BUSHI

When I first saw this Bizen vase I was immediately reminded of all of the various Haniwa earthenware funerary figures I have seen at various museums across the US and throughout Japan. The poise, character and posturing of this vase specifically reminded me of the armored Haniwa figures where the forms emulated the ancient armored warriors of the Kofun period, standing defiantly and with bravery and honor. I am not sure if that was the intent or inspiration of Kakurezaki Ryuichi when he began making this particular form but the association is inescapable to my eye and brings the ancient traditions of the Kofun era Haji-yaki and Bizen pottery full circle and colliding directly with the abstraction of modern yakimono of the 20th century. Like the abstracted sculpture and vessels of Suzuki Osamu, much of Kakurezaki's works have both overt and subtle features that call to mind various elements of the old while treading the razor's edge of modernity, adding sculptural gesture to the sweeping historical precedent of Bizen pottery. Though this particular vase is mostly traditional in origin it is the hidden and subtle details that creates a vessel that is both tethered to the past and working overtime to break those constraints. This is a simple vase, with simple details, well crafted and well fired moving one step further along in the evolution pathway that makes Bizen a living tradition. I hope this short video slideshow sheds a bit of light on what this Bizen vase looks like in person.   

EARTH & FLAME

There is something always rewarding about an encounter with a nice Iga pot by Kishimoto Kennin, like a chance encounter with tradition that nourishes the soul. This particular large Iga chawan was made in the 90s and blends tradition, classicism, restraint and potter's journey in to a bowl that is both finite and limitless as the very same time. Thrown out of a coarse, included clay this bowl has elements of various archetypes wrapped around an individual's vision to create a solid, study form worked with care to create a lip that captures the eye without being a distraction and various spatula marks and subtle combing (kushime) to articulate the form and act as the under-painting of what was to come once it was wood fired. A majority of the chawan is coated in a semi-dry layer of ash that allows the potter's marks to show with the addition of wet ash at various points both outside and in creating glistening highlights the complete the painting of the bowl, now framed by shadow and negative space presenting a rather quiet pot .

Though simple in form and surface, there are subtleties that bring the bowl to life and move the traditional in to the light of the modern, this is one of Kishimoto's real talents as a potter where past and present meet creating the synergy of a tradition with the spirit of the modern age. It is comforting to know that Kishimoto Kennin thought highly enough to place this chawan in his EARTH & FLAME exhibition at the Takashimaya Department Store gallery in which the chawan and the interior are well illustrated. Though the inclusion of this chawan in the catalogue in no way makes the inherent nature of the bowl any greater it is interesting to get a glimpse in to the mind of a potter and see how he rated a singular pot and then how it fits within the group he choose to exhibit around it, or with it.  

 

A TYPICAL MONDAY

Today was one of those days were I honestly don't feel like I got much done even though I did in other words, just a typical Monday. I spent the day on "replenishing" duty; black, white, iron and copper slips and several glazes including temmoku, Oribe (latest version), ash glaze and the iron yellow. It is positively crazy how fast time can go by as you measure and mix to wet all of these formulas leaving me feeling like I didn't really get when in fact I did get exactly what I had planned done. On top of the replenishing efforts, I got thinks cleaned up, sorted out and put away as well as packing up two packages for tomorrow's post.    

Last but not least I got three mayo jars filled up with ready to use thick, slurry slip from stoneware slop. In this older photo you can see the recently applied combed slurry slip on a stoneware teabowl that was later glazed in an Oribe glaze with a bit of iron added to the surface. Sorry for the mundane details, no one ever said that blogging would be nothing but non-stop excitement and at the end of the day, time is short and things just have to get done.  

"A difficult task can be done immediately, an impossible task requires a bit more time."  George Santayana

EXCUSE ME, HAVE WE MET BEFORE?

Illustrated is a great detail shot of a Tsukigata Nahiko Oni-Shino mallet vase. I think it is quite evident why I am fascinated with Tsukigata work, there is an undeniable complexity to the surfaces through his carefully crafted use of clay, glazes and firing process which yields a wealth of effects and styles. In this case, the surface has a wonderful, cascading area of coalesced iron that looks like a universe of copper flecks frozen in time creating a shimmery and luminescent region which is occasionally interrupted by the active flow of natural ash that built up on the pot during the firing. In the depression of the ash has pooled creating a wonderful visual landscape of olive toned ash bordering the molten green, fractured bidoro which is doing its very best to spill over the sides and run down the pot. Though Tsukigata Nahiko was exceptionally well known for his vivid oil paintings, it is these painted surfaces that I am pleased to converse with, the narratives presented are evocative, palpable and linger in the mind making these pots a wondrous pottery koan, provoking both the eye and the mind.

A HAPPY COUPLE

Obviously following in the footsteps of his master (Kakurezaki Ryuichi), this graceful set was made by modern Bizen potter, Oiwa Tomoyuki. This photo was provided by a European collector who likes to assemble sets, carefully selecting, collecting and curating his collection that like this set clearly shows a conscious eye and in interest in modern, sculpturally oriented pieces. Like his previous animated sets by Fukushima Kazuhiro, this set is also in movement though more like a spire, emerging from the surface while the liquid ash runs down the vertical surface painting the angular planes like an abstract canvas with a solitary drip hanging off the mouth like a beacon from a watch tower. The sharp angles and vivid, faceted and jagged cuts breath life in to this rising form while the singular guinomi accompanies its tokkuri  wrapped in a soft and seductive layer of ash and a sharp yet inviting lip is ready to be impressed in to service. 

At first glance the angular tokkuri and soft, simple guinomi may seem an incoherent match but as opposites often attract each piece is created with a singular purpose in mind, one to pour and one to accept the beverage clearing showing the creative diversity of the potter as well as the necessary mechanics of function. Whether in use or occupying a humble display, this pair is clearly like a happy couple who in their differences compliment and balance each other out perfectly.

ALL WHITE

I decided to show this mostly all white bottle from long ago and far away against two different backgrounds to try to show the characteristics of both the slip and glaze on the bottle. I have been playing with making kohiki style pieces on and off for a very long while and this is one of the pieces from a distinct batch that I fired in particular as each group changed depending on the nuka and wood ash sources. The slip is a heavy kaolin based recipe that goes on the pot at leather hard, bone dry or bisque and the clear is made of a combination of nuka and wood ash making for a nice surface. As you can see in the photos, the pot was dipped in the slip and then I poured a small amount around the pot while holding it upside down to encourage the slip to run toward the neck and mouth of the piece. This gives the pot a little more interest and makes the surface appear to defy gravity just a bit. At the end of the day it is a simple bottle with a simple surface and minimal decoration but I think it would look nice with a big red bloom in it; Rosanjin may be right, a pot in use is a complete pot.

THE INTERNET

Not that it has taken me this long to figure this out but the internet can be a great place, well most of the time. I was strolling around the web a few weeks back and stumbled onto a dealer on Amazon of all places with art books, catalogue and magazines and as I looked  around I found an old copy of ART GRAPH from the late 80s, a publication from Japan, a library discard from California. On the cover was a tiny entry that simple said in kanji, TSUKIGATA NAHIKO, so the price was right and I ordered it. The picture illustrated is the back cover of the over-sized publication, this wonderful full cover shot of a crusty Oni-Shino tsubo with enough charisma and character for a dozen or more pots. This particular pot is also in a small portfolio that I have, though at a much smaller scale and considering this piece is an O-Tsubo I can only imagine the impression it must make in person.  Inside the publication was an unexpected bounty of paintings, pottery, calligraphy, bronzes and carved wood panels by Tsukigata Nahiko giving a rather informative snapshot into a specific time period in the same way that the seminal work, ONI-SHINO did for the very early 1970s. Though it was a low and inexpensive risk, I am glad I took it and now have dozens and dozens of new images to use as baseline pieces in a study of a potter who wasn't content to work within the lines and definitely thought, worked and certainly glazed outside the box.

USAGI TWOSOME

This porcelain kogo and koro set made of a dense, hard off white porcelain and then meticulously overglaze decorated  was made by Kozan-gama potter, Ono Shoji (1927-2006). Though not likely as well known as his famous sister, Ono Hakuko, Ono Shoji was the son of Kozan-gama founder, Ono Kozan in Saga prefecture in Kyushu and later went on to inherit and run the pottery which is now run by Ono Tatsuro. As you can see from the photo, both the tripod koro form and the kogo are classic Saga style archetypes based on usagi-zu (rabbit) motifs and it is the matching decoration that clearly identifies the set as that of Ono Shoji. Ono Shoji specialized in minute and meticulous detail using older historical design elements together with his own unique twists on the old and new painting his way in enamel to this modern style. Though generally not overly complicated designs, the playful quality of the surfaces are well aided by the movement that is caught in the frolicking rabbits around the piece and even the perceived rustling of the leaves that encapsulate the forms like organic netting. Housed together in a signed wood box this fun set of kogo and koro is perfect as the snow thaws, the foliage greens and rabbits take the field.

THREE OR EEEs

Large black and white slip trailed bowl covered with three or Es depending on how you want to look at it. Thrown out of my terra cotta clay this is a shallow serving bowl that is perfect for a slightly larger gathering and catering as well that has a drop down style flange, the extended lip which is great for helping maneuver the bowl around with or without oven mitts. As with most of my larger serving pieces, the foot ring is pierced with two holes that allow either a wire or sturdy string to act as a hanger which allows the bowl to be hung on the wall for storage if one so desires. As you can see the black is a deep, dark black which makes a great contrast for the the raised white slip and to be honest after all these years of working in this style I can't think of a better combination that black & white.

REARVIEW

Illustrated is what would be considered the rear view, the reverse of this Shigaraki mizusashi but to be perfectly transparent you are looking at the bottom of the pot as it was actually fired. The wonderful blue-grey ash is at home as the base coat for the running ash, collecting as thick drips are flanked by shell scars from where the pot was propped up off the shelves or floor of the kiln. This particular Shigaraki mizusashi was made by Kon Chiharu and though our encounter was extremely brief  I managed to take quite a few photos before packing it up and sending it on its way to the owner. Like most of Kon Chiharu's work, the first consideration is function, a dedication to purpose followed by creating forms that are best suited for and accentuated by the anagama kiln firings. Based on this rear view and the well fired, all ash face it is clear that this mizusashi was placed in a premium vantage point in the kiln while the lid which was not fired on the pot was placed elsewhere though the lid and other side of the piece match up quite well in terms of ash coverage and coloration. There is a lot to see in this pot as it was painted and narrated by fire and ash that presents a enigmatic landscape that blends medieval tradition with a creative modern approach that in this case is associated with the Niigata potter, Kon Chiharu.