244. KOJIMA Kenji , 1953- , Iga-ware vase

244.  KOJIMA Kenji  小島憲二,1953- , 伊賀耳付花入  Iga mimitsuki hanaire (Iga-ware vase with ear-lugs)

Kojima Kenji was born in Aichi Prefecture in 1953 and graduated from the Tokoname Ceramics Vocational High School in 1971. In 1973 he spent a year in Iga before moving to Bizen for a five-year apprenticeship with Konishi Tōzō. He returned to Iga in 1979 and built an anagama. He has exhibited with the Nihon Tōgeiten National Ceramics Exhibition, Asahi Tōgeiten Ceramics Art Exhibition, and Chūnichi International Ceramics Exhibition, as well as an impressive list of solo exhibitions in some of Japan’s top galleries. Pictures of many of his works can be found online. 

Light gray clay, with the addition of many small feldspar-sand pebbles; kiln effects in the reddish brown range (hi-iro coloration) and natural-ash glazing in the cream to black range, with a glossy sheen on all parts of the exterior and some bidoro formation particularly on horizontal surfaces; the interior has some drips of natural-ash glazing and reddish-brown coloration from kiln effects, with very little sheen. Weight: 3.4 kg (7.7 lb). Height: 28.5 cm (11-1/4 in). Width: of rim, 12.7 cm (5 in); at widest point, 16.3 cm (6.5 in); of base, 13.3 x 15 cm (5-1/4 x 6 in). 

This sits on a flat base, an irregular oval. There are two small paper labels attached to the base, presumably inventory marks; one reads “2,” and the other”MC 534.”   The base is about a centimeter and a half high (1/2 in); the edges of the base extend beyond the bottom of the walls of the piece, forming a ledge of varying widths. The walls are divided into two, stacked sections, each a rough cylinder. The two are joined about 14 cm (5-1/2 in) above the base. The bottom section is roughly cylindrical. The top section is wider at the lower end, where it overhangs the bottom section a bit. Its walls move inward slightly toward the curled rim. The upper surface of the rim was flattened. The mouth is circular, but with five, irregularly shaped indentions, almost as if it were the outline of a five-petalled flower. Although Kojima called the handles by the traditional name of “ears,” they are straighter than most examples of pottery mimi, bowing outward slightly only toward the center of the vertical distance. The tops of the handles are attached at the join between the two sections, and the bottoms to the ledge formed by the upper surface of the base. Because of the orientation and shape of the upper section, from some angles the base appears to tilt. To judge from pictures of other examples of Kojima’s Iga-ware vases I found online, he often uses this two-part structure for vases.   

On the lower section, on both the front and the back (arbitrarily defined as the space between the handles, with the side with the most hi-iro coloration designated the front), Kojima made two deep, vertical incisions the length of the cylinder. Between these two grooves, he incised two X’s with somewhat shallower cuts, The decoration on the top section is more irregular. A groove circles the section near its bottom. There are five, irregularly spaced vertical grooves. These tend to slope to the right as they move downwards. On both the front and the back, off to one side, there is a dent shaped like the > symbol. On the front, this dent is filled with lines creating a pattern of squares. On the back this shape was obscured by a heavy coating of natural ash glazing. 

The surface texture of the piece ranges from quite smooth in the areas of heavy ash glazing to very rough at the edges and seams. The interior areas largely unaffected by the natural-ash glazing reveal that the clay used was very coarse. 

This was fired unglazed. The color of the unaffected clay shows through in a few spots on the base and underneath one of the handles. In general the bottom cylinder exhibits more of the hi-iro and less of the natural ash glazing. The ash glazing is heaviest on the upper section on the right-hand side of the piece. On the back of the piece, the ash glazing flowed down over the bottom section, became darker as it neared the base. The horizontal areas on the lip, the tops of the handles, the groove where the two sections are joined, and the ledge where the base and the lower section meet exhibit many areas of the dark-green glass-like vitrification known as bidoro.  Again, in looking at other examples of Kojima’s Iga-ware vases, this is a common pattern of kiln effects. He must have carefully placed the pieces in the kiln with the deliberate aim of creating such results. 

The double structure of the piece is mirrored in the double structure of the kiln effects. On this piece, the handles appear to be supporting the upper section and redistributing its weight away from the lower section, much as flying buttresses do.

This came in a wooden box, inscribed by Kojima on the lid in three lines on the upper left and center: 伊賀 / 耳付 / 花入  Iga / mimitsuki / hanaire (Iga[-ware] / ear-lugs / vase); and signed Kenji 憲二 with Kojima’s seal stamped in red.  Included in the box were a brown wrapping cloth and a short printed biography. 

Purchased from the Kura Monzen Gallery in Kyoto, Japan, in March 2024 (invoice and customs and shipping documents)

243. Bizen-ware "gold dust pouch" water container

243.  Bizen-ware water container for the tea ceremony 古備前耳付砂金袋水差  ko Bizen mimitsuki sakinbukoro mizusashi  (old[-style] Bizen-ware “gold dust pouch” water container, with ear lugs)

Roman Nikolaev, the seller, dates this to the 1950s. Here, the 古 in the inscription on the box refers not to the age of the piece but to the style of Bizen-ware. This imitates the older methods of making and firing Bizen-ware, which were revived in the twentieth century. Rather than a pottery lid (a 共蓋 tomo-buta) made of the same clay as the base, this has a black lacquered wooden lid (a 替蓋  kae-buta). 

Dark reddish brown clay, with natural-ash glazing on the exterior, with many patches of goma 胡麻, yellow sesame-seed-like deposits of ash, and some blackening of the exterior surface; the interior has no glazing. Weight: overall, 1680 g (3.75 lb); body, 1630 g (3.6 lb); lid, 50 g (1.8 oz). Height: 17.3 cm (6-7/8 in). Width: mouth, 9.8 cm (3-7/8 in); lip, 14.2 cm (5-5/8 in); narrowest, 10.3 cm (4-1/8 in); widest, 17.4 cm (6-7/8 in); base, 13.2 cm (5-1/4 in). 

This is shaped like a drawstring bag. It sits on the flat base, which is about 1 cm (3/8 in) thick. At one edge of the base, a small circle with an interior bar was incised into the clay; this may be a kiln mark. The surface of the base is lightly scored with lines, some of which continue up the sides of the piece. The walls extend upward in a convex arc, with the widest point occurring about 3.8 cm (1-1/2 in) above the base, extending to the narrowest width 10.7 cm (4-1/4 in) above the base. There is a pronounced groove encircling the pot at the narrowest width. Above this, the walls rise outward in a shallow arc to the lip. The body of the pot has horizontal striations at fairly regular intervals, perhaps remnants of finger marks if this was thrown on a wheel, or of the coils of clay if this was hand-shaped. The front of the pot has a large, irregular dent in the center, These striations are much more pronounced in the upper part of the body. Four deep vertical grooves were incised into the pot, two each on the front and the back, in the bottom section of the pot. There is another deep groove encircling the pot, at an irregular height above the base, just below the places where the bottoms of the ear lugs are attached. In contrast to most ears on Japanese pots, the widest points of the ears are at the lower end rather than the upper. The tops of the ears are 13.8 cm (5-1/2 in) and the bottoms 7.6 cm (3 in) above the base. The lid sits on a recessed gallery. The interior of the pot mirrors the shape of the exterior. The surface is relatively smooth. 

This was fired unglazed. All the surface colors and effects resulted from natural-ash glazing, ash deposits, and kiln effects. Most of the goma occur on the front of the piece. 

Like a drawstring pouch, this sags toward the base, a movement mirrored in the ear lugs, which also sag downward. “Gold dust” may be a nod to the golden goma spots. 

This came in a wooden box, inscribed in two lines, 古備前 / 耳付砂金袋水差  ko Bizen / mimitsuki  sakinbukoro mizusashi  (old[-style] Bizen-ware / “gold dust pouch” water container, with ear lugs). A paper strip pasted on the side of the box reads 備前焼 Bizenyaki  (Bizen-ware).

\Purchased from Treasures of Old Times, Perth, Australia in March 2024 (invoice, customs documents).

 

 

242. MATSUO Takaaki (1938- ), Iga-ware cylindrical sake cup, with natural ash-glazing, kiln effects, and dragonfly eyes

242. MATSUO Takaaki 松尾髙明  (1938- ),  伊賀自然釉窯変蜻蛉目のぞき盃  Iga shizenyū yōhen tombo no me nozoki-hai (Iga-ware cylindrical sake cup, with natural ash-glazing, kiln effects, and dragonfly eyes)

For Matsuo, see item 241. 

Light gray clay. Natural ash glazing over the exterior and upper portion of the interior, with kiln effects in the red range on the exterior and interior; some vitrification. Weight: 80 g (2.9 oz).  Width: of rim: 5.5 x 4.8 cm (2-1/4 x 1-7/8 in); of base, 3.5 cm (1-1/2 in). Height: 6.5 cm (2-5/8). 

This is similar to the preceding item, but slightly smaller. The inscription on the box explicity labels it a natural ash-glazed piece. It was also fired with the mouth facing the direction of the heat and ash flow. 

This sits on a very shallow, concave circular base. Above the base the walls flare out at a shallow angle to a diameter of 4.2 cm (1-3/4 in). From there the walls rise in more or less a straight line to the rim. The top of the cup is an oval. The movement from the round base to the oval rim creates a piece with two slightly flatter sides. The surface varies from smooth over the vitrified portions to rough over the areas with more ash deposits. Nozoki is one of the terms for labeling a cylindrical piece. 

Unglazed. This was apparently fired lying on one side with the mouth facing the direction of the heat and ash flow. The ash deposits are not as heavy as they are on the preceding item; they are heaviest on the side that faced upwards. The vitrification occurred at the edges of these ash deposits and ran down the sides in several long drips. The side facing downwards shows kiln effects in the red range. The interior shows some ash deposits at the rim; the rest of the interior shows kiln effects. The base was colored a dull red from the kiln effects. 

This came in a box, inscribed by Matsuo. The top surface of the lid reads, in four lines, 伊賀 / 自然釉窯変 / 蜻蛉目 / のぞき盃  (Iga / shizenyū yōhen / tombo no me / nozoki-hai;  Iga[-ware] / natural ash-glazing, kiln effects / dragonfly eyes / cylindrical cup). The underside of the lid is inscribed with the potter’s given name 髙明 (Takaaki) followed by an impression of his seal stamped in red. Included with the box were a short printed biography and an orange wrapping cloth. 

Purchased from Kura Monzen Gallery, in Kyoto, Japan, (Shipping label, invoices, customs documents)

 

241. MATSUO Takaaki (1938- ), Iga-ware cylindrical sake cup, with kiln effects and dragonfly eyes

241.  MATSUO Takaaki 松尾髙明  (1938- ),  伊賀窯変蜻蛉目のぞき盃  Iga yōhen tombo no me nozoki-hai (Iga-ware cylindrical sake cup, with kiln effects and dragonfly eyes)

Matsuo was born in Yokohama. In 1960 he began studying ceramics under Tsuji Seimei 辻清明 at Renkōji in Tama City and trained for over fifteen years. He constructed an ascending kiln at Renkōji in Tama in 1975 and became independent. He was selected for the Issuikai Exhibitions in 1967 and 1968. Since then he has mainly exhibited in private exhibitions. His work focuses on Shigaraki-ware, Karatsu-ware, and Hagi-yu glaze. 

Light gray clay. Natural ash glazing over the exterior and upper portion of the interior, with kiln effects in the red range on the exterior and interior; some vitrification. Weight: 96 g (3.5 oz).  Width: of rim: 5.6 x 4.8 cm (2-1/4 x 1-7/8 in); of base, 3.5 cm (1-1/2 in). Height: 7.2 cm (2-3/4). 

This sits on a very shallow, concave circular base. Above the base the walls flare out at a shallow angle to a diameter of 5 cm (2 in). From there the walls rise in more or less a straight line to the rim. The top of the cup is an oval. The movement from the round base to the oval rim creates a piece with two slightly flatter sides. The surface varies from smooth over the vitrified portions to rough over the areas with more ash deposits. Nozoki is one of the terms for labeling a cylindrical piece.

Unglazed. This was apparently fired lying on one side with the base facing the direction of the heat and ash flow. The ash deposits are heaviest on the base and the side that faced upwards. The vitrification occurred at the edges of these heavier ash deposits and ran down the sides in several long drips. The side facing downwards shows kiln effects in the red range. The interior shows some ash deposits near the rim and an area of kiln effects beneath this layer. The bottom area of the interior shows only the clay. 

This came in a box, inscribed by Matsuo. The top surface of the lid reads, in three lines, 伊賀 / 窯変蜻蛉目 / のぞき盃  (Iga / yōhen tombo no me / nozoki-hai;  Iga[-ware] / kiln effects dragonfly eyes/ cylindrical cup). The underside of the lid is inscribed with the potter’s given name 髙明 (Takaaki) followed by an impression of his seal stamped in red. Included with the box were a short printed biography and a blue wrapping cloth.

Purchased from Kura Monzen Gallery, in Kyoto, Japan, (Shipping label, invoices, customs documents)

 

240. BUNKYŌ Masaki (fl. 1772-89), “Hinode jūrō” chawan (Sunrise Longevity [God] teabowl)

240. BUNKYŌ Masaki  文京柾, fl. 1772-89. “Hinode jūrō” chawan 日の出壽老茶盌 (Sunrise Longevity [God] teabowl)

Description provided by seller: 

“This extraordinary tea bowl, eloquently named ‘Sunrise and Longevity,’ emerges as a masterful creation by the tea master Bunkyō Masaki. A visual symphony unfolds within the bowl, as a pristine white glaze delicately cascades over a vibrant reddish canvas, echoing the gentle hues of the morning sun. Amidst this enchanting surface, the discerning eye can trace the graceful figure of Jūrōjin 壽老神, the deity symbolizing longevity.

“Indeed, this tea bowl stands as a resplendent masterpiece, encapsulating the very essence of a sunrise. Bunkyō Masaki's meticulous craftsmanship and artistic vision radiate, transforming this piece into a profound testament to the beauty and artistry inherent in his pottery.

“Residing in Miyamachi near Nagoya Castle during the An’ei-Tenmei era (1772-89), Bunkyo Masaki was not merely a doctor but also a dedicated practitioner of the tea ceremony. His renown extended beyond medical expertise to encompass exceptional pottery craftsmanship, notably in the creation of tea utensils such as chawan (tea bowls), mizusashi (water jars), kōrō (incense burners), and lid holders. Notably, Bunkyō Masaki's approach embraced the artisanal technique of handcrafting (te-giri  手切 ) rather than relying on a wheel.

“Bunkyo Masaki's creative palette extended to various glazes, including Kisetō, Oribe, as well as traditional Setō iron and ash glazes. His aspiration to emulate Momoyama pieces, coupled with experimentation in glazing techniques, attests to the depth of his artistic exploration.

“Of particular intrigue is the indirect revelation within Bunkyō Masaki's work, shedding light on the rich tapestry of pottery techniques in Setō during his era. Remarkably, his pottery endeavors predate Katō Shuntai's birth by 20-30 years, the renowned artisan celebrated for his impeccable replicas of Momoyama pottery. This chronological distinction suggests that the techniques for Momoyama imitations had already taken root in Setō during the latter half of the 1700s. Bunkyō Masaki's contributions to the art form, coupled with his commitment to replicating historical styles, contribute significantly to the cultural legacy of Setō pottery.”

Dark brown clay. Glazed in orangish-pink and white with black figures; base and a narrow band around base left unglazed. Weight: 272 g (9.7 oz). Width top, 11.8 cm (4-5//8 in); base, 5 cm (2 in). Height: 6.3 cm (2-1/2 in). 

This was handmolded by pinching. It sits on an uneven base, roughly circular. The interior of the base was gouged out in an irregular shape. Because of the unevenness of the base, the bowl wobbles a bit. From the base, the walls rise in convex arc to roughly two-thirds the height and then continue in a straight line to the rim, flaring outwards slightly. The walls are quite bumpy and vary considerably in thickness. The rim is very irregular. A small chip in the rim was repaired at some point using red lacquer. On the back side, just above the base, a round stamp was pressed into the wall. It is slightly large in diameter than a quarter. There appear to be raised figures of characters within the stamp, but they may just be protrusions in the clay. There is a circle of the same size on the interior of the bowl, in a different location. The surface is quite smooth to the touch. 

A glaze that fired in the color range of orangish-pink to rusty pink was first applied to the interior and exterior of the pot. The figure of Jūrōjin was drawn in black (probably the iron-rich glaze used in Japanese pottery for such drawings) on the front. On the right-hand side of the pot a small circular squiggle was drawn just above the unglazed portion. A white glaze was then splashed over the exterior wall, largely obscuring the drawing of Jūrōjin. Some of this white glazed dripped down the interior. 

This came in a box, with two old wrapping cloths. The top of the box is inscribed, in two lines, 文京柾 / 日の出壽老茶盌文京柾  (Bunkyō Masaki  /  Hinode jūrō chawan).  The underside of the lid has a long inscription in larger characters, followed on the extreme left with lines in smaller characters. Both are written in Classical Chinese, and each is followed by the personal seal of the writer stamped in red. The first inscription is dated “the first ten-day period, September 1915.”  I am unable to read all the characters. The first inscription praises Bunkyō’s skills in general terms. The second supplies the correct character for “kyō” in the potter’s name.

Purchased from Treasures of Old Times, in Bangkok, Thailand, February 2024. (Purchase receipt)