Page 32 - BSAM 2018 Q2

Top left; Figure 22 – Late Taisho Period early pre-Yamaaki
kiln, known as Kinka ware rectangular bonsai pot of shallow proportions and
very fancy cloud feet with dimensions of 40.5cm wide x 26cm deep x 7cm high. Note that even in this short time of development, the pot looks very familiar to contemporary Japanese pots of the late 21st C.
Top right; Figure – 23 Taisho period Japan larger sized rectangular bonsai pot in Cantonese tradition 46cm wide x 30cm deep x 9 cm high.
Middle; Figure 24 – Taisho period on the left with the original inspiration of a Nakwatari era pot on right side. Both similar dimensions at 16cm wide x 12cm deep x 4.5cm high and dual drainage holes. Note that the left pot is much less refined around the top edge and bears indications of being moulded from a copy of the right hand side pot, which is of a much earlier and Chinese origin.
Bottom; Figure 25 - Meiji period Kutani Yaki of Japan, in full
five color splendor, featuring hand painted designs of Lions as thought to appear to the Japanese at the time and colorful Peony flowers. Note this round pot is a larger size at 30cm diameter and 20cm high with one drainage hole.
past 100 years and remain into the present day, have in fact made them true antiques of their own merit. It is also important to note, that remaining Taisho pots incorporate lost sources of Japanese and imported Chinese clay. Consequently, these uniquely colored and textured pots capture the highly desirable hue and tones of the earlier Chinese Master Pots and sig- nificantly most, if not all, were exposed to the ancient wood burning, climbing kilns that were used for their more primitive firing. This unique process in itself is no longer legal, due to modern environmental goals, and modern, fired kilns do not reveal the same rustic authenticity or subtle variation in color that is so desirable in older and Taisho bonsai pots. (Figure 23)
History, conspiring with both domestic and inter- national export opportunities, was to determine the
certain future of the industrial development and eventual mass production of early Taisho bonsai pots. What is truly remarkable is their very sudden design and creation incorporating the more typical Chinese styles. (Figure 24)
Taisho Period ceramics, an increasingly rare group of bonsai pots that can still be found if sought after, need to be collected now and securely passed respect- fully on to future generations before they are lost due to current, flippant disregard and devaluation. This group of Japanese bonsai pots are, in fact, the missing link between the acknowledged Antique Chinese Master Pots, uniquely Japanese Edo and Meiji Period ceramics and the period of significant amalgamation of all styles into what are only now recognizable as, the contemporary Japanese (in Chinese style) bonsai pots of the late 20th century. (Figure 25)
Myth Five: Classically inspired Japanese bonsai trees in the 21st century should be potted into contemporary bonsai pots made by local artists, where possible.
Recent fashion, national pride, pressure from globalization and a renewed sense of patronage to individual crafts people have impacted upon the
30 | BCI | April/May/June 2018