Mr. Robert Yellin Mr. Robert Yellin has lived in Japan since 1984, and runs a Japanese pottery gallery in Mishima, Shizuoka. He is one of the pioneers to deal with Japanese pottery on the internet targeting overseas residents. He imparts how attractive Japanese ceramics is through his eyes as a non-Japanese, [...]]]> Japanese pottery experts contribute to our website.

Mr. Robert Yellin
Mr. Robert Yellin has lived in Japan since 1984, and runs a Japanese pottery gallery in Mishima, Shizuoka. He is one of the pioneers to deal with Japanese pottery on the internet targeting overseas residents.
He imparts how attractive Japanese ceramics is through his eyes as a non-Japanese, and influences even a lot of Japanese.

>> Visiting Japanese Kilns by Robert Yellin　(2009.08.04)
>> Appreciating Japanese Ceramic Art by Robert Yellin　(2009.08.19)

[ Reference ]
e-yakimono.net [ http://www.e-yakimono.net/ ]
web gallery [ http://japanesepottery.com/ ]

Visiting Japan for many people usually turns out to be one the most memorable trips of a lifetime. Personally I’ve heard this time and time again, “the best trip of my life,” one person told me and another exclaimed, “I was overwhelmed by the beauty of the arts I saw, I [...]]]> by Robert Yellin　(04 August 2009)

Visiting Japan for many people usually turns out to be one the most memorable trips of a lifetime. Personally I’ve heard this time and time again, “the best trip of my life,” one person told me and another exclaimed, “I was overwhelmed by the beauty of the arts I saw, I shall always treasure the memories.” Most visitors usually take back a part of Japan with them and nothing is more representative of that than an actual piece of the land, a clay pot.

Most likely there is no country in the world with such a vibrant, rich, exciting and diverse ceramic culture then Japan. Literally the flames have been burning in Japan for more than 10,000 years from the very first ceramics ever made in the world, that being known as Jomon. Today the potters of Japan turn out a myriad of styles and forms that run the gamut of lowly chopstick rests to high-end porcelain and stoneware sculptures that are highly sought after by private collectors and museums the world over. Looking at such works in books is a good way to learn about the styles, yet nothing can hold a flame to actually visiting the studios and kilns of the artists themselves.

Most traditional Japanese styles, such as Bizen, Karatsu or Mashiko, are located away from major cities and often in rural areas, such as Tamba. The journey to these areas is often filled with wonderful scenery, as the drive to Hagi is, and one’s imagination runs wild thinking of all the history that each potting center has rooted there. Often pottery towns have ceramic museums displaying the proud history of the area and these are often a good place to start a journey. One can see masterpieces and learn about processes that define what each style is, for all of the great ceramic traditions in Japan are defined by region and more specific the indigenous materials found only in that area. A Bizen jar, for example, is defined by the very specific clay of that area as can be said for all ancient potting centers. And that is one of the greatest aspects of the beauty of Japanese ceramic art, the way that materials—as well as the human hand-consciousness–create the uniqueness of each style.

Meeting the creators of Japan’s finest pottery is also a treasured encounter. One can see firsthand the studios and kilns as well as ask questions about inspirations, goals and technique. Often works are bought and sent back home as a daily reminder of the meeting and the great joy such works bring to the home is never-ending.

And thus a visit to Japan’s magical kilns is a dream come true for any ceramic lover, whether one be a potter or a collector; so much to see, so much to experience with all the senses, so much to learn and appreciate, and so much to treasure as part of life’s journey.

ArtIn pottery, as with life, sometimes the most basic questions are the most important: Why is this so? Or, how did this happen? Or, what does this part mean?

What makes a fine Japanese pot is a question that many of you interested in visiting Japan’s ceramic towns may have asked before.

When [...]]]> by Robert Yellin　(19 August 2009)

ArtIn pottery, as with life, sometimes the most basic questions are the most important: Why is this so? Or, how did this happen? Or, what does this part mean?

What makes a fine Japanese pot is a question that many of you interested in visiting Japan’s ceramic towns may have asked before.

When first looking at a piece of pottery, whether it be a chawan (tea bowl), tsubo (large jar) or just hashioki (chopstick rest), don’t immediately start asking yourself questions, such as: What style is it? What period? Who made it? Is it an original or a copy? Any restorations? These questions should come later.

First one must see and listen, without words. In this way of looking at Japanese pottery a slow and subtle dialogue will naturally come about between the viewer and the viewed. If a pot doesn’t “speak” to you, forget it. Plus, the aesthetics that western civilization values are not always the same in the orient, and that holds especially true for many of Japan’s famous stonewares, where imperfections often add character to a piece.

Okay. A pot appeals to you. Now return to that initial question: What makes it good?

The most basic and ultimately important question, though, is: Can I live with this pot? Many times a piece will jump out and then, like a fireworks display, dazzle and disappear. Such a piece would not be a “lifelong companion,” as Masako Shirasu, a renowned collector, once described a pot she lived with for decades.

Since pots are basically clay, fire, air, water and the potter’s skill and spirit (which cannot be hidden) one should look at the clay of stoneware first off to see if the clay has been brought to life in the fire of the kiln. Of course for porcelain it’s completely different. Yet on a Bizen, Shigaraki, Iga or other high-fired, unglazed piece, it’s the quality of the firing and the tsuchi-aji (clay flavor) that matter most. Sometimes a Shigaraki or Bizen piece is amai (underfired); on the other hand, it might be yaki-sugi (overfired). The clay might not have been processed correctly or might have a very boring tsuchi-aji. Looking at the clay will often reveal the age of the pot as well. Then one might see stones bursting out, or firing cracks, or shapes that are very asymmetrical; all of these are not considered faults at all and actually, as noted above, add character.

Next comes form. Even with centuries-old shapes, like a tsuru-kubi (crane’s neck) vase, a freshness can be felt if the potter’s spirit and technique are in order and he or she has felt the vibrancy in the prototypes. Indeed, it is rare to find such contemporary potters, but they do exist.

Many potters not content to copy the past want to create something fresh and compatible with modern life. This is a great challenge. We find much originality in form but very few pieces with grace and beauty — they are destined to become “fireworks displays.”

A basic question on beauty is: Will something stand the test of time? I once asked a Bizen potter why he continued to make pots in the same forms as his ancestors did. He replied that the simple beauty of form need not be changed if it worked well. In that simplicity was his spirit and believe me, making something so deep appear so simple isn’t an easy thing to do. It takes years of learning, and then unlearning as the late great Hamada Shoji once said.

Certainly a critical factor in choosing a pot is price, and we all know that good Japanese pots aren’t cheap. Yet, if you look and train your eye you will find good pots to fit your budget.

And now that you have the opportunity to come to Japan, visit the great kiln centers and even try your hand at the creating, you’ll discover a new world of beauty, the beauty of Japan and her splendid ceramic traditions.