ALLEGORY III, 1988, ENDO TOSHIKATSU, SOUTH AUSTRALIAN GOVERNMENT GRANT 1991; STORAGE JAR (TSUBO) LATE 16TH C., GIFT OF SUE TWEDDELL 2007; LARGE JAR, MORI TOZAN AND WAVE JAR, MORI SEISHI, COLLECTION OF RICHARD B. MCMAHON – TAASA Review June 2014
UNLOCK THIS ARTICLE
This article was originally found in the June 2014 edition of TAASA Review (Volume 23, Issue 2, Page 27).
The full article is available for free to TAASA Members.Register
In ancient Japan the elements (wood, fire, earth, metal, water) were integral in interpreting and placating the numinous powers of the natural world.
Along with astrology and geomancy, diviners and prognosticators used the â€˜five phasesâ€™, an elaborate system of correspondences among the planets, directions, seasons, zodiac and the elements to attain harmony. According to the â€˜five phasesâ€™, the elements of earth and fire are complementary and Japanese ceramicists have harnessed their potential to create a culture of unmatched richness and diversity.
Artists continue to create vases and tea wares according to traditions passed down through generations at â€˜the six old kilnsâ€™ (Shigaraki, Bizen, Tanba, Echizen, Seto and Tokoname) while simultaneously confronting the idea that objects made from clay should only aspire to utilitarian shapes. The Bizen kilns located in Okayama prefecture are renowned for wares created from refined rice field clay which display subtle reddishbrown modulations and natural glazes...