JUST ONE OR TWO MORE

I am not exactly sure how it looks to you but there is just enough clay left under this faceted teabowl to throw just one more bowl. I thought I was at the end when I threw and faceted this stoneware teabowl but soon realized there was enough for another go around on a slightly more conservative bowl minus any faceting. I enjoy making bowls this way using what is left over from a mound of clay that was originally intended for a group of more or less the same pots, in this case the same group of lids, about 10" across that I had mentioned in a previous post now tooled, bisque, glazed and fired. This particular teabowl was thrown on the thick side and then faceted to create a sharp, visually defining band around the bottom third of the bowl which is both an aesthetic and design decision as the glaze pools around these raised areas. I have also gotten the foot to approximately where it needed to be but will fine tune it to have a bit more taper and flair when it gets to that stage. Once cut off the mound, I coned up the remaining clay and immediately threw a simple, mostly straight sided bowl that I plan on using for testing down the road, it may not have looked like it but there was plenty of clay to go around.

KO-CHAWAN(?)

I really love guinomi that though lacking the size have all the characteristics of being a chawan and this glistening Iga guinomi fits that to a tee. Set on a carefully crafted kodai, the posture and undulation of this form reminds me of a wide array of chawan from Iga to Oribe as the anatomy of the bowl is in motion, animated while bathed in a rich coat of ash both inside and out. The interior landscape is like a diminutive valley complete with a deep pool of sea green where the ash collected and melted creating a focal point for the eye each and every time the guinomi is poised to be drunk from. This miniature chawan is alive with all of the best attributes of its larger cousin and shouldn't be faulted for its scale.     

Made by Umehara Isamu, this Iga guinomi was fired in a wood kiln which the potter also turns his hand to other traditional Mino pottery including Iga, Shino, Oribe and Mino-Iga as well. Umehara is just another potter who though embarked on a normal day job career turned his attention to pottery and moved from Osaka to Utouzaka in Gifu Prefecture and by 1987 was completely immersed in Shino, Oribe and Iga pottery. Beyond his pottery skill, Umehara is also a well accomplished designer and builder of kilns, one of which was built for the late Kato Tokuro. Specializing in chadogu, this guinomi is perhaps not the best example of his work but having seen just shy of a couple of dozen of his pots, I can say that what I have encountered has all show the same dedication and attention to details that tends to make a pot both conversant and memorable and what more can you expect from any pot, especially one that fits in your (well my) closed hand?

A BOTTLE OR TWO

I ended up having to throw a couple of taller cylindrical covered jars the other day and realizing how they will take up space I decided to throw a couple of 14" tall vases or bottles as you decide to define them. Each was thrown out of 3.5lbs of clay and will have a shallow tooled in foot when they are completed. The base of the form is terminated with a pronounced flair that creates a sturdy base and also acts to slow down glaze flow as heat and gravity take over. I should mention that this piece was thrown in one piece, it sort of happened organically and where I would normally throw the neck separately I used a throwing stick and my sponge on a stick to help facilitate the task at hand. At this point I am likely to glaze one of the bottles in the Kuro-oribe style with a heavier concentration of iron up around the top quarter of the form which should then run quite dramatically while the other will be decorated in temmoku and iron to accentuate the simple features of the piece. As you can see in the photo I have added depressed lines around the mouth and shoulder of the pot together with a combed band to hopefully create more movement in the pot as well as to fill with the Oribe glaze and create dark, dramatic lines on the surface. Making a bottle or two for the firing wasn't a lot of extra work and coupled with the two covered jars will fill one half shelf in the kiln allowing the rest of the space to be used to the fullest which I rarely fail to do.

KURUMI-ZU

Though not quite what I would call an actual Raqqa or Persian glaze, this turquoise glaze reminds me of ancient Egyptian faience in its color and surface but this pot is not only modern but Japanese as well. This mizuzashi which is described as "Persian blue" was made by Koyama Kihei who after graduating from Kyoto City University of Arts went on to study with two Ningen Kokuho; Tomimoto Kenkichi and Kondo Yuzo. In 1956 he rejoined his alma matter as a professor where he remained until his retirement in 1996 while exhibiting all along the way with a specialty in this blue glaze as well as black and white porcelain, mishima work, yuriko underglaze red and many other techniques. This particular mizusashi is decorated around the form with the castanea crenata, the Japanese chestnut (kurumi-zu) in black slip under the glaze which together with the copper in the glaze creates a more blue than black appearance to the overall design. As I mentioned the chestnut design is a black slip which has had sgraffito accents added to the decoration to flush out the chestnuts that are articulating the form which is completed with a custom made black lacquer lid. 

Though it may be difficult to tell from only this image, Koyama Kihei specialized in ceramics for the tea ceremony and was the recipient of a number of awards and accolades during his tenure as professor where he divided his time making pottery, teaching and writing for the Silk Road Research Society (not 100% sure of the translation) regarding Mid-Eastern art and pottery. Though I may not agree 100% with the box description, this pot does have the feel of being influenced by pots along the Silk Road and the addition of the Japanese chestnut anchors the piece as a thoroughly Japanese pot, a rather intriguing mizusashi to assemble a tea ceremony around.

DYED SURFACE

I had this nunozome dyed mizusashi here some while back and was pleasantly surprised by the rather festive and lively atmosphere that it gave off. The variations of color, the addition of gold overglaze and the placement of the decoration created a sense of constant movement and visual conversation that was appealing and playful while being solidly thrown as a functional vessel. Made out of Arita clay, the whiteness of clay and the semi-vellum nature of the hakuji glaze is a perfect canvas for the methodical process of applying pigment saturated paper to the surface to create the overall unique and colorful design. Once fired the potter came in and added highlights of pure gold to the various devices to punch up the overall decoration and add even more depth to the surface. Made by nunozome specialist Uwataki Katsuji, he pulled from the Arita tradition of pottery to present this somewhat unique take on pottery decoration to create this readily identifiable surface that has now been passed on to his son, Uwataki Koichi as well. Though I do not routinely do chanoyu, I can clearly see this piece in use during the ceremony or honestly it is likely to be just at home up on a shelf or table top demanding the attention I think it deserves.

ESSENTIAL POTTERY EQUIPTMENT

There are both advantages and drawbacks to working in a studio, underground in a house built in to the side of a hill that generally is at a constant temperatures more or less. During the summer the studio rarely gets above 65 unless there is a prolonged period of temperatures in the 90s and during the winter it rarely drops below 56. Here though is the real conundrum, 60 in August is so comfortable to work at but the very same temperature in Jan is just cold, not cold enough to freeze the water in the throwing buckets but cold enough that you need to heat the water, wear and extra layer of clothing and be careful what you throw and how it is covered at night. Now maybe there is some keen scientist who can explain to me how 60 degrees is different in August and Janurary and perhaps has some solution to making my brain think they are exactly the same.  

Illustrated is a picture of the gang of four bottles that I made a few weeks back occupying a shelf like area on our furnace to keep them warm(ish) and help them dry a bit evenly. The furnace is an all important part of ceramic equiptment during December thru March to help dry pots and create a space where the radiant heat hits between 65 and 68 degrees based on the day and at times every available space has pots loitering about. In fact I have actually put pots in the pre-filter area of the furnace to get air flowing around pieces and it is highly effective for just that task and even keeping our house toasty warm.

FIRST IGA, NOW ORIBE

A short while back I posted up an Iga tokkuri and guinomi set by Fukushima Kazuhiro that belongs to a European collector and in that post I mentioned my initial surprise that he had studied with Koie Ryoji. A week or so later the same collector sent me a few pictures of this Oribe set by Fukushima and in these pieces the Koie connection is certainly more palpable that the other. Though undeniably influenced by his master, Fukushima has struck out on his own with his own forms and honestly in the manner in which the pieces are thrown and the clay dealt with. The forms are solid, purposeful and eminently functional and the manner in which they are glazed and fired breathes life in to the pieces with a sense of movement and tension coexisting in clay and glaze. This Oribe has a rich flavor and just enough diversity of range that it makes for a rather fun and provocative conversation including what could be a rather long discussion of the chrome green drip that in all likelihood will stay just where it is for the next millennium or so.

KEEPING TRACK

I made this short video slideshow of a Shigaraki chawan by Koyama Naohiko and then put it into a file for future use and basically forgot about it, I need a better method of keeping track of things for sure. I built this slideshow to best show off the simplicity and charm of the bowl while obviously calling attention to the rich ash covered surface, the very fine firing and the punctuation of emerald drops contrasted against the primal scars left by the shells that at one time held this chawan off the shelf. When you add the surface, the simple form and other details the bowl shows off a quiet grace and movement that entices the viewer, the nice attention to detail regarding the kodai doesn't hurt either. I hope this video gives a more rounded perspective of what makes this chawan tick as well as the character it processes. Enjoy!

PASSING ACCEPTANCE

I am aware that I have an this singularity, maybe just a common enough quirk in regards to my pottery where almost as soon as my pots come out of the kiln I start seeing everything that I should have done differently from issues regarding the form to tooling, decorating and glazing. When the kiln is unloaded the pots hit the staging table are sorted out for those going to commissions/ orders, the hammer and the shelves for storage. On the rare occasion a pot comes out that goes a whole 15 minutes or so before my base nature kicks to pick the piece apart , perhaps these are the pots that I am happy with and succeeded at some level to my eye ending in some passing acceptance.            

Illustrated is a teabowl from several firings back that is more brown in one light and more green in another, I was pleased with as it came out of the kiln and has been up on a shelf since it was made. As you can see the pot was thrown out of a clay body I made up with lots of sand and stones and then altered to make it square where the shape was further defined using a rasp tool. Once the clay texture was opened up a bit I went about impressing groups of four squares in alternating corners of the bowl to break up the surface a bit more. Once bisque, I glazed the bowl in my most recent Oribe style glaze and added bands of iron over the center of each plane to further break up the geometry of each side. At the end of the day I was actually momentarily pleased with this bowl but like with every firing, learn from what I made and all of the result and plan for the next cycle. 

"Truth never pleads or compromises or wavers. It invites and awaits your acceptance."  Vernon Howard

TSUKI-GATA NOT TSUKIGATA

Tsuki-gata means, moon form (or shape) which is not to be confused with the potter Tsukigata Nahiko though as broad as his range is, this falls outside of his body of work. This hand built Oribe koro was made by the late Kato Yasukage XIV and has a rather playful and unique form that is again echoed in the crescent moon knob he placed on the lid. The glaze is mottled in an array of greens with some iron tones mixed in all while sitting rather securely on three attached legs to hold the form upright. I should mention that besides being somewhat unique in its presentation, this koro is rather large at over 30cm long and has quite a nice presence because of the size and shape of the piece. Truthfully, I have seen a number of Kato's works and other than his more traditional chawan and other chadogu, most of his forms have a unique and individual quality to them which separates his work from the pack and leaves a rather distinct and highly admired body or work inspired by the various Mino traditions.    

"Twas the new moon! 

Since then I waited-    

And lo! Tonight! (I have my reward)     Matsuo Basho