He publicly received a prize in Yakishime Pottery exhibitionsġ993 He make hole and semi-underground type kiln in Kibi chuo-cho, Okayamaġ995 He received a Mayor Okayama Prize in Okayama art exhibition Subsequently awarded the prize 6 more times Subsequently awarded the prize 5 more timesġ991 He received a prize in Okayama art exhibition He received a prize in the Japanese Traditional Art Crafts Exhibition at Chugoku Area Subsequently awarded the Prize of Prefecture twice more He received Sanyo Newspaper Publisher Prize in the Japanese Traditional Art Crafts Exhibition, Chugoku Areaġ990 He received a Prize of Prefecture in Okayama art exhibition Subsequently awarded the Encouragement Prize twice more He received the Encouragement Prize in the Okayama art exhibition
He received a prize in the Asahi ceramic art exhibition Subsequently awarded the prize 4 more times He received a prize in the Issuikai exhibitionġ989 He received a prize in the molding exhibition of the tea ceremony at the Tanabe Museum of Art Mount Fuji worked into the design of the glazeġ988 He studied under Jun Isezaki who was designated as Living National Treasure I dare say this cup has some of his best workmanship available and holding and using it it will be very clear why even even though starting potting late in life, he is now highly acclaimed. Please see the following summary of his life.
IKANJI YUNOMI FULL
This ex jeweler made the switch in the middle of his career and is now a full time potter. Hexagonal in form, the six sided are shaped to create three smooth and three ribbed surfaces. This yunomi was made by Bizen potter Kenji Takenaka. Of exceptionally high quality kuro or black Bizen with a striking design in his red glaze. Considering that one clay body and type of firing is used, the variety of results is remarkable. The placement of pieces in a kiln causes them to be fired under different conditions, with a variety of different results. Pine ash produces goma, or “sesame seed” glaze and rice straw wrapped around pieces creates red and brown scorch marks called hidasuki. The surface treatments of Bizen wares are traditionally entirely dependent on yohen or kiln effects produced by the wood firing. The clay can take many forms while retaining its strength.
The clay used for Bizen ware has a high iron content and traditionally has a lot of organic matter in it that is not receptive to glazing.
They require the kiln fire to be kept lit and burning for approximately 10 to 14 days involving long hours and literally tons of wood.īizen ware is a type of Japanese pottery most identifiable by its iron-like hardness, reddish brown color, absence of glaze and markings resulting from wood-burning kiln firing. Firings take place only once or twice a year. Bizen wares are fired slowly over a long period of time. It is unknown to me how long he has been producing this type of work or when he first exhibited these but comparing images – most are simply lacking the artistic quality this specific firing produced. The works produced in the second firing were all standouts when compared to other works in this style. I had this yunomi made to order which took over a year and a half and two firings (I am assuming the first selection did not turn out to his satisfaction or were lacking elsewhere). These types of works are very difficult to come by. Based on the first letter of his name, his signature is based on the roman or Latin alphabet character KĪpproximate size: W 4.5″ by H 10.0″ or 8.5 by 8.0 cm
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