The craftsman, Wakashima Takao (b. 1935) was born in the north of Japan in the picturesque town of Wajima. The lacquer technique particular to this region (Wajima-nuri) is rather unique in its use of an undercoating incorporating special compounds that make it exceptionally durable over time.

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.

Sumi painting and calligraphy on ceramic. This chawan is light in the hand and contrasts beautifully with a dark rich bowl of matcha. While the poems of many of Rengetsu’s ceramic pieces are etched in clay, this piece is unique in that the calligraphy is applied with sumi and brush. The poem is done in the waka style and reads, “Echoing through the world, tidings on the wind… I hear them, whispering in the lone pine, standing beside my hut.” [Sold]

Master of a very difficult technique from the Chinese Tang Dynasty (618 – 907) known in Japanese as Neriage, the potter who created this elegant vase uses extreme precision to combine sheets of differing types of clay, culminating in a unique visual effect. While many of his pieces are ringed with swirls of colors, this one is more modern and subdued. With quite a lot of character, this lovely vase will draw attention without being overpowering.