KR VI

Illustrated is a fine Kyoto style chawan by legendary master, Kiyomizu Rokubei V (1901-1980). This chawan shows the classical training Rokubei VI received from his father, the fifth generation of the family, with inspirations of Rimpa and Nihonga style painting The fine, crackle feldspar base glaze plays a fine host to the whispy grass and solid purple morning glories that adorn the chawan all sandwiched like a scroll painting between lip and foot. There is a balanced sense of nobility and pathos to this chawan that I can not shake but unlike the beauty of nature that it portraits, this chawan will endure long beyond most potters and viewers.

IRON & ASH II

Illustrated is one of my bamboo form vases which came out rather well with a rich iron surface dipped in my favorite ash glaze. After the piece was thrown, I cut out three large areas creating a tripod style foot and using two little, pinched wads of clay I added lugs to either side near the top of the vase and then cut out half moons to match the feet on the piece. As you can probably tell, this is another pot that I got very lucky on as the ash ran all the way down the pot and stopped just shy of sticking the piece to the self; though I like runny glazes, this was more than a bit close. I have always been fascinated by various take-gata, bamboo form vases by the likes of Rosanjin and Arakawa and have tried to make my own version of the idea and when coupled with various subtle details and various glaze combinations I would like to think that I have succeeded.

FEW AND FAR BETWEEN

I remember the first pot that I ever saw by Tokuda Yasokichi III, it was a long time ago and was part of an exhibit that was also showing pieces by Hara Kiyoshi, Udagawa Hosei and another potter who I just can not name at the moment and never saw his pots ever again. The Tokuda was an elegant, large gourd form vase with a brilliant assemblage of colors complimenting and provoking the lines of the piece, it was quite wonderful and did I mention large? Over the years I have seen a disproportionate number of vases in all shapes and sizes and lots of plates as well but mizusashi and chawan, few and far between. I am certainly not suggesting in any way that his chawan and mizusashi are "rare" or "scarce" as I have seen them all over the internet and in catalogues and books but I can count the chawan I have seen on one hand and about the same for mizusashi. The illustrated chawan is an earlier work by Tokuda with a deep, rich purple ground accented with copper greens and blues and even white punctuating the bowl. The bowl is simple in execution but a perfect ground for his brilliant glazing and enameling to which few can match his technique and craft. Though I have not seen many Tokuda Yasokichi III chawan first hand, I can say without any hesitation, they have never been anything less than a rewarding conversation in color, space and form.

EMERALD POOL

Quite a few years back my wife and I were at a museum show of gemstones and in the exhibition was a large emerald crystal that was absolutely radiant and just full of energy, I have always suspected that her interest in wood fired pieces with sheets of glassy ash and bidoro possibly stems from that momentary experience. I recently had a chance to handle a very medieval style Iga mizusashi that had a great surface inside and out as this photo of the ringed emerald pool of fractured, glassy ash will attest. To get a perspective, the center of the bottom is slightly pushed up which creates an unintentional but vivid channel that encircles the entire interior ring with this rich, emerald ash making for a most welcome surprise when the lid is removed. I am constantly amazed at how much this simple style of pooled, melted ash and some emerald crystals have in common visually from the intensity and depth of color to the fractured nature of the structure making for a rather intense experience.

"Simplicity is the most difficult thing to secure in the world; it is the last limit of experience and the last effort of genius."  George Sand (Amantine Lucile Aurore Dupin 1804-1876)

PADDLE AWAY

I was going through a file of photos over the weekend to send a few examples of a piece a customer was interested in ordering and came across a group of an Oribe style tataki mizusashi I made some time back. Having a number of photos, I decided to build a short video slideshow of the water jar that I hope gives the piece a bit more depth and shows some of the details in both clay and surface. I enjoy making pieces like this as I have said before, despite what plans you may have, once that paddle hits the clay, you get what you get and can guide the piece in certain directions but total control is out the door which in the end makes for a much more casual pot.

NOT JUST ANOTHER BOWL

I saw this very well wood fired chawan the other day and was immediately struck by its posture, form, surface and incised decoration, it is one of those pieces that you have an instant connection to, a dialogue which just feels right and is obviously not just another bowl. The teabowl was made by legendary Tokoname sculpture and potter, Koie Ryoji and bares his signature across the surface as a bold, lyrical design across the ash coated surface. Few potters have been as imaginative, bold and even provocative as Koie through out his long career from his Chernobyl series of sculpture to his thought provoking pottery which pushes the concept of function, tradition and accommodation. I like this chawan as much because it has a comfortable attitude with a simple form and decoration as it is the embodiment of the casual which like his contemporary, Suzuki Goro, Koie spins out such pieces with seemingly effortless and boundless energy.

HAPPY THANKSGIVING

I wanted to take a moment and wish all those who participate, a very Happy Thanksgiving. Despite everything that is going on in the world and here at home, I know that my wife and I have much to be thankful for and at this time of year we can reflect on those things and wish the same for everyone else.

Illustrated is a large, oval black and white slip platter that I started making quite a long while back while still living in Cleveland. It is about two feet in length and is certainly up to the task of presenting a well cooked turkey and all the timings. The second photo is of a large wild turkey that along with nearly a dozen of his compatriots spends its days sunning itself and foraging on our property and is just letting us know that he is rather happy to be celebrating Thanksgiving as well.

NO. 2

I decided to take a photo of another Furutani Michio Iga mizusashi out of the same catalogue as the one last week to show not only the exceptional surfaces that he was able to achieve but also to showcase a rather unusual form of the potter. Over the years I have been consistent in my view that every time you think you have a handle on the scope of a particular artist, potter you encounters something akin to a curveball. I find this especially the case when dealing with Hamada and Kawai, I'll see an exhibit, get a new book or catalogue and there on the very next page is a pot that is just not typical or "usual" for the potter. I find this Iga mizusashi a bit different for Furutani Michio but I will admit as I look at the surface and the lid it is immediately apparent what I am looking at. I guess I thought to put up this photo and the other to just share what I can not help but think are among the finest Iga mizusashi of the modern era.

PARTY OF FIVE

Back when we used to live in Cleveland my wife and I would spend time visiting The Verne Collection, run by Mitzie Verne and her son Michael. For a short time they were collecting modern Japanese ceramics during visits to Japan and selling them at their gallery which at the time was located at the John Carroll University. Among the artist that they carried, at our recommendation was the Iga potter and ceramic artist, Ohira Kazumasa who made this fine set of five plates that are patterned as leaves, these were among a group of his work that we acquired from the Mitzie back when times were much simpler and prices were very reasonable. At the time, very few Westerners knew about Ohira's work and the Verne Collection was in most likelihood the first to carry his work outside of Japan and offer his pottery in the West which included his block style vases, plate sets, two very large chargers and various other pieces. Over the years we would pull this set of plates out and use them but before last week, I had never photographed them and thought to put together a short slideshow video to give the perspective of how enjoyable these pieces have been for use and display for over two decades. Please enjoy.

CHRISTMAS LIST

I like getting surprise packages and one just arrived from Japan yesterday filled with over 30 pounds of misc. catalogues. In the group was a nice Tsukigata catalogue as well as two on Furutani Michio, one being the source for this illustration. This wonderfully fired, Iga mizusashi is one of only a few of this form that I have seen and based on the surface it must have been in the most opportune spot in the kiln which must have yielded some rather spectacular pots and surfaces. I love this type of firing with lavender, grey ash, hints of deeper greens, blues and emerald tones about the surface with a bright ash belt created around the middle of the piece in the depression. I find this to be a rather inviting pot and love how it goes from dark to light as you move up the pot which is topped off with a classic Furutani Michio style lid that sits within a well defined gallery just above the surface of the pot. I will admit it is a bit like Christmas when I get the occasional group of catalogues but now I am making my next Christmas list and this mizusashi is right at the top.