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?
on a personal note, i design each of my drinking vessels from guinomi, yunomi to matcha jawan with the full function of a drinking vessel. special attention on the balance/weight and 'feel' of the vessel in your hands.
the kuchizukuri or 'lip' area is also created to facilitate 'easy' liquid flow onto the palate. fat lips versus thin lips...
also color is paramount in choosing a matcha chawan. green on green versus other colors like black (tenmoku), white, celadon, etc. the most beautiful symbiosis with color is a hue that will contrast well with matcha green.
in guinomi, color is important. nihonshu is clear like water. a black guinomi would be less than desirable. white is great. i.e. shino, etc. there are many exceptions like black oilspot tenmoku.
some of my triangle shaped guinomi are specifically designed to be held and balanced with certain fingers much like a clarinet, in which certain fingers are placed like a 'fingering chart'.
matcha chawan are held after the shomen is rotated clockwise, in the same area during otemae (tea ceremony).
happy new years !