Kuro Raku Tea Bowl

[Aloof Pegasus]

With Aiko most of her production is covetable in my eyes, whereas with most of the other potters, her male competition, it's more difficult to find something to live with. Christian described a tokkuri as 'cruel' looking and I was struck with the term's accuracy. If I can point you towards Fujinoki Dohei who makes beautiful Karatsu ware.

[Aloof Pegasus]

Here's his website.

 

Doheigama.hananusubito.net

 

http://doheigama.hananusubito.net/item-anagama-sake.html

 

is a shop in Ginza, no online sales but look how nice that Karatsu sakazuki is!!!! The one in the middle with 灰被片口酒器 唐津灰被酒呑 唐津灰被酒呑 唐津灰被手びねり酒呑

 

That one is typical ash colour but the one below by a happy chance came out with typical traditional Karatsu colouring even though from the ash.

 

He's in Saga.

[Aloof Pegasus]

 

http://shukiya.ocnk.net/phone/product/121

 

Here's a similar one currently for sale.

[Bernard]

Dear Philip,

 

Many thanks for the links! I like diversity in Japanese ceramics.

 

I do know Fujinoki Dohei and love his work, too. To date, I have two guinomi by him (sorry for the poor photo).

 

Bernard D

[Aloof Pegasus]

Hi Bernard

 

 

I'm glad you like him too but...

 

More pics!!!

 

They are both lovely.

 

Please, the two koudai and the views inside.

[Bernard]

Here are more pics...home made....

Bernard D

[Bernard]

...and from the merchant site. In reality, the white color is more grey/beige.

Bernard D

[Aloof Pegasus]

He really is a star! Thanks for the pics.

[Aloof Pegasus]

Iga Tokkuri by Aiko Watanabe 2013

 

This one gets harder to refill as the evening wears on.

[Bernard]

A charming tokkuri. Reminds me a little of this one, by Sasayama Yoshihito (not mine).

Bernard D

[Ed]

Great idea for a new section !  Just read through it and was impressed with the number of beautiful pieces and how many people here seem to appreciate the beauty of pottery. Though I confess, I could have lived forever without the reference to the relationship of the sex organ/koudai  :-)

 

While I am not very educated on makers, schools, etc., I have been acquiring various pieces of Japanese pottery for some time.  Much like Chris stated, I too simply acquire pieces which appeal to me.  First introduced by Dean Hartley years ago, I slowly but surely developed a love for Japanese Pottery. Something about it's simple elegance (wabi-sabi) appealed to me. 

 

Seemingly, I am drawn to Oribe, Kuro-Oribe and Shigaraki primarily, though I have pieces of Shino, Karatsu, Seto, etc.  Within the Oribe and Kuro-Oribe groupings I have been fortunate to acquire not only Chawan, but Mizusashi, Chaire, Kogo and one Tokkuri. Still looking for Ko-Oribe tokkuri in traditional or black.

 

Chris, nice guinomi.  I also picked #1 as the non Japanese one, before reading the answer.  While a gorgeous cup, it appears a little "outside the box" in its shape.  Again, lovely but just enough non-traditional in it's style to give it away.  I really like guinomi and tokkuri but only have 10-12 total combined.  I prefer the older ones but do have a couple of newer ones received as gifts.

 

Since so many like pieces done in black, here is a Kuro Karatsu Chawan, by Nakazato XIII of the famous Nakazato Family.  His father was designated as a Living National Treasure in 1976.  He is the thirteenth generation of unbroken lineage dating back to the 17th century. The first generation "Nakazato Matashichi" died 1663.

 

 

[Steve Waszak]

Hi Ed,

 

Beautiful chawan.  Thanks for posting the images.

 

You mentioned Oribe and kuro-Oribe in your post, and having a number of works of these types.  Are the pieces you have period (i.e. Momoyama), or later works?  Might you have any photos you could share of these?   

 

Cheers,

 

Steve

[Ed]

Hi Steve,

Again, just an amateur collector of pottery and the lack of any documentation provided, it is difficult for me to date these pieces with any certainty.  It is my understanding that Oribe pottery had it's beginning around 1600 and received it's name from the great tea master Furuta Oribe (1544-1615).  Having had the opportunity for in hand inspection of some very fine pieces both here and Japan, I tend to think these to be old, in fact I tend to refer to these as Ko-Oribe, but it is merely a gut feeling if you will.  

 

These pieces came from an old and fine collection in Japan.  They are without a doubt not new or modern, and were sold as Ko-Oribe, but to make a statement like Momoyama without some tangible evidence, provenance or verification is not something I would consider myself qualified to do.

 

If you care to shed some light, share your thoughts on them, I am all ears.

 

Here are a few photos of Oribe pieces.

[Aloof Pegasus]

'I could have lived forever without the reference to the relationship of the sex organ/koudai '

 

Actually Ed...that was a joke. ???? Sorry. For the record Robert Yellin has this to say about koudai.

 

"More than that though, the kodai reveals the potter's skill and spirit. A good kodai should be carved like a master calligrapher wielding his willy...er er sorry a brush; spontaneous, with rhythm, delicate and yet at the same time powerful, pure."

 

 

The Houan teabowl has a lovely serene feeling.

[Steve Waszak]

Hi Ed,

 

Many thanks for posting these...  All are very appealing.  To my eye, and from having studied Momoyama era Oribe ware a bit, the two kogo appear most likely to be period.  The chaire is a mayyybe, while the others look revivalist (i.e. 19th-century) or later.  The publication, Turning Point:  Oribe and the Arts of Sixteenth Century Japan Met Publications, 2003) is an invaluable book for those interested in Momoyama Period pottery, especially that connected with Tea, and even more so as concerns Furuta Oribe and the ware(s) that he is so intimately associated with.  In particular, there is a valuable set of images---some of Momoyama era kuro-Oribe pieces, and then of 19th-century revivalist pieces---for comparison purposes.  Highly recommended. 

 

Cheers,

 

Steve

[Ed]

Actually Ed...that was a joke. 

I suspected as much, hence the smilie at the end of my statement.  But good to know none the less :-)

 

 

 

Steve, Thanks for your thoughts and the book recommendation.  I have not seen this book but may buy a copy for a little more insight.  

 

Quite honestly I have never taken the time nor had much desire to study pottery at length.  For me, it is a fun thing I enjoy without the desire to become too knowledgable. If it catches my eye and makes me smile, that is sufficient. 

 

Thanks again,

Ed

 

[Aloof Pegasus]

Here's a very simple Iga guinomi by Aiko Watanabe. It's from 2010.

 

To me her yakimono always seems effortless and at the same time still properly respectful of which ever style she is working in.

[Bernard]

www.e-yakimono.net/html/fujioka-shuhei-jt.html

 

Here is a link to an article by Robert Yelling  about Fujioka Shuhei and some pics of my guinomi by this great modern Iga potter.

 

Bernard D

[Mark S.]

We must keep in mind that the true measure of a chawan is how well one can make a perfect bowl of tea (especially koicha) for the pure enjoyment of one's guest... but I digress from the discussion of the bowl as art. Just thought there wasn't enough controversy in this thread... still have to learn how to add a smiley when posting from iphone...

 

Mark S.

[Aloof Pegasus]

Hello Bernard

 

Thanks for posting that guinomi. The especially nice aspect for me is the vividness of the colours. That applies to your 'cruel' tokkuri as well. If you have a moment I'd be most interested to hear yr thoughts about J attitudes to colour in pottery.

[Bernard]

Hello Philip,

 

Glad you like the colours, as I do.They are vivid, but much softer than on the photos of the online site from where I bought it. I expect to be also a difference in colours for the "cruel" tokkuri, as the photos I posted here were taken by the same gallery; if so, I'll post some "homemade" pics when I receive it.

 

I have no educated thoughts about Japanese attitudes to colours in pottery, only a preference for Iga wares, often so colourful. Here are photos of a tokkuri I would have bought with no hesitation  if I had had the opportunity (Kazuhiro Fukushima). 

 

Bernard D

[Aloof Pegasus]

Hello Bernard

 

Lovely tokkuri! Great bidoro and I really like the square lip.

 

On the subject of colour in J art I'm certainly no expert. Every time someone Japanese comes over they comment on a small collection of Oriental rugs I keep on the wall. As you know rugs are about colour above all else. Design and so on comes second etc. All these people tell me that for the Japanse it's the same. Maybe someone with more knowledge can comment?

 

I'm looking forward to seeing yr pics of the new tokkuri.

[Aloof Pegasus]

Set of 5 Oribe Kobatchi (small plates)

[Bernard]

Nice pieces, very appealing. Thanks for sharing. 

Who is the potter ?

Bernard D

[Aloof Pegasus]

Yeah I can't remember, sorry.

[seattle1]

Hello:

 This forum,started by Brian on the 17th is just great. My wife and I left for Japan on the 18th and just returned a couple of days ago and it is surprising to see so much posted on yaki of various types in the intervening days. Kyoto was our base and attending the two well know outdoor "antique" markets there, Toji and Kitano-tenmangu, held each month on the 21st and 25th, were high on our list of familiar haunts. Ceramics are always looked for, but now in more recent years there are acres and acres (almost it seems) of semi-deceptive Chinese ceramics, along with every other type of deceptive look alike you could imagine. I know that has probably always been so to some extent, but now the mass of obviously "bad" stuff is sort of shocking and as a probably consequence we now see fewer and fewer foreign dealer/hunters on the prowl.

 I was happy to find one nice Hagi chawan, and having failed to convert enough USD into JPY, I was happy that the dealer would take greenbacks. This prompts two questions:

 1. The bowl shows considerable staining from  real use. Is that best left alone or should it be cleaned to some extent to reveal more of the interior glaze features? I suppose there are two schools of thought at least. I once found a beautiful Ido bowl in Seattle which was very stained, temporized on the purchase and went back the next day to buy it - which I did anyway, but by then it had been returned to what most be its "original state" and a lot of the charm was gone.

 2. Does anyone know of any stateside dealers who sell good material this side of stratospheric prices?

 Cheers,

 Arnold F.

[Aloof Pegasus]

Chashibu is the word for staining from use. Hagi is said to go through 7 stages owing to the porous nature of the clay. You can clean it if you want to but the staining will return and certainly it adds to the interest when examing the activities inside the bowl.

 

Here are 2 yunomi from the same set. You can see the one which has seen the greatest use shows the most interest.

[Henry Wilson]

Here is the tea bowl that Philip sold me with some tea in it, along with some pics of my Ido bowl.

Posted from iPhone.

[Aloof Pegasus]

Looks very nice Henry, I'm glad to see it back in use. Nice froth, mate.

[Henry Wilson]

Comparing the shots above with the ones below, it would seem that Kasen Goshirae are intended to encapsulate the essence of tea ceremony. Sorry about the separate pics, but the scanner is too small for that big bad boy!!

Post from iPhone.