Plate c. late 20th century

Curator: Let's take a look at "Plate," a late 20th-century earthenware ceramic work by Kanzaki Tsuguharu, found here at the Minneapolis Institute of Art. Editor: Immediately, I'm struck by the interplay of textures. It looks like an almost topographic landscape – like dried earth viewed from above. Curator: That’s an astute observation. The crackled glaze is intentional, reminiscent of "kannyu" glaze effects, a traditional aspect of Japanese ceramics linking to wabi-sabi philosophy of imperfection. You see, such techniques connect us to past artisans, and also carry emotional impact: our inevitable fractures and flaws made manifest, perhaps? Editor: Perhaps. But I’m also wondering about the actual labor – what techniques were used to achieve this glaze effect, and the firing process that must demand high degree of control. Each of those hairline cracks suggests multiple firings, careful material selection, and a deep understanding of ceramic chemistry. This also suggests a cultural shift. We moved from the folk tradition in the late 19th and early 20th century to focus on individualism. Curator: Interesting point! There’s an undeniable element of control tempered with chance. The spiral pattern leading toward the plate’s center is like a mandala, drawing the eye and inviting contemplation, echoing centuries-old Buddhist symbolic practices in pottery arts. Editor: Agreed. Yet, for me, the cultural significance is deeply entrenched within the process. The choice of clay, the preparation, the shaping—the complete history of the thing – reveals much about the studio where this work took place. Curator: Indeed, from a cultural viewpoint, these ceramics transcend function, mirroring emotional geographies within their surfaces. Editor: Yes, seeing it this way really allows you to imagine the studio space, doesn't it? A dialogue with both the materials and a longer historical conversation, taking place right here, at the Mia.