The umadari form — wide, shallow, open — was named for the basin where horses were washed. There is something unguarded about it. A bowl that does not close itself off.Ohi Ippei works within a lineage that reaches back to the Maeda clan and their patronage of Raku-influenced ceramics in Kanazawa. That inheritance is visible here: the white and pink crackle glaze, the amber patches, the dramatic network of crazing that maps itself across the surface like a terrain seen from above.This is not a surface that was planned. It was allowed. The kiln made its decisions; the potter accepted them.The crazing will deepen with use. Tea will settle into those lines. The bowl will become more itself over time.Tomobako. No damage. A considered piece from a lineage that understood patience.
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