Mukuhara Kashun Tsuchinohana Yunomi

I can not remember how many years ago it was that a Tsuchinohana Yunomi from Mukuhara Kashun first caught my eye.  Well needless to say, that one was bought before I could save up the money, and I have been watching them in anticipation ever since, finally for my 25th birthday decided to purchase one.   I was asked by someone what caught my eye about this style of piece, and it is something that I struggle to put into words.  I could do it in one word, heavily weighted with a multitude of different meanings all buried within.  So in one word: impermanence.

Maybe it is the fact that it looks ancient when brand new, looks like one good wind storm or a down poor of rain will cause it to crumble away.  Something that is almost the antithesis of flashy, in the sense that you would far more expect to see this cup in a little cave, or hermits hovel, as opposed to a palace, or mansion.   While it really is not frail ( though I haven't fully tested that, and I do not intend to any time soon)  the appearance is somewhat endearing.



As to the actual details of the piece, incredibly light weight, with a smooth but bumpy texture, from the very sandy clay.   As pictured above it has a lovely kiln/glaze effect up one side of the piece, which really highlights all the sand in the clay body.  The foot looks a bit small  but is nicely carved.  Though Mukuhara kashuns chop is so small and such an irregular shape I often have a very hard time discerning it from the standard bumps and cracks in some of his more coarse clay bodies.



The most interesting aspect about this yunomi is how it appears to be riddled with all sorts of very veyr tiny cracks, some large and clearly going through the glaze, and others very very small, and completely covered by the outer glaze,or are perhaps just slight fissures in the outer glaze, revealing the underglaze, but it really gives a very dry and cracked earth appearance to the piece.

Mashiko!

So I am known for loving Wabi sabi pieces, which depending on your choice of words could be considered rustic, wonky, rough, or just plain childish in their appearance. One thing I will say is in my limited work with making my own pottery, the real talent in Hagi and similar wares is making the irregularity of the piece seem like it just absolutely belongs there.  Whether it is a  flaw in the glaze, or just plain rough and irregular form of the piece, after you get to know the piece you wouldn't have it any other way.

So now for something completely different:





This lovely cup is from Tagami Munetoshi a fifth generation Mashiko potter.  I say something completely different because the cup like quite a bit  of Mashiko ware, and many other types of pottery in Japan they aim for near perfection in every piece.  I honestly never thought I would enjoy these nearly perfectly created pieces as much as I do, its shape is also incredibly interesting, and its fun to rub my finger over those three green dots on each side of the cup which were applied quite thick and are slightly raised above the surface.

The cup its self when empty is so light and delicate feeling its almost like holding nothing at all, except for the slightly cool sensation on your fingers, there is no real sign that you are holding a piece of pottery. What was a wonderful surprise for me, is that although the glazing on the inside looked completely coherent, after a few cups of tea it stained in very fine crackles, giving the piece that well loved look I enjoy so much.

I will admit I have a lot to learn about Mashiko yaki.  I see no sign of a chop on this piece.  I almost wonder if its one of those things that takes some practice, and eventually you can identify a pieces providence on sight alone.

Non-traditional Korean Teaware

It has been said about Korean teaware that there are the traditional celedon type glazes, with traditional "kyusu" type designs, and then there is the new wave of Korean Teaware Artisans, which take their influence from a wide variety of area's. Seong-il is one of those new more revolutionary teaware artisans in Korea.

First off this little addition to my order, a what I can only believe is a lid rest, at least that is what I am using it for. While I think it might have been a slightly defective piece due to inconsistencies in the glaze on top, the wonderful flower design surely makes this a well loved treasure.

And I have wanted a wood fired teapot ever since I saw some amazing wood fired Kyusu's. While this only has a little bit of the effect I believe it has a "Salt Shino" on it which while glazed gives the outside of the pot a rather natural clay like outside to the teapot.

These two Shino cups are really starting to open my eyes to Shino, and how great it can be. These basically look like Child versions of the Chicago Potter Pink Shino Yunomi, and I may just do a side by side comparison of both of them as a post on this blog in the future.

So as I try and focus this blog on, what I have been learning about pottery though acquireing these pieces. And While this is a bit of a focus on the differences between Traditional and Non-traditional teaware, I felt I should include a picture of what I can believe is rather traditional for Korean teaware.

Clearly these offer two completely different styles.

But the biggest thing I learned had to have been the wonders of Shino, just from the little peak through the window I got to see.

Hagi Teacups of various styles.

Looking at all my Hagi teacups that are actually able to be used for tea with ease. Two of these are Special offer so I can not say how readily similar styles are available outside Teachat Special offers, I will comment on where I have seen similar styles/ if I have seen similar styles.

From Hagi yaki

This is a classic style Yunomi by Mukuhara Kashun, and these are available in a vareity of sizes. I have seen some that are absolutely huge, and some that are about half the size of this. I think this qualifies as a medium sized Yunomi and it holds probably about 8 oz to the rim and a little more than 6 comfortably.

From Hagi yaki

This was a Special offer at Teachat, and I honestly have not seen many teacups quite like this, it holds about 3 or 4 ounces making them a small teacup, but its so wide on top and is such an open bowl that it lets tea and water cool quite quickly. There are several slightly smaller Guinomi's (sake cups) in a similar style but they usually have steeper sides. But in terms of tea cups, quite a few non Hagi artists most notably American Artists have cups somewhat similar, though not as wide of a bowl.

From Hagi yaki

This is billed as a wan, and these can come in several different variations, but these are rather standard and are a good all season cup. But at this point I feel I have acquired too many basic style wans. And while each is unique they are usually a bit on the plain side.

From Hagi yaki

These Tebineri (Pinch Work) Wans are almost hybrids between Classic Yunomi's and wans as all of them I have seen are a bit taller than wans but nearly as wide. I have seen a few of pinch work cups somewhat similar than these on zencha.net by one of the Choun's who are known for pinch work pieces.