FIRE AND ASH

A fellow collector from Europe sent me this picture of a classically simple but well fired Iga set of tokkuri and guinomi which I was rather pleased to see though handling them would be even better. This set was made by Fukushima Kazuhiro who's works I have been watching for several years now and on my first encounter I discovered that he had spent time learning under Koie Ryoji  and then worked for a short while in California. Admittedly I was originally surprised regarding the Koie connection as I did not see any of the influence that usually comes out in the clay, glazing and firing from such a strong and charismatic teacher but as you look long enough there are subtleties, like rhythm and posture not to mention his use of Oribe glaze as well. 

As for this set, as I mentioned they are both simple in design, straight forward throwing with age old forms perfect for the task at hand and Fukushima has allowed the firing process and choice of woods decorate his pieces where gem-like bidoro betrays the positioning of the pieces in the kiln creating a luminescent landscape of the interaction between fire and ash. As a final observation it is rather splendid to see the movement of the surfaces even in this semi-formal and static image, one can only image how animated the surfaces are in person.

THROWING IN THE NEW YEAR

There is certainly nothing earth-shattering about this teabowl which I threw off the hump but since Jan. and Feb. are very slow months for me and work is good work and throwing in the new year is a good way to start a Monday. In fact, I needed to throw a group of covered serving bowls and then lids which I throw off the hump and once the bodies were thrown I wedged up a good size cone of clay and threw the four matching lids. I knew there would be clay left over so I threw a pair of matching shallow "using" bowls and four teabowls including the one pictured here. As you can see it is thrown out of stoneware and is pretty generous in scale and I decided to address the exterior of the foot while it was still on the wheel and will tool the interior once it is stiffened up. The truth is that anytime I can sit and throw is a good day which is made a bit better when it includes covered pieces and a few teabowls as well.   

"Choose a job you love and you will, never have to work a day in your life." Confucius. I am reasonably sure he didn't factor in all the packing!

LAST POT OF 2021

Illustrated is the last pot that arrived here for 2021, it has been here for a short while and given the date and time, I sincerely doubt there will be another. This simple, almost quiet Bizen vase was made by Masamune Satoru in 2000 and is somewhat typical, classic even of how he works with clay from the form, marks, posture and applied lines. What perhaps distinguishes this particular animated pot from the rest of the pack is the firing which has ash moving in two distinct directs, vertically and horizontally while it was stationary and waiting its final fitting in the kiln. Initially the ash was swept by the form horizontally building up streaks moving from the pot facing the flames toward the rear as the firing went on ash began to build up on the face and finally began to melt and cascade down the piece from top to bottom. Obviously this is not a rare occurrence but it does trick the eye and add a dimension to the piece which otherwise would have been a nice pot of good character, strong form and a proper firing but let's face it, the ash moving in two directions brings more movement and articulation to vase that has benefited from the experience of the potter and the serendipity of the ash and flame. Several other features not to be overlooked are the strong, sturdy and practical lugs placed on opposing sides of the form, the lush ash build that helps define the mouth, a rather deceptive volume contained in the form, one of those rare pots that arrives and present the feeling of being much larger than the dimensions imply and lastly the great shell impressions left on the base of the pot where it was set to keep it from adhering to the shelf.  All in all when you add up all these enjoyable features it translates in to quite a nice package.

IDEAL ASTRAY

What could be less complicated and incredibly complicated at the same time than an Ido style chawan? Little else springs to mind where all the elements, lines, posture, curve and kodai all need to work in absolute harmony to create a flawless and near perfect form. Perhaps perfected in anonymity in Korea in the 16th century the potters of Japan especially down south have been fixed on the form idolized by both commoner and lord alike for the elegance and simplicity of form and presentation. In my mind, the Ido bowl is the absolute distillation of creating function with unmatched aesthetics where the beauty is that simplicity, grace, nobility and at its core utility.     

One modern Japanese potter that has spent a lifetime dedicated to an ideal and archetype is Tsujimura Shiro and this chawan is a classic example of stripping a utilitarian form to its barest necessities of wall, lip, pool and foot with some glaze thrown in for good measure and ease of use and with the ideal astray he crafts his own vision of modern Ido-wan. In this example Tsujimura has strayed slightly from the purest Ido ideal to create a triadic style wari-kodai where the glaze has curdled a bit creating a wonderful texture in more ways than one. Perhaps one of the more interesting features of this chawan is the combination of a static bowl shape with a lip and foot that are animated and in motion creating a visual like the bands of atmosphere circling some gas giant a light year away, this is where Tsujimura excels and with any luck will hit upon the perfection he seeks the next time he sits at the wheel.

RYU-KORO

Back a cycle (?) ago or so when I was resurrecting my old appliqué mold, the T'angish Dragon, I made a couple of other pots out of the sandy porcelain that I made up. One of the pots was a small covered jar and a slope sided koro with a pierced lid. Obviously this is the koro form with a set of four dragons guarding the four elemental directions and pierced with a total of eight holes to fulfill the duty of any good koro. The tapering form has a good amount of visual texture from the sand in the clay with just the right amount of variation within the glaze to keep the piece on its toes. The lid fits snug and should only allow the smoke to rise out via the pierced squares and the knob gently mimics the form of the pot tying, I hope, the pieces together. The pot was finished by tooling a somewhat tall pedestal foot that is a bit coarse due to the exposed inclusions and owes more than a bit to Kawai Kanjiro for being a major "influencer" on my work. These were fun to make and it makes it clear that I need to find the dozen or so other press molds I had or start thinking about buying some plaster and setting about making a new series of designs because there is more to imagine than dragons when making pieces of this style and technique.

SEASON'S GREETINGS

"Six turtle doves", well they are doves, not sure what kind but thought the timing was great and beyond coincidence. Just wanted to wish one and all our sincerest Season's Greetings and Happy New Year. Times have been trying but take a moment to embrace family, friends and pets as the year comes to a close and if I may suggest this is of course best done with a handmade cup or mug in hand!

PLOVERS AND WAVES

It is crystal clear as you look at this chawan the influences of the past on the decoration; there are elements of the Rimpa masters starting off with Ogata Korin and Kenzan with hints of Sakai Hoitsu and Suzuki Kiitsu a century later. The use of the lyrical waves, waterwheel and playful plovers conjures up the atmosphere of Rimpa during the 18th and 19th centuries in Kyoto where decoration and poetic inspiration reigned supreme and the style was known as "the aesthetics of the capital". This chawan made by Enyu specialist, Ajiki Hiro has that blended presence of Kyo-yaki and Rimpa influenced pottery despite being made in rather modern times. This chawan is large but light with an inviting presence that is made all the more so through the playful and wispy decoration where the plovers flitter about the surface of the clay canvas. The clever use of slip over clay makes for a bright canvas where the majority of the brushwork decoration takes place and the naked clay acts as a framework for the painting. The chawan is glazed in a soft appearing clear glaze that doesn't obscure any of the original art work on the bowl and only acts to enhance and preserve it like a fine and well applied varnish on an oil painting's canvas where all is balanced on a casually yet sturdy tooled foot. Though not illustrated the other part of this narrative is laid out across the wood box that is extensively painted carrying on the theme and revolving around the pair of plovers, more pictures at another day.

CUM SENEX IN CUM NOVO

Everything that needs to be done is done at this point for the holidays and end of the year though I fired one last kiln yesterday and packed up some pots and needed to get them shipped out today. The last firing, likely to be the last firing of the year was a loose terra cotta kiln with a variety of B&W slipware, snowberries, a few still lives and a group of tebori carved slip pieces, about two dozen pieces in all with a few teabowls thrown in for good measure. This "landscapeman" v-bowl was photographed just after it was carved where you can clearly see the ink layout to orchestrate the overall design on the bowl. Dried, glazed and fired these pieces present a fun, hopefully joyful appearance that is deep rooted in the past, a bit like carved steles, Nazca lines and cave painting imagery and much more all jumbled together to become these "landscapeman" designs. I thought it fitting that this bowl was the last piece made, other than a few test pieces to process, seemingly celebrating; out with the old and in with the new (cum senex in cum novo).

LOST IN THE LIGHTING

Illustrated is a rather vivid and compelling Shino henko that is just about lost in the lighting. When I had this in hand I took a number of pictures, including enough for a future slideshow video but I managed to take a good solid group of more creative pictures using sun and shadow and various other techniques. I think this one conveys some of the emotion, presence and topography of the henko that a full on, well lit photo may not capture showcasing the casually applied swipes of Shino glaze that Matsuzaki Ken applied around the form as well as the indiscriminate ash that has landed here and there bringing ones focus to the shoulder and neck that truly needs our attention. Despite a slight loss of the details of the piece it is clear that this henko has a strong form that has movement and a degree of verticality and is clearly the recipient of all of the best qualities of the bones of the pot, the quality and application of the glazes and the narration and process of the firing. The next photo I put up of this pot will be a more formal portrait but for the time being, I hope this static photograph has captured some of  the movement and dimension of the pot and I think that is about as much as I could hope to achieve with the limited photography skills that I have.

THEN & NOW (SHINO EDITION)

In some respects, the arrival of this rather nice Tamaoki Yasuo Shino chawan is a trip down memory lane. I doubt I had mentioned this previously but when preparing for our first trip to Japan, I had limited printed material to go by with the exception of a handful of catalogues so I was eager to see and/or visit  potters in Shigaraki, Mino and Bizen and at the top of the list was Tamaoki Yasuo. Though I had written Yamaoki prior to our trip we had never back and once there had the hotel call to try to make an appointment but he was away when we would have been able to visit. We were both a bit bummed by this setback but truthfully there was no shortage of pots to see and handle and after several days we said good-bye to Gifu Prefecture. Our last stop was to be Osaka-Nara-Kyoto while staying in Kyoto proper and on our first day there we ran in to a gallery that had four chawan by Tamaoki Yasuo including the rich Aka-Shino bowl that I posted about previously* as well as three Shino pieces so in the end, it really is all's well that ends well.     

Over the years I have handled quite a few pots by Tamaoki  who was, way back when considered one of the five great hopes of Mino whose work has moved the Mino tradition in a modern directions with his innovative forms, creative use of Shino glazes all the while blending modernism and tradition in to his tea ceremony pieces of which this chawan is a classic example. Relying on a good strong and practical form and a Shino that can be distinguished from that of many of his contemporaries, this chawan displays a rich and varied landscape ever so reminiscent of old Momoyama ink painting though quite a bit less monotone in its brushwork, so to speak. In many respects this is a classic bowl from the 1990s by Tamaoki, being carefully crafted, it is one of several chawan forms in his oeuvre relying on archetypes that came before him from the Momoyama era through the mid-Showa period that reflects his vision of modern Mino and modern chadogu. I have to admit what appeals most to me is the simplicity of the bowl and the fact that his chawan rarely appear like they have been forced, fussed with or overly manipulated, they have that freshness of form that looks like a potter threw a bowl and then casually lifted off the wheelhead and this is what you end up with and in my opinion that is truly one of the attributes of a really good chawan.

(* https://albedo3studio.blogspot.com/2015/03/iam-constantly-amazed-at-how.html )