Cobalt Dilemma

This is the end product of the past entry, "Conglomeration of Old and New." Cobalt on the 14" x 14" bowl.

It took me more than 7 hours putting cobalt underglaze on it. As you can see in the past blog, I paid attention to details. However, because of the glaze I chose, some fine lines and details are smudged. As the creator of this piece, I can say, "I don't mind the smudge." However, my wife would not drop the fact it looks unfinished and unintentional. (It doen't look that way to me.) It is a dilemma. For me, this obscured look has a certain character to it. I may be far more tolerant about imperfection than many other people. I see beauty in that. But, yes, I will also try to figure out how to make the bleeding of cobalt at minimal as well.

New Ones

There are new pieces I got this week.
1) This is from the entry, "New Design." Unfortunately, the glaze I used for this did not do what I wanted it to do. It came so even and clear! I wanted it to be more rustic,  some design obscured, and have black lines... Oh well, I will just have to draw a similar design and do it right next time.

2) I have been making this type of design lately and I like it. The glaze "Shirayuki" over cobalt gives nice look. I don't even mind smudged lines. 

3) I carved wood print rubber sheet to make multiple pieces with the same design. The glaze may be a bit too strong. But it is just a part of evolution of this line. On one side, there is a doe with an arrow above it and the other side, there is a stag with heart above it waiting to be shot though. With dark brown clay, I made mugs with the same design and with white glaze. It will have better contrast between the lines and the back ground. 

                                   

Conglomeration of Old and New

I am putting yet another unfinished piece in an entry. I used cobalt underglaze here as well.
I like traditional Japanese motifs like Peony, Chrysanthemum, or Japanese Aralia. But then I also throw in not so traditional approach like an antler, plants with roots, and giving angular design to balance otherwise a very traditional design composition.
Having spent hours on the design, I secretly thought it was pretty laborious task. Then I heard Mako, co-founder of Togei Kyoshitsu of New York, saying she has seen a documentary on a Chinese ceramic painter who had spent a year fishing a piece. It is a very humbling experience.

However, this kind of design excites me now, so I will just go at it!

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.