I made a trip out to the mountains in Minamihata yesterday with my mentor to collect materials for pots and glazes, and we stopped by an old kiln site as well.
We were able to collect a good amount of feldspathic sandstone, weathered feldspar, and the ever popular grey stuff (don’t know what its real name is).
First, here is what we collected that will become pots and glazes this year:
On the way to one of the collecting sites, we passed two old Karatsu kilns, Fujinokawachi and Kayanotani. I was surprised because they are separated by no more than 70 meters or so. These were big kilns. Kayanotani was a 22 chamber climbing kiln 52 meters long! Between them, there were probably hundreds of potters working. We couldn’t really access Fujinokawachi, but we were able to walk around on the hill where Kayanotani once stood.
Front came out beautifully, mid stack as well, rear a little cool. Very top of front, mid, and rear were cold. Shelf config caused this, I think, because of the large shelves being close together, creating strata in the heat gradient. The very front shelf with guinomi and chawan was the main culprit, blocking the flame from rising, and directing it under the large shelves placed midway up the front stack.
In the future I need to stagger the shelf levels during stacking, to allow the flame to travel upward. Also, block some of the floor level flue channels at the rear of the chamber. Make sure upper flues are fully open.
These are some of the new patterns I’m playing with for the spring firing. There is much inspiration to be had from old Shino and Oribe work.
Many people don’t realize there was a great deal of cross pollination between Karatsu and Oribe in particular. There is also evidence that Furuta Oribe came to Taku at one point: one historical document mentions his name, and there are shards from the ruins of Taku Koraidani kiln that show very ‘Oribe-ish’ decoration, as well as most of a kutsugata bowl which is quite obviously made for tea ceremony.
Last year I bid on a small old Shino piece being auctioned (I bid about ¥12000, and didn’t win. The winning bid was ¥52000) the reason I wanted it was that it had a wisteria decoration on it that was virtually identical to some of the Taku Koraidani shards.
Rice plants and horse tails are both representative of Karatsu brush deco. The birds separated by a line bisecting the dish is a typical motif in the Taku pot shards.
Below is one of the pieces that I’ve started experimenting with this year. I really like Japanese brushwork but I don’t have the decades to study it for my pottery, and I’d feel bad doing a crappy job of it. I decided to try writing English with a brush, with little regard for the shape of the letters, rather letting the flow of the patterns emerge with soft, quick uninterrupted strokes. It’s intended to be gestural more than anything else, since it is quite difficult to read even if you know what it says. It has been a big hit with customers so far, and many people have thought it was Japanese script.
This cup says: “Be happy for this moment. This moment is your life.” It’s a quote by 11th century mathematician and poet Omar Khayyam. This is actually more legible than some of the other pieces I’ve done.