SAKE-WAN

On the whole, over the years I have not found many “raku” pieces that I have felt compelled to own if you exclude the various pieces at the Raku Museum and other similar venues. However, for some reason the raku work of Konishi Heinai II has always resonated with me, the surfaces, forms, firing and the way he finishes the kodai, all in all they just fell right to me and when it comes to this style of pottery, that is where my attention normally focuses. 

Illustrated is a simple little piece, entitled, “red sake bowl” this small pot is a spitting image of one of his larger chawan forms down to form, surface and the kodai, it isthe perfect mini-wan in this case intended for sake. The glaze is a wonderful landscape of colors, depth and texture where a universe’s totality seems painted within the overall surface just adding to the somewhat mysterious and contemplative narrative. Not to sound redundant, but I don’t usually go for raku pottery, but when I do, I choose Heinai, Konishi Heinai II.

DUSTED AND REVISITED

Okay, full disclosure, this is a bowl I have posted previously but recently rephotographed it once it was thoroughly dusted and clean. This teabowl is one of my saffron yellow over Hagi glazed bowls and I think this revisited image really shows off the character of the surface. The bowl was a small batch clay which once fired punctuates the glaze surface and adds quite a bit to the overall appearance of the piece. The real reason I have hung on to the teabowl all this time is that this is the best this glaze can be, others come very close but for some reason for a dip it in white and dip it in iron piece, the surface is just exactly what I want from this glaze and in fact there were actually three teabowls and a mizusashi in that firing that all came out at this level but I stubbornly held this on a shelf where as I mentioned it was covered in several years’ worth of dust. Now rephotographed it was placed back on the very same shelf in the very same spot where it is likely to collect several more years of dust before I pull it down again and ask, why can’t they all come out this way?

SHELFIE*

This is a quick “shelfie”* I took for the Japanese studio pottery group over on Face Book yesterday. In this picture there is a large Shigaraki tsubo by Kohyama Yasuhisa, carved wood Kannon figure, a large Warren MacKenzie stoneware charger and the small but wonderful little “feelie” by Rose Cabat. I am pretty sure most of these have been posted before but here they are in situ, a group that has been out on display for quite some time now. Though our collection is quite modest in size, we rarely have many pots out, rather, they are rotated from display to storage as it were over the year. I often think this keeps us from getting complacent with the pieces and their re-emergence is quite special though on that rare occasion a piece comes out of hibernation and fails to impress, time to go. This is our way of displaying pots which keeps the environment in constant flux, just the way we want it.  

(*Shelfie was not my idea, it came from a Face Book group on Japanese pottery)

IRON FOREST

I wonder if John Heywood included this Renaissance proverb in his anthology (1546) if he saw into the future, seeing this mounted tile ala his contemporary Nostradamus. The proverb I was referencing is “Can’t see the forest for the trees”, which may or may not apply to this large glazed landscape tile by Kimura Morinobu but is certainly easy to see where it could. Made of thick and heavy (!) stoneware, the slab is decorated using iron and ash to present both the forest and the trees in a semi-abstract manner, aptly entitled, “Mori” or Forest. Starting in the early 90s Kimura Morinobu began using this design quite a bit depicting both cat-tails and trees using a clear style ash glaze and deep, rich iron on all types of two- and three-dimensional pots where the cat-tails became a favorite on larger tsubo with a nuka style glaze. 

In the book, KIMURA MORINOBU; Sakutoh Go-Ju Nen 1951 to 2000, there is much larger forest tile decorated in a nearly exact approach as this framed one, the date is 1996 (Heisei 8) while this one is not illustrated it was exhibited at the Osaka Takashimaya Department Store sometime in the mid to late 1990s. All in all this is a rather nice presentation of another dimension of a potter who has dedicated a life to his pottery art and in this case conjures up an iron forest with nothing more than a paintbrush , a bit of clay and some toasty temperature.

EoD

Full disclosure, this was one of those end of day, what are you thinking pots, there is only one and more than likely there will only ever be one. I remember that it was later afternoon and I was trying to decide, make something spontaneously or just call it a day and this is what I ended up with, thrown out of stoneware in two parts, it was luted together after a few minutes under the watchful eye of the heat gun and then later tooled. Once bisque, I glazed it Oribe as the base and then sprayed it to give it the Kuro-Oribe treatment to this effect. I do realize to get good at this form, one off likely won’t get me there but the bigger question is, is this form something I wish to pursue?

THREE MOVES LATER

So this slipware cider jug has a short backstory that goes back over two decades, 2001 to be precise. One year we were gifted this Ray Finch Winchcombe cider jug by Dan Shutt, a very good friend and antique dealer as an anniversary gift. Dan new of my interest in Michael Cardew, Winchcombe and of course slipware so when he ran across it at Brimfield, the large flea market in Massachusetts he struck up a conversation with a dealer from England who brought a container of English antiques with him, this jug among them. After some clever negotiations, there were no other kind from Dan’s end, he acquired the jug complete with its original spout to boot. Fast forward nearly a year and on a trek up from Delaware to see us in CT he brought along the jug and gifted it to us where we have had it out and about ever since that first encounter. With Dan’s passing, every time I see the pot, just above eye level, I am reminded of Dan; his humor, tenacity, generosity and his humanity, is there any better way to enjoy a good pot?           

As for this Finch jug, the surface of this red clay had a coat of black to brown slip applied where it appears either or depending on the lighting together with a slip trailed decoration around the entire form. The whole pot is rather sturdy in its throwing with a thickly potted mouth and a strong and very functional handle also decorated with slashes of slip. This is clearly intended as a rugged and functional pot and clearly succeeded in that task though it still sits mighty pretty on a shelf, three moves later where it is looked at several times or more a day.

WHAT I LIKE ABOUT YOU II

I first salt fired quite a long while ago and have always had a soft spot for salt fired pots, in fact before I even made pots I was in love with the early salt and wood fired pottery for 19^th century America, many of which were around my in-laws home. Having a fondness for salt fired pieces, beyond the obvious Hamada pieces, I have been attracted to the simple pots based on Kyoto aesthetics of Iwabuchi Shigeya which as I have mentioned before may have been our very first internet purchase back in the very late 90s.    

Illustrated is a simple Haku-Enyu mizusashi with a thick crackle style slip over a buff stoneware now darkened to a toasty brown from the firing. On the face and back of this form, shaped like a rhombus, are flora designs, resisted in the slip application which now stand in perfect contrast to the pure white texture of the overall form though there are some areas of pink blushing and subtle gohonde style spotting. The mizusashi is finished off with a crisp, tapered lip in which a classic, custom roiro-urushi lid fits to complete the form both functionally and visually. When asked recently what I liked about the rather simple and older style piece, the truth is, just about everything.