OH THE DETAILS

I was shuffling through  a disc filled with photos I have taken, looking for a specific group of pictures and saw this detail shot of a chawan that was here a while back. From my perspective, this is the type of complex, mysterious and active surface all rolled in to one chawan that is just alive and electric to the eye and touch. Made by the "Bear", this chawan by Kumano Kuroemon is an exceptional example of his work with such a rich array of activities and surfaces that the viewer is unsure where to start, the thick rich Kuma-Shino, areas of glassy ash and crusty tamadare paint the bowl like a nebulous, cosmic painting of clay as canvas, a handful of materials as paint and fire as the brush. The back, interior of the chawan is covered in ash which is eroding pathways through the Shino glaze ending up and filling the pool with a molten pond of ash frozen in time and covered in various other glaze and ash generated features. When I think about pots with complex surfaces, it is all these details that are apparent in just the singular photo highlighting a Kumano chawan that jumps to the top of the list.

"Beware of the person who can't be bothered by details."  William Feather

GO

Illustrated is a close up of the interior of a rather large (aren't they all) chawan by the Bear of Echizen, Kumano Kuroemon. Known as "GO" for the five drips in the mikomi, molten drips from pots above, shelves and the kiln itself have found their way to the bottom of the bowl and have run into one another to create a design reminiscent of an abstract plum blossom. There is a great deal of happenstance when firing a wood kiln, some good, some bad and that which is expected or hoped in one manner or another. I have seen a number of wood fired pots with seemingly random drips on interiors and exteriors and in the case of Kumano, a number of his chawan and hachi have such drips to testify to the volatility and ferocity of the molten ash that few potter's can get where the clay, glaze, kiln and potter are all at the borders of their physical limitations.

"A man who limits his interests, limits his life." Vincent Price (1911-1993)

SUPERSIZED

I recently saw a video from a Japanese TV show where they show a huge chawan made during the Meiji period, it was about two feet in diameter and it got me thinking again about volume and scale in relationship to chadogu, but chawan in particular. Though two feet is just a bit large for a chawan, the o-buri super sized Hagi chawan of Miwa Kyusetsu XI (Jyusetsu) spring to mind. Mostly made in last two decades of his life, some of Miwa's chawan are positively huge, what exactly is the intent? Do these chawan transcends mere function and practicality to be conceptual vessels or more a statement about chawan than necessarily being chawan themselves? I have seen a few of these pots in person, beyond the aspects of function, these pots seem infused with pure masculinity and bravado, sculpture intended for use and aesthetic appreciation. In a magazine somewhere, I have a photo of a Kyusetsu chawan on display in the tokonoma, as a basin with a flower floating in the bowl filled with water and in another book there is a Oni-Hagi teabowl that measures 21.8cm in diameter where the average chawan comes in somewhere around 12.5cm. Functional vessel, sculpture or purely an object for appreciation, I wonder if he didn't make them like this, simply because he wanted to and he could.

As I continue to contemplate  size, scale and volume, besides Miwa Kyusetsu, both Tsukigata Nahiko and Kumano Kuroemon come  to mind. For Tsukigata, the "bushi" (Samurai warrior) ideal would seem to be part of his motivation for creating such large and powerful chawan, but for Kumano, I have often suspected that his large chawan are created at such a scale simply to match the ferocity and intensity of the firing process where the pots and potter are pushed to the brink. As I survey his large chawan I can get caught up in fantasy and imagine such bowls in use by the likes of a Sumo Yokozuna (grand champion) or the Ogre of Mt. Oe (Shuten-Doji) should either partake of tea. Illustrated is a large Kuma-Shino chawan by Kumano Kuroemon. I took the picture with me holding the bowl for scale, I am 6'2" and wear and X-L glove for perspective and this bowl measures in at just over 16.5cm, I think the size of the pot is apparent. Though I have heard Kumano's works described as grotesque (in form and scale) by some, to me there is a brutal, honest beauty to these pots. Their stories and encounters with unheard of temperatures and firings are permanently fused within their surfaces and forms. There are few potters who decide to work at this scale and even fewer who can pull it off but Kumano alone has become synonymous with chawan (and spirit) that are larger than life.