SHOUMAN ( 小満 ) INCREASING HEAT

Hongo Hideyuki Gold Chawan Safflower blooms tea bowl SPRING Solstice 

23th season that start from 5/26 to 30 (may): Safflower blooms.
[Condition] It is an intact and complete product.
[Size] Diameter about 13.5cm Height about 10cm
From the 72-color gold bowl and the space, it is the 31st weather "warm wind blows".
It was created based on the theme of "a device that engraves the seventy-two seasons that change every five days". Based on the twenty-four years of energy born in ancient China, one year was divided into 72 equal parts every five days. Seventy-two seasons with the meaning of calendar.
Seventy-two weathers in Japan, which match the climate of Japan, represent changes in flora and fauna and weather in seventy-two short sentences, and the image is made using 22 types of glaze and gold leaf and gold solution, and the seasonal transition colors It was produced by expressing 72 in 72 bowls.
This work expresses the "Safflower blooms." which is one of the twenty-three of the three small Komans, and is full of safflower blooms. Is beautiful, and the artist's original view of the world, which is finished in a container shape with exquisite distortion, gives a great sense of artistry.It's a very modern piece, and it's a work that you can enjoy from various angles.
There is an "H" inscription on the hill. Comes with a box.

【More ahead with season】Bright red, orange and yellow safflowers in morning haze (July 7, 2016) The busiest season for safflower farmers has begun in Takase area,Yamagata-shi. Yamagata Prefecture. The farmers pick the flowers in early morning when the thorns surrounding the flowers and the leaves are softened by the morning dew. This way, they don’t get the thorns in their fingers. The flowers are used to produce dye, and the picking season goes through until mid-July. There are safflower fields of approximately 4 hectares in total in Yamagata-shi, according to Agricultural Cooperative (JA) Yamagata.
【More ahead with season】Bright red, orange and yellow safflowers in morning haze (July 7, 2016) The busiest season for safflower farmers has begun in Takase area,Yamagata-shi. Yamagata Prefecture. The farmers pick the flowers in early morning when the thorns surrounding the flowers and the leaves are softened by the morning dew. This way, they don’t get the thorns in their fingers. The flowers are used to produce dye, and the picking season goes through until mid-July. There are safflower fields of approximately 4 hectares in total in Yamagata-shi, according to Agricultural Cooperative (JA) Yamagata.

Wide Awake In Japan

23. 紅花栄: "The Safflower Blooms"

Shichijuni-kou (72 Seasons) Calendar Listing初夏 Shoka: "Early Summer"Season No. 8: 小満, Shouman: "Grain Full" Shouman: the time of year when farmers can hope to see kernals forming in the "ears" of cereal crops such as wheat and barley. This sign allows them to heave a small sigh of relief, hence the term "shou-man," or "small satisfaction."Climate No. 23: 紅花栄Benibana Saku"The Safflower Blooms"(May 26 -May 30) "Eye brow brushes
Come to mind
Safflower blossoms." -Matsuo Basho

Back in Alaska, I once ordered a packet of safflower seeds from a California-based seed company and tried planting them, completely disregarding the kind of soil or climate they would need. I didn't see any sprouts for the entire season and figured they were duds. But the following summer, I couldn't believe my eyes when I saw in my greenhouse a full-grown safflower right there in the dirt below the shelf where I had originally planted the seeds! Despite all odds, one grew for me! Talk about a survivor!
Safflower (Jpn: 紅花 beninbana, Carthamus tinctorius), has played an important role in Japan's art culture for centuries. Their densely-colored spiky flower heads of happy, reddish-orange and mustard yellow petals produce a fine crimson oil known as "Kyo-beni," which was once employed to color the lips of geishas. According to history, the deep red dye paste "kurenai" made from safflower was once so coveted by Japan's elite that it was said to be more precious than gold!
In greater demand today as a source of oil than a clothing dye, safflower cultivation still continues along the gentle, sloping mountainsides of Yamagata Prefecture. Set in rural Yamagata, the delightlfully realistic 1991 Ghibli animated film "Omohide Poroporo" (Eng: "Only Yesterday") features the story of a young Tokyoite woman who takes a summer off to pick safflower blossoms in the tempermental rains of early summer. The process of harvesting and processing safflower pulp is gorgeously illustrated in painstaking detail, giving the viewer a real sense of appreciation for all the hard work involved. The safflower seems particularly significant as a recurring theme in the movie, plain in appearance yet precious for its potential -symbolic of both the pain and beauty of life.
May I be as cheerful as the safflower in my own rainy seasons!

ANDO (安藤日出武) 

Ando Hidetake chawan Shino tea bowl Fantastic execution of the Shino pottery style in the form. Treasure enclosed in the original signed wooden box.Height 9.6cm Mouth diameter 12.4cm Trunk diameter of 13.6cm Bottom diameter 7.1cm 

Ando Hidetake

Ando Hidetake (b. 1938) was named an Important Prefectural Cultural Property in 2003, a status towards that of a Living National Treasure for his work on the research and revival of Mino ceramics which encompass Seto and Shino wares.
In his own words..
"What is so wonderful about Mino ware is this relation to nature, the uniqueness of every firing and every piece, and of course the inspiration from the old masters. But you should never try to imitate what they did. Conditions then were completely different. They didn't have access to boundless information, for example, like we do. What we need to do is to try to take our pottery even further in our own unique way, finding our own personal way of expressing ourselves. That is my path. Mino ware is in many ways the very pillars of Japanese pottery...dating back to the Momoyama era - the golden age of Mino pottery.

Ando Hidetake only uses clay from the Mino area where he works walking around in the mountains trying to find the clay needed to make classic Shino and other Mino ware. "True Mino ware cannot be made from clay you buy." The works of Hidetake Ando have their own style, with the depth and thickness of the atmosphere different from those of conventional ones.


He is exhibited in many museums including the Brooklyn and Newark museums in the USA. 

Ando hands the white glaze on this large cup. A treasure enclosed in the original signed wooden box. The white rise like fire up through the feldspar in perfect condition. "Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill "- Ando is the Living National Treasure of all the times. Fantastic execution

This piece comes with its original tomobako bearing the signature and seal of the artist. The bottom of the piece is also signed with Ando's characteristic mark "日" Ando, a master well known in Japan in particular for his Kiseto works.

You said you had to start from scratch and nobody would share their knowledge with you. Does that mean you even had to build your kiln with no advice whatsoever?

"Yes, indeed! I started out with a common gas kiln, to get started in the business. But after a while I could not find any satisfaction in just producing for the market. I felt an urge to try my hand at what the great potters of the Momoyama era made in their day. That would require a Momoyama style kiln - an anagama [cave kiln]. My older sister lived in a place called Kukkuri in Kani city, and she asked around if there was a piece of land somewhere in the mountains where I could build a kiln. Luckily there was a landowner in possession of what I was looking for. "There is a hill on my land you could use," he said. That was it. I borrowed six thousand yen and bought the land."

"Luckily there was a man who could give me advice on how to build my kiln which I called Sentarogama. It wasn't easy. Nothing about this work is easy, and that is why I love it so much! Thinking back about the potters in the Momoyama era you have to admire their accomplishments. In their time there was no electricity, everything was primitive compared to our present day. In spite of that they were able to produce the most exquisite pottery! I firmly believe that even today in order to produce something of that class you need to go up in the mountains and find the proper clay. You must make your own glaze the old fashioned way. Nothing you can buy will replace such raw materials. Once you have the materials and your kiln, the path ahead is trying, failing, and trying again. And it will never end."

At what point did you feel completely satisfied with a piece?
That point has yet to come. I have never felt I succeed completely! What's worse, those pieces that come out good enough to sell - none of which I would consider perfect - are but a fraction of the whole. Generally about ten percent are salable. You have to spend about 1500 bundles of firewood during the six days of firing. The cost is huge and must be covered by those few decent pieces. This is why I only use the best pine firewood from Fukushima in the last stage of the firing. The first three days I spend to raise the heat to an even level inside the kiln. In this first stage, we stoke every 30 to 40 minutes, and hold the temperature at 950 degrees Celsius for three days. Then we go from 950 to 1250, stoking every five minutes. Only at this stage I use expensive high quality firewood because that is the critical time in the creative process.

How about the placement of the pieces inside the kiln?
"There is no way to know how the fire and ashes will affect the pieces inside, you are completely at the mercy of Mother Nature. When firing Shino you also don't use any protecting casing for the pieces. You can only put them in there and hope for the best. Moreover, the kiln site outside on the slope of a hill. There is no way of knowing what the weather is going to be like, and the weather has a big impact on the conditions for the firing. Nevertheless I will always begin firing on the day I have decided, come sunshine or rain, it doesn't matter. So I am at the mercy of the elements. I only fire twice a year, in spring and autumn. Again, conditions differ between the seasons. So as you can see what comes out of the kiln is something Nature will decide, and that is also why I never get tired of this work!"

"The most important thing is to have fun. I find that the firing is the most exciting in the whole process. You can have the best clay in the world and give your pottery the best shape imaginable, but it is during those last climactic days in the fire of the kiln the final result is decided. It was thirty-five years ago that I climbed up that hill and began to build my anagama kiln in the middle of nowhere. I had to route power lines up there so I could have electricity. I must build a dwelling and a workshop, and dug a well. And of course I had to build the kiln itself. I lived like a tramp up there during this time," he says, laughing. "I spent days in the mountains to find the clay I needed. During all this time I have only found three good deposits. But it was what I had to do."

ABOUT HIDETAKE ANDO

Hidetaki Ando has been awarded the honorable titles of Gifu Prefecture Important Intangible Cultural Property Holder and Tajimi City intangible cultural property holder. He has also received numerous other cultural awards and has appeared frequently in the media, including TV programs broadcast by NHK, Japan's public broadcaster.


TSUCHINOKOGAMA (皆川仁史 土)

Hitoshi Minagawa (窯 皆川)
Hitoshi Minagawa (窯 皆川)

ATARASHI 

新学/Manabu Atarashi(Japan,Mie 1973 - )

Born in 1973 Born in Osaka. graduated from the Faculty of Literature at Kansai University in 2007. In 1999, he studied with his father. He made his first ceramic works in the Iga Ueno Sangen oven. In 2002 he built a rectified pit and single chamber oven. After his first solo exhibition in Kobe, since 2003 he has been actively participating in many collective galleries in different cities (Tokyo, Osaka, Kobe, Wakayama, etc.). In 2008 he built the second anagama oven. The geometric pieces of shinogi add a modern aesthetic to the traditional Iga style and transform them into utilitarian sculptures. A pleasure to use and keep or simply admire on a shelf. Bold works made in an anagama. Large chawan fired with feldspar that features evil flame in front. Visible some vidoro/glassification from the melted minerals that have hardened after cooling. Made by an artist that is fortunate to be able to use the clay from his own property. The details on these pieces are like a universe all on their own and will change in color with use..

The unmistakable style is Iga. His works are solid and modern, Manabu is one of the most representative and makes the difference of Iga's impressive image so far. Atarashi likes to cook a lot, he transfers much of the spiritual part of tradition into his works. Anagama is fun but difficult to control, gas is easier. The wood naturally melts and becomes a pearl, creating a landscape on its work.