THE GENES

 Quite some while back I used this Iga guinomi by Furutani Kazuya but decided to revisit it and took a few quick, impromptu photos. As you can see, the centrally located bidoro drip defies gravity as the pot was fired on its side and this area was facing downward during the firing. Much of the top and sides are covered in ash and show runs which collide with the gem-like drip that gets most of the attention. In fact, the form of this guinomi is well considered, holds a generous amount of liquid and really works wonderfully in the hand with the patented eye toward function his father was so well known for. As for the interior, like the exterior there is a nice coat of ash and a vivid, deep green pool created in the hollow as the ash found its way into the small pot. Last but not least the foot was well executed and has that classic look of a chawan that is seen on Furutani Kazuya's work and that of his late father Furutani Michio. Looking at this diminutive piece it is clear there is something in the genes of the Furutani; from Michio, Kazuya and his brother Noriyuki where utility, aesthetics and understanding of clay and glaze permeates the work and is on display even in a humble and unpretentious guinomi.