DATABASE

As a potter, I am constantly reminded that ceramic history in the US is rather short compared to a country like Greece, the Mid-East, China or Japan. Though I have not had to go it alone in my studies, I am the first and most likely last of my family to make pots so much of what I have learned and experienced will end with me except what I share along the way. In Japan, things are much different having multiple generations to rely on, a vast tradition and pool of knowledge, a pottery database and experience to draw from, such was the case for the late Kato Yasukage XIV. As a potter, Yasukage was able to draw on a knowledge base that dates back to 1596 which certainly helps with the pitfalls of a steep learning curve where some but certainly not all the possible mistakes can be avoided. As I look at this rich Aka-Shino chawan by Kato Yasukage I can see the subtle influences of Kato Kageaki and Kagekiyo from his family lineage along with other Momoyama and modern attributes with possibly just a slight hint of Kitaoji Rosanjin thrown in for good measure. The rich red surface is decorated with a medieval fence design that stand out as bold white animating the piece and making a bold statement infusing the old with the new, a family tradition with the individuality of a modern potter. I cannot help but be impressed by a pot the straddles the past and present as skillfully as this classically conceived chawan without being entirely dependent on that tradition.

"Tradition is a guide and not a jailer." W. Somerset Maugham

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.

ITOMAKI HACHI

Illustrated is a group of three Shino hachi decorated with underglaze iron and vivid over glaze enamels imitating itomaki, thread spools. These classic plates were made and designed by the 20th century master, Kitaoji Rosanjin. The simple construction and form of the hachi is well articulated with the under and over glaze techniques and as always, Rosanjin had the pieces in use in mind, prior to making them. For Rosanjin, the raison d'etre for pottery was their performance and use for food, flower arrangement, etc. and these plates are no different. I have seen these plates in use for crispy tempura, vivid crimson maguro sashimi and various sushi over the years. They are as delightful in use as they are in the "waiting" state. Each plate is finished with a vivid red enamel "RO" square on the bottoms.

"The finest food is light and plain in flavor, just as the finest antiques are those of simple lines." Kitaoji Rosanjin (1883-1959)

(Photo used with the kind permission of a private collector and exceptional chef.)