farrlinzee

Joanie,

I've seen some "signature pots" that are less than impressive. I don't pretend to know the inner workings of Tokoname potters but I know that there are plenty of uninformed buyers in western countries who will pay a premium for a pot with a signature. Even when the pot is flawed.

I think Japanese folks buy with a herd mentality as well.

About twenty years ago when I was in Hong Kong to view Wu Yee Sun's extrordinary collection I noticed this long line of young Japanese people. I investigated to see what they were lining up for. They were waiting for hours to get into the Gucci shop. Call me old fashioned but to me that's crass.

Nomiyama's pot's are probably wonderful but I think it's worth stating that a great pot is a great pot because it is. Not because of the Hanko or the signature (engaging as they may be).

Our leading daily Newspaper is coming to do a feature on my collection of Cultural revolution pots in a few days so I went through them today. A few ring ins had found their way into the collection. They were instantly identifiable by the thickness, rougher body, less refined finish etc.

But then you can find a thick pot with rough groggy clay and it's beautiful.

The Japanese appreciation of the Korean rice bowls (pinch pots) for their lack of fuss is an example of the appreciation of the simple.

I'm probably waffeling a bit cause if someone collects pots for the hanko and signature even if the pots are warped there's absolutely nothing wrong with it.

I was unpacking some Lotus proffesional pots the other day. These are probably the most market saturated pots in the world today. Well, one of them a metallic gold was just glorious. Tear drop on the foot and an exquisite mottled glaze.
And they're made by factory workers on a 10 hour 7 day grind.

I'd better stop raving or I might be banished to the bonsai forum backwaters

Cheers

lindsay