The Blowfish is an inherently dynamic shape, particularly within the Japanese school. Ping Zhan, having idolized the work of — and even visited the workshop of — Hiroyuki Tokutomi who is particularly masterful with these low slung and long shanked renditions, is as familiar with the form as anyone. In this offering, Ping has thrown all the focus into the flowing lines of the piece. When viewed from the side, this aspect is most apparent in the orientation of the characteristic fins, set back just in front of the transition and helping to emphasise the forward momentum created by the elongated, paneled shank as it ever-so-subtly tapers toward the bowl.

As perfectly executed as the lines on this piece are however, the raison d'être of the Blowfish shape is grain placement, and it's here that Ping has truly outdone himself. Brought to bear with a warm contrast stain, cross-cut flame grain finds itself perfectly encapsulated within a panel that runs from the top of the shank, back toward and then up and over the bowl, along the underside, and straight back against the shank, with the only interruption being a slight diversion for the chamber itself. Meanwhile, perfect whirls of birdseye swirl through yet more panels located to both sides of the shank and bowl, while the left cheek has been left to plateau — a theme repeated again on the shank-end and manually extended into the base of the stem itself.

— Adam M. O'Neill