FULFILLED

Illustrated is a small Bizen hanging vase hosting a vivid red chrysanthemum purportedly made by Takahara Kunihiko (B.1946), brother of Takahara Shoji. The original owner bought the vase in Bizen at a studio and jotted down Kunihiko's name (no box) but the mark is not deciphered, so I am calling it a nice, functional Bizen vase with a large botamochi area on the face surrounded by ash and vivid flashing here and there. The pronounced throwing rings and strong attached lugs animate the pot which is conversant without its guest, but the pot has been brought to life, in essence fulfilled, by the rich, single chrysanthemum, which completes the vase both aesthetically and functionally. It is always nice to see pots in use, out of their storage boxes and away from their sterile displays as the potter most often envisioned them. I can not help but be reminded of the famous Yanagi Soetsu maxim; "beauty born of use" and for a vase, what could be better than a traditional flower?

"Beauty provoketh thieves sooner than gold."  (As You Like It) William Shakespeare

HANGING AROUND

I recently received a very nice Shigaraki hanging vase by veteran and master potter, Kohyama Yasuhisa. Though small in stature, the piece exudes a determined and timeless presence with textbook Kohyama markings made around the pot. About two thirds of the pot are covered with a wonderful pebbly texture with a variety of color variations running from charcoal grey to vivid fire color orange. This texture is a throw back to old Sueki ware and is a trademark surface created by exacting firing, wood type and a unique baffle system at the rear of the kiln that controls not only temperature but flow throughout the kiln. The serene fire color dominates the back of the vase and the surface is punctuated by melting burst of feldspar across the entire piece but most notable on the rear, resembling small set jewels amid the clay. This pot was made in the mid-1990s and is just another example of the diversity and beauty of Shigaraki in the hands of a potter who understands the tradition and possibilities of both the process and materials.

WHACKED

I haven't thrown teabowls in a while so I wedged up some clay, about 10lbs worth and set about throwing eight entirely different bowls. The illustration is of number seven just after it was whacked about a bit with a paddle and then slightly rethrow to fix the lip and overall symmetry. I like making pots this way and it allows unexpected things to happen when you decide each piece must be different than its previous incarnation as well as adding a bit more experience and a fuller vocabulary. I just put up a good compilation cd and try to move into auto-pilot mood without thinking too much about the mechanics and letting the clay help decide the outcome. I only wish it were possible to decide to create eight entirely different feet but I usually can only get through about three or four variations which includes a hand cut foot. I have a lot to work on this year and testing and feet are just a few of them.

"Experience is one thing you can't get for nothing."   Oscar Wilde

GBNF

I owned this salt fired flattened flask pot a long while back, simply gone but not forgotten. I had acquired it from an Atlanta gallery that carried Michael Simon's work back in the mid-90s. I did however have a dear friend who coveted this pot and as he was always quick to remind me, I had others, in a moment of generosity, it found a new home. I had enjoyed the pot with its strong posture, wonky, off kilter neck and defining lugs, but I was especially fond of the spiral, a device/design that I am quick to use and quicker to admire. As time moved on the pot went off to yet a new home, where I do not know which got me wondering, where are all the pots that have come through my hands? Last year, I reacquired a pot from Japan that I had acquired at a flea market in Massachusetts, traded to an Indiana collector who in turn sold it on eBay, I was the under bidder. Where it went from there and how it got to Japan is a mystery but what I am sure of is that there is no way to predict the trajectory once pots leave and even less as to where they will end up. In the end we all act as temporary curators, just ask the ancient Greeks or feudal era chajin.

HAPPY NEW YEAR

Akimashite Omedetto Gozaimasu! L'Shana Tova! Bonne Anee! Feliz Ano Nuevo! Ein Gluckliches Neues Jahr! Buon Ano! Felix Sit Annus Novus! Godt Nytt Ar! Kul'am Wa Antum Bikhair! Gelukkig Nieuwjaar! Just wanted to take a moment to bid a fond adieu to 2014 and welcome in 2015.

Illustrated is a detail from a large wood panel carved by Kimura Yoshikazu of the kanji; JU or KOTOBUKI (寿), meaning "long life" or "felicitations". Carved to imitate the Edomoji "kanteiryu", the stylized script synonomous with Kabuki advertisements of the Edo period, the Ju kanji is sunken below the wood surface and then textured and painted with green gesso and would seem a fitting sentiment to usher in a new year.

"An optomist stays up until midnight to see the new year in. A pessimist stays up to make sure the old year leaves."

 

 

COOL BLUE TILE

Illustrated is a cool blue tile by legendary Karatsu potter, Nakazato Taroemon XIII (1923-2009). Using a rich black pigment, Nakazato has painted a classic E-Garatsu style design which he is well known for on this stoneware tile and then glazed it in a blue glaze he is also quite well known for. During the firing the pigment bled just enough to soften the design and create a unique interpretation of a classic design. Known for his unique use of inlay, tataki technique and brushwork, Taroemon XIII inherited centuries of Karatsu tradition through his father, Nakazato Muan (Ningen Kokuho) which he in turn has passed on to family, students and contemporaries alike. In much of his work, there is a directness and simplicity that draws from the past yet Taroemon strived to add the freshness of his times, Showa and Heisei in to all of his pottery.

"Not so much the painting of the tip of the brush but rather are so sensitive I would like to call them pictures painted by the heart." A quote from Kato Hajime discussing the myriad of brushed designs found on Karatsu pottery from the book; KARATSU by Johanna Becker, O.S.B.

RULE OF THREE

Up until a couple months ago, I had never had any chaire by Mizuno Takuzo come my way and just recently, a collector sent me two more to help find a new home for. Do chaire follow the "rule of threes"? The first one that came my way was a rather nice Oni-Shino style chaire, the recent two are Aka-Shino and Seto-Guro and I can see why they were collected together as both exhibit very similar characteristics in their presentation. The Aka-Shino piece has a tall and graceful form with two tiny additions to the shoulder with a rich and thick glaze with dark accents around the shoulder and a thick and foamy trail down the face of the pot. The Seto-Guro chaire also has a tall and noble posture accented by a dark, rich and textured surface with mimi-tsuki style additions running down from the shoulder and in both examples there is just enough clay showing to create a nice contrast with the glazed surface. It has been a pleasure to have all three of these chaire in hand to study and for the future, I can only hope the "rule of threes" always applies when it comes to pottery.

HAPPY HOLIDAYS

Wishing everyone out there who is inclined to celebrate a very Happy Holidays, Merry Christmas, Happy Chanukah, Happy Kwanzaa and certainly a Festivus for the Rest-of-us to one and all.

IRON MUGS

I really like this kaki glaze that is on this pair of lobed iron glazed mugs and have been using it since the mid-90s. It is rich and active and breaks well on lines and sharp accents. It really is a glaze that can be used all by itself on a well thought out pot and is rather dependable to boot. The close-up shows the active crystalline structure of the surface and the mugs look different from every vantage point and in differing lighting. I honestly can not for the life of me remember where I got this glaze but I suspect I owe someone a hearty thank you; I'll be thinking about that person next time I am having a cup of tea!

CONUNDRUM

The chawan illustrated is from an old Tsukigata Nahiko catalogue, it is Oni-Shino though somewhat dark and ominous and punctuated by the bold kintsugi repair now holding the bowl together in bold and perfect imperfection. I have often looked at this illustration and the conundrum it poses; what it was about this particular chawan that made Tsukigata go through the herculean effort to salvage and repair the pot? I have seen a number of pictures where he is purposely breaking pots with a hammer so his typical sense of "quality control" seems to have eluded this bowl, the question still remains, what is it about this chawan that he felt compelled to save and re-envision the pot. I doubt I will ever get a thoroughly satisfying answer but every now and again I go back and study the photo with an eye to understand how this pot stood apart from others that found their way in to a pile of shards.