236. HASHIMOTO Tomonari, 1990- , “untitled,” truncated cone sculpture, 2023

236. HASHIMOTO Tomonari  橋本知成, 1990- , “untitled,” truncated cone sculpture, 2023

Hashimoto Tomonari was born in Wakayama Prefecture, the son of a sculptor. In 2012, he graduated from the Kyoto University of Education, where he majored in Fine Arts. He began studying ceramics in his junior year. He received a master’s degree from the Kanazawa University of Art in 2014, and a Ph.D, in 2017. After graduation he became an artist-in-residence at the Shigaraki Ceramic Cultural Park, which allowed him to pursue his goal of creating larger works. He now lives in Shigaraki. He has participated in and been selected to be a part of numerous group exhibitions and competitions and has had several solo exhibitions. His works are part of the collections of the Victoria and Albert Museum in London, Los Angeles County Museum of Art, LOEWE Foundation in Madrid, Korea Ceramics Foundation, and Shigaraki Ceramic Cultural Park, as well as several hotels in Japan. 

He forms each piece through hand-building, shaping, and paddling. The piece is then bisque-fired and glazed. Using fire bricks, he builds a kiln around each object (or collection of smaller objects) and heats the kiln to around 1000-1100 degrees Celsius. He then dumps in millet or rice husks, which carbonize on the surface and in combination with the metals in the glaze create iridescent colors in random patterns. 

A statement from Hashimoto: "Everything is simple in essence. Humans, or the society we create, can complicate or obstruct our ability to see these essences. The process of creation is a time for me to discipline myself, to face my inner self. I believe it is paramount to allow oneself time to behold the essence of things and through that observation to face oneself."

White clay, with kiln-effect colors in the red, brown, and black ranges. Weight: 2.7 kg (6 lb). Height: 24.7 cm (9-3/4 in). Width: top, 18 cm (9-3/4 in); maximum, 26 cm (10-1/4 in), base, 4.8 cm (1-7/8 in). 

This is very symmetrical; any given cross-section would be a near-perfect circle. It is a truncated cone in shape, much like a traditional gemstone. It sits on a flat base. The base has a small hole in the center to allow air to escape during the firing process. From the base, the walls rise upward and outward in a straight line to the maximum width, which is 16.7 cm (6-5/8 in) above the base. From there the walls move upward and inward, again in a straight line, to the circular top. The exterior surface is covered with many small, irregular, shallow grooves and pits. They look almost as if bits of the surface had flaked off. 

The interaction of the glaze and the carbonization of plant materials left this colored black and a deep russet color. The base was left unglazed and was largely unaffected by the final firing process. 

This came in a box, inscribed in roman letters “UNTITLED” and “Tomonari,” followed by the artist’s seal stamped in red. Hashimoto does not give his works titles, and all the boxes I have seen are inscribed “untitled.”  Included in the box was a white wrapping cloth. 

Unfortunately, because of the narrowness of the base in contrast to the size and weight of the structure above it, this does not sit firmly on the base. It would be unwise to leave it where the even a slight jostling would tip it onto its side. 

Purchased from the Kara Monzen Gallery in Kyoto, Japan, in November 2023. The Gallery hosted a solo exhibition of Hashimoto’s works in November-December 2023. The Gallery included a copy of the exhibition booklet with the work. 

235. MURAKOSHI Takuma, 1954- , natural ash-glazed water container

235. MURAKOSHI Takuma  村越琢磨, 1954- ,  shizenyū mizusashi 自然釉水指 (natural ash-glazed water container for the tea ceremony)
 

For Murakoshi, see item 234. 

Light gray clay. Kiln effect colors in reds; natural ash glazing, with white, gray, and black colors. Weight 2.3 kg (5.2 lb). Height: overall, 16.4 cm (6-1/2 in); lid, 3.2 cm (1-1/4 in); bottom part, 15.7 cm (6-1/4 in). Width: lid, 9.2 cm (3-7/8 in); rim, 11 cm (4-3/8 in); neck, 11.3 cm (4-1/2 in); widest, 18.2 cm (7-1/4 in), base, 13.3 cm (5-1/4 in). 

This sits on the edges of the base, which is slightly concave. The artist’s sigil, a long line surmounted by a short stroke (rather like a "T" with a short bar and a long tail), with two shorter lines beside the other end of the long line, has been incised into the base. The base is otherwise randomly pitted. The sides of this appear to have been formed from long strips of clay wound around the circumference. (In a description of another piece, the seller explains that this was the process used to form a large vase.) On the exterior, the seams between the strips have been shaped to form prominent ridges. On the interior the seams have for the most part been smoothed over. The body of the bottom part is a highly irregular convex curve from the rim of the base to the neck. There are many bumps and bulges in this section, and the surface is very rough and pitted. The widest part of the body occurs about 5 cm (2 in) above the base. The neck is about 12.5 cm (5 in) above the base. Above the neck, the walls flare outward at about a 70-degree angle to the rim. The outer edge of the rim is roughly 1 cm (3/8 in) wide; it is a shallow concavity and rises upward at about a 30-degree angle. The mouth drops to a narrow gallery about 1.3 cm (1/2 inch) below the upper edge of the rim. The lid is a rough circle. The upper surface is concave, with a central pillar serving as a lifting point. The surface is grooved and bumpy. The underside of the lid is convex, mirroring the general shape of the top surface. There are remnants on the underside of the three posts used to separate the lid from the shelf during firing. When properly aligned, the lid fits within the mouth. 

This was fired unglazed. The colors derive from kiln effects and natural ash glazing. The base was largely unaffected by the firing and exhibits the natural color of the clay, with some reddish coloring and vitrification on one side. The side of the pot nearest the flames has a coating of vitrified natural ash glazing, mostly in gray, with some black spots. The opposite side shows red kiln effects, but less of the natural ash glazing. On this side, toward the base, the natural clay color shows through. The exterior surface is studded with the melted white dots from the ash glazing known as shiseki 歯石 in Japanese (it translates as “tartar”). The upper side of the lid has a thick coating of gray ash glazing; the underside shows the red kiln effect colors. With the exception of the lip of the mouth and the bottom, the interior exhibits mostly the natural clay color. The mouth has some reddening and vitrification; the bottom has some blackening from soot deposits.  

This came with a wooden box inscribed by Murakoshi. The calligraphy begins on the lid and continues down one side. The column on the right reads 自然釉  (shizenyū, “natural ash glazed”); the middle column, 水指し (mizusashi, “water container”); and on the left on the front panel たくま (Takuma). Included in the box were a brown wrapping cloth and small printed biography. The artist's seals (see item no 234 for description) were stamped on the top and side of the box.

Like all of Murakoshi’s pieces, this is highly irregular and individual. 

Purchased from the Kura Monzen Gallery in Kyoto, October 2023. The Gallery hosted an exhibition of Murakoshi’s works in October-November 2023. (Invoice, customs and shipping documents)