View from the interior of the Ichino workshop, with standard production work on the shelves in the foreground and the kiln in the background. Potters will be interested to note the angle of the incline on which the kiln is built. There is no chimney on this kiln. The end wall of the last chamber at the top of the kiln has holes in it to function as exit flues for the smoke and gases of the firing but, again, no chimney. Because of the slope of the incline, the kiln, itself, functions as a chimney, pulling the draft to burn the wood.
These pieces had been left outside, on the ground next to the kiln. Some have obvious rough spots on them and may be pieces that will be re-fired.
Sake bottle by Fujiwara Yu (1932-2001), a modern potter in Okayama, Bizen. The piece is perhaps 6 inches tall, made of unglazed stoneware. In the lower right, we see a suggestion of uncovered clay, the dense dark iron red that characterizes much Bizen ware. The rest of piece is heavily covered with deposits of ash from the firing and the crustiness of the surface suggests that perhaps the piece was in a part of the kiln where it was completely buried in charcoal during the firing. On loan from an anonymous collector, R2002.51.1
Food-serving dish with plant and half wheel design, from Mino region of Gifu Prefecture. Simple wheel thrown form squared off while still in wet state. Museum label describes the piece, technically, as stoneware with inlaid slip. Perhaps the decoration was achieved by coating the entire surface with a dark slip (liquid clay) and then cutting the design through the slip coating to reveal the lighter colored clay of the piece, itself, under the slip. Museum purchase, B76P2
Bottle, stoneware. The form was covered with a contrasting white slip. Several horizontal bands were created by incising horizontal lines through the white slip. Within the horizontal bands, areas, defined by those incised lines, the potter or decorator then used brush and iron oxide to paint design motives on the surface, with the glaze then being applied over the decoration. The Avery Brundage Collection, B65P63
This Fresh water jar ("mizusashi") is a tea ceremony vessel, an example of Iga ware, a style of vessel created in Mie Prefecture and valued highly by tea masters. Approximately 9 or 10 inch tall, wheel thrown using a light stoneware clay body, fired in a wood fueled kiln with resulting flashing coloration and some natural ash glaze deposits. The black lid of the jar is lacquer, rather than clay, as was frequently the case with tea vessels. The soft clay was manipulated, probably while the piece was still on the potter's wheel, deliberately deforming the piece slightly, which has the effect of emphasizing the soft, malleable nature of the material before it is fired.
Another view of the Oribe dish shown in image ecasia000370, showing more clearly the interior of the piece.
Porcelain box with underglaze cobalt and overglaze enamel decoration. (Gift of William Vredenburg, 1991.102.a-.c )
In winter, warmth in a Japanese home is supplied from charcoal in a beautiful hibachi. On a cold November day this mother carries her son on her back, covered by a heavy kimono which keeps them both warm. --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
An example of Agano ware used during the tea ceremony.
This celadon bowl with a carved landscape decoration and cloud scroll border is a southern type called longquan ware, with its typically grayish body and burnt reddish-brown where exposed in the firing. The thick, pale olive green glaze darkens in the recessed carved design to highlight the subject of the decoration. 5 inches high by 8.5 inches wide.
The decoration on this blue and white charger was inspired by Islamic ceramics of the 16th and 17th centuries and influenced the decorative patterns used on 18th century Dutch Delft wares.
This detail shows the haste with which this type of object was made in the swerving double lines at the top and the splashed ink trees on the right.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
Image of bottom of ink stone water dropper showing Daoguang reignmark painted under translucent glaze.
This doucai enameled dish is decorated with maidens in a terrace garden scene within a border of pine, prunus and bamboo, the â€œthree friends of winterâ€. These plants are emblematic of longevity, as each hearty growth survives the cold, harsh winter months. The dish is inscribed on the base with an apocryphal Ming Dynasty Zhenghua (1465-1487) reign mark, but the decoration, enamel technique and subject matter are clearly 18th century. Width 8 inches; height 1 5/8 inches.
This doucai enameled shallow dish is decorated on the interior with a central lappet roundel within double circle borders; the exterior depicts three cranes, emblematic of longevity amongst cloud scrolls and fungus. The base is inscribed with a Yongzheng (1723-1735) reign mark and is of the period, however the quality of the enameling and porcelain suggest that it was not intended for the Imperial household.
13 1/2 X 2 3/4 X 6 inches. Glazed pottery tomb figure of musician on horseback.
Blanc-de-chine porcelain 5 1/2 X 2 1/2 X 2 inches, with bluish tinge. Seated figure of deity, most likely Guanyin.
A traditional "mizuya" or preparation room sits apart from the tearoom. Typically, the most honored guest sits closest to the alcove, but our tea room is designed in a configuration known as geza-doko, which allows visitors to enjoy a full view during a demonstration. The first guest sits closest to the outer-most edge of the tea room.
Pair - 5 1/2" h. Baluster - 6 1/8" h. A pair of pyriform vases on a high splayed foot, molded with a raised floral scroll above a raised band which is over a band overlapping lotus leaves, an incised thin band on the wide neck terminating in a flat ringed mouth. The dirty light brown and crazed glaze on the exterior falls to halfway down the foot where the grey sugary body is brown from firing. A third vase is of baluster form with molded leaves on the shoulder below the bulbous portion and on the foot, two applied tubular handles above an incised ring on the neck. The dirty light brown glaze is halfway down the foot.
Cup - 2 1/8" h x 4" w. Stand - 1 1/4" h x 5 3/4" w. Petal - carved, campanulate cup, green-glazed, crazed and pooling thickly in recesses and running down on a solid, slightly splayed base in thicl pools, flat base with traces of spurs, double groove below the rim on the exterior. Design of overlapping petals repeated on the inside of the stand, encircling the cup ring, concave base, buff colored body.
7 1/2" w. Small dish, shallow, gently curving upward from the flat, footless bottom with traces of three large spur mounds, carved design of overlapping lotus petals with pod rings in the center, olive green crazed and glassy glaze with dark poolings in the recesses and near the base, grey body.
3 1/2" h. Similar to "Chinese Stoneware Jar -Large" - less the lobes, less the solid foot. Footless concave bottom.