AdamMY wrote:
I've been smitten by Hagi yaki, and today I spent quite some time musing on the feel of the piece in hand. Now I understand for things like yunomi-s and wan-s that they should feel natural in hand. So my main question is as follows:
Do artists on some level acknowledge how pieces are usually held, and design them accordingly?
I ask because when musing on some of my pieces I realize that different pieces I hold different ways, but most feel completely natural when held. So are things like placement of thumb dimples, or ridges in the cup very thought out? Or could there be a secret that your hand or fingers will naturally feel there way to the spot they like the most?
Adam
Holding a chawan in hand is an experience that when selecting a vessel is paramount.
From the makers' standpoint, the 'balance in hand' is important. The user/person enjoying tea, you want an overall balance. For example, the bottom shouldn't be too heavy. Sometimes glaze application is adding 'clay' weight. The maker would definitely factor in this in the clay thickness of the vessel walls.
My mentor Sally Murchison created drinking vessels that were, hard to explain in words. When you held the vessel, it was like she was pressing her hands against yours. Sally's vessels were shibui. THere was a strong sense it was made by a human being. Finger marks and when you held the vessel. WOW!
Personally, i love how some vessels are alive in the hand, easy to enjoy tea. (nomi yasui).
This is a fascinating topic!
humble cheers, cory