{"id":61952,"date":"2025-03-31T08:15:47","date_gmt":"2025-03-31T15:15:47","guid":{"rendered":"https:\/\/www.heuermontage.com\/?p=61952"},"modified":"2025-03-31T08:15:49","modified_gmt":"2025-03-31T15:15:49","slug":"a-world-of-contrasts-and-co-mingling","status":"publish","type":"post","link":"https:\/\/www.heuermontage.com\/?p=61952","title":{"rendered":"A World of Contrasts and Co-Mingling."},"content":{"rendered":"\n

“The potter, in his concepts, must possess such a sheer love of truth as will carry him past the dangers of revivalism on the one hand and of futurism on the others.” – Bernard Leach<\/strong>, A Potter’s Outlook<\/em>, Handworker’s Pamphlet #3, 1928.<\/p>\n\n\n\n

I should have known then, when I was barely able to find parking. But who would have thought that in the middle of the day on a weekday, half of Portland’s population and every other tourist in town would flock to the garden? I had made a spontaneous decision to visit without checking the website<\/a> which I later learned announced peak bloom for the cherry trees. Of course the trees were spectacular. So was the weather’s control over people’s movements. Like one, we ripped out our cameras when the sun appeared, lasting for about five minutes, like one we scurried seeking cover when the torrential rains came down, again for the shortest amount of time. Proverbial April weather on steroids in March.<\/p>\n\n\n\n

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Once again, the garden offered some surprises. I really have difficulties thinking of a place that so regularly, reliably, offers food for thought at the same time that it gifts us with natural beauty. This time my eye was caught by the visual contrast between nature’s opulence, and that offered by Earthen Elegance: The Ceramic Art of Bizen<\/a><\/em> inside the Pavilion Gallery. My brain, on the other hand, was occupied the minute I saw some antique stencils in the hallway near the Tanabe Gallery (in conjunction with an exhibition by artist Karen Illman Miller, Natural Patterns: Katazome Stencil Dyeing<\/a><\/em>, that would open the next day and will be visited at some later point.)<\/p>\n\n\n\n

***<\/p>\n\n\n\n

Imagine clouds of pink and white cherry blossom from the weeping cherry at the flat garden, or the old tree near the Caf\u00e9, or the white cherry tree hill – soft, gossamer, delicate and impermanent, all of them, a study in fragility.<\/p>\n\n\n\n

Contrast that with the dark hues of the Bizen ceramics, the toughness and resilience of pottery wood-kiln fired at extremely high temperatures for weeks on end. Earthen(ware), down-to-earth, earth-derived and earthbound in its utility, a study in sturdiness.<\/p>\n\n\n\n

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Manabu Suehiro Yunomi Cup (ca. 2000)<\/em><\/p>\n\n\n\n

The name Bizen<\/em> pottery originates with an ancient Japanese kiln from the Kamakura period (1185-1333.) The Chugoku region in the West of Japan is known for its special hiyose clay dug from the rice fields and red pines that are used to fire the kilns to this day, a lasting artisan trade. The vessels are fired in either Noboigama\/climbing kilns or Anagama\/tunnel kilns, and some of the artisanal skill lies in adjusting distances to the heat source, and changing the amount of heat, up or down, during the weeks of firing, with temperatures as high as 1,200 degrees Celsius.<\/p>\n\n\n\n

Depending how much ash adheres to the pottery, the surface layers will appear rough, and depending how close or distant from the core heat, the colors will vary for these traditional storage containers. <\/p>\n\n\n\n

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Hiroyuki Wakimoto Vase (ca. 1999) K<\/em>enji Takenata Vase (ca. 1996) <\/em><\/p>\n\n\n\n

There are no glazes or final painting of the vessels, no decorative motifs in the tradition. Sometimes the artist will wrap straw around the containers, which creates a unique pattern through the chemical reaction of the Potassium component contained in the straw with the iron oxide component contained in the clay. None of the beautiful red streaks look alike in this Hidasuki<\/em> method.<\/p>\n\n\n\n

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Shunichi Yabe “Tsukiyama” Moon Mountain (ca. 2012)<\/em><\/p>\n\n\n\n

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Togaku Mori Vase<\/em> (ca. 1990s)<\/p>\n\n\n\n

Another variation of Bizen ceramic is Goma<\/em>, with characteristics on the ceramic surface resembling special grainy sesame seeds. The ash of pine wood sticks to the vessels during the burning period, creating these floating seeds or even droplets.<\/p>\n\n\n\n

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Takashi Mezawa Vase <\/em>(ca. 1998)<\/p>\n\n\n\n

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Works on loan from the Collection of David Sneider and Naomi Pollock feature contemporary artists who luckily inherited the processing skills and techniques accumulated across generations. I lack the expertise to pinpoint where they exactly deviate from or improve on the Bizen tradition, but the aesthetics speak to me, however much the past and the present co-mingle. Put differently, the vessels do create an emotional reaction, one that includes being drawn to the ultimate function of earthenware, a desire to use it. There is an earthiness to these containers, the way surfaces are rough, the forms vigorous and for the most part unpretentious, that spoke to me. I would have no qualms sticking some cherry blossom twigs or a magnolia branch into some of them, and reveling in the contrast between the light and the dark, the temporary and the timeless.<\/p>\n\n\n\n

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Masahiro Miyao Vase<\/em> (ca. 2005)<\/p>\n\n\n\n

***<\/p>\n\n\n\n

“Japonisme is no longer a fashion, it\u2019s infatuation, it\u2019s insanity.\u201d – Ernest Chesneau<\/strong>, French art critic, late 1800s.<\/p>\n\n\n\n

Eventually, escaping the next deluge, I found myself in the corridor of the Japanese Arts Learning Center. Good thing I was double-masked. Really chanced onto an inconspicuously hung display of antique Katagami paper stencils from the collection of artist Karen Illman Miller, their creators unknown. Perusing these beauties set off a chain reaction of thinking about what I know and what I don’t know, followed later by some serious reading to brush up on the deficiencies. A wild ride, as it turned out. If the curator’s minimum intent was to teach but one person about some intricacies of Japanese cultural productions: mission accomplished.<\/p>\n\n\n\n

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Antique Katagami Stencil Winding Stream (Artisan <\/em>unknown)<\/p>\n\n\n\n

So what is Katagami? The original stencils were created by making a paper pulp from the bark of mulberry trees, which was then made waterproof by applying a mixture of oil and the fermented juice of unripe persimmons. Next you pile up the sheets and create a pattern with knives and hole punchers all the way down. The top sheet is discarded, and the rest are often paired, with a mesh of human hair or silk threads to prevent tearing. <\/p>\n\n\n\n

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Left to Right: Antique Katagami Stencil Silk Making Process – (<\/em>Artisan <\/em>unknown)- Antique Katagami Stencil Diptych (<\/em>Artisan <\/em>unknown) – Antique Katagami Stencil Maple Leaves in Stream (<\/em>Artisan <\/em>unknown).<\/p>\n\n\n\n

In parallel, you prepare the fabrics that are supposed to receive dye patterns with the help of these stencils, a process called Katazome. Once the fabric is ready, you put the stencil on top and then push something called a resist paste through the holes of the template. The traditional paste consisted of a mix of glutinous rice, rice powder and bran powder, salt, slaked lime (calcium hydroxide), and water. You take the stencil away, let the thing dry, and then color the surrounding fabric with dye or paint by hand, outside of the lines of the resist paste. Once the dye has dried you wash the paste off, traditionally in flowing water at small streams, and you got your kimono pattern in full beauty.<\/p>\n\n\n\n

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Antique Katagami Stencil Abstract Birds (Artisan <\/em>unknown)<\/p>\n\n\n\n

That art is partially the result of class divisions. The Japanese nobility of the 17th century enacted exclusionary laws that prohibited the wearing of silk garments by the increasingly prosperous merchant class. As a result cotton fabrics became more elaborate in design and complexity, with the Tokugawa Shogunate (1603 ~ 1868) encouraging and supporting artisans in their production of katagami stencils. Traveling traders bought bunches of them and then re-sold them to textile craftsmen throughout Japan, including remote rural regions, eventually enabling peasants to create beautiful garments at least for festive occasions.<\/p>\n\n\n\n

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Antique Katagami Stencil Tryptich and Floating Flowers (Artisan <\/em>unknown)<\/p>\n\n\n\n

Fast forward to 1854. After 250 years of isolation, Japan was forced open to Western colonial and trade forces. The nation reacted with prompt modernization, including a shift in national power structures, with the Samurai no longer being a force to be reckoned with – including their purchasing power. The search for replacement consumers turned westwards: enormous quantities of artisan wares, wood cuts, Katami stencils, ceramics and porcelain works were exported to Europe which soon landed in the grip of Japonisme: <\/em>a sensitivity to Japanese culture that had an enormous impact on changes in Western art, shifting expression bound to the past to one open to future developments.<\/p>\n\n\n

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Designers (think William Morris, or the decorative artisans of the Wiener Werkst\u00e4tten and Art Nouveau) were influenced by Japanese patterns. <\/p>\n\n\n\n

William Morris, Green Leaves – Felix Vallotton Laziness (1896)<\/em><\/p>\n\n\n\n

Painters also adopted new perspectives derived from Japanese prints, perspectives that included flattened spaces, new viewpoints, often from above, or providing a radically subjective positioning of the viewer, cropping of subjects, a tolerance for empty space and last but not least color choices that were no longer descriptive, but expressive instead. (Some examples of paintings and their (in)direct models can be found here<\/a>.) <\/p>\n\n\n\n

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Hiroshige Plum Park in Kameido<\/em> —- Vincent van Gogh Flowering Plum Orchard, after Utagawa Hiroshige 1887<\/p>\n\n\n\n

Back to our Katagami stencils for textile printing. In 2015, the Staatliche Kunstsammlungen Dresden<\/a> held a phenomenal exhibition<\/a> of 140 Katagami stencils, Die Logik des Regens,<\/em> all devoted to the subject of rain, at the Japanese Palais at Dresden, Germany. The curator, visual theorist Wolfgang Scheppe, had found a treasure trove of some 16.000 (!) of them at the Museum of Decorative Arts at Dresden\u2019s Pillnitz Palace, largely unknown. They were held in ninety-two cassettes for more than 125 years.<\/p>\n\n\n\n

How did they get there? We know that a purchase was made in 1889 at the height of Japonisme<\/em>, the seller one Hermann P\u00e4chter, the owner of a Berlin art dealership that specialized in East Asian art. The Jewish business was destroyed during Kristallnacht, November 9, 1938, the surviving proprietor, P\u00e4chter’s wife, later murdered by the Nazis in Theresienstadt. So no real provenance from that end. The papers at the museum got lost or burnt during the allied bombings of Dresden. So no provenance there, either. <\/p>\n\n\n\n

However, it is speculated that the art dealer bought the entire collection from the translator, diplomat and art collector Alexander von Siebold<\/a> who at the time lived in Japan. He is another entry, together with his father, Phillip Franz von Siebold<\/a>, into my Department of interesting People<\/em>” ledger… the latter a traveler and a highly respected German naturalist and physician in 19th century Nagasaki whose daughter with a Japanese partner became the first female physician in Japan, the former one of his European children who served Japan throughout his life with distinction. If he sold 16.000 stencils, how many did he actually own?<\/p>\n\n\n\n

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Exhibition views (here and following) of The Logic of Rain<\/em> curated by Wolfgang Scheppe for the Staatlichen Kunstsammlungen Dresden \u00a9 Kunstgewerbemuseum, Staatliche Kunstsammlungen Dresden<\/em>
Fotocredit for all images: Adrian Sauer<\/em><\/p>\n\n\n\n

In any case, the 2015 Katagami exhibition was beautifully arranged, hung at eye-level with indirect backlighting enabling the patterns to be seen in all their minimalist glory, details after detail flowing into abstraction. As the exhibition text noted: “140 different ways to graphically represent the falling of tiny drops in a rhythmic pattern.”<\/em><\/p>\n\n\n\n

A handbook<\/a> with more than 200 illustrations of these stencils will be published by the curator this August, 2025. I don’t know if and when there will be an English translation. But just seeing the art would be a treat. <\/p>\n\n\n\n

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The Dresden Katagami exhibition was accompanied by a sound installation of randomised computer modulations of the sound of falling rain, developed in collaboration with the Italian electronic musician Renato Rinaldi<\/a><\/em>. Here in Portland, all you had to do was step out onto the Cultural Plaza and listen intently while getting soaked. Thinking about the flow of cultural practices and ideas across time, or across continents. About how minds open when they appreciate something new, or admire something from centuries ago. About artistic cross-fertilization, and always, always, individuals who blaze a path, approaching novel parts of the world, returning with knowledge, or providing us with art that we would otherwise not easily come in contact with.<\/p>\n\n\n\n

The garden, exhibitions and nature alike, once again, an interdependent source of inspiration. A benevolently reappearing sun agreed.<\/p>\n\n\n\n

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Portland Japanese Garden<\/strong><\/p>\n\n\n\n

Earthen Elegance – The Ceramic Art of Bizen<\/em><\/p>\n\n\n\n

FEBRUARY 8 – JUNE 9, 2025<\/p>\n\n\n\n

Karen Illman Miller – Natural Patterns: Katazome Stencil Dyeing<\/em><\/p>\n\n\n\n

March 29 – September 15, 2025<\/p>\n\n\n\n

611 SW Kingston Ave, Portland, OR 97205-5886<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

“The potter, in his concepts, must possess such a sheer love of truth as will carry him past the dangers of revivalism on the one hand and of futurism on the others.” – Bernard Leach, A Potter’s Outlook, Handworker’s Pamphlet #3, 1928. I should have known then, when I was barely able to find parking. 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I should have known then, when I was barely able to find parking. 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