Textured Porous Clay: Aesthetics & Transformations in Japan
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.
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?
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?
@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…
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…
rdl wrote: ↑Thu Sep 05, 2019 10:10 pmThere 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...- IMG_20190903_233431656.jpg (78.86 KiB) Viewed 15870 times
Thought I would share this Shigaraki piece by Furutani Kazuya (古谷和也 b. 1976). It's a sake pitcher, very sculptural and textural. Surprisingly smooth to the touch even though it appears rough. So far I've just been admiring it, like a new guest. The kiln changes with burnt areas is fascinating going around the piece and inside. His web site has interesting information on some of his firing and glazing techniques done in an anagama (wood-burning tunnel) kiln, which he and his father Furutani Michio are famous for.
For instance, the splash of green-blue glaze inside is called 'Bedro'
For instance, the splash of green-blue glaze inside is called 'Bedro'
and 'stone goby' is present in both pieces I have of his, plus in a Yamada III wood fired kyusu as well.During the firing, the ash of the wood falls on the work, melts with the feldspar contained in the base material, becomes glassy and flows out. That part is also called 'beadro' or natural glaze.
The part where the feldspar and silica stone contained in the base material burst on the surface of the vessel is called stone goby, and it is a highlight of Shigaraki.
- Kazuya Furuya IMG_8797.jpg (241.2 KiB) Viewed 15023 times
- Kazuya Furuya IMG_3855.jpg (486.21 KiB) Viewed 15023 times
- Kazuya Furuya IMG_9026.jpg (394.58 KiB) Viewed 15023 times
