BLACK HOLE

At its core, yōhen tenmoku can be seen as capturing of an accident of kiln, clay and glaze which the potter takes the fullest advantage of. Prized for its ethereal, unpredictable beauty, this rare iron-rich glaze transforms, coerced by the experience of the potter creating a deep, obsidian-like field punctuated by brilliant, of sometimes subtle iridescent spots that resemble a map to the cosmos written in a night sky. The Japanese term yōhen translates to "changed by the kiln," emphasizing that these magnificent bursts of indigo, violet, and silver are not predictable or planned out but are instead born from the volatile alchemy of heat, oxygen, and mineral crystallization. It represents the pinnacle of iron based ceramic mastery precisely because it relies on relinquishing control, resulting in a surface that feels less like a static object and more like a living, animated insight into the universe itself.     

Kimura Morikazu’s yōhen-tenmoku henkō demands an absolute concentration where the flattened, circular flask, the henkō form, presents a stark architectural profile, a bold geometry defined by its flared neck, a stable foot, and a concentric, target-like indentation that recedes sharply into its center creating a canvas of depth. This deep, central recession acts like a vortex, a black hole even, pulling light into a dark, rich pool of iridescent crystal structures which in this case are subtle. Kimura’s mastery over iron-saturated glaze creates a surface that is fluid yet frozen, shifting dynamically under varying angles of illumination from deep plum to metallic silver.    

Admittedly, for the amateur photographer lie myself, this interplay of form and surface becomes an exercise in frustration resulting in hundreds of photos taken and mostly discarded. The henkō’s broad, curved canvas behaves like the aforementioned black hole drinking in the light and offer little in return as its pristine, glassy sheen registers every stray element in the room. Capturing the deep recess requires a light source that penetrates the center without overexposing the surrounding rim or washing out the subtle, oil-spot micro-crystals punctuating the entire surface. Instead of a faithful record, the lens often delivers a silhouette obscured by hot glare. One must learn to photograph not the clay itself, but the elusive, trapped light within it but alas, for the time being, this photo will have to do.