Japanese Ceramic Teapot
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A stone monument bearing the inscription "Ko-Kutani kiln ruins" stands quietly in a clearing.
It marks the spot where the Daishouji Clan(a branch of the Kaga Clan)
established a kiln in about 1655,to make use of the local porcelain stone.
Tha porcelain ware that was created there was later called "Ko-kutani"
and became the foundation for Japanese colored porcelain ware.
Rich overglaze colors applied with fluid brushwork -green,yellow,red,purple and blue-
give Kutani porcelain its characteristic beauty.
However,only half a century later the kiln was abandoned for reasons that nobody knows.
About 100 years later,Kutani porcelain was revived under the patronage of the Kaga clan.
The Kasugayama and Wakasugi kilns were established, and kilns such as the Yoshidaya kiln
rode on the momentum of "revived Kutani",all producing overglaze porcelain ware.
Various styles competed and combined to develop into the overglaze techniques
that have been handed down to this day.
In modern times,the gorgeous Kinrande style(very high-quality design of gold)
has become well known in the West as "Japan Kutani"
Kutani porcelain, which combined the artistry of Ko-Kutani ware and the utilitarian
beauty that developed from "revived Kutani",continues to evolve.
Photos: http://goo. gl/k4EMgi Genji Shimizu (artist name Hokujoh) Full member of the Japan Arts Crafts Association Master of traditional Crafts.
On until August 4. The curator of the exhibition, Peter Haynes, has chosen the work of 16 ceramic artists from Canberra and interstate who are known for using wood firing in their ceramic practice. They are Robert Barron, Barbara Campbell-Allen, Ray Cavill, Greg Crowe, Steve Harrison, Ian Jones, Daniel Lafferty, Sandy Lockwood, Chester Nealie, Ben Richardson, Carol Rosser, Arthur Rosser, Owen Rye, Bill Samuels, Yuri Wiedenhofer and... Not all the work in the exhibition is recent as some artists have exhibited pots from earlier works they had chosen to keep. Its interior of old and weathered wood has been left relatively untouched and provides an appropriate setting for these pots that are born of wood and fire. Wood firing is an ancient method of firing pots to make them durable. Pottery is made in this village and we arrived just as the women were unloading a big mound of fired pots. These pots were not fired in a kiln but on the ground covered by a fire lit with grass and wood. There did not seem to be any breakages and although the air was full of wood smoke and ash the pots themselves were a beautiful terracotta. Contemporary potters, however, use wood-firing kilns because they enjoy the challenge of the wood-firing process. They are also drawn to the unique decorative qualities that can be achieved on the surface of their pots. It is not highly glazed ware that attracts these potters but the marks of smoke and fire and the encrustation of the wood ash. Each pot is different and it is unlikely that a particular surface could be exactly reproduced again. The opening of the kiln becomes a voyage of discovery as each pot is removed. These decorative affects can be achieved in numerous ways that include the kind of wood used, the use of glaze and slips, the addition of salt to the firing, the place of the pot in the kiln and the temperature, duration and reduction firing of... The work in this exhibition demonstrates the many diverse forms that are wood fired. As well as traditional bowls, jars, teapots, vases and platters, there are many free form sculptures that lend themselves to the more extreme fired effects of texture and encrustation. Barron's Large Jar (77x 65 centimetres) with its full belly and neck lugs is a generic form that has its own history. Barron's outstanding pot is in a more contemporary idiom with its honey-like dripped glaze and blaze of blue. On a smaller scale Lafferty's Large Urn and Nealie's Vase with its soft blaze of red flame bring past and contemporary ceramics together. The Japanese in their reverence for the unexpected and accidental effects of wood-fired ceramics have aided us in seeing the very special nature of these surfaces. This aesthetic reveals itself in tea bowls used for the Japanese tea ceremony. Special bowls are revered for the individual history of their firing revealed in their surface markings. Arthur Rosser's Twin Bowls from 1997 exemplify these individual evocative markings that give these small bowls (although twinned in form) their individual voice. Yuri Wiedenhofer's teapot and platter have the rose-pink blaze of the fire imprinted on them. Their prominent round marks are made by adding lumps of clay to the surface of the pot which are then chipped off after firing. Seashells are also used during firing to support pots. Their residue is often left on the surface of the pot as a sign of the firing process in examples such as Cavill's organic sculptural work How green was my valley with its natural ash glaze. Wulff's long cylindrical form Vase is a wheel-thrown piece with a beautiful rich red-coloured body with brown glaze marks. Unusually it has a nicely sculptured bottom rim like a little skirt which brings a sense of energy and life to this unassuming but assured pot. His Vessel #2, however, is a segmented round bowl with a celadon-coloured green glaze marked by iron oxides. It is an example of his skill in creating beautiful assured pots that celebrate the earthiness of the clay and. Source: www.smh.com.au
Teapot, by Carol Rosser. Photo: supplied. Wood firing is an ancient method of firing pots to make them durable. This process was brought to life for me when I recently visited a Myanmar village on the Irrawaddy River. Pottery is made in this village
The Wood piece is a Mad Hatter-esque glazed stoneware teapot, from the spout of which one might expect a tea brewed from Alice's mushroom to pour — or maybe some other mushroom, but certainly stone(d) seems appropriate for any tea party it might grace
The Japanese in their reverence for the unexpected and accidental effects of wood-fired ceramics have aided us in seeing the very special nature of these surfaces. This aesthetic reveals itself in tea bowls used for the Japanese tea ceremony. Special
carrot, cucumber, radish, garlic, mirin, chili pepper, rice vinegar, soy sauce
broccoli, carrot, salad greens, onions, pork chops, salad greens, salt, soy sauce, sugar
mushrooms, beef bouillon granules, carrot, celery, chicken broth, ginger, onions, water
vegetable oil, green beans, vegetable oil, soy sauce, sesame seeds
"This practical and supremely useful manual is the first comprehensive, hands-on introduction to Japanese ceramics. The Japanese tradition is without compare in its technical and stylistic diversity, its expressive content, and the level of appreciation it enjoys, both in Japan and around the world. Inside Japanese Ceramics focuses on tools, materials, and procedures, and how all of these have influenced the way traditional Japanese ceramics look and feel. A true primer, it concentrates on the basics: setting up a workshop, pot-forming techniques, decoration, glazes, and kilns and firing. It introduces the major methods and styles that are taught in most Japanese workshops, including several representative and well-known wares: Bizen, Mino, Karatsu, Hagi, and Kyoto."--Back cover.
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