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Faceted MIZUSASHI and TATAKI MIZUSASHIBy Kazu Oba

2/16/2015

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Picture
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Two water jars have arrived from Kazu Oba, a Faceted MIZUSASHI and a TATAKI MIZUSASHI, each with their own lacquer lid made to perfection by Gen Saratani.

The Faceted MIZUSASHI was first fired in 2012, at the Höhr-Grenzhausen wood-fired kiln in Germany, where black terra sigillata is covered with natural ash glaze. It was then fired again in a salt-firing in Colorado. Just below the rim, a piece about an inch wide is carved out around the entire circumference, creating a slender lip for the lid. The dark brown terra sigillata slip embeds itself in the texture of the beveled surface. The lid fits to the rim so that it sinks perfectly into the curvature. Gen crafted the lid this way at the request of Kazu. Here, you begin to get a glimpse of the particularities of the ceramicist. The amusement in the piece is expected in the rich color of the clay where the flames didn't reach and the scattered portions where the natural ash glaze looks as if it were sprinkled with sesame seeds. Exploring the surface, embedded in the clay are infinite remnants of small grains of sand resembling rainfall in the middle of the night. From afar, one begins to see a hill or seascape. 

The oblique rim of the TATAKI MIZUSASHI is fitted perfectly with a thicker lacquered lid that appears as if you are looking at the water surface below it. The paddle technique used for this water jar is from the Karatsu tradition. It curves out just below the rim than becomes narrower, only to slightly curve out again at the bottom as if it were a water balloon placed on a flat surface. The piece was dipped in green glaze from rim to mid-body. While natural ash covered the front, the portion over the green glaze became brown to create a landscape. At the bottom, the remaining unglazed portion, the technique using the paddled texture is visible. It is magical that only then does one notice the same paddled texture showing through the glazed portion. One can truly admire all the care and work that goes into making a piece such as this.

Intentionally unglazed, at the bottom there are traces that appear as if the firing were done with several abalone shells.
If you fill it with water, it is as if one were looking at the ocean floor and discovering some ancient treasure.
This is indeed Kazu's style of playfulness.

From a firing in Aztec, New Mexico at the Casa Verde Studio, with a special ordered lid from Gen Saratani, we now have this rare item of beauty.
大庭一仁  緑釉叩き水指・面取テラシッジ水指  

カズさんから水指が2つ届いた。緑釉叩き水指と面取テラシッジ水指。どちらにも、更谷源の作った塗りの蓋がピッタリはまって、とても良い味に仕上がっている。

面取テラシッジ水指は、2012年にドイツ
Höhr-Grenzhausenの薪窯で黒テラシッジを施して無釉焼成してきた物をコロラドの塩窯で再度焼いたもの。
くびれた縁(ふち)のすぐ下から約2cm幅にぐるっと面をとってあって、底の手前で止めてある。そこから少しすぼませた形で平い底にしてある。
テラシッジが掛かる焦げ茶色の胴は、面取によって程良くカーブして、そのカーブに合わせてかぶせ蓋も若干凹ませてある。カズさんが源にそうリクエストしたのだそうだ。
こだわりの陶芸家の片鱗が見えて来る。見込みには、炎が届いていない明るい土の色と、ハラハラとかかった自然釉がゴマを振ったようで面白い。
面をとる際に、土の中の小さな砂が引っかかり出来た無数の掻き跡が、闇夜に降る雨を思わせる。遠くに見えてくるのは、丘陵か海沿いの風景か?

緑釉叩き水指には、厚手に作られた落としの塗り蓋が歪んだふちにぴったりと合わされて、その表面は湛えられた水面を見るようだ。
唐津伝来の叩き技法により成型された胴は、ふちのすぐ下の丸い膨らみから下方に向けて窄み、底面手前で水風船を平らな面に置いた時のように曲がっている。
ふちから中程まで施された緑釉が垂れて、正面には自然の灰が掛かり、緑釉の上に茶色く被さって景色を作っている。釉のかかっていない下部に叩き技法の連続した槌目を見つけた。すると釉のかかっている部分にも槌目が透けて見えて来るから不思議だ。
丁寧に仕事をして作られたのだなぁと、改めて感心する。
見込みは無釉で、底には幾つかアワビの貝殻を入れて焼成したのだろう跡があるが、水を張って覗き込めば、海底に発見された古代遺跡のようににも見えはしないか。
これは、カズ流の遊びごころだろう。

2012年、ニューメキシコのAztecにあるCasa Verde Studioで焼成されたものに、更谷源とのコラボレーションで塗り蓋を誂えて、遂にこの逸品となった。
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