HAIYU KAMON

Illustrated is a rather subtle but powerful haiyu jomon mizusashi by the godai (5th generation) Kato Sakusuke, Kato Shinya. This low, wide basin form looks like stone with incised decoration at first glance but it is a stone like texture with inlaid white decoration entirely around the exterior and interior of the pot covered over in a thin layer of ash glaze and finished off with a wide, custom made lacquer lid. There is almost a trompe l'oiel  feeling to this pot, like a carved out stone basin with incised decoration filled with some pigment or another sitting in on the ritual of tea and reflecting the moon. The form and aesthetic is rather appealing and speaks of a much older time free of ego and any superfluous detail yet relying on tradition and certain guidelines of purpose and function.  Kato Shinya is a rather diverse Seto potter schooled in tradition by not only his father  Kato Sakusuke IV and family but also by Ningen Kokuho Fujimoto Yoshimichi and Tamura Koichi, producing  Ki-seto and Oribe works as a staple of production at his kiln. 

There are quite a few examples of this haiyu kamon work that has been exhibited around Japan and won awards and in 2004 he was made Aichi Prefecture Intangible Cultural Property for his Oribe and Ki-Seto works though in my opinion his haiyu kamon is perhaps his most innovative and modern work that is likely to best be remembered in decades to come.  On a side note, the picture at the top right corner is from an exhibition catalogue showing this mizusashi. I am always surprised to encounter an illustrated piece given the sheer number of pots made across all of Japan and by an individual potter together with the few catalogues I have in relation to all those pots. I would think the odds are strongly against being published but given the nature of this particular pot it doesn't surprise me at all since it is easily exhibition quality and at the very top end of Kato Shinya's work.  

"A stone basin,  

Filled to the brim,  

The full moon embraced." 

 

AS OLD AS THEY COME

Illustrated is one of those medieval looking pots, looking as old as they come relative to the actual archetypes of the Momoyama and early Edo era that is. I enjoy pieces like this that exude a sense of antiquity and having been witness to history along the way even though they are more or less modern. I say more or less modern because this is an early pot by Iga potter Kojima Kenji, likely made in the 1980s and as such modern is somewhat relative. As soon as you see this rugged hanaire it is easy to see how sturdy and practical the form and weight are, trust me, put a branch in this piece and the vase isn't going to tip over on you, weight was a secondary concern to functions and the aesthetics of the piece. As may or not be evident, during the firing an angular bed of charcoal built up around the base contributing to the surface of the vase which shows some very nice ash build up around the shoulder, lugs, neck and mouth with highlights of glassy green here and there as the heat of the firing worked its magic on the contents of the kiln. The general attitude of the vase coupled with the anthropomorphic attributes of the lugs give the pot a wonderfully animated posture and a good amount of character as well. As I said, I like pots that conjure up thoughts of antiquity which always brings me back to the expression, "everything old is new again" and that is at the very heart of this Iga vase.

TESTING TRIALS AND TRIBULATIONS

Last Monday I decided to go ahead and throw all the pots I needed for two commissions, a 6 piece jar set (canisters) and four large plates meant to be hung on the wall. The throwing went smoothly but not so much in regards to the tooling. We lost power here in central New York State from Tuesday to Thursday which meant covering things up really well and turning my attention to some tasks that didn't need any electricity, namely making up some slips, one glaze and a group of tests including a slip test to try to correct some recent problems with the slip staying on the various clay bodies that I use.    

Most likely my testing trials and tribulations don't add up to much in the cosmic scheme of things but even so, I would like to get things worked out and with no power, this was the perfect time. At issue is an older crackle slip formula that I used for quite some time and it was fool-proof, that is until now. In the past year of so the slip comes off the pot in the bisque or in the glaze firing which is even worse. I will mention for the record, the materials used have not changed at all nor has the clay, it has literally just stopped working. What you see here is my latest test of the formula which has had the calcined material increased a bit more and I will test the slip on wet clay, dry clay and bisque clay pods to get some results, the cracking occurs during the drying, bisque and firing processes.   

The pods are marked appropriately and one pod from each group will be fired ultimately without any glaze to see what happens to the slip and whether or not it comes off or is easy to pry off sans glaze. Along with the unglazed pods to be tested will be a pod from each category that will have a transparent glaze, either clear or Oribe to gauge how they react and whether or not the slip stays on the pods (or pots down the road). I know this doesn't really amount to a hill of beans but it is just one of my current conundrums and I would like to be able to strike a line through at least this to do item as soon as is possible. The testing continues and this was a good use of down time even if there were few other choices to keep busy in the studio.

 

CHAIRE TWO-VUE

When I look at a Hagi glaze like that illustrated here part of me is reminded of an isolated snowfall or cherry petals set adrift in a stiff breeze but from time to time the inner sci-fi part of me sees illuminated neutrinos dancing about in some distant celestial event. However you wish to see or internalize this perfectly blushed surface punctuated by the purity of titanium crystals the effect is quite powerful and shows a mastery of clay, form, fire and chemistry which Kanta Masanao is well known for. Made using the kurinuki technique of turning blocks of clay into object, this chaire takes on a unique form that is well suited for both process and surface making for a rather organic and even sensual presentation and posture. As you can see in this two-vue photo, on the left the form is completed with a lid that compliments the form and is practical to use. On the right Kanta has provided a sculpted ivory lid the finish off the chaire in a traditional manner yet still playing on the organic ideal of the piece in general. I think as you look at this chaire in general that it represents a new face of Hagi and the possibilities for the tradition moving into the 21st century but as I study the piece all I can imagine is a space where this chaire and a chawan and mizusashi all of like mind and character are displayed, what a scene that would make.

USE IT OR LOSE IT

My wife and I use quite a few handmade pots around the house from extras and seconds I have made to pieces I traded for or got as gifts over the years but to be honest, there are quite a few pots that I just can't bring myself to use. From some collectors who pitch a use it of lose it sort of argument the thought is that pots are all meant to be used while for the most part I consider myself a curator of these pots that either end up here or are just passing by meaning to pass them along exactly as I found them. That being said I do have a small group of pieces that are more than just utilitarian pots for daily use that in use bring so much more to the experience and this picture highlight a couple of pots that get some good amount of use. 

On the left is a Shigaraki guinomi that was a gift from Kohyama Yasuhisa many years ago and though I use it from time to time it is one of my favorite go to pieces as I really enjoy the look, the physical characteristics of the piece, the texture and the volume which in this case is perfect for just the right amount of Maker's Mark. On the right is another gift, this one a porcelain glazed "cup" from Warren macKenzie which in this case is just perfect for a small handful of peanuts, low sodium of course all watched over by Godzilla Ultima. I know I have had these pieces up separately on my blog in the past but I thought this would give a sense of the two pieces in action proving these cherished pots are more than perfect for the task at hand.

PORTRAIT OF SPRING

I received this picture, a portrait of spring if you will the other day and as things are just barely starting to bloom here in the Mohawk Valley it was nice to remember what the season can look like. This singular magnolia branch adorns a rather rustic vase by Kumano Kuroemon making for a completion of purpose for vessel and foliage. The presentation is a bit sparse, a necessity to keep from totally denuding the owners magnolia but it is still quite sufficient to show off the aesthetics of Kumano's early glazed pottery together with a solitary gift from nature and its fleeting companion. 

As to the vase, it is clear to see how purpose and function was built in to the form, the base is strong, sturdy and has enough mass to remain upright under most reasonable arrangements while the tapered mouth keeps the branch from "flopping" and weakening the center of gravity and spilling the contents to the tatami underneath. The neck/ mouth and lugs are classic Kumano whether the pot was made 30 years ago or today adding just the right amount of anthropomorphic gesture to a vase that already possesses vertical and horizontal movement, attributes this potter is rather good at. Like the branch, the vase is simple enough and it is the colors, textures and character that though subtle at times, paints a provocative picture of function and tells its fullest story in its everyday use.

"I hear the wind,

Rustle the magnolia branches. 

The scent of spring."

IN LIBRO

Illustrated is two versions of the same pot, an E-Shino chawan by Kido Sadaaki, one bathed in sunlight and shadow and the other as it was photographed for its inclusion in the book; HAIZUKAGAMA ; The works of Kido Sadaaki (Heisei 20, 2008). This chawan is a modest size with large swaths of a pure white Shino glaze that is interrupted by iron decoration on the front and back balancing the form and though round creating four distinct planes circling the form. The lip is quiet but undulates just enough to break up the termination of the bowl all the while perched atop a pedestal style foot that is notched adding a hint of mystery and shadow to the area. Perhaps one of the more interesting characteristics about this chawan is that despite its reliance on traditional forms and surfaces there is a distinctly contemporary appearance to this chawan, a modern spirit with a surface in motion conceivably moving to tomorrow.

SLOW GOING

When it comes to making pots just for testing glazes/ surfaces and working out ideas, not to order it can take some time to get enough pots together to fire a kiln load. After the holidays it is usually slow going but have small commissions and even some dinnerware orders has keep me busy even though Jan is not a good month to make pots in my studio. Between being too cold and things drying rather unevenly and warping I tend to limit Jan. to testing, cleaning, organizing and figuring out what materials I need to order. This year has been no different and as smaller orders, resupplies and dinnerware orders have mostly been for terra cotta, on the odd occasion I have been throwing the odd piece of stoneware and porcelain and letting it build up as I find space to bisque it. The bulk of my throwing during any cycle tends to be in the afternoon where I may make up to 30 pieces or so, they are left uncovered until I go to bed and then uncovered early and tooled in the morning, hopeful finished before lunch and then back to throwing.     

The photo shows a group of smaller pots, many of which started out as reclaimed clay or kiln fillers that have now been bisque and are waiting for more pieces to gather before I think about glazing and firing a kiln of pots. Besides what is in the photo there are several more teabowls, the group of guinomi to go with the bottles, several bottle/vases and some serving bowls that need to be bisque yet. Adding to what I have and need to bisque my plan is to get a group of "larger" pots made; mallet style vases, some serving pieces, several jugs and a few larger covered jars and then I will have pretty close to a kiln load. At this point, I'll just have to see how things go, as I said, it is pretty slow going.

BUSHI

When I first saw this Bizen vase I was immediately reminded of all of the various Haniwa earthenware funerary figures I have seen at various museums across the US and throughout Japan. The poise, character and posturing of this vase specifically reminded me of the armored Haniwa figures where the forms emulated the ancient armored warriors of the Kofun period, standing defiantly and with bravery and honor. I am not sure if that was the intent or inspiration of Kakurezaki Ryuichi when he began making this particular form but the association is inescapable to my eye and brings the ancient traditions of the Kofun era Haji-yaki and Bizen pottery full circle and colliding directly with the abstraction of modern yakimono of the 20th century. Like the abstracted sculpture and vessels of Suzuki Osamu, much of Kakurezaki's works have both overt and subtle features that call to mind various elements of the old while treading the razor's edge of modernity, adding sculptural gesture to the sweeping historical precedent of Bizen pottery. Though this particular vase is mostly traditional in origin it is the hidden and subtle details that creates a vessel that is both tethered to the past and working overtime to break those constraints. This is a simple vase, with simple details, well crafted and well fired moving one step further along in the evolution pathway that makes Bizen a living tradition. I hope this short video slideshow sheds a bit of light on what this Bizen vase looks like in person.   

EARTH & FLAME

There is something always rewarding about an encounter with a nice Iga pot by Kishimoto Kennin, like a chance encounter with tradition that nourishes the soul. This particular large Iga chawan was made in the 90s and blends tradition, classicism, restraint and potter's journey in to a bowl that is both finite and limitless as the very same time. Thrown out of a coarse, included clay this bowl has elements of various archetypes wrapped around an individual's vision to create a solid, study form worked with care to create a lip that captures the eye without being a distraction and various spatula marks and subtle combing (kushime) to articulate the form and act as the under-painting of what was to come once it was wood fired. A majority of the chawan is coated in a semi-dry layer of ash that allows the potter's marks to show with the addition of wet ash at various points both outside and in creating glistening highlights the complete the painting of the bowl, now framed by shadow and negative space presenting a rather quiet pot .

Though simple in form and surface, there are subtleties that bring the bowl to life and move the traditional in to the light of the modern, this is one of Kishimoto's real talents as a potter where past and present meet creating the synergy of a tradition with the spirit of the modern age. It is comforting to know that Kishimoto Kennin thought highly enough to place this chawan in his EARTH & FLAME exhibition at the Takashimaya Department Store gallery in which the chawan and the interior are well illustrated. Though the inclusion of this chawan in the catalogue in no way makes the inherent nature of the bowl any greater it is interesting to get a glimpse in to the mind of a potter and see how he rated a singular pot and then how it fits within the group he choose to exhibit around it, or with it.  

 

A TYPICAL MONDAY

Today was one of those days were I honestly don't feel like I got much done even though I did in other words, just a typical Monday. I spent the day on "replenishing" duty; black, white, iron and copper slips and several glazes including temmoku, Oribe (latest version), ash glaze and the iron yellow. It is positively crazy how fast time can go by as you measure and mix to wet all of these formulas leaving me feeling like I didn't really get when in fact I did get exactly what I had planned done. On top of the replenishing efforts, I got thinks cleaned up, sorted out and put away as well as packing up two packages for tomorrow's post.    

Last but not least I got three mayo jars filled up with ready to use thick, slurry slip from stoneware slop. In this older photo you can see the recently applied combed slurry slip on a stoneware teabowl that was later glazed in an Oribe glaze with a bit of iron added to the surface. Sorry for the mundane details, no one ever said that blogging would be nothing but non-stop excitement and at the end of the day, time is short and things just have to get done.  

"A difficult task can be done immediately, an impossible task requires a bit more time."  George Santayana

EXCUSE ME, HAVE WE MET BEFORE?

Illustrated is a great detail shot of a Tsukigata Nahiko Oni-Shino mallet vase. I think it is quite evident why I am fascinated with Tsukigata work, there is an undeniable complexity to the surfaces through his carefully crafted use of clay, glazes and firing process which yields a wealth of effects and styles. In this case, the surface has a wonderful, cascading area of coalesced iron that looks like a universe of copper flecks frozen in time creating a shimmery and luminescent region which is occasionally interrupted by the active flow of natural ash that built up on the pot during the firing. In the depression of the ash has pooled creating a wonderful visual landscape of olive toned ash bordering the molten green, fractured bidoro which is doing its very best to spill over the sides and run down the pot. Though Tsukigata Nahiko was exceptionally well known for his vivid oil paintings, it is these painted surfaces that I am pleased to converse with, the narratives presented are evocative, palpable and linger in the mind making these pots a wondrous pottery koan, provoking both the eye and the mind.