Tokoname Pot Questions

Nomiyama

Quick questions if anyone knows the answer. I have tokoname pots that only have signature's on the bottom. I also have tokoname pots that only have a chop mark on the bottom. Then there are some of my tokoname pots that have both a chop mark and a signature on the bottom. Does anyone know why this happens? is it just the individual potters preference? Does it mean one is of a higher quality than the other? I know they have what is considered exhibition quality, I don't know if that plays a part. Just curious, any info would be great.

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The Japanese aesthetic is centred on the principle of "heaven and earth in one container", as a Japanese cliché has it. Three forces come together in a good bonsai: shin-zen-bi or truth, essence and beauty.

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farrlinzee

Nomiyama, Signature and hanko give info about who made the pot. The pot itself if the guide to quality.
Is a handbag awesome cause it has a designer name on it?
Cheers
Lindsay

Mortalis

OMG.. dont tell me you would buy a handbag without the designers name on it LOL

Joanie

Lindsay, is there any rhyme or reason to the way the pots are marked? Or is it totally up to the artist?

Joanie

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Graydon

Great question!

I have always assumed that all tokoname pots had a chop or hanko to denote the maker. I had also assumed that the signed pots were from more popular, dare I say well known or famous potters thus signing their work.

It will be interesting to see if Lindsay builds on his response as he has actually been there and was kind enough to make some fantastic videos for his World of Bonsai series.

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farrlinzee

Mortalis, I'd only buy a handbag without the Gucci tag if it went with my shoes.

Joanie, I think it comes down to commercial realities. These are small family businesses tryng to get by in a cold and heartless corporate world. I understand that they do get some government assistance. When i was there last year Aiba's son was making tableware cause the bonsai pot market was so weak.

Putting food on the table is as important to these master potters as it is to you and I.

If they make a pot, stamp and sign it then it warps slightly in the kiln so that it won't sit perfectly. What do you think they will do. Throw it on the trash heap or send it to the Americans or Russians or Aussies?

And don't forget what Lao Tzu said

" we make a pot from a lump of clay
but it's the empty space inside that makes it useful"

It's worth noting that the pendulum has swung with ancient pot collection.

The exceedingly wealthy Chinese collectors are buying back at extrordinary prices pots that Japanese collectors acquired in the eighties.

It has also been reported that the pots made at Purple sand #1 factory in Yixing China during the cultural revolution are amongst the most valued by collectors today and they have a stamp that translates to "made in China"

Gotta go now. I need to get one of those handbags that paris Hilton has.

Cheers
Lindsay

Joanie

Lindsay, I'm very aware of the realities of selling ceramics with a low markup. No, of course they would send their less perfect pots over here, where we will not be too picky. But I wasn't intending to criticize them, I only wondered why each pot may have one, the other, or both marks? They can't know if the pot is going to warp before it is fired, and these marked are incised or stamped into the pots when they are leather hard. So I'm really confused now...

Joanie

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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

rockm

Lindsay,

Interesting you're collecting cultural revolution pots. Post some pics.

I have no idea why a pot would have a signature and a hanko, for the record. It's a good question.