FLOATING CLOUDS

At its core, this is a rather simple vase, elegant in its presentation with hints of Chinese porcelain thrown in for good measure. This hanaire has all the characteristics of the evolved tradition where over the centuries Takatori ware became more elegant and cultivated in form and surface to both meet the prevailing tastes and to create a ceramic canvas for a specific ideal. The crisp lines and subtle details act as a vessel that in some ways in this instance is a pedestal for the exotic fish lugs that have become a calling card among the modern, posts 19th century Takatori Miraku potters right down to the current head of the family, Miraku Kamei (Masahisa) XV. Springing from a century’s old tradition, dating back to almost 1600, modern area potters relied on older Takatori ware ideals/ archetypes to appeal to the somewhat conservative nature of the establishment chajin and under Kamei XIII the Takatori teawares moved from being a regional pottery to having far greater national exposure. At its core, Miraku Kamei XIII (1883-1956) made his pottery specifically oriented toward those who practiced (chajin) and collected articles (chadogu) for the tea ceremony (chanoyu) and over time he gained the reputation as a nearly peerless maker of chaire.               

As you can see in this vase made by Miraku Kamei XIII there is a streamlined elegance to the form, the superfluous details are cast away relying on the purity of line/form and enticing and intriguing surfaces. By combining oyu (straw yellows) and rokushoyu (green-blue) glazes, Miraku has brought movement and life to a rather simple and stylized form acting almost like floating clouds on a static form pointing to the highly detailed and articulated fish lugs and broad distinct mouth and lip of the pot. As I stated, this is a simple form with intriguing and curious details that are highlighted by a complex surface of movement and subtle painterly qualities that are as timeless as the Takatori tradition now in its 15th generation and moving toward another century of dedication to an ideal and devotion to purpose and ceremony.

ACCOMODATING

A short while back someone messaged me and ask if I could post an overall picture of the Kumano chawan from a post several years back. It took a while to find the photos which were taken some while back and narrowly missed being either deleted or corrupted in a major PC melt-down but I do my best to be accommodating when possible. What I can tell you is this bowl was quite memorable, quite large and the face gives way to vivid Yohen-Shino with an almost chaotic field of texture and color. Though this is an old photo, likely taken with my old Mavica and saved on floppy discs originally so it is not the best quality to show off this rather nice Kumano chawan but it will just have to do.  

The original post can be seen here; 

https://albedo3studio.blogspot.com/2021/07/crucible.html  

WHAT IS THE PLURAL OF FLUTE?

                                 
                                   

            

This was clearly an end of day pot, not thought out and just thrown using some clay already wedged up. Obviously, it was slightly thought out as it was thrown thick enough to flute vertically and horizontally which interrupts the flow of the movement of the surface. There is a simple lid surrounded by concentric bands to add so movement and interest to that as well and completed with a slab impressed handle based on a Cubist apple stem. The idea to this spur of the moment pot is pretty simple and since a fluted surface looks good, I went with my Oribe and accents of iron which have created cascades of color running down the furrows. By the way, what is the plural of flute in this context, is it as simple as flutes?

NONE THE LESS

Though not made in Shigaraki, this simple, lobed mizusashi is Shigaraki none the less. Having studied with Tsuji Seimei, Kon Chiharu made this classic vessel for tea ceremony which was then fired in an anagama to create a classic, even traditional style of pottery that is synonymous with Shigaraki. The form of this mizusashi is somewhat simple and entirely functional where impressions were made while the clay was still wet and a practical lid was thrown completed with knob so that it would sit just atop the pot, closing the opening and at some level hiding the contents from view. When fired, this pot was fired upright, the lid was wadded to the piece and the form was fired on wads as well, the large botan-mochi style area on the face of the pot was created by some pot acting as a defensive linebacker keeping some of the flow and velocity of the fire and ash from reaching its intended target. The majority of the surface is covered over, excepting the one resisted area on the front and a small area on the rear, in a coat of wet ash presenting a sense of being freshly washed, a feature that I am always drawn to. Everything about this pot speaks to centuries of a medieval tradition even if it was made and fired a few miles away, clearly Shigaraki to the very bones of the pot.

WHO?

Illustrated is a detail from a large covered box form by Ito Hokuto (b. 1961) a student of Ningen Kokuho, Fujimoto Yoshimichi. Using porcelain as a canvas, the form is first glazed and fired and then the magic of varying overglaze colors, techniques and textures take place in this case creating this evocative owl design, one of three perched upon a lone branch and high-lighted in silver overglaze with sgraffito detailing. The planning and execution of Ito’s work is rather inspired a blend of the chaos and formality using quirky designs to tell stories and articulate the surface and form. More to follow. (Short post, lost all track of time today!)

ANGLES AND CURVES

Illustrated is a seriously well thought out and conceived covered box form by Canadian potter, Bruce Cochrane. Though moderate in scale, its impact is larger than it proportions where intersecting angles and curves create a form that moves along with the eye as it is traversed. In some aspects this covered form reminds me of the Cubist paintings of George Braque manifest in three dimensions where the use of Shino glaze and the process of wood firing have created a landscape that highlights every plane and surface to maximum effect. As I study the piece and especially the form, there is movement in the lines and I am clearly reminded just how complex simplicity can be. 

 

WEE BIT-O-GREEN

So here is a wee bit-o-green for Saint Patrick’s Day or should I say a pot full of green? This bowl was thrown out of a rather sandy stoneware clay and then while still rather wet, quickly and unevenly faceted to show off the texture hiding under the surface of the clay. The foot was tooled on the wheel but still has a rough, natural appearance because of all the tearing from the sand and once bisque it was glazed over in my Oribe combo producing what I tend to refer to as Kuro-Oribe due to the dark, droozy blackish surface. The combination of the sand punctuating the surface along with the running tendrils of color and the deep collected pools of green make for an interesting landscape that may or may not remind one of Ireland but since it isn’t easy being green, this is about as close as I could get.

OSC REVISITED

A while back I suffered a rather catastrophic computer crash and have been working daily rescuing data from the old computer and recently came across this older slideshow video. I realize I posted a static photo of this Oni-Shino chawan by Hayashi Shotaro previously but thought the group of photos helps fill in the blanks, adds detail and perhaps builds the sense of volume of the piece that a single picture certainly would not. Enjoy!

NEXT CYCLE?

Well at least this one isn’t green (Oribe) though it is from some time ago and I am pretty sure I have used this bowl before though now rephotographed. I was going through my broad feet stage and this one was a handful, large bowl shape with a large, tapering foot. The body of the bowl isn’t too thick but the foot adds real weight to the form, something a collector I know would immediately find disqualifying. Though this bowl owes some of its inspiration to Kawai Kanjiro, the shape of the bowl itself was based on an old Japanese lacquer piece I had seen. 

The teabowl is glazed over in my temmoku glaze and then was dipped in an iron red that was quickly combed with my fingers before the surface could dry. The effect is a bit obvious where dark tendrils of color mingle with the droozy, running iron which always reminds me a bit of the partridge feather technique. One other feature worth mentioning is that the bowl is punctuated in small, reflective iron crystals that just cover the surface of the glaze, a nice little bonus to the overall runny effect. Every time I come across this picture, it reminds me I need to make a few more of these pots instead of treating them like they are in the rear-view mirror. Maybe next cycle?

JUST ANOTHER VASE

 

Illustrated is a tall, conservative E-Shino hanaire by Hori Ichiro. Thrown out of a buff, mogusa (?) clay, the casual form shows off its pronounced throwing marks and is sub-divided by a rough and perfectly placed should that defines the body and neck of the pot. The face of the pot was spontaneously decorated with a grasses design which it is clear that Hori has completed countless times before, all leading up to the rather serendipitous glazing where the interplay from thicker to thin and the running Shino all enhance and quite frankly create the rather feudal appearing landscape.      

Though just another vase at some level, the final appearance makes for a rich surface where the underglaze iron, the purity of the white glaze and the various other cast of characters work in perfect harmony to make for a Shino vase that to my eye is quite unique or perhaps idiosyncratic to Hori Ichiro. In thinking about the general field of the modern Shino tradition, there are a number of potters who have developed rather unique looks from Kato Kozo to Suzuki Goro with Hori fitting into that group how have decided to use the past and their inner voice to unlock the potential of a specific orthodoxy allowing it to be present and help move it along, one pot and firing at a time. To this task and within the categories of Ki-Seto, Seto-Guro and Shino, I think few are as up to the challenge as is Hori Ichiro.

FIVE FOR FRIDAY; FURUTANI MICHIO

Besides his expressive smile, when I think about or talk with other collectors about Furutani Michio what normally springs to mind are his slab henko of varying sizes and surfaces that are all as expressive as the maker himself. My understanding and correct me if i am wrong is that Furutani Michio did not solely come up with the idea and form of these henko but there are extant examples made in the Valley and of course made by other potters subsequently but none embody the spirit, tradition and traditional firing as he was able to infuse into the local clay. Though there seems to be a most frequently created size, the standard henko if you will, the forms all vary in proportions and yes even the scale from rather small to quite large and imposing in their presence. Though there is a constant commonality to this body of work what really sets these pieces apart giving voice to each unique creation is the varied firing effects and styles that end up painting each one and presenting its completed narrative and these range from almost quite fire color, hi-iro pieces with just a dusting of ash here and there which many time surround resisted, almost botan-mochi style resists to full blown heavy ash and charcaol covering the surface like a testament to the ferocity of the fire and the will to survive. 

Each of these henko are unique and expressive tied together by a creative idea and force that exploded from the mind and dedication of a potter, Furutani Michio who will forever be remembered as part of the very tradition he championed without how, the Shigaraki Valley would have been a much different place.   This group of Shigaraki henko were all made at varying times by Shigaraki/ Iga potter, Furutani Michio mostly ranging from the mid-1980s up until 1999, as you can tell these are not my photos but come from a number of exhibition catalogues on the potter.   

My intent in choosing these particular pieces was to showcase the diversity and commonality of this body of work and admittedly I choose pieces that I have the strongest affinity for and I make no apologies for my bias. I should also mention though I have seen and handled nearly two dozen of this henko form and photographed most of them, however I choose to use examples that Furutani Michio choose for his exhibitions acting as de facto, undisputed ideals of this form from the potter's perspective.    

Though most likely highly subjective, this group starts out with the henko that most appeals to me, it is filled with power and conversation and the proportions are ideal and the wood fired landscape portrays a soft, semi-abstract landscape as the coloration changes from the running ash to charcoal bed effects. The additional four pieces were culled from dozens of possibilities, pieces I thought gave an insight into Furutani's henko forms, pieces that showed off surfaces and proportions and yes, to be honest pieces that I like and make my Friday even more enjoyable.

COG-WARE

In some ways these small covered “COG” boxes were designed as filler but since they are bigger than teabowl generally speaking, I think I make them because I like making lidded pieces. This stoneware COG box, part of a limited group referred to as cog-ware was thrown out of stoneware and had white slip applied and then a fresh coat of soda blue to finish it off. All in all this is a rather simple idea and form but I think when you add in the carved furrows the glaze brings the piece to a more intriguing pot and after all, it is a daily reminder of how we are all just cogs in this giant cosmic machine we call life.

 

CUSTOM-TAILORED

A bit on the larger size, this yohen-temmoku guinomi is a wonderful contrast between the deep, rich dark interior and the iridescent, rainbow effect border that forms the lip. Made by Sasaki Yuzuru I am constantly amazed at the depth and variety of the surfaces he produces from iron rich temmoku to exotic Ki-Seto tied together in forms used across his diverse surfaces. This broad, low guinomi has had the most perfect custom-tailored suit made to encase the buff, softish clay body with a wonderful foot which without context could easily be mistaken for a larger chawan, just my type of piece. 

Though this piece is quite attractive in natural light and incandescent lighting, it clearly comes out of its shell and leaves all inhibitions behind when highlighted by the afternoon sun. Like with a number of potters that are on my short list, I am always looking forward to seeing my next Sasaki piece be it temmoku or Ki-Seto.