, clay and steel and as such this exhibition really opened my eyes to the modern calligraphy tradition in Japan. In the exhibition there was several pieces of calligraphy that I was captivated with as well as the poem that it represented, the calligrapher was Yanagida Taiun and the poem was HAN SHAN (Cold Mountain, both a place and an enigmatic poet). At the time I was unaware of the profound affect and levels of influence that the lyrical and highly animated calligraphy would have on me but over the years it constantly makes its way back in to the decoration of my work.    This stoneware teabowl is one the first times that I have used the influences of Yanagida's calligraphy in slip trailing but thought to give it a try using black slip as a backdrop and white slip trailed over as decoration I think it certainly has movement and character for a first attempt. Once bisque I used a thin wash of my saffron iron over a clear glaze to give the piece a soft droozy appearance as if the surface is moving and melting. I rarely title my work but thought that this reminds me of late winter, early spring and decided to call it; "Waiting For The Ice To Melt" and in the end I suspect there are hints of Yanagida and even Michael Cardew that one can spot in the bowls origins if you care to look hard enough.  

Just for reference, the second illustration is a small section of calligraphy by Yanagida Taiun from his rendition of the HAN SHAN poem. This shoga is as lyrical, animated and yes poetic as any I have ever seen and I am certain I am not the only person to have been influenced by the encounter with his work.