Illustrated is what can only be described as a classic, Kyo-yaki mizusashi, wait, what? In fact, this particular piece is created in the distinctive Haiyu Karatsu style, a type of Karatsu ware that has been produced in and around the Karatsu region of Saga Prefecture since ancient times and best known for its earthy styling, natural aesthetic and its practical functionality. However, this particular mizusashi is not a product of Karatsu but rather of the Kyoto area created by Morioka Kasho, a Kyo-yaki master potter known for his curiosity, versatility and ability to work with various styles and techniques of which this more rugged pot is a classic example.
What initially draws the eye to this piece is the striking blending of a classic, medieval form and a simple but enticing surface where flowing ash and shade of subtleties all come together on a single form. I think it is rather clear that the form itself pays homage to late medieval archetypes likely best derived from primal and rustic origins where a casual posture and sensibility are another part of Morioka’s visual vocabulary. The lugs are both sturdy and practical, but they also have an organic quality that makes them feel as though they grew naturally from the body of the pot while disrupting the vertical sweep of the form. The custom lacquer lid though consciously functional adds a sense of nobility and mystery to the pot and the interior functional completing an elegant design that complements the complex form of the pot. The fluid glaze is applied over the textured surface of the clay, creating a landscape of tiny craters and ridges where areas flow with a rich sky-blue down part of the pot. The crystalline blue and white areas are particularly intriguing, looking almost like frost patterns creating a late winter illusion to the mizusashi where lingering ice melts away and down the surface. This glaze, created through a process of firing that encourages the growth of crystals, is a hallmark of Morioka Kasho's work, and it is a testament to his deep understanding of materials and firing techniques.
Based on his overall body of work, Morioka Kasho is not content to pursue a single style or idiom, instead it would seem like it is within his nature to explores a variety of forms and finishes, from the austere elegance of rustic and traditional chadogu to the more flamboyant and decorative styles of Kyōto longstanding Kyo-yaki. This diversity is most likely a reflection of his own creative spirit, which refuses to be defined by a single tradition. He is a master potter who understands that true artistry lies in the ability to adapt and evolve, to seek out new directions and expressions of his inner voice to create work that is both beautiful in every variety and functional. This mizusashi is a perfect example of his versatility, a piece rooted in tradition, but it also has a modern sensibility that makes it feel vital and relevant, a testament to the enduring power of Japanese pottery, and to the skill and artistry of a curious potter.
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