OVAL CLOSURE

Someone emailed me over the weekend and asked why I hadn’t posted up a picture of the finished oval covered piece that I had shown as greenware back at the end of Oct. Honestly, it just slipped my mind.

I had made a group of them, in for a penny, in for a pound. They all made it through the bisque and in the glaze, one lid stuck just a bit, but was easily to grind and save. Waxing can be as complex as constructing these pieces as I want a near perfect oval wax line on the inside of the lid and in the gallery. The bottoms of these pieces were all glazed and the pots were fired on wads, it makes for a neat look. I am pretty sure the illustrated piece is the one as greenware. It is glazed in my medieval green and temmoku glazes and measures about 12” from handle to handle.

NOTHING(NESS)

A close-up of a rather evocative scroll with a single kanji for MU, “nothing(ness)”. This calligraphy is by 20th century pottery giant; Kato Tokuro (1898-1985).

MORE ASH GLAZES

In recent weeks, I have been working on various ash glaze tests as they apply to the type of work I am doing now. Some batches of ash are good, other not so much and filled with contaminants such as too much iron, copper and bone ash. This got me thinking about altering a couple of glazes I have used in the past, some rather drastically.

As I am altering these glazes, I thought I would share the originals; all are for Cone 9/10 and I am not sure of their exact origins;

SPECIAL ASH
Ash 50
F-4 25
OM10 25
Cobalt Carb. 1
Rutile 5

THIN TAN ASH
Ash 30
Soda Spar 30
Kaolin 30
Dolomite 25
Flint 10
Whiting 5

Illustrated, is my first and still best ash glaze on a bamboo form vase. I have used this glaze since 1990 and it has served me well. It does run as you can see, so glazing up to the foot and inside the foot can be tricky, but the results are worth it in my book.

AT THE MOVIES

A while back, I was asked to recommend a movie about a potter or pottery. The first question I asked was, something in the fiction or non-fiction category. He replied, fiction, something like Ghost. That of course ruled out all of the documentaries I could think, as well as THE LORD OF THE RINGS trilogy and LAST OF THE MOHICANS which prominently feature hand made pottery. What sprung to mind is my favorite potter movie of all time.

UGETSU MONOGATARI (1953) is a phenomenal Japanese cinematic masterpiece by director Mizoguchi Kenji and starring Mori Masayuki and Machi Kyo. The title means; “Tales of the Moon and Rain” and is about a Momoyama era potter and the turmoil of the age. Briefly stated, the film is about two men, one a potter and the other a farmer who wants to be a samurai. It is an exceptionally filmed movie with great performances all around, great sets, scenery and costumes and a great story.

Weeks later, I heard back from my friend who immediately let me know that Ugetsu is nothing like Ghost and wondered what was I thinking. After taking just a moment to think about it, UGETSU MONOGATARI is in fact, very much like Ghost, a love story with extras. If you haven’t seen this movie and have a passing interest in Japanese cinema, than you owe it to yourself to see this film. It truly is Japanese cinema and Mizoguchi at his best.

ARAKAWA AS PAINTER

Arakawa Toyozo ( 1894-1985) is arguably the greatest Mino potter of the 20th century, known for his wonderful Shino, Ki-Seto and Seto-Guro masterpieces. Though known as this masterful potter, there is another facet of his artistic endeavors that one rarely sees excepting the occasional illustration in a catalogue or book. From early on, Arakawa painted in ink and watercolors, including a scroll of the famous Mutabora-gama which was his impetus for the rediscovery of Momoyama Shino.

Arakawa has left a fairly large number of his painted pottery, from stark and expressive sometsuke wares to colorful underglaze and overglaze enamel painted pottery running the gamut from traditional Japanese subject matter of flora and fauna to his own unique Nihonga inspired paintings. Some of these pottery works are iro-e style porcelains while others are seen in almost Rimpa, Ogata Kenzan inspired designs on slipware together with iron (tetsu-zu) designs on slipware and on and under Shino glazes.

Back before his discovery of the Mutabora-gama, Arakawa had been an assistant/student of Kitaoji Rosanjin (1883-1959). Rosanjin was a strict task master, a powerful ego and an artist of numerous talents which included pottery, calligraphy, painting and the designing and decoration of lacquer, metalwork lamps, furniture and seal carving. It was in this fertile and multi-disciplined environment that Arakawa was exposed to Rosanjin’s exceptional calligraphy and paintings (panels, screens, scroll, shikishi, etc.) that he also adapted to his pottery. With the literati tradition that Arakawa was exposed to under Rosanjin, it was only natural he would use his pottery as canvas as well as creating two dimensional arts as well.

There are quite a few scroll paintings (kakejiku) and shikishi (board) paintings left that illustrate everything from his friends, adventures, flora, fauna, pottery and his own artistic unique renderings. All of the works I am aware of were painted in sumi ink or watercolors. His style of painting can be divided into three main categories; simple Momoyama inspired “ink traces”, Rimpa and Nihonga inspired designs with color and definition, but not overly detailed and lastly, his detailed and precise painting showing highly rendered images. The same three broad categories are also seen on his pottery, to included precisely rendered enamels designs and patterns on porcelain. His paintings are all very expressive, individual and free spirited.

I have seen several Shino chawan and several other pots that were accompanied by kakejiku depicting the pot along with a short narrative. There are also pieces that have shikishi that were included along with a wide variety of pots. The illustration is of a Shino chawan and narrative by Arakawa Toyozo. It depicts a typical Shino chawan with underglaze iron decoration of mountains and pine trees. No doubt this once accompanied the illustrated chawan but has now been separated from the piece.

The relevant question, where is that chawan?

COPPER & STONE

Something a bit different, but a technique I have been using for some time now, ishime-ji. This tall citadel jar is surfaced using several engobes and an inlaid line of white engobe into a white stoneware clay body. The jar has a clear glazed interior and a pierced copper handle. The decoration is an offshoot of my “landscape man” design which I used to try to emphasis the verticality of the jar. The term ishime-ji literally means, stone ground (surface), it seemed the best way to describe the visual as well as the texture of the technique.

BANURA SHIRO FOLIAGE MIZUSASHI

I came across this photo the other day and immediately knew it was a pot by Banura Shiro. This mizusashi is tall and has a graceful form that plays host to his Rimpa inspired decoration of iron, overglaze gold and silver foliage accentuating the vertical quality of the piece which is punctuated by a spire like finial knob on the lid.

I am always impressed with the wide array of forms Banura is known for and how adeptly he tailors his designs to a wide variety of work, from jar to hachi to chawan. There are a number of potters whose works are (or were) inspired by the Rimpa school, but I think Banura Shiro has added a modern edge to an age old tradition made famous by Ogata Korin (1657-1716) and his brother, the potter, Ogata Kenzan (1663-1743).

CAT & MOUSE

A pair of earthenware teabowls by Georgia potter and educator; Ron Meyers. Deftly animated painted designs of a large fat cat and a fleet footed rodent making its hasty retreat decorate these bowls which though not intended as a set, certainly work as a pair and found themselves in a private collection. This pair was actually collected two years apart, but do seem to work so well together.

Using local red earthenware, a thin dryish white slip, underglaze pigments and a very thin clear glaze, Meyers works his magic at cone 03 and animates his pottery with florid images of animals and nudes. He does seem to be particularly fond of fish, rabbits, cats, chickens, hogs and the female nude as they make their way on his oxidation and wood fired pots quite frequently. It seems his pots always have a story to tell…………….

(From a private collection)

THANKS

I am sure like many people, I have much to be thankful for. I am able to wake up each morning and make pots through the day, spend time with my wife and cat and go to bed thinking about making pots tomorrow.

Happy Thanksgiving to all.

(A closeup of an aventurine temmoku glaze on a vase by me)

L'ULTIMO SPUNTINO

Anyone that has ever been to Japan can attest to the assault on your sense of smell from all of the wonderful restaurants and vendors in most cities. Aside from all of the culinary dishes of Japan, there is a wide array of bar food and appetizers that get the mouth watering. Negamaki, gyoza, yakitori, okonomiyaki and of course sushi and sashimi are just a few of the treats available and many of them are served on handmade pottery made by local and nationally famous potters. While at a sushi/sashimi bar near Osaka, I was served crimson red maguro on beautiful Oribe hachi by Kishimoto Kennin.

Since it is somewhat difficult to get Japanese food products in central New York state, I know it is hard to believe, we get a care package from Japan 3 to 4 times a year. In it is various powdered sauces (like tonkatsu), spices, udon, and a variety of other sundries. This of course includes both Pocky and Pretz. For you unfamiliar with Pretz, especially my favorite Tomato Pretz, you certainly have no idea what a culinary delicacy you are missing. One thing that is an absolute, without Pretz, the earth would surely stop turning.