A Clear Stream: The Art of Abe Anjin
Degawa Naoki, craftwork researcher
The Oribe style was a revolution in beauty. While the history of Japanese ceramics was always under the influence of China and Korea, the truly innovative Oribe style developed into a different dimension. The irregular asymmetrical forms have a radiant quality of life and tension, and their movement creates a strong, firm presence. The beauty of the physical object found in Oribe ceramics would not appear in other countries until the coming of avant-garde art in the twentieth century.
One of the characteristics of ceramics in Japan is that the Japanese people see infinite "landscape" patterns and other attractive qualities in high-fired unglazed stoneware and recognize the highest level of artistic beauty in it. The Japanese should be proud of having developed such a sophisticated esthetic sense with regard to ceramic art. The Momoyama Bizen tea ware was created at the point of intersection between Oribe and unglazed stoneware. Perhaps it is only natural that this sort of craftwork directly touches the heart of the Japanese.
Contrary to what might be expected, however, the current situation of modern Bizen work is not entirely satisfactory. Perhaps because of the adverse influence of the Mingei (folk craft) movement, which promoted anonymous craftwork produced unconsciously, modern Bizen potters artists seem to have given up any pretension of being artists. Some modern Bizen ware has a dry surface texture with ash-spotting techniques that look like specks of charcoal adhering to the surface, and forcibly created "landscape" effects that have the appearance of excessively applied makeup. There are flower vases that look like clay pipes and water jars that look like charcoal extinguishers.
In the flood of this sort of ceramic ware, however, it is possible to find a clear stream. This is the work of Abe Anjin with its strong, lively forms and rich surface textures. Abe's work has the distinctive style of Momoyama Bizen, so some critics claim that he is too faithful to tradition. While it may seem paradoxical, it is quite easy to shatter tradition. For example, tradition can be easily overturned by opening a hole in the body of a pot or adding a colored image to a water jar in a display of the artist's eccentric taste. The problem is whether the technique and expression have only a temporary effect or can become seeds that can be cultivated and grow into something greater in the future.
Being a creative painter and artist, Abe has tried various new methods in making his work. Some of them are highly creative. However, because of his perceptive esthetic sense, he boldly eliminates most of his merely whimsical ideas and avoids publicly showing work that is still in the experimental stage, as many artists do. He has felt that this was necessary because such work could not compete with the powerful expression he saw in Momoyama Bizen. He has been striving to perfect the technique of hidasukimon ("fire-cord" markings created by wrapping straw around the vessel during firing) over the last ten years and has finally succeeded in developing his own unique method through a severe process of selection. This method is a natural extension of the traditional techniques and expressive style of Bizen, but it is obvious that it contains great potential for further development.
What is the source of the strong character of Abe's work? Anyone who knows Bizen ware will notice that there is not one piece in this exhibition that is an exact copy of Momoyama Bizen. Abe has succeeded in capturing the spirit rather than the form of Momoyama. He travels long distances to see any masterpieces of Bizen ware that he hears about, and he keeps detailed records on each piece he has seen, noting all the features of its "landscape" patterns, including length, depth, and angles. It was after making a thorough analysis and following traditional standards that he finally achieved the free, creative spirit of the Momoyama period. That is why the form of his work is so bold and straightforward.
What is most remarkable about Abe's work is his brilliant firing technique. The rich, deep surfaces of his ceramic work have a subdued luminosity that is reminiscent of famous Momoyama Bizen pieces of the past. It is interesting that Abe Anjin is the only artist working today who has demonstrated such a mastery of firing. I believe that Abe's success is the direct result of years of study and experiment that have led him to change the design of his kiln many times. Old Bizen pieces are often said to have such a rich and tasteful surface texture because they have been used for several hundred years, and it is true that they become stained with natural oils as they are handled over time. However, ceramic ware that is expertly fired will not absorb oil and stains in the same way that poorly fired ware does. It can be restored to its original state by cleaning. It has been said that roof tiles cannot be made into jewels by polishing. Old Momoyama Bizen ware had a beautiful surface texture when it was first fired, and it is clear that Abe has revived that texture. A jewel is a jewel from the beginning.
While continuing to work hard, Abe has stayed independent and never joined a group. In spite of this he has become well known in ceramic circles. His work represents the highest level of modern Bizen ware to be found in the world. This clear stream will continue to flow with ever greater force.