Kuro-Oribe Guinomi By Terada Teppei

[Ed]

Heard back from Enishi, looks like I missed the kuro oribe guinomi. 

Here are the two I bought. The second is a 180° for me, but it appealed to me visually.  Next I'll be buying those bright flashy ones 

 

 

[sabi]

Ah nice tokkuri Ed! Loved those two ao-oribe ones still available, glad one went to a good home! I've bought a couple pieces from that gallery and his service is always top notch.

 

Tanba ware is very hit or miss for me, but I quite like the body color on that cup. And good point, you'll be buying works from Toru Ichikawa in no time!

[Ed]

Yes, I really like the tokkuri, it embodies the manifestation of wabi-sabi, at least in my eye.

 

Even though the Tanba ware piece with more modern colors, they are subtle or more subdued, leaning enough towards the rustic wabi-sabi look that attracts me.

 

I do like the other two as well.  I almost grabbed this one:

[Henry Wilson]

Picked this Kuro Oribe guinomi from Yahoo auctions for my wife to celebrate White Day.  I love the fact that it is shaped like a tea bowl.  She too is delighted with it.

 

 

 

 

 

 

 

[sabi]

Nice one Henry, plum blossoms are a favorite motif of mine. 

 

Guinomi are actually known as "miniature chawan", and I've seen more than a few that take inspiration from other tea ceremony wares such as mizusashi. 

[ken kata]

Good Morning..

Howzit guys..

 

Man, you guys find the cool, old stuff!!

Many of the items I got, are MRPO ( Modern-made  Regular Production Options/items)...

 

I often look at the bottom "Un Glazed" portions, to see if it looked "Aged"..or, how "Aged' does it look..

 

I am trying to get a feel for the "Market Values" , with "age-consideration".. If that makes sense to you guys.

Design/Motif  is a big factor, but, assume that the feature design is "acceptable" to taste..

 

There must be a "cut-of" point , where the Item/art Piece becomes "significant enough", to command high prices, or, "Museum Quality Status".

I know it is relevant to Affluence, but, how, or, what else, can determine if the piece is "significant'.

Significant, in the sense of "Importance to the " Heritage of a Nation", the people, the culture...

 

I do not think "Supply and Demand" is a good way to see this.. but, more of Culture Significance.

But, the  "Supply and Demand" method, and, or, Desires to own things,  of today , seems to dominate over Culture Significance.

 

I am curious to know what you gentlemen paid for your Art Pieces you show, to get some sense of value .

You can,  Please, private message me with that.

[sabi]

Alton, I don't believe any of the pieces in this thread are "old" (aside from the period vessels I've referenced). A couple may be mid-century vintage, but that's about it IMO.

As far as determining "significance", it's like anything else really - how were the top level swords, tsuba etc determined to be better than most?

Regarding modern Japanese ceramics made in the style of their Momoyama ancestors, there are a few things I look for. If it's something like the Oribe in my OP, the character and color of the glaze, as well the brush work are vital - study the old ones and you'll quickly realize when a modern piece isn't convincing. Many lack nuance, and motifs are far too often rendered in a weak, remedial manner. If we're talking unglazed wares a la Bizen, Iga etc, it's all about the firing - the various kiln effects that lend individuality and character to each work. But, no matter the style or vessel type, shape is of utmost importance IMO. Everything culminates to just how well is the coveted, ancient aesthetic portayed? The artists that seem to command the highest prices are those that best accomplish this in the eye of the community. Of course that's highly subjective, but great work always stands out. Again, studying period pieces is absolutely necessary to have any sense of all this.

And I can tell you right here how much I paid for mine. I own three guinomi at the moment and one yunomi - only two were above $100 shipped, with nothing over $150.

[Steve Waszak]

Here is a period (Momoyama) kuro-Oribe chawan that sold at auction late last year.  It is an obvious, no-doubter genuine Momoyama kuro-oribe piece.  Relatively few such early pieces have survived to present day, so to find such a terrific example on offer will generate some pretty fierce competition.  This chawan attracted hundreds of bids, and sold for over 3.4 million yen.  I'd love to have had it, but as soon as I saw how magnificent it was, I knew it would skyrocket, and I'd have no chance...    This is the sort of piece that comprises an excellent ceramics collection all by itself. 

 

Cheers,

 

Steve

[ken kata]

Good Morning Guys,

Thank you for your "Insights'..

Discussing the vast number of "Points of Interest" that come to mind when observing an item,

helps bring the "Overall" mindset to become better at making my own judgments.

 

The "Informal" way we discuss things here, (You Gentlemen add  "Personal Touch of Wisdom, Patients and Kindness")

makes it easier to learn , that trying to find reading on the subject matter.

 

I have these newer "Kuro" Oribi style Chawans.

I find those unusual, flat, saggy shaped ones fit really well in hands.. Very comfortable , like a Banana  fits in the hand.

[sabi]

Alton,

 

Couldn't agree with you more on how well the kutsugata fits in the hand. If done correctly, all of the little swells and curves are in the perfect place.

 

I like the shape of the two on the right you have there.

 

 

I'll keep this going with my latest acquisition. I had been trying to find a good Oribe-guro cup for some time now and stumbled across this listed online, tucked away in a Tokyo gallery. Coincidentally, it's made by the same artist as the kuro-Oribe in my OP.

 

This one is slung a bit lower and wider, with the characteristic rounded triangle profile. Dressed entirely in glaze, the only "decoration" are two sets of marks - one on the inside and one on the outside, left by the tongs used to pull this piece from the fire. This technique, known as hikidashi-guro, rapidly cooled the iron glaze and provided a near instant oxidation, turning the piece jet black.

 

It is thought that initially, these were mere test pieces used to gauge the temperature inside the kiln. Tea master Seen no Rikyu, realizing the beauty of these works through their emphasis on process, brought them into the chashistsu, and the rest as they say...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

[ken kata]

 

 

I am tending to go towards the Mino Oribe irregular shapes, like you.. 

and, have been adding more Oribe to the Collection.

 

Got this big size Tomobako..

and, this standard size Tomobako the other day.

 

I can't read the kanji, but, supposed to be "Sho Kato" and "  Shuntai Kato"..   

[sabi]

The irregular shapes are certainly my favorite, and one of the best aspects of them is that you're constantly discovering new angles and lines. For instance, I was having a drink with this the other night and noticed a new one that I had missed during my initial "photo shoot". Just a quarter-turn one way and it presents in a completely different manner.

 

 

 

I'm afraid I can't help you with the box as I've only recently begun to learn how to speak the language, let alone read kanji. However, I do know that the Kato family is a big name in Mino ceramics so I wouldn't doubt it...