The Exotic Teapot

The ringing of the New Year in China began February 14^th.  It is the tiger’s year.  The tiger zodiac is associated with adventurous, suspicious, sensitive, emotional and risk taking.   Lynn Chase designs jungle-type dinnerware and vessels that features the tiger in vivid colours with multi-dimensional patterns.  What makes this teapot celebratory is that she puts the tiger atop the other jungle plants and birds in which the cat resides.

This teapot is just one of Bruce Noske’s astoundingly pierced designs which reflect the Victorian days of chintzes and Wedgewood but with a minimalist Oriental twist.  His pots are meticulously developed, all with similar shoulder, base, lid, unique handle and spout.  Because he has always enjoyed doodling, or sketching, patterns of leaves and animals, Bruce applies these to teapots via hand painted brushwork and slip carved decorations.

Ceramic artist Richard Notkin has been featured once before.  However, with Valentine’s Day nearing, his Heart Teapot series warrants recognition.  Notkin thinks: “The seeds of all conflict are to be found in each human heart.” As many artists, Notkin thinks the teapot is one of the most complex because the body, spout, lid, knob and handle must mesh; just as complicated as love can be.  And, because Notkin loves Yixing teapots, his heart series show that he has mastered the scale and detail demanded of such vessels. 

This tea ware can be found at the Zhu Ye Qing Tea Museum and Garden in Emei City in the Sichuan Province of China.  The pot is actually quite nice; the other parts of the set are what make it somewhat peculiar.  Actually the base is a spoon holder: the spoon used to scoop tea leaves into the pot.  The ornate scooper, curvaceous teapot handle and etching on the thick base do compose an interesting tea set.    

Stefanie Kaspar and Christof Kaspar are the designers of this proposed functional 3-in-1 teacup.  As shown below, the red spoon is actually part of the saucer.  It sleekly appears as the spout of a teapot.  But actually the white base is a bone china teacup.  The purpose of the spoon cup is to slide a used teabag out of the cup into the bottom of the spoon saucer to hide its unsightly appearance. 

This tea set, made of terra cotta, is best used for strong tea.  The reason being is that porous pots retain the flavour of previous seeped tea.  Actually you should have separate pots for teas based on: smoked teas, non-smoked, lighter teas, herbal and green.  Using separate pots maintain consistency in the flavour of your favourite brew.  China and porcelain pots are best used for oolong and green teas.

Karin Taylor is a self-taught vibrant illustrator living in Australia.  She has drawn a series of fantasy-like drawings with her geisha girl character.  While visiting her parents who have created and nurtured an outdoor topiary of a teapot and sugar bowl, Karin came up with the idea of her character admiring a garden grown teapot spouting tea.  Karin’s drawings, available in greeting cards and on canvas, are giclee prints.  This is a process that squirts the various inks onto the median; similar to an inkjet printer but far more advanced in precision and longevity.

We all are amazed with or at something.  Then, with friends and family we typically share our fascination via words or photographs.   Rarely do we decide to attend academic classes and become an understudy for a Chinese brush painter so to reproduce our beloved interest.  This is exactly what Bonnie Belt did.  Moving from an arid region to a locale full of grape vines and conifers Bonnie fell in love with trees, vines and lush evergreens.  She was determined to replicate this fascination onto teapots and other vessels.  Now, I am fascinated with her teapots.  

This pot appears to be floating in mid-air or even slowly falling from the sky.  The flowing liquid from the spout enhances the sense of motion.  I wondered if those working in the nearby office building were not heavy tea drinkers; thus, their tribute to the beverage.  But then I noticed the windows were covered with shades and shelves of vessels; perhaps this could be from management accusing workers of taking too many tea breaks.   

Hsin-Chuen Lin attributes his pottery to the Sung Dynasty (960-1279).  With all these years of Chinese cultural resource, Lin believes the creation of new ceramic pieces is endless.  However, he readily admits that the exposure to contemporary processes in ceramics has allowed him the freedom and spontaneity to integrate the old and new.  For example, he does not embellish this teapot as the form is its beauty; yet, he uses a spray bottle full of glaze to lightly tint the piece.

It is inspiring to hear and see how individuals reflect their thoughts of the environment.  Sylva Rios does so with wheel thrown pottery and sculptured embellishing.  Her statement is best shared with no further explanation.   

I would like to think that putting these ideas on the table as ceramic objects in a scale that we can comprehend, will make it possible for people to see what we are doing. It is alarming to me that we are such small beings with such an enormous effect on our surroundings and that we really have no idea of what is really being changed. … We are more likely to listen and see if we are not told what or how to think.