double walled mania

newest double walled, handthrown as one piece then carved mizusashi or fresh water container for green tea ceremony or ‘Sado’

12-inches high. high fired.


double walled guinomi

aloha !

just finished carving a series of double walled guinomi or sake cups. summer is winding down. these double walled guinomi are great all year long. ‘protecting’ cool nihonshu from ones ‘warm’ fingers.

easy to drink and definitely uniquely carved, these guinomi are a pleasure to use and admire.

inspired by daven hee and diane KW collaboration, these carved jewels have been thrown and intricately carved with my trusty scalpel ! sharp !

now what glaze ????????


having fun making some chawan.

The ‘koudai’ or footring must ‘fit’ with the body of the chawan, the ‘do’ or chawan body needs to work together. sometimes i see chawan with very shibui or rustic bodies and a wheel trimmed foot.

incongruous or not in harmony.

more importantly is the floor of the chawan

The main implement or chadogu for stirring is the chasen or whisk. The form of the chasen must also ‘fit’ or allow the user to whisk the matcha with full contact with the floor of the chawan with no ‘dead spots’.

below image. having a smooth inner floor or chadamari assists in preserving the chasen from getting battered. in addition having an interesting area for the matcha to pool after drinking is also part of the equation.

much like a glove fits the hand, the form of a ‘ergonomic’ chawan is a form that fits the hand like a glove when held. there is two way sensory dialogue between the fingers/hand and the psyche.

harmony of form which includes a koudai (foot), body (dou), chadamari (tea reflecting pool) and kuchizukuri (lip). as a maker, its ‘all of the above’ balance of harmony of the above which contributes to a chawan that ‘functions’.

the feet have it !

koudai or foot rings

In otemae or japanese tea ceremony the matcha chawan is inverted when dumping out waste water. this act of inverting the chawan creates the challenge of the host to hold the chawan without dropping the tea bowl. in terms of functionality, the ability to ‘hold’ onto the tea bowl while inverting is a challenge in itself, let alone have a challenging footring to grip.

try it for your self.

the most interesting footrings are handcut versus kezukuri (trimming the foot) on the wheel.
having balance between the do or body of the chawan and having the design of the ‘do’ or body meet the footring area.

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today’s yunomi

aloha world !

been working out of a wonderful studio located near this amazing place called Sankeien in Negishi, a part of Yokohama, Japan.

today, met the tuesday sensei, Chie Kobayashi

today’s yunomi is this cool red stoneware called ‘Akanendo #2’. it seems to be a rough iron stoneware with natural bits of feldspar. used a cool glaze called benihagi and fired in sanka or oxidation.

first the piece was thrown ala lessons from daven hee and after lots of practicing voila. the clay is first thrown into a cylinder, a taller one, sides are then stretched and the bottom/side shaped into a round form. the top is then closed off and then the fun begins. three holes are pierced near the bottom and the top of the bubble is then deflated shaped using a small plastic rib to form the ‘inside’ of the yunomi.

later the yunomi is carved.