SHINSAI KAMON

This mizusashi Morisato Toraku III (b. 1959) is a classic example of Kyo-yaki (Kyoto ware) that breathes contemporary life into the ancient Goryeo-derived Mishima tradition. The form is precisely thrown as the perfect canvas for the shinsai kamon pattern where the inlaid white slip and purple accents create a lyrical pattern around the entire surface and across the lid. This time-honored silhouette was born of both functional and aesthetic considerations where the surface and taunt structure balance quiet, functional dignity and noble aspirations for this vessel used in the tea ceremony. The mizusashi is completed by its simple, yet well decorated matching lid, finished off with a simple, utilitarian but intricate twisted "rope" handle, no mere afterthought as each detail and consideration unifies the pot as Aristotle was quick to note, “the whole is greater than the sum of its parts". 

The technique used on this mizusashi is Mishima, a testament to the rigorous precision of the Toraku lineage. Originating in Korea, this slip-inlay is reliant on the buncheong style which employs stamped or incised decorative elements, mostly geometric and floral patterns which are then filling white slip, creating the stark contrast between the body and the decoration. As the pot dries, the excess slip is scraped away and then bisque and later glazed in some transparent or translucent glaze to maximize the effect. In this piece, we see classic, oft used patterns of the family and kiln rendered with a precision and dedication that only a master of the Kyo-yaki tradition can achieve. The subtle use of purple and iron-oxide washes completes the shinsai kamon technique adding an additional depth to the precise design, softening the overall appearance and giving an illusory connection to paintings, silks and dyed fabrics known within the old Imperial capital.                    

This mizusashi and the pottery of the (Morisato) Toraku family is right at home in modern-day Kyoto and Kyo-yaki represents the "sophisticated rustic" aesthetic that defines the Kiyomizu-Gojo district. While many contemporary potters gravitate toward abstraction, the Toraku studio remains dedicated to the refinement of classical designs and decoration they are well known for. Unlike many modern-day potters and pottery, there are only hints of serendipity on the decorating, glazing and firing processes as its efforts are best rewarded in a rather calculated artistry. This approach creates a near standardization of technique and surface where though there are difference among the pottery, this work is more about how they connect with each other and the previous generations to create a tradition where the individual’s voice is quiet and more a whisper that a bold pronouncement. In many respects this style of Kyo-yaki helps bridges the gap between the rough, utilitarian roots of historical Mishima and the aristocratic elegance expected of Kyoto's centuries old aesthetic and traditions.            

If ever so slightly out of synch with the 21^st century, Morisato Toraku III has grasped the essence of this tradition and style while maintaining the “crispness” of this tradition while striving to infuse the vessel with a modern sense of volume and proportion. Through this insight, he has ensured that this mizusashi and the work of his studio are not merely copies of what has pasted, but a living continuation of Kyoto’s enduring ceramic legacy being ushered into the present day and beyond. It is a work of profound technical discipline and understated, under-appreciated beauty.