The Exotic Teapot

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.

The pottery made in Tokoname City in Japan is known as Tokoname-yaki.  During the 12th and 13th centuries an estimated 3,000 kilns were built.  Today this pottery region, located on the Chita Peninsula, still has 1,200 ancient kilns in operation.  It wasn’t until the 19^th century that teapots were introduced.  By using rich red clay and artistic embellishments, tokoname teapots still remain durable, affordable and visually appealing.

Tea drinkers decorating for the holidays will especially appreciate these images this time of year.  All are vintage glass tea-ware ornaments.  If you haven’t a collection perhaps you should start; there are many wonderful antique teapot ornaments waiting for purchase on various bidding web sites, most likely admired by us tea fans.

Sabine Bruner, featured in a previous blog, has a dear friend that also is a ceramic artist.  Even though now living in different continents, the two continue to appreciate each other’s tea ware.  Linda’s pieces are simple but elegant.  She uses glazes that are satiny smooth.  She interchanges the exterior and interior of the vessels with subtle tones.  Notice the unique shape of the teapot spout and minor dimples in the cups...what a nice touch.

Glazes within the copper tone hues are the most difficult to predict and manage in pottery.  Not only does it require a particular schedule of firing in the kiln, it mandates monitoring throughout the bake.  We all too often take for granted the rich colours of red in our teapots and cups.  Realistically, it is a skill that takes years to perfect.  Daniel Dermer has practiced and obviously learned these techniques as evident with this rich ruby red teapot.

Who hasn’t heard the saying ‘a spot of tea’?  Apparently very few, at least that is in the UK and the US.  According to the World Wide Words Organization Americans use the phrase as often, if not more over the last few decades, than the Brits.  However, interpretation is not the same.  Additionally, region and social class impact its elucidation.  Generally Americans think it means a cup of tea whereas in the UK it refers to tea with food.  To further complicate the subject, the region in UK may alter whether it is afternoon tea with refreshment or an evening meal.  In spite of the discrepancies, there is none when it comes to the word ‘spot’ as the Brits are recognized worldwide for the slangy term.

Joy Imai has been a potter for 35 years.  After many years of raku firing pieces, she has returned to her original study of soda firing. This now makes the outcome of her teapots and mugs a surprise even to her.

I spray a solution of sodium bicarbonate (baking soda) and water into a hot kiln, and the high heat causes the solution to break down into sodium vapor and carbon dioxide.  The sodium vapor combines with elements in the clay and forms an “orange peel” textured glaze on the surface.  The vapors follow the flame circulation in the kiln and “flashing” occurs on the pots.  I like the unique way the firing process is recorded on each pot.

Shino glaze originated in the 16^th century, which ever since has been favoured by masters of tea ceremonies. It is believed shino is a variation of shiro, the Japanese word for white.  Originally artists painted under or over the white glaze with various shades of brown.  In the 1970’s, shino fire colours were introduced.  These included: flares of orange and gold; beaded surfaces, and; carbon trappings (specks of black).  Shino glaze experts now add even more pigments, such as this teapot made by Brent Johnson who specializes in Japanese folk pottery.

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.

Decorative tea boxes, or tea caddies, in Britain date back to the early 18^th Century.  After tea became more accessible and affordable, in the second quarter of the century, a variety of box styles were introduced.   At first, most were made of mahogany or walnut and offered in single, double or multiple tiers. By the late 18th century, caddies were made of pine, oak or mahogany and skillfully veneered in different woods. It is no wonder that today there are numerous admirers and collectors of these beautiful designed antique pieces.