The following ix part three of four articles on travels in Japan, part! in JielyAwpost ixswe and part 2 in September (esue.

After the luxury of being able to set our own daily agenda in Kyoto we were ready to slide into another well choreographed tour south and west towards the Bizen potteries near Okayama city and then down to the tip of Honshu to the Samurai town of Hagi. In Japan one can see many different ways of organizing ceramic output, In this leg of our tour we discovered how crucial local clay is to the traditional style and working methads,

Imbe is a short rail ride north from the main station at the city of Okayama. It is the most easily accessed centre for Bizen- yaki and another of the six fumous ancient kiln sites. The upper floor of the railway station is itself an extensive ceramics gal- lery. For those with limited time it has work from many of the potters in this locality. After a thorough examination of the diverse approaches to form and surface treatment, we simply walk across the street and wade into a whole district of pottery shops and galleries. We have an appoint- ment to meet Kimura-san. His shop, large studio and personal gallery are extensive, and represent an approach to making and marketing that we have not encountered so far. It is clear by the organization of the town that this is a “pottery destination” for Japanese and international visitors, His workshop is lange and has room for seweral young throwers, a large storage area for greenware and a separate facility for processing raw clay dug from a pit. His shop is most like a gift store where repeats of designs are available. This is in contrast to his personal gallery, which is entered by invitation. His special one-of-a-kind pieces are spaciously displayed and we relax with him over tea to discuss pottery making.

The whole idea of Bizen-yaki revolves around the particular qualities of the tradi- tional clay source. From the large outdoor storage bins, cliy is slaked and mechani- cally blunged in concrete tubs. The coarser portion is settled out and the finer portion eventually makes its way to a small filterpress. On occasion special blends are produced by remixing coarse and fine. Its

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Bizen to Hagi by Gary Cherneff fired colour is a rich lustrous chocolate brown with highlights of iridescence that run from gold overtones to steel blue pati- nas. It is reputed to have a high shrinkage

_ | aft &

Bizen Teapot from Imbe, potter unknown, woodfired stoneware, no applied glaze. H: 23 cm approx

that results in difficulties in employing conventional glazing procedures, Typi- cally pots are vitrified and unglazed both inside and out. The maximum firing tem- perature of 1220 degrees Celsius is far below what we normally think of as the optimum temperature for utilizing the natu- ral glazing qualities of wood ash. The sensual appeal of the tradition lies in re- vealing the hand of the pemtter, the character of the clay, and the move- ment of the flame rather than the deposit of ash. Moreover since Bizen —yaki is a re- vered traditional ce- ramic style of Japan, innovation can have a serious economic downside if consumer expectations are un- dermined. Change is there, but it is subele and measured.

The large multi-cham- bered kiln has an unu- sually large Dogi (fire- box), which offers an Opportunity to have some pots in close

Nakapuchi, Ippa Sculptural ceramic, handbuilt, oxidation fired. H: 70.0cm

approx Potters Guild of British Columbia Newsletter

proximity to the direct path of the flame. It is normally a three day firing. Opposite this is a single chamber reverse cross drafi kiln. With this kiln short runs of work can be completed and fired without having to wait till the larger kiln is fully loadesd, Kimura—san assures us that the results are identical,

Working our way down the Inland Sea side of Honshu we take adiversion up into the foothills of the central mountain range. About forty minutes by car north of Hiro- shima is the small village of Chiyoda. Qur friends have arranged for us to meet Mr and Mrs Nakaguchi, Ippu and Miyuki. Their approach t making pottery cer- tainly has the look and feel of many North American studios. Rural in setting, but not too far from civilization, their house and gallery are a combined space graphically indicating the indivisibility of their art and life. Many artist friends are gathered to enjoy a sunny afternoon of conversation, laughter and serious toast making by hosts and visitors alike. Lunch is on the lawn between the studio and the house. Ippu, this moming, has specially prepared for us his handmade soba noodles (buckwheat). His performance piece is to cook them quickly ina gas fired wok and cool directly in cold artesian well water before ladling out portions for cach guest to consume with appropriate and diverse condiments and seasonings. There stems to be an end- less supply and, of course, we also have beer and the ubiqui- tous local sake to help Propel the party at- mosphere.

This is our first en- counter with a female potter and with a hus- band and wife part- nership; both are equal and active in the design and making process. They both have strong but sepa- Tate visions in their approach to ceramics.

see Bizen to Hagi page 7

October 2002