The very form and surface of this koro is defined by well-conceived undulating surface of curvilinear fluting that converges, narrowing, constricting toward the base and the rim, creating a dynamic sense of tension, compression and expansion both real and perceived. These carved grooves serve a dual purpose: they provide a structural, neo-Gothic (?) architecture for the eye to follow and act as channels for the wood ash to pool and break during the intensity of the firing.
The glaze is an applied ash to add life to the pot without hiding away the carved details, while the piece was gently fired in some sheltered spot in the wood kiln which was likely immersed in long hours of a pine-fueled fire. The applied ash works well across the surface, creating highlights and an almost sesame seed style surface which adds some depth and movement to the already animated form. The contrast between the toasted, iron-rich clay body and the ash, finalized by the flames finally steps in to complete the work the potter initiated when there was nothing but a ball of clay at the wheel.
The lid is particularly noteworthy for its openwork (sukashi) design. The four-petaled floral motif is not merely decorative; it is a functional aperture through which the incense smoke would traditionally rise, trailing like mountain mist. The carving here is confident, mirroring the deep fluting of the body and ensuring the vessel maintains a cohesive visual weight from base to knob and as was intended, the lid works together with the carved form, as both compliment and the completed element. Though small, from its design to its creation, Gerd Knapper completed this in his mind’s eye before he even wedged the clay.
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