I was remembering one of Matsuzaki Ken’s chawan where he had laid the front face down and fired it in his tree eating monster kiln. The ash ran down from the back to the front forming beads of green, just beautiful. The bowl sagged and became more oval than circle, and the green glaze surrounded the shells which had supported the bowl.
I decided to try this sort of thing in my gas kiln with may standard chosen karatsu glaze. Thought since it’s so runny, it might do something interesting. Here’s the result.
Doesn’t have the Karatsu tsuchi mise (showing the clay) on the bottom and this is not traditionally a Karatsu form, but I’m happy with the result.
From a purely technical standpoint, I’ve finally solved one of my biggest problems regarding teabowls with this glaze: The chosen garatsu glaze pooling in my chadamari (tea pool) after running nicely, filling it up and obliterating it. Firing this way, it can run all it wants, and if it pools it’ll end up on the inside of the front of the bowl! Yes!
This was an order for a yakishime katakuchi that I got a while back.
Wasn't sure what I'd get since I've had mixed results with this in the
past. I'd been using shells for the salt, charcoal, and rice hulls. Well
the shells impart the salt, but flux everything so much what you end up
with is a big mess with sharp edges.
This time I just used charcoal and hulls, and gave the pot a very thin
wash of wood ash before putting it in. I did spray some wood ash on the
front, but wasn't happy with that so I won't be doing it again. The
thinner areas have much better color response from the charcoal.
This is the first time I've been able to get the gold and copper
speckling and sheen.
Just time for a quick post today. I just unloaded the kiln, and was pleasantly surprised by this Shino experiment. I’d had zero luck getting fire color in my shinos using a gas kiln, so I packed it in a saggar with charcoal and rice husks. What a difference. The glaze is very simple:
7 Neph Sye
3 Korean Kaolin
Decided to try something new regarding construction of hanaire (flower vases).
Normally do the coil and paddle which makes light, soft looking ware. Saw some of the old Ko-Iga work and have tried to reproduce w/coil and paddle, but it just doesn’t have the dramatic feel of the Iga ware.
So, I decided to try throwing thickly on the wheel in parts, and assembling, which is actually something I saw demonstrated in a magazine recently by a contemporary Iga potter. I always thought from the pictures that the Iga ware looked really heavy. I also thought that it must not really be so, just appearing that way. I couldn’t have been more wrong. When you make these vases from thrown parts or slabs, what you end up with is a serious chunk of clay, really heavy. In retrospect, it stands to reason, since the Iga ware is fired at high temp for many days, if the ware was thin and light, it would collapse during firing. It needs to be heavy just to survive the kiln.
One advantage to the heaviness is that you can do flower arranging with heavier objects without having to fear that the vase will topple over.
Pictured below, bodies and mouthparts in foreground, bases in the background.
Here are the guinomi after trimming. With this clay, they are trimmed quite soft on a banding wheel to bring out the ‘flavor’ of the clay. Both guinomi forms were made the same way.