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No. 7910
Imbe Yamahai
¥25,300
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Description
Kaneshige Yuho is known for creating his works while continually questioning himself. This is one of his earlier Imbe Yamahai.
A career profile up to 2003 is included, and this Yamahai is believed to have been made around that time.
It dates from the mid-Heisei period, when he was presenting many works primarily using mountain clay, and it beautifully combines an aged, matte Goma surface with the quiet, subdued character of mountain clay.
Inspired by rustic mountain tea bowls—everyday wares appreciated for their honest charm—this Yamahai has an especially interesting balance on the wheel: the clay feels as if it is allowed to “stop short” of fully stretching. That subtle restraint creates a pleasant awkwardness, giving the form a unique and endearing character.
The entire surface, including the lightly scattered Tobi-Goma, is matte and without gloss. However, once sake is poured in and the surface takes on moisture, the seemingly weathered clay tones suddenly come alive—like an ordinary rock in the mountains that becomes irresistibly captivating the moment rain begins to fall.
Yuho has said that hiyose clay is highly plastic and reflects one’s thoughts and emotions like a mirror, while rough, less elastic mountain clay makes everything a one-moment, do-or-die challenge. In this piece, that philosophy is palpable: although the form is very simple, it carries a quiet magnetism that makes you want to pick it up again and again.
Although it is an earlier work, it shows 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 profile up to 2003 is included, and this Yamahai is believed to have been made around that time.
It dates from the mid-Heisei period, when he was presenting many works primarily using mountain clay, and it beautifully combines an aged, matte Goma surface with the quiet, subdued character of mountain clay.
Inspired by rustic mountain tea bowls—everyday wares appreciated for their honest charm—this Yamahai has an especially interesting balance on the wheel: the clay feels as if it is allowed to “stop short” of fully stretching. That subtle restraint creates a pleasant awkwardness, giving the form a unique and endearing character.
The entire surface, including the lightly scattered Tobi-Goma, is matte and without gloss. However, once sake is poured in and the surface takes on moisture, the seemingly weathered clay tones suddenly come alive—like an ordinary rock in the mountains that becomes irresistibly captivating the moment rain begins to fall.
Yuho has said that hiyose clay is highly plastic and reflects one’s thoughts and emotions like a mirror, while rough, less elastic mountain clay makes everything a one-moment, do-or-die challenge. In this piece, that philosophy is palpable: although the form is very simple, it carries a quiet magnetism that makes you want to pick it up again and again.
Although it is an earlier work, it shows 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
- W9.3cm x D9.0cm x H4.1cm
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.