I know I have written about Hagi potter Mukuhara Kashun previously on my blog, my encounters with his work go all the way back to the days of visiting scholar and author Dr. Fred Beakeland. Over the years it has been a bit unclear as to why I seem to have an affinity from his work, early exposure or interest in Hagi in general and like a good handful of other potters the reality is that I just am attracted to the way they handle clay. As for this group of potters and Mukuhara in particular I enjoy the directness visible in the clay and forms, the honesty is almost immediately apparent and the pots are neither fussy or overly complicated. In these works, like this illustrated kaku-gata Hagi mizusashi, there is no need for superfluous detail, purpose, function comes first with aesthetics coming in at a close second, why add more when the principle is that less is sometimes really more especially when dealing with a six sided pot.
Thrown out of a rich, red clay, this mizusashi was paddled square and then carefully faceted from top to bottom leaving a distinct border around the base that gives the pot a degree of visual and actual stability while present a coarse and rustic impression. Once glazed, the mizusashi was wood fired and has a wide array of effects from areas of charcoal carburization, blushing and white crystal growth and a nice coating of wood ash both fine and coarse across the top, sides and on the lid. Though when generally thinking about a cube or square, static seems to come to mind but with the facets, slight manipulation of the sides and the motion of the glaze, the piece has movement and is alive with its purpose and filled with an honest quality.
I am not sure that I can really adequately describe why the pots of Mukuhara Kashun among others resonates with me. With just the right encounters I am left feeling enriched by the experience and feeling a deep sense of having seen a simple object created and fired by embracing the most common elements to produce what is clearly not your every day pot.