pdp1@EARTHLINK.NET on tue 30 sep 03
chopped off...NOT!!!! (or, Oh - Jeeeze will we ever get an answer?)
Hi Lee,
How about just answer the question Lee?
The components of the answer are matters you have mentioned
in the past.
It is not as if you do not know.
The questions being:
How much these 'Masters' little tea-bowls tend to sell for
( yes, as 'investments' or as whatever )...?
And...
What kind of output these 'Masters' can have at those
rates...?
Forget the rest for right now...!
And if you want me to believe some 'Master' makes a couple
hundred things a year, things as take less than a minute
each to throw and less than that to glaze...well just what
the hell do they do with themselves the rest of the time?
That is like two days of old time Work a year Lee.
And yes, I know they have all that high-ritual and so on
when they fire, priests with twig-brooms, processionals and
special obsequiences and so on...so okay, at that point the
guy still Works less than one Calandar week a year.
I don't think so...
Try again Lee...just tell me...!
Thanks..!
...sigh...
Phil
Las Vegas
----- Original Message -----
From: "Lee Love"
> ----- Original Message -----
> From:
> >
> > Okay...then how much are the little 'Tea Bowls' made by
the
> > 'right' Masters tending to get sold for?
>
> Little "Tea Bowls?" Do you mean senchawan,
banchawan or yunomi?
> These are what I think of as "little" tea bowls. Or are
you talking about
> "big" teabowls, matchawan?
>
> There are different Masters and a range of prices.
It is always
> problematic to critique without specific examples.
>
> >What kind of output have some of these 'Masters' of items
as sell for that
> > range?
>
> I believe it differs greatly. A Shigaraki
potter I met in July
> only fires about 150 pieces in his Anagama 3 times a year.
Other people
> produce much more. Production varies from kiln to kiln.
>
> >Are these items yes-or-no often made by 'apprentices'
> > and, when they fit-the-bill,
>
> My direct experience is limited. From the Living
Treasures I
> personally know about, the matchawan are always made by
the master of the
> kiln.
>
> >the 'Master' puts his chop on the thing?
>
> Are you talking about the hanko stamp? Hamada didn't
use one on any of
> his work. But the work he made or decorated (the mold
made work was made by
> shokunin, but decorated by him) came with a box saying
that he made the
> work. The boxes of the work made by his shokunin were
signed as "Hamada
> Kiln" work.
>
> The economics have to be examined within the context
of the culture.
> Much of the high prices for new work are caused because of
investment.
> These are not consumable products.
>
> These works are not looked at as being
"beneath" an oil
> painting painted by a European master. The same
arguments made for the
> prices of these works of art can be made for tea ceremony
ware. Why is it
> easy to understand a 10 million dollar oil painting but
difficult to
> understand a $5,000.00 tea bowl?
>
> I personally would be more likely to buy a Hamada
tea bowl before I
> would pay the same amount of money on an oil painting.
But that isn't
> because of absolute value, but rather, because of my
subjective appreciation
> of Hamada, his life, and his work.
>
> --
> Lee In Mashiko, Japan Lee@Mashiko.org
>
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