PICTURE-IN-PICTURE

Illustrated is a haikaburi ko-tsubo by a potter that I am not that well acquainted with, sort of a picture-in-picture image. That being said, only a short while before receiving this piece as a gift from a Left-Coast friend, I had encountered two of his pots and the who is Tamura Kazuyuki. As I mentioned, this little ko-tsubo was a gift from a collector/ scholar of all things baked clay, he was well aware of my fondness of things wood fired but also my interest in texture and complex surface. As you can see, this simple pot has quite an interesting and varied landscape with the rich, iron red shoulder giving way to glass and all leading to the solid emerald like drip suspended under the belly of the little pot. I took this photo against the backdrop of a moon picture I took some while back; it has that sense of solemnity and austerity where the feeling of the pot is as important as any details one could focus on. I truly enjoy pots like this, it will never change the world but in its own way it adds just a bit to it.

REMINDER

I must admit when I first saw this chawan I was pretty sure it was another Echizen chawan, possibly by Nishiura Takeshi but after kicking the tires I realized I was pretty much off base. In point of fact this all natural (shizen-yu) chawan is classified as Mino-Yakishime, simply put, wood fired Mino pottery, no glaze and as natural and authentic as can be. Beyond the surface, I was drawn to the robust form, with very little manipulation from its wheel thrown origins and just hints here and there of some spatula work and other spontaneous potter’s marks. The ash has built up rather well on the face where it has taken on this hazy surface while showing areas to the rear interior of the bowl that have ash running like some primordial waterfall cut off in mid-stream. The entire floor of the chawan is covered in a glassy green ash while the very center has a perfect small pool of deep green, fractured ash just shy of 4cm across. Perhaps one of the most intriguing features of this bowl is that once you break away from the ashy front, the rest of the surface is covered over in what must be a super fine peppering of ash as the entire surface around the bowl and across much of the photo just sparkles, it is alive with a shimmering layer that just reflects light back at you as the bowl is moved around in your hand. 

As to the origins of this Mino-Yakishime chawan, this was made by Kurata Mitsunori, born in Kagoshima in 1951, I was unable on a quick search to find very much other information about him other than the fact that I found a number of yakishime examples along with Seto-Guro and Shino wares. I think there are times when the four Ws are less important than what is right in front of you, seeing what the object really is, unencumbered by the who, what where and when. This chawan once again prompted me to look and not overthink things and that is always a valuable reminder.

THREE, TWO, ONE

Over the last two years I have been struggling with getting the most out of my saffron, iron yellow glaze. I ran out of my old iron and ordered more only to find out the results are a bit different and now not entirely dependable. I recently posted a saffron teabowl up on Facebook and now have been asked by several people if they can get one where my answer is, well, I just don’t know and stay tuned for results. This trio of teabowls were glazed in my Hagi white with three, two and then one coat of an iron glaze over it. These bowls were put out of the way temporarily while I finish glazing the rest of the pots in more dependable surfaces and I loaded the kiln just a few minutes ago. Time, temperature, application and luck will tell the tale of the firing and if I don’t show any results, you can use your imagination as to the results. 

"Testing oneself is best done alone." Jimmy Carter

TURN-AROUND

It is not that often that I am involved in a quick turn-around involving pictures and post but I was asked to put up a more “direct” picture of the recent Oni-Shino kakeire by Tsukigata Nahiko. I was happy to oblige and here is a photo looking at a slightly downward angle and into both the mouth and the aperture that was cut into the vase. One thing that is abundantly clear in this photo is that this piece must have been in a hot spot of the kiln where heat and serendipity have created two large molten drips of glaze just hanging from the top of the opening, organic and active, both showing off to the fullest the rich iron, ash and feldspar concoction that is Oni-Shino.   

“Most discoveries even today are a combination of serendipity and searching.”  Siddhartha Mukherjee

SPIRIT

When I first saw this large and bold mizusashi, the sheer sculptural qualities were inescapable though at the same time it had a real organic presence, the spirit, like some weather and water formed stone in a river bed. This imposing Hagi mizusashi was made by Kaneta Masanao using his kurinuki method of starting with a large hunk of clay and methodically hollowing or carving out the form from the inside. Once finished, this mizusashi was glazed over in a Shira-Hagi glaze which in this case has blushed to a pink tone in just all the right spots and the surface has thinned ever so slightly on the high points and areas of sharp, carved line to further define the form and its motion. Though I have seen a lot of Masanao’s mizusashi forms, this one spoke to me, it is conversant at a number of levels and also qualifies somewhat as fantastical and animated in its execution where the tapering form, elegant blushing, rich carved lines and the appearance of what appears to be sprouting wings on either side breathe life into the clay making which on most days would be a great pot and turning it into a true work of wonder where concept, creativity and technique have all conspired for unencumbered success.  

“Where the spirit does not work with the hand, there is no art.”  Leonardo da Vinci

WAY BACK WEDNESDAY

I wonder if way back Wednesday is actually a thing? At any rate here is an older teabowl of mine, the idea is the classic bamboo form that I have worked with for a rather long time which is admittedly an amalgam of a bunch of pieces parts from pottery old and new. What always stood out to me about this rain patterned bowl is the way the iron and Shino glaze interacted and carbon trapped rather heavily leading to a rather unique surface which only occurred on perhaps one in fifty pieces among which this was the best example. Beyond having a smokey and reflective surface, the transitions boundaries between the iron and Shino created a bunch of subtle effects including these wild white spots or crystals. Bare in mind, while I was working on this combination, this was never anything I was trying to create, it was pure serendipity which rarely showed up but when it did, it was a most welcomed hitch-hiker and when it didn’t, I was always just a bit defeated. Glazing, firing and expectations, the trio of exuberance or (slight) disappointment.

SANCAI-HENKO

Illustrated is a rather old photo of a classic Kawai school pot, a sancai-henko by Kawai Hisashi one of Kanjiro’s last pupils. Created in a multi-part press mold, this henko is larger than most of Hisashi’s work and is glazed over in a fine, clear glaze covered in fine crackle crazing. Once glazed, this had three separate glazes splashed or ladled over; one using chrome, one using iron and one using copper. I have seen a number of this form and even several in this sancai style decoration and this remains one of my favorites by Kawai Hisashi.  There is really little else I can say other than this henko would seem to be the perfect collection of Kanjiro styling, simple, spontaneous glazing and a well-conceived and functional form and that is just about all one can ask for let alone expect.

TO HANG OR NOT TO HANG?

Though standing on a shelf, the illustrated Oni-Shino vase is in fact intended as a hanging vase though the small rectangular slot at the top rear is empty and devoid of a bronze hanging ring or piece of coarse hemp rope. As you can see in this sunlit picture, this surface is just alive with varying effects including the rich spotted iron interior that looks alive as you move by the piece. The form just naturally gives you that feeling you are looking at natural bamboo covered over in some other-worldly surface that is just filled with effects that show off the very essence of Tsukigata’s Oni-Shino. As you can see, the majority of the effects on the kakeire are in movement though there are areas of static punctuations where iron has come to the surface and formed crystals of sort. It has been a long while since I have handled this piece and over that time I have wondered if it was never intended to have some metal hanging ring or just a simple knotted piece of rustic rope leading to the bigger question, to hang or not to hang?

DUAL PURPOSE

A while back I was asked to make a set of four cog style bowls that also had lids. This is what I came up with and the thought was they could be used as covered serving pieces, covered bowls or just bowls without their lids, in essence, the near perfect (?) omni-bowls. This group were all about seven inches across for the body with slightly diagonal flutes to create the cog design and finished off in an oribe style glaze composed of three distinct glazes. This one is number five as it is always best to make one extra than be one short and more than likely will be impressed into Thanksgiving Day service. Enjoy your turkey day!

 

MINO-IGA?

This is another one of those, I am not sure I would have gotten there without the box description. My first thought was this was either Shigaraki or a general haikaburi vase but as I mentioned, the box notes that this is in fact, Mino-Iga. The form has that almost classic, utsushi-mono look as if it was some copy of a medieval vase with the deep vertical furrows, throwing marks, rugged lugs terminating in the oft seen bulbous neck/ mouth of a number of Shigaraki and Iga forms.   

This was made by Toki potter, Kato Mitsuhide which if you read my blog, you may remember as the creator of the funky, cool Ki-Seto koro that I have posted previously. Among other Mino styles, the tradition also showcases Mino-Iga where the pot is often woodfired with or without any seed glaze and also has iron accents splashed or trailed across the surface. As you can see, this hanaire is covered over in a rather uniform coating of textured ash with areas which have blackened a bit, breaking up the overall monotone coloration. I guess I am still not 100% sold on the description but I’ll go with, the potter knows best.  

(Hollywood backdrop courtesy of Tsujimura Shiro)