What a difference between a classical 'Wa-nari' or ring-shaped bowl and this here! The distinction is so spectacular, because the piece retains many features of the mentioned type. There is the strong foot, strong not so much materially but regarding the straddled, tripartite foot ring. And there is the widely bulged hip, such a gratification for holding hands. But instead of just straightly cutting off a segment of the vessel to facilitate access, the upper third of the wall expresses a noble hesitation to close the ring and so there occurs an inviting gesture instead of the 'love it or leave it' attitude of a common Wa-Nari. Also there is a very palpable structure of the wall, as once more the 'Rokuro-me' has been taken as a structural means, offering a stepped evolution of the body and a spiral waist line. With the narrowing of the upper body then, its centripetal tendency is deliberately reduced and ends with a jolly lip. The inside is shaded, but reveals the soft undulation of the wall, which prepares an easygoing Kajiri at the bottom, submerged by a thick, glossy shield of clear glaze. As for the coat, showing (or not) a hardly visible cracquelure, so it is not only thick enough to contain floatingly immersed grains of feldspar but also of a deep, algae green colour, to get lost in. It builds a nicely bulged margin in a playful distance to the foot and gives air to the grainy biscuit, bluntly exposing its dull amber. At the lip the glazing is thinned out, like at the edge of a piece of painted cardboard, that has been folded several times. In narrow lines here the dark biscuit breaks through as it does at the sharper edges of the expressive indentations on the wall by hand of the artist. These are plainly enough done with whips of a strip of wood, applied exactly five times, creating a symbol of crossed swords on one side and a convincingly floral motive, like bamboo leaves, on the other. If anybody ever had the impression of this cup to be too softly formed, this input will have settled the matter.
