Yellow pot, yes or no ?

Hello Bonsai lovers,

thank you for the participation.

Here again, as a reminder, the article on good patina:

http://www.bonsaipots.net/index.php?page=patina-on-old-pots

It's the same with yellow pots.

Bonsai pots are inanimate, they will only come to life through use.

Just like a bonsai, a pot must go through a maturation process, it just takes a few decades longer.

Only after many decades of use, it has the traces of life, little injuries and scars. Sebum and fertilizer are the ingredients of a patina. Only those patinated pots have an incredible charm.

And finally, when contemplating the things past, the maturing of the tree and the pot, you may sink into a beautiful melancholy of becoming and passing.

Best regards
Peter

G'day Walter...

Pots and trees alike...masterful!!

Pat

prestontolbert wrote:In China the ancient high-fire yellow technique has been forgotten since less difficult, lower temp techniques were discovered. A few years ago, through exhaustive testing, Otto Heino rediscovered the technique. Businessmen from Japan offered Otto a half million US$ for his recipe. He refused and is selling his pots to Asian monks for upwards of $20,000. The guy has a Bentley and a Rolls. Not too bad for a 93 year old potter!

Obituary from the San Francisco Chronicle, July 22.

Otto Heino - master potter - dies at age 94
Associated Press
Wednesday, July 22, 2009
(07-22) 04:00 PDT Ojai, Ventura County --
Otto Heino, a master potter who created a prized yellow glaze inspired by a centuries-old
lost Chinese formula, has died. He was 94
His friend, George Gemmingen, says Mr. Heino died of acute renal failure on Thursday at a Ventura hospital.
Mr. Heino and his wife, Vivika, were internationally known for their brightly-glazed stoneware, influenced by Japanese pottery and the Arts and Crafts movement.Mr. Heino and his wife, who lived in Ojai, produced thousands of pieces. Their work made them multimillionaires. Pieces with the yellow glaze sold for as much as $25,000.

Such a shame. I hope the technique was not lost to time again!

Kindest~
-d

I like the yellow and think it really depends on what qualities the trees have that can counter the particular value of the yellow. In the images on Peter's site all the pots closely match in value an element in the tree. The Callicarpa japonica, Crab apple (Malus sieboldii) and Spindle tree (Euonymus japonica) berries match the value/intensity of each respective pot. If the tree doesn't have such elements it requires a more subdued pot with some patina. It seems to me it follows the basic idea of subtle balances between elements in the overall presentation.

Here is a shohin sized rustic oval that I sold recently. Being yellow, I think a small maple would like nice in it too.

Using the color wheel you find blues and purples opposite of yellow, suggesting that perhaps a blue/purple tinted foliage/fruit might actually be quite interesting in a yellow pot, I'd like to see one if anyone knows of such a thing.



Will

Hey Will, I found the following on a color theory site. Having the purple with the yellow pot would definitely be the "dynamic" combination mentioned below but I think, generally speaking, that the more "subtle and subdued" combinations is what we look for even in something like a yellow pot. Perhaps with that as the basis that is why we so enjoy the spring flush of leaves and flowers as well as the long hanging fruit since it gives a splash of color. I could not find anything in a yellow pot with purple but maybe someone could pot up a nice ginko in a purple pot for the fall contrast.

Color wheels expose relationships between colors that can be used to achieve both balance and contrast. The wheels include a number of full-intensity (saturated) hues as well as a variety of tints, tones, and shades, which are less saturated versions of the hue that include more white, gray, or black, respectively. While combinations of pure hues create dynamic color harmonies, you can design more subtle and subdued harmonies by using less saturated colors that are closer in value--that is, colors with similar degrees of lightness or darkness.

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Hi Jim,

Thank you for your good comment and for the color wheel.
As an artist who works with colors, you have it easier when choosing a pot, because colors have an important role.

Hi Rob,

your yellow pot is excellent good. On a dark clay, the yellow glaze is very good. After about 20 years of use they will get the necessary patina, then she is perfect.
Good work.

Hi Will,

Thank you for your comment.
I am also eagerly awaiting photos of trees in yellow pots.
I would like to recruit a new thread "The secret of the colors"
I'm on the discussion very excited.

Best regards
Peter

There is a way to recreate the patina...
http://bonsaivaultforum.freeforums.org/bringing-out-the-old-soul-in-a-pot-t503.html
Irene

Hello Irene,

thank you for your good research.

I have earlier also been working with acids, a matte gloss glaze to make, that's a good chance the skin look older permit.
But I think over 20-30 years, resulting patina takes on a greater aura.

Best regards
Peter.

peter krebs wrote:Hello Irene,

thank you for your good research.

I have earlier also been working with acids, a matte gloss glaze to make, that's a good chance the skin look older permit.
But I think over 20-30 years, resulting patina takes on a greater aura.

Best regards
Peter.

Nothing can ever take the place of true age but it can make a ugly pot better? Yes?
(And I love your yellow pots)
Irene

Dear Irene,

yes it can!.

(We love both the yellow pots)

Peter

Peter,
Here is one from some time back.
Throwing out the color wheel
A virtual of Johns Japanese tree and my yellow oval pot from a thread elsewhere on Forsythias.
Dale

Hi Dale,

That is beautiful.

Both are now married, and after twenty or thirty years, both have a Patina,
a beautiful couple.

Best regards
Peter