Bizen’s Past and Present at the Miho

With warm ochre blushes and the subtle textures of exposed clay, the ceramic style born out of Okayama prefecture’s Bizen is humble while retaining potential for visceral expression. The Fall show at the Miho Museum in Shiga prefecture, “Bizen: From Earth and Fire, Exquisite Forms,” running from September 14th through December 15th represents a rare occasion to view a diverse showing of Bizen ware and one which represents ceramic work as it evolved from is cultural emergence in the Momoyama Period (1573-1615).

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Tumbling Assumptions

The author says she embarked on this year in Japan in order to undertake a spiritual practice of her own. She must occupy herself while her husband seeks Soto Zen priestly credentials by training in a nearby monastery, so she joins a pottery class as a deshi (disciple) of the elderly female teacher. But she cannot seem to make the dirt and water come together to make a smooth clay, either physically or metaphorically.

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On Learning Pottery in Japan

We never talked about our own work in aesthetic terms. I never asked, and they never volunteered. We never talked about the “significance” of our work, or its place in society. There seemed to be no place for the pained self-consciousness that afflicts so many American potters and students.

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Mio Heki: Kintsugi Artist and Urushi Master

Mio Heki kintsugi repairing ceramic cup in studio Kyoto Japan close-up

“I see urushi as a way to connect ourselves and our culture with nature in so many ways. Because urushi and kintsugi art is all natural, it is a good way to remind ourselves that we are all part of nature, being pieces of our universe.”

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The Potter and the Cook

The Potter and the Cook

Soon after I met my partner, the potter Hanako Nakazato, she gifted me an almond shaped bowl glazed in gray with a silver stripe running down the center…

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