Page 31 - BSAM 2018 Q2

higher. However, it should be an important goal for all serious bonsai pot collectors, and classical Japanese bonsai growers to keenly watch out for these elusive items, as they do randomly appear in a wide variety of global markets and in a range of affordability.
There is much more bonsai memorabilia to collect from Japan than the more recent classic and named potters who will always retain their important personal place in the history of Japanese unique bonsai pots. (Figure 19)
Myth Four: Older Japanese bonsai pots from the early 20th century are poor substitutes for antique Chinese pots and do not deserve to be collected or used.
The earliest industrial production of Japanese bonsai pots coincides with the Taisho Period (1912- 1926). This is not to be confused with the few, afore- mentioned, independent artisans of the era with a growing ability in producing individual and bespoke works for the emerging Japanese bonsai community.
Japanese Taisho Period bonsai pots are too frequently dismissed by contemporary bonsai artists and collectors, citing an alleged lack of detail in design and less durability than the antique Chinese counter- parts. (Figure 20)
It is acknowledged, that due to the complexities of world politics after World War 1, Japan found new export markets. In fact, many countries were demanding trading access to Japan’s rich cultural resources for many years prior. This growing export exposure also miraculously coincided with a trading ban preventing the long standing importation of Chinese ceramics into Japan in the early 20th century. Also of note, this was a time of a national focus on Western mechanization and technological advance- ment. (Figure 21)
Taisho Period Japanese pots are an important historical record of the transitional period into what are now more commonly and globally known as, con- temporary Japanese bonsai pots.
Chinese penjing trays and pots—which need to be fully addressed in a future article—are completely unique in many obvious ways, including their history, manufacture and even use as the traditional pen (tray) of Chinese Penjing when compared to the historical Japanese bonsai tree pot. It is not clear why the Japanese chose, in the Taisho Period, to suddenly develop a preference towards the creation of typically shallow, simplistically styled, often unglazed or in muted colors, bonsai pots similar to the antique Chinese containers. Despite the long history of importation and their valued collection by Japanese, the historical pictorial evidence of the use of these Chinese style bonsai pots is elusive; therefore it is difficult to be certain of their widespread use in Japan.
Taisho Period pots were initially being crudely manufactured, and often bear the scars of primitive moulding, resulting from the amateurish attempt to directly copy the esteemed Chinese Kowatari
and Nakawatri pots, that were available at the time. Originally, the lack of definition, design and technique during creation went uncorrected. However, as techniques improved and industrial manufactur- ing operations like the famous Pre-Yamaaki, Kinka kiln grew in popularity and stature, so the quality of Japanese bonsai pots improved significantly. It could be argued that Japanese manufactured pots had, by the late Taisho Period, become the new benchmark of quality, demanded by the emerging global bonsai market and that would continue to the end of 20th century. (Figure 22)
It is a loss that too few Taisho period pots are currently esteemed, both in Japan and abroad for either their aesthetic or historical value. Despite many odds, their eventual durability to outlast the
Top; Figure 19 – Taisho Period, Namako Sea slug blue/green glaze attempt. Rectangular double drainage bonsai specific pot 34cm wide x 21cm deep x 5.5cm high. Note the lesser quality clay and detailed pot decoration as well as the under-fired glaze which failed to turn from green to blue.
Middle; Figure 20 – Taisho Period unglazed Udei, grey
or light brown clay, Japan.
A formal rectangle bonsai
pot with double drainage 39cm wide x 27cm deep x 10cm high. Note this clay is a wonderful colour and unique to that time, possibly including previously imported clay from overseas. Very fine textured and a close imitation to the Chinese antique classic bonsai pots.
Bottom 2 images; Figure 21 – Taisho Period Cochin glazed rectangle bonsai pot with double drainage, 33cm wide
x 18cm deep x 9cm high. Note the imperfections in the granular clay and the excess of glaze which has dripped off, indicative of early practice.
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