Hello everyone, how are you all doing?
Typhoon No. 11 approached Okayama, bringing with it some very heavy rain.
Parts of the Sanyo Expressway were closed to traffic, and Route 2 in front of the shop was backed up with endless congestion.
Please take great care of yourselves as well.
Now, this time, I had the pleasure of viewing a collection of pottery shards gathered by Yoshinobu Morimoto.
They are all truly unique pieces that reflect Morimoto-sensei’s love for old Bizen ware.
Even as fragments, they possess many aspects that differ from modern Bizen ware,
and because the clay and firing methods are different, they have a very hard, solid atmosphere.
If you ever have the chance to hold a piece of old Bizen, I encourage you to pay attention to that "hardness."
1. A hybrid of Sueki and Bizen ware
This is a fragment of the rim from a large jar or similar vessel.
Although it is shown here wet, the main body exhibits the pale, bluish-gray color characteristic of Sueki.
However, the "goma" (ash glaze) on the rim has turned a pale yellow, showing signs of changes in the firing process.
It is a very rare shard that seems to exist at the intersection of Sueki and Bizen ware.
2. Bottom of a large piece from the Kamakura to Muromachi periods
From this point on, the surface shifted sharply to the "shiso" (perilla-leaf) color and yellow goma characteristic of Bizen ware.
The firing method changed, marking the beginning of the golden age of Bizen ware.
I was amazed by the vitality of Bizen ware; when I wetted it, what had appeared mud-covered and sooty suddenly became vibrant.
The fine, scattered goma is a charm unique to old Bizen.
This was also collected from the same kiln site as the shard above, and they are said to be very close in terms of age.
3. Suribachi (mortar) from the mid-to-late Muromachi period
The collection site for this was different from the two shards above; it was collected with permission from a location in Imbe.
A rim that is neither too thin nor too thick, with just the right size and spread, is a characteristic of the mid-to-late Muromachi period.
It seems that if the era were earlier, the rim would often be thinner, and if it were later, it would often be larger and more flamboyant.
When wetted, this too revealed a wonderful, rich clay texture.
It was so absorbent that it had already begun to dry by the time I finished photographing the outside.
4. A mysterious fragment fused with part of a kiln
This was the most impressive of the shards I was shown.
What do you think? Doesn't it look very similar to the work of Yoshinobu Morimoto?
With its dramatic contrast between the heavily glazed goma sections and the scattered ash,
along with the blackened body peeking through, it possesses a truly captivating appearance.
This white goma is also unique to old Bizen; it reminded me of the white goma seen on the large jars at the Ceramic Art Museum in front of Imbe Station, as well as on a Muromachi-period jar owned by another sensei.
Morimoto-sensei is currently analyzing how this white goma is produced and mentioned that it might be due to the type of wood used for fuel.
So, what did you think of Yoshinobu Morimoto’s collection of shards?
Each shard has a lot of mud attached, suggesting that they were likely viewed beside the potter's wheel.
Is it possible for potters of the same craft to engage in a dialogue that transcends time, even through silent shards?
I, too, strive to one day be able to converse with those nameless potters.