Textured Porous Clay: Aesthetics & Transformations in Japan

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Bok
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Tue Sep 03, 2019 10:27 pm

@steanze beautiful waves of the fire!
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steanze
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Tue Sep 03, 2019 10:49 pm

Bok wrote:
Tue Sep 03, 2019 10:27 pm
steanze beautiful waves of the fire!
Yes Sekisui V does amazing things with fire.

I really like that white/red taiwanese pot you posted, also the handle's shape is very clever.
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Bok
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Tue Sep 03, 2019 11:36 pm

steanze wrote:
Tue Sep 03, 2019 10:49 pm
I really like that white/red taiwanese pot you posted, also the handle's shape is very clever.
Thanks! If only it were a bit thinner walled, I would use it more often...
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Victoria
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Wed Sep 04, 2019 1:08 am

steanze wrote:
Tue Sep 03, 2019 10:26 pm
Ok, one more :)
By Ito Sekisui V, living national treasure of Sado isand:
Really nice form and youhen effect going on. I did not know about Ito Sekisui V. Will check his work out.
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steanze
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Wed Sep 04, 2019 11:15 am

Bok wrote:
Tue Sep 03, 2019 11:36 pm
Thanks! If only it were a bit thinner walled, I would use it more often...
You just need to drink more puer ;)
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steanze
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Wed Sep 04, 2019 11:39 am

Here's a Yixing zini pot wood fired by Peter Novak. Very interesting experiment:
novak_zini.jpg
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Bok
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Wed Sep 04, 2019 7:34 pm

steanze wrote:
Wed Sep 04, 2019 11:15 am
Bok wrote:
Tue Sep 03, 2019 11:36 pm
Thanks! If only it were a bit thinner walled, I would use it more often...
You just need to drink more puer ;)
Haha

I will if I ever find Puerh that I like at a price that I can afford... so far the only ones I’d even consider where not realistic goals of purchase.
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steanze
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Thu Sep 05, 2019 9:34 pm

Bok wrote:
Wed Sep 04, 2019 7:34 pm
Haha

I will if I ever find Puerh that I like at a price that I can afford... so far the only ones I’d even consider where not realistic goals of purchase.
You have expensive taste... in Taiwan there is some pretty good puerh
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Bok
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Thu Sep 05, 2019 9:47 pm

steanze wrote:
Thu Sep 05, 2019 9:34 pm
You have expensive taste... in Taiwan there is some pretty good puerh
More likely hanging around the wrong kind of tea peers... :mrgreen:
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rdl
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Thu Sep 05, 2019 10:10 pm

There has been a lot of very interesting writing about this teaware that both attracts and repels in a sense, but certainly has a presence.
I can't seem to find enjoyment in a teacup or teapot with such texture, but because of this topic I've been looking at flower vases. I am so intrigued by the arrangements made for typical Shigaraki ware. It's almost as if the artist is challenging nature in the opposite sense: Nature, you are sublime and delicate, I the potter will bring deformity and abrasiveness to match your sublimity.
I am curious, what happens to you when you handle or create a a tea setting with this type of teaware?
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Bok
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Thu Sep 05, 2019 10:25 pm

@rdl

What happens?

For me the same that happens with any tea ware I use, contemplating the shape and texture, as well as the interplay with the drying water on the surface, steam rising, the click click of the expanding clay lid against the body (for very thin, high fired ware). For the wabi sari ware there is also often an interesting change in hues and texture when wet/hot and so on. Kind of like the difference of wet stones and shell in a river/seaside.

All in all what happens is more interesting than with “perfect” tea ware. More like sitting outside and play around with sticks, leaves and rocks.

Kind of more easily distracts from the tea itself…
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steanze
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Thu Sep 05, 2019 10:29 pm

rdl wrote:
Thu Sep 05, 2019 10:10 pm
There has been a lot of very interesting writing about this teaware that both attracts and repels in a sense, but certainly has a presence.
I can't seem to find enjoyment in a teacup or teapot with such texture, but because of this topic I've been looking at flower vases. I am so intrigued by the arrangements made for typical Shigaraki ware. It's almost as if the artist is challenging nature in the opposite sense: Nature, you are sublime and delicate, I the potter will bring deformity and abrasiveness to match your sublimity.
I am curious, what happens to you when you handle or create a a tea setting with this type of teaware?
:) it is indeed interesting to think about the different ideas of aesthetics. Some teaware, through imperfection can communicate fragility. This is the case of the spout and handle of the Yozan III I posted a few messages ago, or for instance of some of Peter Kuo's shino ware. Some teaware is an act of expression that isn't necessarily aiming to be beautiful, but could express discomfort or other things (take for instance Kyusetsu XI's Oni Hagi). Other teaware can be imperfect to reflect aspects of nature - not all nature is delicate, perhaps also less delicate part have aesthetic value/ Mitch Iburg's work on geological formations is interesting, and some bizen and shigaraki ware is too. In other cases, teaware is not made to seek perfection, instead it is a medium for the artist to leave her or his trace. That is the case for instance of Otagaki Rengetsu's work, you can see and feel the marks of her fingers on the clay where her hand had been, and her poems are carved on the wares with her calligraphy, so that her teaware is carrying a piece of Rengetsu across time...
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Victoria
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Thu Sep 05, 2019 10:40 pm

Right on, pure poetry @steanze and @Bok, your comments reflect on the aesthetic experience and artistry that can accompany a great tea session, and remain as objects to ponder and enjoy. Beautiful Otagaki Rengetsu piece. Thank you.
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