CLOSE BUT NO CIGAR

Thrown, formed, paddled and scrapped, this squared kinuta mallet vase is a classic form made by the late Bizen potter, Kaneshige Michiaki. Though very similar to a mallet by the same artist that I put up a while back, this one is close but shows some differences that distinguish the forms and the surfaces show similar styles of creating fire color, the effects however paint a different picture. This well conceived exercise in geometry crisply intersecting showing a great deal more control in squaring up the base and neck. The four singular planes define each side allowing for the kiln to create surfaces that wrap around sharp edges and create a more harmonious vessel. The flashes of fire color within the resisted areas and the fine white stones peaking through the clay add to the visual appeal of the pot which could only be improved upon with a well thought out floral arrangement to complete the vase.

For Wednesday, BRAND NEW DAY by Sting;

SQUARE DEAL II

I have seen square form kinuta vases before, mostly older Chinese pieces and late Edo and Meiji Period Japanese examples. The coil built and thrown and altered examples seem to be mostly 20th century as far as I can tell, though I am open to evidence to the contrary. The modern "squared" kinuta are seen frequently, but not exclusively in Hagi and Bizen though in each case the forms differ quite a bit and move as far afield from the archetype as possible, maintaining enough of the characteristics to be recognizable. The illustrated Bizen vase was made by Kaneshige Michiaki in the 1980s. It was thrown and the form squared up using ribs and scrapers to define the geometry of the piece. The creative process is written all over the form where scratches add unintentional decoration to the pot that is completed with hi-iro, ash and bota-mochi areas where flame and ash were denied access. I find the totemic form exceptionally stoic and determined with a purity that is defined by lines and planes that are casual and weathered; the perfect blend of the Momoyama aesthetic and modern design.

MAKING, NOT COPYING

Like most pottery, there is Bizen that I do and don't like, then there is Kaneshige Michiaki (1934-1995). Michiaki was an outstanding potter who made a subtle yet substantial contribution to Bizen-yaki prior to his all too soon departure. Son of legendary Bizen potter, Kaneshige Toyo, brother to Kosuke (b. 1953) and father of Iwao (b. 1965), Michiaki's career was filled with acolades and milestones including his contact with many of his father's circle of friends, such as Arakawa Toyozo and the highly influential Kitaoji Rosanjin and Isamu Noguchi at the family kiln. Kaneshige Michiaki was also named Okayama Prefectural Intangible Cultural Property in 1990. In the end, what set Michiaki apart from the throngs of Bizen potters was a distinct vision and firing style that is obvious when looking at his body of work or a singular pot. The way in which he handled clay, created vessels and fired his pottery speaks of a potter who made full use of the past while striving to add something to the tradition amplified by his own powerful voice; from guinomi to tsubo, his individuality is echoed in his pottery.

"Tradition (dento) is sometimes confused with transmission (densho). Copying Momoyama period (1568-1615) pieces is transmission. Producing contemporary pieces incorporating Momoyama period techniques is tradition. Tradition consists of retaining transmitted forms and techniques in one's mind when producing a contemporary piece. Tradition is always changing. A mere copy of an old piece has not changed, it is nearly the same as its prototype of three hundred years ago. Tradition consists of producing something new with what one has inherited." An excerpt from an interview with Kaneshige Michiaki conducted by Robert Moes and published in MODERN JAPANESE CERAMICS IN AMERICAN COLLECTIONS.

Illustrated is a squared and pierced Bizen vase by Kaneshige Michiaki. The rich purple-red fire color surface is highlighted by ash which has settled on the vase during the intense firing adding to the geometric design repeated through the sides and top of the vessel. The structure appears just a bit visually precarious, yet in reality the form is bolstered by the creative experience of the potter and the heat of his Bizen kiln.