SWAYING

In point of fact this Oribe take-gata hanaire by Kato Katsumasa is a vessel of naturalistic conviction, a bamboo-form flower vase that stands ever so slightly swaying as a sentinel of the Mino tradition within the modern age. In the hands of Katsumasa, a potter dedicated to the Mino tradition of Gifu Prefecture, the clay is not merely formed but interrogated to bring out vase from a simple handful of material. By employing a sensitive, sculptural hand, the clay evokes the structural presence of bamboo where the casually segmented nodes define the take-gata (bamboo shape) form.     

The defining characteristic that completes this pot is the rich, deep Ao-Oribe (Green Oribe) glaze, where the alchemy of surface and spirit of the form combine and add to an aesthetic that dates back to the Momoyama period (1573–1615).  Katsumasa’s decisive use of glaze is certainly unapologetically bold speaking to years of experience and many pots made. By determining the exact thickness, he has achieved a deep, vitrified emerald that pools in the recesses of the "nodes," creating a high-contrast interplay of light and shadow. Unlike the more restrained, translucent Oribe glazes, the glaze is thick and textured, often allowed to break over the sharp edges of the form to reveal the toasted, iron-rich stoneware body beneath. This interaction between the vibrant glaze and the textured and animated clay creates an organic appearance and movements for which Oribe is highly celebrated.       

Kato Katsumasa makes pottery within a legacy of over four centuries old Oribe tradition not as a static piece merely for visual admiration, but as a living language meant for use.  Within this modern Oribe landscape, this take-gata hanaire presents itself as a bridge between the avant-garde "deformations" embraced by the early tea masters like Furuta Oribe, and the careful consideration of contemporary craft. It eschews the delicate, painted motifs of painted Oribe in favor of raw, sculptural power as it is a work that commands its space, reflecting a philosophy where the potter’s labor is value and visible in intentional marks and in every copper-green pool. It is more than likely that Kato Katsumasa does not seek to simply imitate the past; he strives to harness its intensity, ensuring that the Oribe legacy remains as sharp and vital as fresh cut of bamboo.