A book containing secret techniques used by the kiln has been handed down to each successive generation since the age of Dō’nyū (1599 – 1656). Unlike the main Raku line—that to a certain extent allows each generation of potter to follow their own aesthetic sense—Tamamizu potters have stayed true to the original forms set out by Chōjirō, Dō’nyū, and Kōetsu. The line of Tamamizu potters continued up to early Meiji with the death of Tamamizu 14. However, a recent attempt was made to revive the kiln by a descendent (later dubbed Tamamizu 15) who spent his life collecting Tamamizu-ware from earlier potters, researching the techniques used by studying old manuscripts, and training with main-line Raku potters. Despite these efforts, there remain many historical gaps in our collective knowledge of the kiln and of the individual potters themselves.

Raku-ware carries with it a very naturalistic aura; with its implements made of raw clay, its use of fire water and air to shape and harden these implements, and with its myriad processes that produce smooth glossy surfaces—like those often found in nature. In fact, if you look more deeply into Raku, you find that many of the shapes and motifs are also inspired by nature. For example, this masterfully crafted mizusashi (fresh water pot) takes its inspiration from the shape of one of the most important food crops in ancient Japan, the humble sato-imo (sweet potato). Though fashioned over 200 years ago, this piece still displays a beautiful patina and is one of the more striking pieces you will find by this artist—the 9th generation Raku potter known as Ryônyû (1756 – 1834). [Sold]

From a well-known series entitled “Chōtō” (Listening to the Waves) this large contoured vase features a sandy glaze that the sculptor claims is an expression of the features of the landscape where he grew up. The Chōtō series that launched his career proved to be wildly popular and today a number of pieces are held by museums around the world including: Brooklyn Museum; Hyôgo Museum of Ceramics; Metropolitan Museum of Art; Minneapolis Institute of Art; Musée National de Céramique, Sèvres; Museum of Art & Design; New Orleans Museum of Art; Philadelphia Museum of Art; Sano Museum of Art, Mishima City; and Yale University Art Gallery.

This lovely Ido-gata shaped chawan has very nice asymmetrical balance highlighted by extensive and skillfully applied kintsugi gold repairs. The inside bottom of the bowl is covered in a green glaze resembling a carpet of fine moss which stands out nicely agains the backdrop of the ashen-colored crackled glazing of the walls of the bowl. [Sold]