N & N

With ever encounter as I as I look at the new to me pot I try to figure out where the pot fits in the potter's work according to quality and when the pot was made. On the odd occasion I am also left wondering where does this form, style or surface come from and is this pot an anomaly as it has an exotic and unique look to it. In this particular case illustrated is a wonderful, serene Hagi mizusashi by Okada Yu, expertly thrown and altered creating a manipulated for that is both organic and spontaneous in appearance. Though thrown and altered this mizusashi has that look of just happening, coming off the wheel as it appears, supple and flowing lines uninterrupted by any external force that is perfect for aesthetic appreciation or practical use in the tea ceremony.   

As if the form and alterations weren't enough the surface is equally as superb with lush blushed areas covering half of the pot that are punctuated with fine white crystals like flower petals cascading down pink silk. The rear of the five sided mizusashi is covered with a soft white Hagi glaze that completes the form and the vertical lines that separate the various planes of the pot are bare to the clay creating the appearance of a subtlety folded five panel screen painting presenting a narrative of nobility and nuance. The finishing touch to the mizusashi is a simple, custom made and perfectly fitting lacquer lid that though is in stark contrast to the piece creates a sense of completion and harmony.      

Though at a certain level a simple pot I found this pot fascinating and during its stay here I had it on a shelf where I just kept turning it round and round to get the best view and none failed to both surprise and please me; a very pleasant experience all in all.