Bizen Masterworks
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Wes Rolley
Nov 27, 2009, 11:11:30 PM11/27/09
to ClayCraft
As promised a few days ago, I have scanned three images of a familiar
form, one each by three Bizen potters. Kaneshige Toyo, Fujiward Kei
and Yamamoto Toshu.
I decided that I have enough photos scattered around that I want a
place to other things and started my own flickr account and a Bizen
set.
You can find the images here:
http://www.flickr.com/photos/34067374@N07/sets/72157622889517812/
form, one each by three Bizen potters. Kaneshige Toyo, Fujiward Kei
and Yamamoto Toshu.
I decided that I have enough photos scattered around that I want a
place to other things and started my own flickr account and a Bizen
set.
You can find the images here:
http://www.flickr.com/photos/34067374@N07/sets/72157622889517812/
bill geisinger
Nov 27, 2009, 11:50:40 PM11/27/09
to clay...@googlegroups.com
sweet pieces especially the Kaneshige!
bill in sebastopol
bill in sebastopol
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rickma...@comcast.net
Nov 28, 2009, 12:18:16 AM11/28/09
to clay...@googlegroups.com
I agree those are beautiful pieces.
Check these pages for more Bizen work :
http://www.nihon-kogeikai.com/KOKUHO-E/ISEZAKI-JUN-E/ISEZAKI-JUN-SAKUHIN-E.html
http://www.nihon-kogeikai.com/KOKUHO-E/YAMAMOTO-TOSHU-E/YAMAMOTO-TOSHU-E.html
http://www.nihon-kogeikai.com/KOKUHO-E/FUJIWARA-YU-E/FUJIWARA-YU-SAKUHIN-E.html
And this one for Hagiyaki:
http://www.nihon-kogeikai.com/KOKUHO-E/MIWA-KYUSETSU-E/MIWA-KYUSETSU-SAKUHIN-E.html
And this page for some shino:
http://www.nihon-kogeikai.com/KOKUHO-E/SUZUKI-OSAMU-E/SUZUKI-OSAMU-SAKUHIN-E.html
Enjoy,
Rick
Check these pages for more Bizen work :
http://www.nihon-kogeikai.com/KOKUHO-E/ISEZAKI-JUN-E/ISEZAKI-JUN-SAKUHIN-E.html
http://www.nihon-kogeikai.com/KOKUHO-E/YAMAMOTO-TOSHU-E/YAMAMOTO-TOSHU-E.html
http://www.nihon-kogeikai.com/KOKUHO-E/FUJIWARA-YU-E/FUJIWARA-YU-SAKUHIN-E.html
And this one for Hagiyaki:
http://www.nihon-kogeikai.com/KOKUHO-E/MIWA-KYUSETSU-E/MIWA-KYUSETSU-SAKUHIN-E.html
And this page for some shino:
http://www.nihon-kogeikai.com/KOKUHO-E/SUZUKI-OSAMU-E/SUZUKI-OSAMU-SAKUHIN-E.html
Enjoy,
Rick
Wes Rolley
Nov 28, 2009, 10:27:30 AM11/28/09
to ClayCraft
While we can appreciate that all three pieces are of the highest
order, I am more interested in the characteristics that make them
different from one another. Part of what I was trying to illustrate
is that even though you might use the same clay and a very similar
firing technique, what ultimately comes through is the character of
the individual and their unique artistic vision. I am often forced to
recall two quotes:
The first from Rosanjin from the book Uncommon Clay that Craig has
been reading:
"Why should we not be able to do what others have done before us? The
answer must be that art is created not by human wisdom or intellect,
but by human character as it is shaped by the times."
The second from Kato Tokuro went something like this, as translated
by my wife.
The hand can create only as high as the eye can see.
order, I am more interested in the characteristics that make them
different from one another. Part of what I was trying to illustrate
is that even though you might use the same clay and a very similar
firing technique, what ultimately comes through is the character of
the individual and their unique artistic vision. I am often forced to
recall two quotes:
The first from Rosanjin from the book Uncommon Clay that Craig has
been reading:
"Why should we not be able to do what others have done before us? The
answer must be that art is created not by human wisdom or intellect,
but by human character as it is shaped by the times."
The second from Kato Tokuro went something like this, as translated
by my wife.
The hand can create only as high as the eye can see.
bill geisinger
Nov 28, 2009, 11:09:00 AM11/28/09
to clay...@googlegroups.com
Hi Wes and all
Your point on variation is well demonstrated with these three potters of bizen.The individuality and imagination of each is strong. I am also including some of my favorite quotes from potters associated with Japan. Thank you for yours I'm going to include them in my group.
Tradition is always changing. A mere copy of an old piece has not changed; it is nearly the same as its prototype of four hundred years ago. Tradition consists of creating something new with what one has inherited.
Michiaki Kaneshige
First, you see the firing, Second, you see the clay, Third, you see the craft and the imagination
Kobei Kato
Technique is not to be taught, but to ambitiously acquired,
Tatsuzo Shimaoka
The quality of ware changed from period to period, depending on the tastes and wishes of the clan leader. The Bizen ware of a thousand years ago was Sue ware, a thinly potted, unglazed gray and black product. The Sue ware of the area was made as offering vessels or, as the Japanese say, as presents to the gods.
Toyo Kaneshige
The knowledge and skill of the Japanese potters is the result of centuries of cumulative thought and effort, each generation building on the foundation established by preceding generations
Herbert Sanders
bill in sebastopol
Your point on variation is well demonstrated with these three potters of bizen.The individuality and imagination of each is strong. I am also including some of my favorite quotes from potters associated with Japan. Thank you for yours I'm going to include them in my group.
Tradition is always changing. A mere copy of an old piece has not changed; it is nearly the same as its prototype of four hundred years ago. Tradition consists of creating something new with what one has inherited.
Michiaki Kaneshige
First, you see the firing, Second, you see the clay, Third, you see the craft and the imagination
Kobei Kato
Technique is not to be taught, but to ambitiously acquired,
Tatsuzo Shimaoka
The quality of ware changed from period to period, depending on the tastes and wishes of the clan leader. The Bizen ware of a thousand years ago was Sue ware, a thinly potted, unglazed gray and black product. The Sue ware of the area was made as offering vessels or, as the Japanese say, as presents to the gods.
Toyo Kaneshige
The knowledge and skill of the Japanese potters is the result of centuries of cumulative thought and effort, each generation building on the foundation established by preceding generations
Herbert Sanders
bill in sebastopol
Lee
Nov 28, 2009, 11:35:18 AM11/28/09
to clay...@googlegroups.com
I am working on the presentation for my last class, The Anatomy Of
Japanese Pottery. I have the catalog out for the Idemitsu show on
Shino and Oribe pottery that was an epiphany for me.
Nobody thought about making teabowls in Bizen or the other
unglazed kiln firings before raku and Rikyu. And raku was influenced
by Korean ricebowls.
The other breakthru for me was a Yoshidaya Kutani show at the
Ibaraki prefectural museum. What I realized there, was that the
most vibrant Japanese pottery came about when the Japanese were trying
to make their own versions of Chinese and Korean ware. Once they
stopped being influenced by the original inspirations, the forms
became codified, safe and just copies of themselves.
After the Meji, the West was a big inspiration. I am
afraid currently, that Japanese work is too dependent upon Japan and
many of the works are either souvenir copies or charactures of the
most recently financially successful work. I am hoping Japan opens
more contact with China. Another blossoming could happen in both
countries.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"The intuitive mind is a sacred gift and the rational mind is a
faithful servant. We have created a society that honors the servant
and has forgotten the gift." -- Albert Einstein
Japanese Pottery. I have the catalog out for the Idemitsu show on
Shino and Oribe pottery that was an epiphany for me.
Nobody thought about making teabowls in Bizen or the other
unglazed kiln firings before raku and Rikyu. And raku was influenced
by Korean ricebowls.
The other breakthru for me was a Yoshidaya Kutani show at the
Ibaraki prefectural museum. What I realized there, was that the
most vibrant Japanese pottery came about when the Japanese were trying
to make their own versions of Chinese and Korean ware. Once they
stopped being influenced by the original inspirations, the forms
became codified, safe and just copies of themselves.
After the Meji, the West was a big inspiration. I am
afraid currently, that Japanese work is too dependent upon Japan and
many of the works are either souvenir copies or charactures of the
most recently financially successful work. I am hoping Japan opens
more contact with China. Another blossoming could happen in both
countries.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"The intuitive mind is a sacred gift and the rational mind is a
faithful servant. We have created a society that honors the servant
and has forgotten the gift." -- Albert Einstein
Des & Jan Howard
Nov 28, 2009, 4:36:31 PM11/28/09
to clay...@googlegroups.com
Lee
Part of a personal email from a recently returned
traveller. I must admit though, the people concerned
were neither potters or collectors.
"They tell me that, because I'm a westerner, come here
to study traditional japanese pottery, I can't expect
to be able to understand the sophisticated and
peculiarly Japanese sense of natural beauty which is
inherent in the Japanese soul and culture. They point
to a plastic replica of a piece of drift wood, nailed
to the wall, a copy of a famous piece of wood once
selected by the famous Japanese tea master to decorate
his tea house. These are readily available in the 100
yen shops (probably made in China) Pointing at this
piece of plastic,... I'm told that the Japanese know
nature when they see it and apparently I will never
really be able understand this.
I am forced to admit that I have to agree."
Lee wrote:
> After the Meji, the West was a big inspiration. I am
> afraid currently, that Japanese work is too dependent upon Japan and
> many of the works are either souvenir copies or charactures of the
> most recently financially successful work. I am hoping Japan opens
> more contact with China. Another blossoming could happen in both
> countries.
Hayashi Kyosuke managed to impress the Chinese
with his temmoku work.
Des
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
Part of a personal email from a recently returned
traveller. I must admit though, the people concerned
were neither potters or collectors.
"They tell me that, because I'm a westerner, come here
to study traditional japanese pottery, I can't expect
to be able to understand the sophisticated and
peculiarly Japanese sense of natural beauty which is
inherent in the Japanese soul and culture. They point
to a plastic replica of a piece of drift wood, nailed
to the wall, a copy of a famous piece of wood once
selected by the famous Japanese tea master to decorate
his tea house. These are readily available in the 100
yen shops (probably made in China) Pointing at this
piece of plastic,... I'm told that the Japanese know
nature when they see it and apparently I will never
really be able understand this.
I am forced to admit that I have to agree."
Lee wrote:
> After the Meji, the West was a big inspiration. I am
> afraid currently, that Japanese work is too dependent upon Japan and
> many of the works are either souvenir copies or charactures of the
> most recently financially successful work. I am hoping Japan opens
> more contact with China. Another blossoming could happen in both
> countries.
with his temmoku work.
Des
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
Lee
Nov 28, 2009, 5:03:37 PM11/28/09
to clay...@googlegroups.com
Hi Des,
There is nothing some Japanese folks like better that to
profess how unique "Japaneseness" is. This kind of provincial
thinking is fostered by Japanese and non-japanese alike. Not all
Japanese are like this. Folks that do foreign travel aren't as
caught up in it.
Anybody can understand culture if they take the time to do it.
It is in no way racial or genetic.
Jean spent a lot of her English language teaching time,
teaching Japanese traditional culture to her Japanese students.
Interest in the traditional fell off after WWII. (It fell off earlier,
with the headlong rush into modernity during the Meiji era. Both
Okakura and Yanagi's work were to help protect traditional culture.)
One potter, who was the wife of the Master Kiln Builder, once
said about Jean and her woodblock print work: "Our children will not
preserve Japanese culture. But Jean will." We were in the moku
hanga (woodblock print) club together. Jean likes to use old post
cards and folk toys as her imagery.
There is nothing some Japanese folks like better that to
profess how unique "Japaneseness" is. This kind of provincial
thinking is fostered by Japanese and non-japanese alike. Not all
Japanese are like this. Folks that do foreign travel aren't as
caught up in it.
Anybody can understand culture if they take the time to do it.
It is in no way racial or genetic.
Jean spent a lot of her English language teaching time,
teaching Japanese traditional culture to her Japanese students.
Interest in the traditional fell off after WWII. (It fell off earlier,
with the headlong rush into modernity during the Meiji era. Both
Okakura and Yanagi's work were to help protect traditional culture.)
One potter, who was the wife of the Master Kiln Builder, once
said about Jean and her woodblock print work: "Our children will not
preserve Japanese culture. But Jean will." We were in the moku
hanga (woodblock print) club together. Jean likes to use old post
cards and folk toys as her imagery.
rickma...@comcast.net
Nov 28, 2009, 10:14:51 PM11/28/09
to clay...@googlegroups.com
Bill,
Nice to see these quotes. I enjoyed Dr Sanders' quote, got me thinking about the years I spent as his student at San Jose State University. Thank you!
Nice to see these quotes. I enjoyed Dr Sanders' quote, got me thinking about the years I spent as his student at San Jose State University. Thank you!
Rick
----- Original Message -----
From: "bill geisinger" <geis...@deanza.edu>
To: clay...@googlegroups.com
Sent: Saturday, November 28, 2009 8:09:00 AM GMT -08:00 US/Canada Pacific
Subject: Re: *ClayCraft* Bizen Masterworks
rickma...@comcast.net
Nov 28, 2009, 10:22:19 PM11/28/09
to clay...@googlegroups.com
Lee, there is lots of contact with China, China needs help to re-establish what was lost of their tradition during the Cultural Revolution. China is making strides at a rapid rate, between 1999 and 2006 I saw great change there with lots of advancement in Ceramics. The Decorator is still king (or the artist and the potter is just a journeyman). Maybe in Yi Xing and Yoazoyao things are different where potters are highly regarded but it seems that the pot painters are getting the lions share of credit.
I also felt that the Chinese approach is more like the western (perhaps even Ancient Greek way with restricted forms covered with painting and in the case of China at time spectacular glazes) one. Some of the students are making exciting work but I fear that they will have to make more "standard" work as they progress.
I also felt that the Chinese approach is more like the western (perhaps even Ancient Greek way with restricted forms covered with painting and in the case of China at time spectacular glazes) one. Some of the students are making exciting work but I fear that they will have to make more "standard" work as they progress.
Rick
----- Original Message -----
From: "Lee" <tog...@gmail.com>
To: clay...@googlegroups.com
Sent: Saturday, November 28, 2009 8:35:18 AM GMT -08:00 US/Canada Pacific
Subject: Re: *ClayCraft* Bizen Masterworks
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