I have been studying and practicing, drinking tea from matcha to keemum... From matcha chawan, to yunomi to gaiwan etc etc.... Learning about woodfired
I've worn out my first chasen.
I've made maybe one or 2 passable matcha chawan, praticing making yunomi, lots of yunomi, small plates for sweets, an ocassional vase, futaoki, plate, and getting my feet wet wood firing
I am very familiar with raku kens, cory lum, and baymore san's work. And have got my hands on a few of John ballasteri's, and Don Reitz and , dick lehmans work. I was at a studio's back room and was drawn to some pieces, with great balance and movement, these were John ballesteris work.
I've been struggling with the design principle of the mizusashi. And attempting to make but always crashing. I've been thinking a lot about these and studying lately.
Today this was on mind. Amazing movement looseness and fluidity....... The piece just fascinates me!!http://www.japanesep...8&cid=4&iid=379
Well today, think I finally got my head wrapped around the, mizusashi, if not then I'm finally making progress. May have made my first keeper. Well see if pottery gods shine on firings....
I think I finally starting to understand its function and design. It took studying ratio/ proportion, measurements, recalling the few I saw at museums, and recently watching a tea ceremony video, where mizusashi was brought into tearoom. Watching ceremony and use of mizusashi has given me insight as to a "good one". But like many things it's about feel and balance that can't be measured, copied, taught, learned....I suppose it's like zen like matters you can't force it it to happen....."it" just happens.
The one above has one visible wod mark on galley, and glaze deposits inside of pot, with minimal kiln influence on bottom of lid. Was lid fired on pot? Was lid bisqued on pot, if not once fired? For woodfired piece, how should lid be handled, from making to firing?