SETTLED IN

Illustrated is a  Bizen mizusashi by veteran Bizen potter, Masamune Satoru (d. 2006). The surface is a diaphanous blend of hi-iro and flashed ash deposited on the pot with areas of shadowed resist creating halo like effects. This is another one of those pots who's charm derives from the posture and baring of the piece, it gives one the sense that it is all settled in and just ready to be used. Though high fired, this mizusashi gives the impression that it has a softness to the piece, a product of the rolling curves created when the pot was first thrown and then subjected to the  scrutiny of  the fire.

POSTURE

As much as anything about pottery, I love the posture of a good pot. It conveys attitude, mood, presence and purpose. One of the reasons I am particularly fond of Japanese pottery for tea ceremony is that the pots are created to help the narrative of the tea ceremony. They aid in setting the visual tale that a chajin (tea person) wishes to express through their skillful use of pottery, kakejiku and floral arrangement.

The illustrated pot is a predominantly hi-iro Bizen vase by the late Bizen potter; Masamune Satoru also known as Kengo (d.2006). This pot captures the movement of softly thrown clay and conveys an animated spirit and casual and relaxed posture that few can achieve. The neck is next to collapsing, yet made it from greenware to fired pot and compliments the sagging base which was intentionally distorted. The key to any manipulated pot is to have the contrieved appear uncontrieved. This pot succeeds where others may fail.