FOUR SEASONS

Illustrated is a Kutani style porcelain vase that we refer to as “the Vivaldi vase” due to its rich decoration showcasing flowers unique to the four seasons along with bold calligraphy in gold in a cartouche adjacent to each respective panel. Made of a pure white porcelain, this vase was then glazed and fired and later covered over in a rich surface of red enamel before gold, purple and blue were applied. The gold was detailed by way of sgraffito that brings that surface to life and adds more depth to the surface. This rather ornate vase is just a perfect blend of old-style Kutani technique and workmanship while showcasing the efforts and innovations of a century’s long tradition. 

This vase was made by Kitade Seiko (b.1926),born in Kaga Prefecture and student and son of Kitade Tojiro, launching his career in earnest when he was selected for the 6th Nitten Exhibition in 1950. Like his father, Seiko adds naturalistic, Kutani inspired devices, designs and decoration to his work which is meticulously crafted and painted where sometimes simplicity rules and others where the surface is densely decorated with complex and well thought out patterning. Working in stark decoration over white porcelain, using cobalt or red pigment as a canvas or the combination of the prior, this octagonal gourd style vase is a wonderful example of his work which is true to the style of his father, Kaga and Kutani while leaving room for his own unique interpretation of all three.

LOCAL INSPIRATION

What appears to be just another teabowl is in fact, a small serving bowl so it is true, appearances can be deceiving. This single hexagonal bowl was actually from a group of four that were ordered a while back but being me, I ended up making six to make sure I ended up with the number required. Thrown out of a white stoneware, each bowl was made roughly hexagonal and they had strips applied and flame blossoms, well that’s what I call them, inlaid as alternating decoration. Once bisque and reasonably sure they had made it, they were glazed in the soda blue glaze I have been using and there it is. I will mention that one feature that I like is where the blossom was inlaid, the glaze helps create this droozy effect where the black runs a bit, creating a softer line than when it was first done.       

I should say, to some, very small degree, I have used the work of Victor Schreckengost as inspiration, a designer and ceramic artist from Cleveland (Heights) who I actually had met back in the very early 1990’s. Though maybe you have to put on your imagination caps, much of the black underglaze decoration comes from seeing Schreckengost’s marvelous Jazz bowls showing off his carved and fluid designs under a Persian style blue glaze, how can you not be inspired by such brilliance that was lingering right in your own backyard?