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

4

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