Black Ceramic Vase with Oil-Spot Glaze Jian Ware

A small antique Korean Buncheong stoneware vase from early Joseon Dynasty circa 16th century. The vase is of a classic pear form with a waisted neck, a flared mouth and a ringed base...

An early ceramic vase in a cylinder form by potter Brother Thomas Bezanson (1929-2007). Unusually tall at 21.75 inches, the vase strikes the viewer with its slender silouette with a tapering neck and mouth opening. What is extraordinary about this piece is the complex glaze Bezanson applied on the surface. Three vertical black glaze stripes are featured around the surface. On one side, stacks of horizontal finger-like marks were placed on a brown and silvery iridescent background, characterized as "Honan tenmoku" glaze. The other side, the glaze took on a brilliant silver oxidation in a mottled effect. The top conical portion is largely covered with a thick and oily "black olive" glaze, which is dripping down in high saturation. Circles surrounding the rim was less iron-saturated, forming a more orderly visual border. In close range, the different glazes across the vase displays subtle changes of shimmering, iridescent and textured effects and are visually mesmerizing. Bezanson's ceramic and glaze techniques was rooted in Asian ceramic tradition but utterly modern looking. The vase was marked on the base "Benedictine Monks Weston Vermont", "^60 BRENER" and Bezanson's decipher as shown. The decipher indicated that this vase was made in Weston VT circa 1965-1970, same period of another vase with similar glaze effect in our gallery (shown in the last photo), showcasing the highly sophisticated techniques Bezanson mastered and used fluidly in his ceramic work. Brother Thomas Bezanson (1929-2007) was a Canadian born artist and Benedictine monk primarily known for his porcelain pottery and mastery of complex glazes. Strongly influenced by Asian pottery, often adapting traditional Chinese and Japanese pottery methods and materials to his work. He is renowned for his original glaze recipes and perfect forms and always sought to create something new and beautiful. His exacting standards made for the shattering of over 80% of each firing. One "rescued" piece however is now in the collection of the Museum of Fine Arts, Boston. His estate is represented by Pucker Gallery...