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.

SHINZEN-ENSO

My cousin Marie, not Vinny, sent me this photo a bit ago and I was immediately struck by the thoughts and associations that came to mind as I was looking at it. My initial impression was that it was a somber, moody and evocative photo that had the potential for being the backdrop to a thousand stories. What also sprung to mind was all of the Japanese period ghost/horror stories like KWAIDEN, GHOST OF YOTSUYA, UGETSU MONOGATARI and of course the Japanese Macbeth, THRONE OF BLOOD. However, the more I looked, the more I saw an enso, a natural enso (shinzen-enso) and I keep coming back to that image and the myriad of aphorism that accompany them. There is a resounding totality to the enso and as more images and thoughts emerge, the easier it is to draw a correlation between moon and a simple circle of ink. In reality I think it is easy to see the moon as an enso, just look at the number of calligraphers who reference the moon when depicting them, it is as natural to do so as the moon and its variety of manifestations have touched man since the beginning of time. In particular, there is a favorite enso and calligraphy that is brushed along side;

"Is it a cake? A dumpling?

The ring around a bucket?

What does it represent? Tell Me!"  Nakahara Nantembo (1839-1925)

TSUKI-GATA

Illustrated is a fine scroll by Oni-Shino potter, Tsukigata Nahiko. Painting in a thinned grey ink wash, the quick and steady tsuki-gata (moon shape) enso shows the remarkable calligraphic skills of the master of clay, fire, ink and oils. Tsukigata had a remarkable way with the brush which is readily seen on his signed boxes but of couse is best manifested on paper and he has left a large body of shoga (ink art) that draws on both Buddhist and everyday aphorism and imagery for inspiration. I have seen a number of staffs (bo) and enso painted in washed out ink tones as well as rich dark black calligraphy, either way, it is easy to see his samurai-like spirit in nearly all the works he has left us.

FUKINSEI

In keeping with my interest in Enso across many media, illustrated is a classical Nezumi-Shino chawan by Wakao Toshisada. I have written about Toshisada before, so I will keep my comments brief; the beauty of this pot and its partial white Enso is its many possible interpretations and its balanced asymmetry. With the roving lip as the horizon, it resembles a full moon rising into the night's sky to reach for its fullest potential as is the potter with this lyrical and simple pot.

TSUKIGATA NAHIKO ENSO

A friend of mine recently sent me a picture of his wonderful Tsukigata Nahiko enso tile. Besides being an astute collector, he is very keen on the work of Tsukigata and holds him in the highest regard among modern Mino tradition potters. The illustrated ceramic tile was fired in a wood kiln and it shows all of the characteristics of why Tsukigata is so highly regarded as a renaissance artist of the 20th century. This tile measures approximately 8” x 8” and is mounted in a wood frame that bares all the characteristics of having been made by a carpenter that specializes in tansu. This enso appears to have been created “in the moment”, a spontaneous extension of all of the artist’s experience and creativity. Though it is minimalist in its execution, it is infinite in its impact and statement.

Tsukigata created a number of these ceramic tiles, most of which showcased his very idiosyncratic calligraphy (shoga) style. Besides the enso (円相), there are examples with kanji for hana (flower), shin (heart), yume (dream), wa (peace) and others. There are also a number of his chawan that bare the same technique with bold kanji as decoration that date from about 1970 to 1990.

(Illustration used with the kind permission of a collector)

INK CIRCLE

This bold and enigmatic Zen style enso is by the “Bear of Echizen”, Kumano Kuroemon. A potter of tremendous bravado and consummate skill with fire, his equally bold and spontaneous calligraphy is just pure excitement and it adorns most of his boxes for his pottery.

I would like to think his enso is a universe enso and represents all of the cosmos. Like the famous line from William Blake’s AUGERIES OF INNOCENCE, can’t you just imagine all of the universe in a single cup? Especially a cup the size Kumano makes them!

ENSO

KOKO ENJO (“Each thing is perfect”)

The enso is a prevelant image in the art of Zen Buddhism. It is used to express the complex nature of Zen and represents everything and nothing, completeness, brightness, empty yet overflowing. I have always thought of the enso as the physics formula equivalent of Zen Buddhism.

I find the enso a provocative image that can be “drawn” in an infinite variety and can be evoke a different response from each viewer. The image appeals to me as it visually represents the spinning wheel and the nothingness you start with a lump of clay. It reminds me of those moments of “moving Zen” when a truly great potter is throwing, without thought and consciousness, the pot just happens. For me, it is hard to separate the enso image and the chawan of the Momoyama and early Edo days. These are pots that appear to have just happened, made by unknown craftsman, without ego and intellectualism.