Kuro-Oribe Guinomi By Terada Teppei

[sabi]

Nice to see some ceramics being shared here lately, allow me to chime in with my latest acquisition.

 

 

Oribe are simply some of my favorite pieces, and while no doubt more famously known for copper green glazes featuring bold, vibrant brushwork (Ao-Oribe), there lies a substyle called black Oribe (Kuro-Oribe or Oribe-guro). Vessel shapes and motifs are carried over for the most part, but the dark and rich glaze presents us with an entirely different feel.

 

Black (Raku) was heavily favored by tea master Sen no Rikyu (and despised by Hideyoshi), so it seems only natural that some wares bearing his successor's name (Furuta Oribe) continued that trend. Kuro-Oribe works form an aesthetic middle ground between the zen influenced cosmos of Raku, and the powerful exuberance of Ao-Oribe.

 

Adding a good black Oribe has been on my list for several months now, and that is far easier said than done. Not many potters seem to specialize in it, and some who do (looking at you, Suzuki Goro) command very high prices. Teppei Terada was one of the few artists I came across in my wheelhouse; affordable pieces conveying a specific sensibility. Luckily for me, a favorite vessel type came up for sale with another personal favorite motif, which is what we have here.

 

 

 

This guinomi is rendered in a classic low-slung shape, but instead of being circular (wan-gata), it borrows inspiration from the clog shaped chawan of the Momoyama/early Edo period known as kutsu-gata. As is the case with many Oribe works there are multiple motifs shown, which can be independent of one another or combined to form a common theme. The crackled white is decorated with outdoor curtains on the front, while the back is a geometric pattern. It could be simply that, however I've read it can also symbolize a fence or gate, much like one you'd find adjacent to a tea house. Inside sits a lone stylized cherry blossom alongside something that I really have no idea about, which is not uncommon with many Oribe wares being a bit abstract. Surrounding these elements is a luscious black glaze that flashes chocolate brown and bronze hues at the edges. Its application is careful without being contrived, and organic without being messy. A prominent, well-formed foot supports the piece and contrasts beautifully with the irregular bowl.

 

The piece as a whole displays a hanami, or flower viewing, which is seen on period Oribe vessels. Below is a screen from Kano Naganobu's "Merrymaking Under the Cherry Blossoms", an early 17th C. work that is now designated as a National Treasure. To the left you can see where the curtain motif is derived and they are a fixture of many hanami paintings, often rendered in wonderful patterns and colors keeping with the time. Overall, it's a light-hearted motif that captures the changing of the seasons and the splendor of entertainment being shared with good company. Don't forget the sake!

 

 

 

 

 

 

 

[Brian]

Thanks for the education Evan, very interesting.

[Toryu2020]

Very nice

[sabi]

Thanks Thomas, and Brian I'm glad you got something out of it!  The world of Japanese ceramics is massive, and I find them fascinating in the same way as blades, fittings etc. 

[sabi]

Had a minute to do some reading this evening and wanted to give this a quick update.

 

First, based on a couple period examples, the grid and dot pattern is most likely a reference to a type of fabric, which ties in with the overall theme.

 

I've also added a few pictures of another blossom viewing screen, this one by Amagi Sōchū (early-mid 17th C.). Set in the Eastern hills of Kyoto, note the various curtain set-ups used to distinguish different parties and offer a touch of privacy.

 

The last is a profile shot of a clog-shaped Oribe-guro chawan to illustrate the inspiration for this guinomi.

 

 

 

 

 

 

[sabi]

One more quick update to this one. I came across a Momoyama/early Edo kuro-Oribe chawan featuring the same motif. A wonderful piece with some obvious age and use behind it.

 

 

[Aloof Pegasus]

Evan that is really a nice guinomi! Well done, great catch. Apologies for such a late comment.

[sabi]

Thanks Philip! Was relieved to secure a good kuro-Oribe as it was quite the task!

 

One of my favorite things about guinomi is that potters who work in classic forms tend to use them as a canvas for scaled down versions of other late 16th/early 17th vessel types. We have this one emulating a kutsugata bowl, and here's another from our favorite Aiko San that's done in the style of an old pail type mizusashi:

 

 

 

[Aloof Pegasus]

M8 you've got a thing about ridges. Better start collecting kukri!

Nice one!

[ken kata]

Hello Evan,

Thanks for showing and telling about you collection.

 

I also collect Japanese Chawans, and, some Yunomis.

You do have a good eye for the "Original" "authentic' , "Museum Quality"  pieces.

I always wondered , are there many Collectors of this level of "quality"?

I have seen some at "Low" starting prices, usually several hundred dollar range.

I did want to venture into these " Museum Quality" grade pieces, but, I was always afraid, that there is no market for  the prices they go for.

 

I think I got about 100 chawans in my collection.

I have many ,that was over 100 dollars.

My Kichizaemon was 500, but, nothing over that, as, I was to afraid to "Invest'.

 

Evan, Guys, Any thoughts on the future of collecting Authentic, Original , Museum Quality pieces? 

[Henry Wilson]

More of that Kuro Oribe

 

https://page.auctions.yahoo.co.jp/jp/auction/k292679452

[Aloof Pegasus]

The thing that's nice about contemporary pieces is you can experience it first hand before it's been classified or 'revisited' given a retrospective etc. The shipwreck style of contemporary Karatsu for example although you could say it's inspiration is historical.

[TETSUGENDO]

Alton,

Collectors of high-end, top of the range, objects exceed the quarry they seek. As a group they are small but impassioned. Be mindful, the marketplace is unpredictable and offers no assurance of a positive financial outcome. IMHO, the surest way To success is to, after careful consideration, collect objects that bring you true pleasure.

-Regards,StevenK
p.s.-Collector/investor is seldom a comfortable fit!

[sabi]

Philip,

 

It's not, me I swear! Haha

 

The ridge on my yunomi is a pretty common trait of ki-seto drinking vessels, and this Aiko has what I would call a wide lip on the top. I believe she was using something along the lines of this as inspiration...

 

Bizen mizusashi, Momoyama period

 

 

 

And speaking of Aiko-san, the wonderful cup you sold me has arrived safe and sound - halfway around the world in two days, man the internet is crazy! Thanks so much again, I owe you one!

 

 

 

 

 

 

Alton,

 

Steven's reply to your post is dead on - museum quality period pieces simply aren't available for purchase on the open market very often and when they are, they command a small fortune. The Oribe-guro chawan below sold for 80k USD a few years back, and the Narumi-Oribe tebachi ended at a staggering $300k in 2007 (I'd reckon that would sell for a bit less these days, though). You could probably track down a respectable early example for a few grand with enough patience and persistence, but the top shelf stuff generally starts in the stratosphere. There is a legit period kogo listed on YahooJP currently, I've been told it's sat there for a year, so it's certainly a bit overpriced at a cool $30k, give or take a few bucks. But still, it gives you an idea of the level you have to play at.

 

 

[TETSUGENDO]

Evan, Sage words. Its a shame that so many of the finest pieces seldom see the light of day! 

 

-StevenK.

p.s.-looks like you are building a fine collection.

[ROKUJURO]

A SHINO GUINOMI. Signature is not fully identified, second KANJI is YAMA/ZAN









 

[Henry Wilson]

Could the first be 宗?  The signature could be Shuzan.

[ROKUJURO]

Henry,

thank you! Very probably SHUZAN!

There is another one in my small collection from HAGI, but I can't read the MEI. If you want to give it another try? I would appreciate it!





 

[Henry Wilson]

Oh I could but life is short ????

 

Try this

 

http://nihongo.monash.edu/cgi-bin/wwwjdic?1R

[Henry Wilson]

I see 木 and 矢 as radicals of the first character.

[Ed]

Evan, 

Love the Kuro Oribe Guinomi. 

 

Amongst others, I have several Oribe pieces, both ao-oribe and kuro-oribe. They include Mizusashi, Chawan, Chaire, Kogo, but no Guinomi.  

 

 

There is a legit period kogo listed on YahooJP currently,

Do you have a link to this one? I would love to look at it. 

[sabi]

Hey Ed!

 

Was hoping you might chime in, I've seen the pieces on your site and they're wonderful. I'm especially envious of your kuro-Oribe kogo

 

Here's the link for the one on Yahoo:

 

https://page.auctions.yahoo.co.jp/jp/auction/k290632891

 

It's a stunning example, very desirable shape and motif (for me at least).

[Ed]

Evan,

It must have been fate that brought me to those.  All of the Oribe pieces came from one seller who according to the listing was selling an old collection, much like an estate sale. I hadn't looked at YHJP in months and one day opened it up and there they were, bought them all.

 

Thanks for sharing the link, it is a very nice guinomi, the floral finial is a sweet touch.  I do like it more than mine, but not enough to swap them. The $30K is undoubtedly the major factor  .

 

The Shigaraki cups you posted are very nice as well.  

 

Do you ever look for tokuri, I have had an eye out for a Kuro-Oribe Tokuri, but have never seen one.  I have a Ao-Oribe tokuri and a Kuro-Oribe guinomi. They are nice, but nothing exceptional.

[sabi]

Thanks Ed! I'm glad some of my humble lineup resonates with guys like you who have been at it for awhile and have a keen eye for quality.

 

Sounds like a dream that day you checked Yahoo! Surely they would've been gone instantly if you didn't get to them.

 

And as it so happens, I do know where one is currently available, and at a very good price.

 

http://enishi-an.com/t14027.html

 

Made by the same potter as my guinomi, he seems to be one of the only kuro-Oribe specialists out there. I very much enjoy his work - especially his kuro. I think he has a great eye for shape, and the glazes are some of the most convincing I've seen on modern pieces. The brush work is classic - bold, lively and the color, much like his glaze, is perfect and beautifully saturated.

[Ed]

Evan,

Thanks for the link.  The tokkuri didn't appeal to me, not rustic enough I suppose.  But, I did buy several others.

[Aloof Pegasus]

Hi Evan

Happy to hear it arrived safe and sound and that you like it.

Nice tokkuri here if you like Aiko. I'll get some buttons made.

 

http://ishizuchicorp.co.jp/wordpress/wp-content/uploads/2017/10/16-17.jpg

[sabi]

Yes I do agree with you, the white on that tokkuri isn't as crackled as most of his other pieces, and it definitely presents a bit cleaner. I suspect it would age well though!

 

Hope to see what you picked up! ????

[Ed]

Ok, as soon as they confirm that they are mine, I will post some photos.

[ROKUJURO]

As it was mentioned, a little KÔGO: 





 

[ROKUJURO]

And one of my favourite GUINOMI:







KARATSU, potter is NAKASATO.