264. ŌMAE Satoru, 1972- , Devils’ Island sake cup in the Korean style)

264. ŌMAE Satoru 大前悟, 1972-  , Onigashima gosho-maru hai  鬼ヶ島御所丸盃  (Devils’ Island sake cup in the Korean style)

Ōmae was born in Osaka in 1972. He began decorating Kenzan-style pottery in Kobe in 1991 with his brother. In 1994 he began making Nanban-style unglazed pottery. His first solo exhibition was held in Osaka in 1999, and he moved to Shigaraki in 2001, where he began working on Iga- and Shigaraki-style wood-fired pottery and at the same time began holding solo exhibitions nationwide. He built a fully underground anagama kiln in 2003. In 2005, he became interested in glazed pottery and began creating white porcelain and Karatsu ware. In 2007, he was attracted to Korean pottery from the Joseon Dynasty and started experimenting with Ido tea bowls and persimmon calyx tea bowls using anagama kiln firing techniques. After absorbing many styles, he reached a turning point in 2010, when he moved to Awaji Island and built a semi-underground anagama kiln and a raku kiln. He started making black raku ware. In 2016, he began using clay from Awaji Island to make white raku ware. 

Light tan clay. Glazed in cream and a dark, almost black, brown; the foot ring and surrounding area of the base left unglazed. Weight: 74 g (2.6 oz). Height 3.8 cm (1-1/2 in). Widths: rim, 5.8 x 5 cm (2-1/4 x 2 in); widest, 6.3 x 6 cm (2-1/2 x 2-3/8 in). 

This mimics the shape of many straight-sided teabowls. It sits on a six-sided foot ring, about 2 mm (1/16 in) high and 3.2 x 2.8 cm (1-1/4 x 1-1/8 in) wide. Two small, transparent paper labels are affixed to the foot ring; with the numbers “40” and “40-5” written in black ink. The bottom extends outward and upward at a slight angle to the maximum width, 1.2 cm (1/2 in) above the base. The walls then rise vertically to the rim. There are two horizontal grooves running around the bowl, the first just below the midpoint and the other just under the rim. The walls bulge outward slightly above and below these grooves.The shape of the interior mirrors that of the exterior. The surface is smooth on the glazed portions. The unglazed portions feel like fine-grained sandpaper. 

This was glazed in a slightly smoky cream and a dark brown. The brown shades into tan where the glaze is thin and into black where it is thicker. This combination of colors is apparently what qualifies the piece as “Korean.” 

This came in a wooden box inscribed on the side by the artist in three lines: 鬼ヶ島 / 御所丸盃 / 悟 Onigashima / gosho-maru hai / Satoru (Devils’ Island / Gosho-maru cup / Satoru). Onigashima is the name of a mythical island. “Gosho-maru” was a name given to ships used in the trade with Korea. The artist’s name is followed by his seal stamped in black (as are other of his boxes). Included in the box were a short printed biography and a brown wrapping cloth, also stamped in black with the artist’s seal. 

Purchased from the Kura Monzen Gallery in Kyoto in October 2024, who received it directly from the potter in summer 2024. This was part of an exhibit entitled Shōka 昇華  (“sublime”), or Modern Masters in English, a show of fifteen currently active potters (invoice and shipping and customs documents).