Shimaoka used ash glazes and those of subdued colours in the brownish shades from early in his career but in the 1970s he started to use other glazes with brighter colours more often. Those used most frequently are green glaze, copper glaze, the underglaze blue arìd overglaze decoration in the Kutani tradition. These colour glazes are non-transparent, and are basically applied to avoid the inlaid areas. This results in windows -either the inlaid area inside the window and the colour glaze covering the rest of the vessel or vice versa- in an elegant and clever arrangement. Since rope impressed inlay produces only ground patterns, other types of inlay such as plants and plum flowers, are used when the inlay comes within the window, while the rope-impressed inlay is used when the inlaid area is outside the windows. lt is also interesting that the inlay work inside the windows is done and covered with wax before the colour glaze is applied, and that -in contrast- the colour glaze inside windows is applied after the first firing. In addition to using these decorative windows, Shimaoka later started to use coloured clays in the inlay, and correntli uses five colours of white, cobalt blue, gozu blue, pink and black.
italiano Tecniques Not Used with Robe Impressed Inlay.
Mixed Techniques.
Slip Dripping (Trailed Glaze).
Salt Glaze.
Kiln Effects.
TEXT: Click here for reading the introductions.
Luca Patocchi, Curator of the Galleria Gottardo.
Adolf Zihler, collector.
Yanagi Sori, Message from the Japan Folk Crafts Museum, Tokio.
Bibliography
Biography and most important exibits from Shimaoka Tatsutzo
ADHIKARA
CONTEMPORARY ART GALLERY