An deliberately offhandedly carved foot of modest diameter, the Kodai-uchi simply pressed in with the turn of a fingertip. The hip is set off from the wall, yet with a tendency to fuse. Some strokes of Kurinuki do not sharpen the edge but rather attenuate it, creating a soft turn of the outline. The body reduces the expanding move of the Koshi but does not embark on a straight course due to the coiling crests of the deliberately accentuated Rokuro-me, which break the contour. So is the lip slightly flared on one side while bent inwards on the opposite, just as the ripples are cut off by the rim. In this case it's not the body bearing the 'signs of the wheel' but the other way round. With all the faltering dynamics the cup gains a decidedly upright, say, eventfully acquired stance and a souvereign character. A quite more consistent developement unfolds over the inside, where the whirl of the wall structure sinks in an unbroken, if rippled, parabola from the splashy and subtle lip into the Chadamari, marked by a sharply drawn Kajiri.
The coating is an impish interplay, 'hyde and peek', between the captivating amber of the biscuit, which boasts a bronze shimmer in the raw foot aerea, and a foamy green of the glaze. The latter can not have a too thin consistence and body, as tells the palpable rim of the dunking. So I venture the guess, the glaze was some colloidal suspension, in which the colour particles were contained undissolved. Another puzzling feature are the whitish garlands on both sides under the lip. Some significantly runaway drops tell of an effusive solution, maybe applied by brush, on the running wheel. The cup also offers a shady as a lighter side and, what I'd suppose, abrasions of the coat at the rim, both probably due to the airstream in the kiln. A really complex piece, that gave me some headache, but it was worth it.
