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Tetsuaki Nakao

Today I make a nod to my friend Hidehisa, the person hiding behind the Magokorodo eBay shop.

Since shortly, the selection of artists with whom he works has a new member, but not least. Tetsuaki Nakao is an outstanding ceramicist, here site (in Japanese).

He works a special technique, the Ginga-yu, Galaxy glaze. I do not know the exact translation of "glaze" in French. Because it must be a technical term I do not want to skin with a rough translation. He declined

its styles into five families according to color, with the names of seasons, more January (Mustsuki.)








I am fortunate to be the happy possessor of One of these pieces of style Spring Galaxy.








On hand this cup weighs virtually nothing. It is less than 70g to 6cm in height and 8 cm in diameter. It's pretty surreal, especially when it is hot. I decided to use it with my Dan Cong, without doubt the finest teas I have in my possession.

Using such an object of art for its tea drinking is a different experience from simple white porcelain cup, which I use quite often, however, although less and less.








When I'm pretty focused on the rendering of my tea, I sometimes forget the cup itself. I could use anything, my mind is focused on something else. This is not the case with objects like this. We can not omit his presence, his beauty.

The cup also has a role to play in Cha Xi. It has its aesthetic and its contact with the lips will change the experience. Imagine drinking from the cup below, and you may understand what I mean.








In Japan, the eye is applied in everyday life in a manner very different from us. It is as if everything had been redesigned, pushed to its limits (sometimes too.) Simple things have one or more additional functions or are done differently, often for the better. Similarly, the search for beauty, harmony is present in utltra urban paintings, but also in other activities where we seem less concerned with making nice.

In the culinary field is obvious. Here are some pictures of the meal we shared with Hidehisa last fall. It was in a restaurant rather discrete Tottori held by a master cuisto who cut his teeth in Kyoto before returning to open his restaurant here. They drink sake in his cups Seigan Yamane. The cook gave us our own elsewhere. An unforgettable memory for the best Japanese meal of my life and I can tell you that I made a packet ...

Top of sashimi world ...

Salt matcha

Tempura sardines

A feast ...

Sushi ...

Come on, I stop to make you salivate and I put an end to this post a little tote. Places to beautiful cup Spring Galaxy Tetsuaki Nakao.

you soon!












NB: the photos I post are only edited a little in contrast or exposure. I'm looking at what colors are as accurate as possible, just a little more flashy, perhaps. I said because it was not always the case. And for those who have asked me, my camera is a compact Panasonic Lumix DMC-FS62 .

Stretchy Yellowish Cervical Mucus

Doubt

The enemy of any beginner. Whoever is out of his concentration, which often spoil the fun.

And if I were to go totally off of what had meant the person who crafted this tea, roasted these leaves? If j'infusais short, too short to bring out the true essence of this tea? And so instead, I was choked by the time and / or dosage is too high?

not easy to erase such doubts. Few people have the chance to have a tea master to guide them. We sometimes have access to the experience of individuals sharing their passion on the canvas. But we must rely mostly on the practice and the curiosity to go forward. This takes time. He must accept it.

We rather adopt a scientific approach, armed with instruments of all kinds: highly accurate balance, stopwatch, paper and pencil, or a calmer approach leaving room only practice, often just a good rule of thumb helped. I confess to having long been the first school, operated by dichotomy, establishing rules of thumb for comfort.

It was then discovered that prefers tea such as this, rather than that. But how long will this be true?

Reading a short story got me thinking lately. It is that of a learner ceremony Japanese tea master who asked her: "You say this approach is good, but, during a trip, I met another teacher who told me to do something more like that." And his master replied, "whatever the teacher teaches, he is right on time." I was at first seemed strange, especially for a ceremony that also codified chanoyu. But the answer is more subtle than it seems.

Although further in my thinking, I told myself if I take a tea accurate, after much experience I say that the best possible way (for me) is to infuse into such an instrument, putting so many leaves for so long at a given temperature, what chance will he that this is still true in 2 years?

Already the tea we drink is not the blends, I shall never find exactly the same. It is not at Lipton. If I keep all this time, it will change for sure. With experience of everything that may have been meeting my palate in two years, my feelings will be different, and my desires. Finally, except in the case of zhong, the teapot also has changed its rendering affected by infusions past. So why be bothered?

I often feel - or rather, fear - to spend my time running after my tea, telling me that there are ways to improve, take more advantage of the sheet. What good is looking good at all costs, nay, the best way to infuse the tea if it is subject to move in time?

While this thinking might make you want to tear your hair, it can also make things incredibly simple!

If we assume that everything is changing so, so search for specific parameters is trivial, because that can be locked up in them under the pretext that it worked before will result in miss his tea at a new time "t."

A "simple" tasting with parameters found then nothing will bring less, but add to the pleasure of spending may have put 3 instead of 4 grams, have infused 1'27 "on instead of 1'13 "and crazy negative consequences this might have. We then simply draw lessons from what one sees, feels, at the time. Rather than wondering what would give another way, we just appreciate what a.

All that to say that my recent thinking made me take a new turn in my way of tea. I decided to ease off on experiences and comparisons to the death. More balance, more lap. Place the feeling! Too many cups wasted because doubt has evaporated the unique pleasure of the moment. So what if my cup is not the best. It will now be the fruit of the moment, beautiful in its uniqueness and its side uncontrollable. And I doubt that it is free education.

you soon!

PS: This article is illustrated with photos of my new teapot. This is a Yixing belonging to Nada before he decided to part ways. Hong Ni. 70's. 90ml. Yixing Factory # 1. Thin walls. It is "the last for a while," said Philip would like the Galette de Thé. His blog is now gone, I wanted to dedicate himself these pictures, too little tribute to the long reveries of past moments to contemplate his collection, and to read the rest ...