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No. 7915
Imbe Hidasuki Sakazuki
¥25,300
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Description
This is an earlier work by Yuho Kaneshige, who continues to create while constantly questioning himself—an Imbe Hidasuki Sakazuki.
A ceramic resume dated 2004 is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can be felt in his current works is already clearly present here.
The rim, shaped as if the clay has been gently gathered and rounded inward, is a feature also seen in Sozan’s Guinomi forms. In this piece, however, the throwing is thinner and more supple—showing further evolution while still inheriting that spirit.
The firing is close to what is known as So-Hidasuki, with dense Hidasuki covering the entire surface like a thin film. The clear, refreshing tones suit the softly rising form beautifully.
Another fascinating point is that, in harmony with the overall Hidasuki, the white clay is revealed only in small openings inside the foot and the well—an intriguing “reverse” approach compared to kiln-change effects where ash covers and transforms the whole piece.
Although it is an earlier work, there are no stains or signs of use.
A ceramic resume dated 2004 is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can be felt in his current works is already clearly present here.
The rim, shaped as if the clay has been gently gathered and rounded inward, is a feature also seen in Sozan’s Guinomi forms. In this piece, however, the throwing is thinner and more supple—showing further evolution while still inheriting that spirit.
The firing is close to what is known as So-Hidasuki, with dense Hidasuki covering the entire surface like a thin film. The clear, refreshing tones suit the softly rising form beautifully.
Another fascinating point is that, in harmony with the overall Hidasuki, the white clay is revealed only in small openings inside the foot and the well—an intriguing “reverse” approach compared to kiln-change effects where ash covers and transforms the whole piece.
Although it is an earlier work, there are no stains or signs of use.
Details
- Pottery Type
- guinomi
- Dimensions
- W9.0cm × D8.2cm × H8.5cm
About the Artist
He was born in Bizen City, Okayama Prefecture in 1950 as the third son of Sozan Kaneshige.
He became his father's apprentice in 1975.
He became independent as a ceramic artist in 1980.
He became his father's apprentice in 1975.
He became independent as a ceramic artist in 1980.