Flower Arrangement by Maysoun

My wife, Maysoun, is a public health researcher, however, she also has a passion for flower arrangement. Once in a while, she does flower arrangement for weddings and other occasions. Today, she asked me if she could take the dust collecting vases I made so she can put some flowers in them for her work reception. I was curious to see what she would do with the vases because I made those vessels with tea ceremony in mind.
The shape comes from ancient Iga ware or "Ko Iga Yaki," (古伊賀焼). If there are undeniably Japanese potteries, this is one of them. Ancient Iga ware were produced in Azuchi Momoyama piriod in the mid 16th century, among which were flower vases with small handles or ears on the sides. With the special demand to be used specifically in tea ceremony fitting the taste of "Wabi Sabi," ornamental aspects of the flower vase were made minimal.  Those vessels were wood fired without glaze, hence, ash of the wood melted on the surface of the vases and created unintentional scenery or "Keshiki," (景色). The transformation that happens in the kiln is called "Youhen," (窯変). Because there are very little ways to manipulate what happens on the surface of pots in wood firing kiln, one has to take a chance for the end product. However, wood firing never cease to amaze and fascinate many ceramicist. One drawback with wood firing is that it can only be done as a rare occasion. Unlike gas or electric kiln, potters has to wait for firing wood to accumulate, and everything else that entails wood firing takes time and extra effort. While I had no access to wood firing back in 1999 when I originally started making this vase shape of ancient Iga style, I simply combined the ancient Iga shape and the glaze I liked, Hagi (萩) white. Since then, this shape had been my favorite to throw on the wheel. I have a theory of how the shape of ancient Iga flower vases came about, but I will wait for a different entry for that theory.

In any case, I was pleased to see Maysoun's flower arrangement. The white of the glaze, Shirayuki (白雪): it was made at Togei Kyoshitsu of New York, accentuated every colors there were in the arrangement. The mood of the room went really well with the vase and the arrangement. I would say it was a success arrangement!

Inspired by Korean Celadon-Glazed Porcelain

As I look at more different variations of Meiping in Chinese (梅瓶) and Maebyong in Korean (매병) vases, I am attracted to the Korean specimen produced in Koryo or Goryeo (高麗) period (918~1392). The ones I like use iron underglaze with Celadon glazed porcelain. Some of them have almost the entire plant in a natural form depicted on the vase as if the potters made deliberate effort not to patternize the plant. The result gives the look of a very natural and care-free plant that looks as if it is swaying with the wind on the side of a vase.
Although I really like the shape of Meiping vase, I used one of my bowl, and also, cobalt is readily available to me, I decided to use that instead of iron. So, my end product looks far from Koryo Maebyong vase, hopefully I captured the essence of what originally inspired me to make this piece.

new design

I am making stuff for Gowanus Nite Market for 12/08/12.

I decided not to go with many pieces because I just do not have time to produce that many and I am sharing a table with my friend, Yuki.  So, right now, I am just playing with a new design with cobalt underglaze. I am not sure what glaze I want to put over it though...
It is inspired by many things. I still like the loose "Karakusa"(唐草) or foliage scroll design. Putting the crescent moon above the stag's skull was my wife, Maysoun's idea. I hope it fires well.

Inspired by Persian Blue and White Tile

I bought a book in Japanese on antique ceramics of Asia in which I found a picture that I particularly liked.  It was a picture of Persian blue and white tile with two deer and plants around them.

The excerpt says the piece comes from Persia and was made in the 4th century. After doing some research online and in books, I could not find any record that backs up their claim on when it was made but it seems it is true that the first blue and white pottery was made using cobalt as under-glaze in Persia sometime in the 8th century. Later in the 13th century, the technique reached China and became what is know as "Chin Hua" (青花). When applied on porcelain in China, the contrast of blue and white became very vibrant and plant motifs became patterns.

The picture that I liked had much simpler look to it. Two deer running through woods. It had somewhat crude depiction of trees but yet it had a liveliness and mood that I was allured by.

I have no idea what deer symbolized back then in Persia but I somehow did not think it was merely a depiction of prey to be hunted. 

Anyway, I will continue thinking what about the picture I was so captivated by. Meanwhile, here are some examples of my take of the Persian blue and white tile and my approach using somewhat a similar technique.