This is the teabowl that fell into the firebox during the last firing and broke into about 12 pieces. After falling and breaking, the firing continued, and the larger shards warped a bit, making it hard to get the pieces to fit just right.
Everything went back together, but some of the spaces were 1mm wide or more, and a lot of filling was required. Not only that, but the edges of the larger pieces didn’t meet evenly, making a lot of uneven fill lines. I thought about grinding down the higher edges, but in the end decided against that, because the fill lines were already so wide in some places.
So, here is the finished piece, with the lacquer and gold brushed on over the fill lines. A pro could have made thinner, more even lines probably, but it was good practice for me. A few more days to dry completely, then it will be time to whip up some tea…
All of these pots were made with clay from the property, discovered right under where we built the kiln. It has a lot of iron, but still takes some heat, and won’t bloat at higher temps. Probably due in part to the fact that it is very open with a lot of sand and other even larger inclusions. Even vitrified, it still sweats because of the openness. With use, the sweating stops, as all the pores fill with minerals from the water and tea tannins, etc…
Lately I’ve been spending all my potting time making large stuff for the next firing. It takes forever to dry, and I need extra time to bisque it all. Yup, all of it. No more cracked pieces because I glazed them raw and effed up.
So I was at a big drinking party the other night. My neighborhood mens group gets together bi-monthly to catch up and eat good stuff. A good custom overall. Anyway, the guy who hosted the party turned out to be a sake enthusiast as well, and while everyone else was drinking shochu (a hideous drink fit only for odd, uncivilized folk… just kidding….), he broke out a bottle of the local brewery’s best, and two very nice guinomi, one wide and shallow and one deep and tall. The hira-sakazuki (low, flat one) was a beautiful blackish red uber reduced surface, and made from really nice clay that contained quite a bit of iron, was fairly fine, and which was trimmed to perfection. The taller guinomi was Bizen Karatsu style, otherwise called yakishime. Neither were signed so I have no idea who made them.
The gorgeous hira-sakazuki inspired me to get back on the wheel and start making smaller work for the next firing. I started with hira-sakazuki and finished with Karatsu style tea bowls. It was nice to be back in the saddle, and the clay, which came out of the ground near my house, was beautiful to work with now that it has aged a few months since I processed and pugged it.
I ended up spending more time than I wanted on each of these, forcing myself to slow down the wheel and throw slowly, with as little motion as possible. I wanted these simple shapes to remain simple and not look too refined. One of the buzzwords for Karatsu ware is ‘Soboku’ 素朴, which roughly translates as ‘rustic’. Too much handling and you lose that quality. Spent all of that time processing local clay, it would be a shame to waste it by over-handling it. All of these pots will get a thin to medium coat of 90%spar and 10%ash. Maybe a couple of the sake cups will get a thin coat of iron and ash.
Today I paid a visit to a clay supplier in in the nearby town of Ureshino. They make a clay body that I am hoping will be suitable for large work in the front of the kiln. I picked up five 17kg pugs to make some tests with.
Two of the six filter presses.
Cakes fresh out of the press waiting for the pugmill.
A very small sample of their bagged clay.
Crushing, mixing, and blunging equipment.
Piles of Toseki (porcelain) waiting for the stamp mill.
After getting clay, I dropped by my favorite tea store for a good deal on seasonal tea, and to talk about having one of their certified tea instructors give a presentation during the biannual Workshop in Taku next fall.
Finally getting back to work after a very long hiatus, looking forward to posting to the blog much more. I spent some time this last couple of days repairing a large jar that had fallen over during a firing. It had stuck to the floor in a couple of places and when we pulled it up it took a couple of big chunks out of the pot.
I have been saving some knots from a pine board and the nuts were filled with pitch and very hard. when polished they were actually quite translucent and when oiled they shine really nicely. I never decided what they would be good for but when I saw this hole in the jar I thought one of these might be the perfect way to fix it.
I don’t have a picture of the original hole but this is the hole after I ground it out and created a gallery for the wood knot.
Here it is lit from the inside.
And finally with the lacquer in gold treatment. This is a reddish gold color because it’s not actually gold, but rather a mixture of brass and mica.