RECTO/VERSO

Illustrated is a well fired and somewhat formal Shigaraki hanaire by Honiwa Rakunyu II. Excelling at making traditional chadogu, Honiwa's work is immediately identifiable  and processes a disciplined dedication to the craft of tea ware and many of his pots have attested boxes by both Buddhist priests and chajin alike. This vase created for the tokonoma displays an extreme between front and back with the face coated in a rich charcoal surface with melted green ash above the shoulders and the rear a combination of warm flashed area at the center with ash in various hues about the sides, base, neck and attached lugs; the pot has been painted by the fire with a wide array of brushes making for a surface that has a rich story to tell about its adventure. I was fortunate to have met Honiwa Rakunyu on several occasions and see a large number of his chadogu many fresh out of the kiln, his formal sense created objects for tea that most any chajin would be pleased to use. There is little more that a potter can ask to leave behind as a testament to his vision and dedication to a tradition at odds with and also perfectly in step with a new century.

You can see more of this vase over at my Trocadero marketplace;

http://www.trocadero.com/albedo3studio/items/1315930/item1315930store.html

白円相

I am quite a fan of the Rimpa influenced Shino works of the Mino master, Wakao Toshisada, but I have to say there is something rather elemental and subtle, even serene in his more traditional works like the illustrated chawan. Having a strong Momoyama influence, this gently tapering Nezumi-Shino chawan has a magnificent shiro-enso (white circle) on the face which dominates the omote and gathers the viewer in to the bowl. The textured surface has small "cells" of glaze which lets iron peek through, painting a soft landscape on which the purity of the white clay shows through to dominate the ceramic canvas. Wakao has made tremendous use of the negative space on the surface which is subtly articulated by glaze texture and form, acting as a vehicle for the central device of the pot much like a great scroll painting though in three dimensions as only a master potter could achieve. The sheer simplicity of the decoration creates a chawan of exceptional clarity and the strength of form brings to mind a bowl that great chajin would have gladly competed for during a time long ago forgotten.

ANOTHER GEM

What is a gem? The dictionary describes it as follows; 1) a precious or sometimes semi-precious stone cut and polished for ornament 2) something prized especially for great beauty or perfection (excellence) 3) a highly prized or well-beloved person. Can this term, gem really be used as an adequate description of a pot, well I certainly think so but I am admittedly biased. The illustrated piece is in my book a textbook gem, it is a chaire by Tsukigata Nahiko that used to belong to a friend of mine. Though many may consider it Oni-Shino, I would classify it as Ko-Shino where the thin Shino is infused with ash and the shoulder has areas of rich brown textured and the runs are glassy, ending in bidoro. It is a dramatic and poetic pot that is housed in a tea masters signed box with three compartments for the three luxuriant shifuku accompanying the package. Though I am sure what comes to mind for most when speaking about gems is diamonds, sapphires, emeralds and rubies, this is what I think about when someone mentions gems around me.

"There are little gems all around us that can hold glimmers of inspiration."  R. Mead