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No. 7905
Imbe hidasuki Guinomi
¥25,300
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Description
This is an earlier Imbe Hidasuki Guinomi by Yuho Kaneshige, an artist who continues to create while constantly questioning himself.
A career history sheet up to the year 2000 (Heisei 12) is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can still be felt in his current works is clearly present here as well.
The form is especially unique: the rim and the foot seem to pull in opposite directions, as if drawn outward by two different forces. Rather than pressing the clay down to deform it, the shaping feels like calmly allowing the clay to stretch and “grow” in a natural, expansive way.
The foot trimming is also fascinating—almost as if the clay has naturally peeled back by itself, a characteristic detail seen in his more recent works as well. The dynamic sense of form inherited from Sozan Kaneshige appears to be evolving here into something distinctly Yuho’s own.
Hidasuki covers the piece diagonally like a monk’s kesa robe. By skillfully using different parts of the rice straw—tips and stems—the artist creates a clear rhythm and variation in the Hidasuki, matching the movement and tempo of the form itself.
Although this is an earlier work, there are no stains or signs of use.
He was born in Bizen City, Okayama Prefecture in 1950 as the third son of Sozan Kaneshige.
He became his father's disciple in 1975.
He became independent as a ceramic artist in 1980.
A career history sheet up to the year 2000 (Heisei 12) is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can still be felt in his current works is clearly present here as well.
The form is especially unique: the rim and the foot seem to pull in opposite directions, as if drawn outward by two different forces. Rather than pressing the clay down to deform it, the shaping feels like calmly allowing the clay to stretch and “grow” in a natural, expansive way.
The foot trimming is also fascinating—almost as if the clay has naturally peeled back by itself, a characteristic detail seen in his more recent works as well. The dynamic sense of form inherited from Sozan Kaneshige appears to be evolving here into something distinctly Yuho’s own.
Hidasuki covers the piece diagonally like a monk’s kesa robe. By skillfully using different parts of the rice straw—tips and stems—the artist creates a clear rhythm and variation in the Hidasuki, matching the movement and tempo of the form itself.
Although this is an earlier work, there are no stains or signs of use.
He was born in Bizen City, Okayama Prefecture in 1950 as the third son of Sozan Kaneshige.
He became his father's disciple in 1975.
He became independent as a ceramic artist in 1980.
Details
- Pottery Type
- guinomi
- Dimensions
- W5.5cm × D5.5cm × H6.9cm
About the Artist
He was born in Bizen City, Okayama Prefecture in 1950 as the third son of Sozan Kaneshige.
He became his father's disciple in 1975.
He became independent as a ceramic artist in 1980.
He became his father's disciple in 1975.
He became independent as a ceramic artist in 1980.