KUMANO kurouemon 門 作 (1955-), aka The Bear of Echizen 4000K  

12.03.2021
KUMANO kurouemon 門 作 (1955-), aka The Bear of Echizen.demon Tenmoku bowl KUMANO kurouemon  (1955-), aka The Bear of Echizen. demon Tenmoku bowl  Height 11.5cm Mouth diameter 13.4cm Trunk diameter cm Bottom diameter 8.1cm
KUMANO kurouemon 門 作 (1955-), aka The Bear of Echizen.demon Tenmoku bowl KUMANO kurouemon (1955-), aka The Bear of Echizen. demon Tenmoku bowl Height 11.5cm Mouth diameter 13.4cm Trunk diameter cm Bottom diameter 8.1cm
さぞ嬉しいのである。 最後の階段まで 水と笑顔を持って来てくれた 小走りの亭主。 黒部宇奈月から、一汗も二汗も かいた天険神謀の奧に 黒薙の湯宿がある。 今期最初の客らしい。 大自然の香の図が観たかった。 プレートが着離を繰り返し、出て来た本性。 赤が黒になり、青鼠色に冷固した岩頭。 大自然の事故跡地に 世世生かされている俺達。 泥砂に等しいこと気付かぬ俺達。 垂直の岩風体に、生まれ変わりを 吐き出すオレ。 空っぽは難しい。 雲で顔を洗うしか無いのか。 熊野九郎右ヱ門
さぞ嬉しいのである。 最後の階段まで 水と笑顔を持って来てくれた 小走りの亭主。 黒部宇奈月から、一汗も二汗も かいた天険神謀の奧に 黒薙の湯宿がある。 今期最初の客らしい。 大自然の香の図が観たかった。 プレートが着離を繰り返し、出て来た本性。 赤が黒になり、青鼠色に冷固した岩頭。 大自然の事故跡地に 世世生かされている俺達。 泥砂に等しいこと気付かぬ俺達。 垂直の岩風体に、生まれ変わりを 吐き出すオレ。 空っぽは難しい。 雲で顔を洗うしか無いのか。 熊野九郎右ヱ門
Kumano Kuroemon ( Abrief introduction  by Ken Jeremiah)  Shino pottery emerged in the 16th century in Mino Province, modern-day Gifu Prefecture, and is now world-famous due to its beauty. Made from durable clay, brushed with iron oxide, and covered with white glaze, its pieces are admired and valued. Some of the most valuable pieces are made by the enigmatic Kumano Kuroemon. Reclusive, he lives in the mountains near Echizen, Fukui Prefecture, where he has his own private kiln. Yearly, he scours the surrounding mountains for suitable clay, which he shapes into incredible bowls, vases, and more. After applying his own glaze variation, he fires them at an incredible 1520 degrees Celsius, often foregoing sleep for an entire week to constantly regulate the heat. Most artists would not think of firing a piece at such a high temperature, as it would cause pieces to buckle, distend, or lose their solidity. It renders most glazes useless. They become discolored and unsightly, or they just run off the clay. However, Kumano's pieces can withstand such heat. He uses a perfect combination of clay, glaze and temperature, which has a spiritual significance for him. The same temperature found inside a volcano, the kiln is the miniature volcanic environment in which the alchemical process of creation occurs. Kumano said, "I see fire as an amorphous being, one that can change into any shape. It is alive, and fears nothing. In a small space, like a kiln, it reveals its true power and essence." His approach, skill, and attention to the most important element in the creation of pottery, fire, leads to ineffable beauty. Paying attention to the wind, humidity, and the wood burned inside the kiln, Kumano waits outside, listening to the sounds echoing from within, and making adjustments when necessary. Inside, natural ash upon purplish clay produces an incredible array of reds and greens, cobalt and divine turquoise, all blending together harmoniously with characteristic white shino glaze. Living alone, and with no suitable successor, his pieces are one of a kind. Unique and without comparison, Kumano's works epitomize the beauty of modern Shino wares.
Kumano Kuroemon ( Abrief introduction by Ken Jeremiah) Shino pottery emerged in the 16th century in Mino Province, modern-day Gifu Prefecture, and is now world-famous due to its beauty. Made from durable clay, brushed with iron oxide, and covered with white glaze, its pieces are admired and valued. Some of the most valuable pieces are made by the enigmatic Kumano Kuroemon. Reclusive, he lives in the mountains near Echizen, Fukui Prefecture, where he has his own private kiln. Yearly, he scours the surrounding mountains for suitable clay, which he shapes into incredible bowls, vases, and more. After applying his own glaze variation, he fires them at an incredible 1520 degrees Celsius, often foregoing sleep for an entire week to constantly regulate the heat. Most artists would not think of firing a piece at such a high temperature, as it would cause pieces to buckle, distend, or lose their solidity. It renders most glazes useless. They become discolored and unsightly, or they just run off the clay. However, Kumano's pieces can withstand such heat. He uses a perfect combination of clay, glaze and temperature, which has a spiritual significance for him. The same temperature found inside a volcano, the kiln is the miniature volcanic environment in which the alchemical process of creation occurs. Kumano said, "I see fire as an amorphous being, one that can change into any shape. It is alive, and fears nothing. In a small space, like a kiln, it reveals its true power and essence." His approach, skill, and attention to the most important element in the creation of pottery, fire, leads to ineffable beauty. Paying attention to the wind, humidity, and the wood burned inside the kiln, Kumano waits outside, listening to the sounds echoing from within, and making adjustments when necessary. Inside, natural ash upon purplish clay produces an incredible array of reds and greens, cobalt and divine turquoise, all blending together harmoniously with characteristic white shino glaze. Living alone, and with no suitable successor, his pieces are one of a kind. Unique and without comparison, Kumano's works epitomize the beauty of modern Shino wares.
Ken Jeremiah has written numerous books and articles, and he has translated various works from Spanish, Italian, and Japanese. Dr. Ken Jeremiah has written extensively about history, religion, and critical thinking. His previous books include Remnants of a Distant Past, Christian Mummification, Living Buddhas, Aikido Ground Fighting, and If the Samurai Played Golf...Zen Strategies for a Winning Game. He teaches world language and comparative religion courses, and currently resides in Narragansett, RI.
Ken Jeremiah has written numerous books and articles, and he has translated various works from Spanish, Italian, and Japanese. Dr. Ken Jeremiah has written extensively about history, religion, and critical thinking. His previous books include Remnants of a Distant Past, Christian Mummification, Living Buddhas, Aikido Ground Fighting, and If the Samurai Played Golf...Zen Strategies for a Winning Game. He teaches world language and comparative religion courses, and currently resides in Narragansett, RI.

   Known as the "Bear," Kuroemon Kumano flaunts his power by firing his kiln hotter than any other potter in Echizen. Kumano was initially a painter and began studying pottery in the studio of Fujita Juroemon VIII. In his eighth year of study, Kumano contemplated setting up his own studio, but his dedication to helping his mentor Fujita won out. He realized he could not "betray" Fujita by leaving, so he waited until his tenth year to leave and set up his own studio.

Kumano works under the principle of ShuHaRi, which is a Japanese concept describing the stages of learning "first learn, then detach, and finally transcend." He completed the first stage, Shu, working for Fujita. He then established his own studio, marking his entry into his current stage of Ha. In this stage the potter adds self-expression to the traditions he has learned. Kumano believes this intermediate phase of Ha can take thirty years or more to complete.

Kumano now draws great inspiration from ancient tribes once found in the area known as the Keta and Nyu tribes. Thought to be nomads, the Keta and Nyu tribes briefly settled Echizen and established several kiln sites. Kumano located these ancient tribal kiln sites and decided to construct his own kiln on the same ground. Kumano pushes his kilns temperatures to the limit. Kumano says, "Solving three out of twelve ancient Keta equations allows me to reach temperatures in the 1400c to 1500c degree range." His altered and wheel-thrown shaped vases thickly covered with glazes fire to almost a light grey color, turning an almost a pearl white at these extreme temperatures. Kumano's pieces appear to have just come from the core of the earth. Pools of glaze gather in certain areas while in other locations it completely runs off, leaving the rich texture of the clay exposed. These textural extremes offer the viewer both a visual and tactical experience.