I
was asked by a customer recently about ordering a small dinnerware set and what
exactly that entails, so I dug out some sample pictures and waited for more
information. In an exchange of emails what became clear is that they were not
looking for a standard or conservative set but rather something tailored to a
unique environment of a very small area designed as a breakfast nook that may
seat four and no more. The conclusion also was they actually weren't looking
for dinnerware per se but rather three specific pieces that would serve as
breakfast, brunch or lunch pieces and they knew how they wanted the pieces
decorated. What was decided on was a non-traditional three piece set; shallow plate
shape measuring 11.5", a shallow bowl for bisque, soup or pasta (an
omni-bowl if you will) at 10.5" and a smaller 6" bowl for various
uses including deserts. In the scheme of things this wasn't a large order, I
set about making five of each piece to be on the safe side one afternoon and
then tooled and bisque them. Prior to this I had sent them a small bowl that
was glazed in my temmoku and trailed medieval green decoration so that they
could approve the surface and once okayed, the pieces were glazed and fired,
all fifteen pieces.
What is
illustrated is the dozen pieces, three sets of four of three specific forms I
have made countless times now and are pots that we use here at the house as
well. I am sure I have made four dozen or more sets of these pots in this
combination with most of the sets also including a more standard flattish dinner plate at about 11.5" or
12". All is fair when it comes to these orders and honestly the
limitations is it has to be something I make routinely enough as to not lose an
entire set so there are some glazes and glaze combinations that are absolutely
out of the question.
I was looking through some images that I have transferred from 35mm slides to digital images and came across this particular photo the
other day. I have to say that though we have been to the Kawai Kanjiro memorial
Museum in Kyoto quite a few times, this photo was taken on our very first trip
there which was one of the main reasons for our time in Kyoto. Like many of the
pots and objects scattered about the house, you can almost reach out and touch
the pieces, really getting a measure of the dimension and volume of each pot
but it is the presence of the pot that really hits you standing right in front
of it. I remember thinking at the time that this form was just perfect,
streamlined, noble and honest in its simplicity with this surface of a slightly
off-white purity acting as canvas for a wonderful Kawai Kanjiro motif that was
just timeless and spontaneous in its execution. It will sound odd but it was
rather emotional standing within all of these profound pots and though I have
taken quite a few pictures at the museum since our first visit, this photo
always brings me back to that very first trip and the moment I came face to
face with this most ideal pot. Even now I am reminded of the Kawai line from
one of his poems; "What a wonderful now. It is surely eternity." and
when I look through these photos I believe I am transported to the now, even
momentarily and the memories and atmosphere are brought back to life, how could
they not.
Last year I posted
up a blog post entitled "IRON PETALS" regarding an iron decorated
nuka chawan by Kimura Ichiro. After some time I finally got around to putting
together a slideshow video to show off the simple, mingei inspired chawan, capturing
what I thought to be some of its best details and as much of its character as
possible. I had originally described this chawan and both simple and
unpretentious and rustic in both appearance and character and that opinion has
not changed with time. I do hope this short video slideshow helps present both
the characteristics an appeal of mingei inspired potter and shows time well
spent with a master like Hamada Shoji and a distinct vision of folk art and
Mashiko pottery looks like in just the right hands. Enjoy.
This is one
of those projects that came about more due to a time crunch than any deliberate
plan sandwiched between having completed trimming a group of bowls and a few
jars and having to run out for an appointment I was able to make several bottles in just about an hour. Realizing I
had to be somewhere in just over an hour I decided to see if I could get
something off the cuff completed in that time and this is what I came up with a plan
based on squaring up the ubiquitous gourd form. I initially threw two closed cylinder
attending to the gourd form first and then out came the heat gun, ink, a
paddle and the rasp and in much less time than expected I had the form mostly
as you now see it. Next I threw a small neck on the wheel and cut open the top
to accept it with beveled edges meeting at the top shoulder area and the basic
idea of the piece was completed then turning my attention to the more straight
forward piece which was quicker to finish. Though made with an eye to the clock and somewhat
extemporaneously it turned out close to what I saw in my head though admittedly
the form may need just a bit of tweak here and there, maybe next time when there is a bit
more time to spare.
I
don't think that I have ever spent much time considering or pondering the
results of what you would end up with if you combined elements of industrial,
architectural, modernist and traditional design all together in a 3-D printer
but if I had, perhaps this would have been the outcome. Though at its core this
pot is a traditional chawan built and intended for use in chanoyu as you survey
the form and surface it is rather clear it is more than that, a complex blend
of planes, angles, design and other visual, aesthetic considerations. The
surface and form of this chawan are highly animated and it almost seems to be
evolving as you shift your perception around the bowl while the glaze and
effects create a rather evocative, surreal surface of shimmering golds,
yellows, streaks of blacks, straw and oatmeal presenting a revolving landscape
that is certainly on the imaginary side. This creative chawan was made by
Koinuma Michio and I should note that the foot and interior are also packed
with the same bravado as the exterior and I hope that this short video
slideshow gives a glimpse in to this chawan which has gone out of its way to
challenge both tradition and expectations. Enjoy.
I
must admit, when I first saw this piece and this glorious surface all I could
think of was how alive it was, how it just moved and shimmered from every angle,
possibly as good as it gets. Just a few simple elements, a wood fired kiln and
some heat and like in the old version of Fritz Lang's FRANKENSTEIN, "It's
alive". It may sound hyperbolic but of all the Oni-Shino pots by Tsukigata
Nahiko I have never seen a surface quite like this, fractured green glass over
layers of Shino make for a surface filled with movement and raw, almost
palpable emotion despite the pot fitting in just one hand. Illustrated is just one detail shot of a
very classic but extraordinary Oni-Shino chaire made by Tsukigata Nahiko
presumably in the mid to late 1980s. Looking a bit like a diminutive tsubo,
this chaire has layers of iron and feldspar Shino which have taken a thick
coating of ash over the surface that has cracked and crazed creating a vivid
and shimming fractured surface that is animated and just a bit intoxicating in
its natural presence. As I mentioned I have seen quite a few Tsukigata pots in
person and in pictures and this surface, at least this part is what happens
when just everything goes right, the surface was applied to perfection, the
place in the kiln and the subsequent encounter with heat all go just as smooth
as silk. I think this is what every potter hopes for and is rarely rewarded
with as I see it this may well be the
definition of ceramic kismet!
A few firings back I made several covered jars in the
style of this illustrated one. They vary a bit in overall dimensions, taller or
wider proportions but they were all decorated in a coating of impasto style
slip and either Oribe, Kuro-Oribe or saffron yellow glaze surface. This
particular covered jar is Oribe over an impasto slip with just a hint of iron
over the surface and to complete the jar, all of these had two lids made for
each to provide an option for the new owner. Though the lids are almost
identical it is the knobs that differ, one is the St. Louis Arch style and the
other the time-machine Gumby style which originates from an idea from the old
TIME TUNNEL TV show of the 1960s, have to take your inspiration from where ever
it springs. These jars are not too large, fit just about anywhere from
countertop to book shelf and are built for use even if that use is sitting on a
shelf and collecting a bit of dust now and again.
I know I have written about
Matsubayashi Hosai XIV in the past and recently I found a simple Asahi-yaki Usagi
kogo. Though in a signed box by Hosai XIV, it is more than likely studio ware but never the
less a nice reminder of an interesting encounter. Found on the
ubiquitous auction website a few months back, I thought this would make a nice
Christmas gift for my wife as well as help usher in the New Year, the year of
the rabbit. Though pale in appearance, there is some very attractive blushing
to pink as well as very subtle gohon spots here and there all indicative of
Asahi pottery and of the Matsubayashi family. Though this little rabbit is a
simple eto-omiyage it has a pleasant demeanor and has just the right amount of
playfulness to make for a perfect little kogo and a nice little gift and as I
am reminded now and again, it surely beats a lump of coal.
The other day I ended up
using a Shigaraki chawan hidden in shadows and highlighted by sunlight for a
Season's greeting photo and thought best to show the piece in a more formal
portrait. This haikaburi style Shigaraki chawan was made by Kohyama Yasuhisa
when back when in Showa 48 (1973) and is illustrated in an exhibition catalogue
from that year and in person or illustration has that timeless appearance.
Though a rather early chawan by Kohyama, overall he has maintained a rather recognizable
style from form, lip and kodai and because of that this the classic fore-runner
of chawan made decades later. As for the surface created by one of the earliest
anagama in The Valley since the 18th century, there are three distinct panels
from crusty, dark ash to thin glass to rich fire color punctuated by small ishihaze,
stones and feldspar popping out here and there. Added all together, the
features like an alchemist's formula come together to create a bowl that sits
rather nicely in the hand or on display and offers all of the tidbits that contemporary
Shigaraki pottery is well known for.
Every now and again I find
myself going back to move forward, not exactly to the drawing board but rather
to a way and style of working that I have moved away from. In this case, though
I am constantly working in terra cotta which is about 80% of my out-put, I
decided to do some black and white combed slip pieces in an Oribe and an amber
glazed surface using stoneware. For the firing this covered jar came out of I
made about a dozen or so covered jars, all black and white slip, some trailed,
others brushed and combed in sized from about 12" to 15" in height.
This particular jar was slipped and combed and has two lids, the interior lid
and the exterior one that fits over the neck of the pot. I was, am pleased with
how they came out and really like the pattern created by the comb showing up as
a rich, darker color through the transparent Oribe glaze. In many respects a
see a lot of my old mentor Bill Klock in these pots together with the wide
array of historic pottery made in this style with a hint of a Japanese flair
through the use of an Oribe style glaze. These were rather enjoyable to make, I
like the honesty and directness of such pots and I hope that I circle back to
making a few more pieces including larger jars and plates/bowls in the near
future as now that my wife has snagged one of these jars she informed me she
needs a "good size" plate for the wall and to use on the right occasions.
ip.jpg)
.JPG)