mel jacobson on mon 10 feb 03
russell is correct on all counts.
only in very rural areas do you find wood fired kilns.
and, the cost of firing with wood in japan is extremely high.
it would not be done as a hobby.
the pots that come out are very expensive. (i saw some pics
a bit ago, old time potter, traditional clothes....and a laptop
hooked to the wood kiln. probes in about six spots.)
this is very serious business. bizen would be typical.
in the cities, electric kilns are very common. and, there are
estimated to be 6,000 potteries in eastern kyoto.(kee-o-me-zu) all fire
with electric. many of these potteries have 3-6 employees.
there was one scrubber stacked wood kiln left in kyoto in the 70's.
it was a famous tile company. i am sure it is gone by now.
the kilns look like big coffins. maybe six 24x24 shelves in a line.
coils about the size of your little finger. installed with pins
on the side walls. it looked like ribbon candy. lid beams covered
the kilns. a few i saw had boxes for burnable, wood fired affect.
but, with their glaze research facilities. who would need that? they
would just build a glaze that looked like it, whatever they wanted.
how would you like a research center with a dozen ph.d.'s chemists working
on your glazes? well kyoto does. potters pay in a spiff, and get
the service. plenty expensive, but critical. like i have said. it is
not hobby stuff, it is very serious. very.
and, remember, good potters have status. they are like famous
`rock stars`. collectors clamor for their attention. it is a 180 from
what happens in america. it is like the joke, when we have riots, political
strife in the streets, it is good for potters...it takes us off the bottom
of the `social scale`.
potters and artists are near the top in japan.....and that includes
doctors and lawyers. in fact i heard from my dear friend, that ran
a large hospital in kyoto, that doctors are referred to as `people plumbers`,
in japan.
it is all different. social stress makes it impossible to fire wood kilns in a
city. tiny houses, packed together...pollution problems everywhere.
electric kilns can be tucked anywhere. often big potteries are tucked in
small spaces.
you would be amazed at what goes on, even next door. whoa...500 pots
a day, and all hand thrown....three people. working 10 hours a day, six
days a week./ 35 pots and hour is common for each thrower. throw
monday, trim tuesday. repeated, repeated. different world.
that is why i say...`when you make 5 pots a week, you are not
working very hard`. you sure are not going to put bread on the table.
ask `polly the potter`.
i am clear on why a lot of people make pots. it for their minds, not
their living. it is for joy, love, care and respect. and we all understand
that. it is just that `getting on with it`, is often ignored.
it often comes from the colleges. `ok, class, here is the semester assignment,
4 thrown pieces, 2 hand builds, 1 sculpture, 1 matching set of 5 objects.`
that would be a mornings work for any of my students at hopkins high.
our rule was, `you cannot make over 500 pots a semester`.
they would push the rule. it is all about perception. if you create
treasures, a few pots, you will never know what production can
be. when you produce volume, you get some great pots just by
doing. just by accident you get treasures, then you get skill as
the by-product. if you start with the attitude that you create `teasures`
you never will get one.
From:
Minnetonka, Minnesota, U.S.A.
web site: my.pclink.com/~melpots
or try: http://www.pclink.com/melpots
new/ http://www.TICK-ATTACK.COM
Lois Ruben Aronow on mon 10 feb 03
As always, Clayart, and mel, is ever so enlightening. =20
I have deep respect for asian pots, even though they are not the ones
I chose to make. =20
While I knew about the population density and overcrowding in most
japanese cities, my thinking had been swayed by the endless
discussions I have heard over the years about the wonderful wood fired
kilns in japan. I am assuming there is plenty of gas, though, as
there are plenty of celadons and shinos. If they are fakes, you'll be
able to knock me over with a feather!
>how would you like a research center with a dozen ph.d.'s chemists =
working
>on your glazes? well kyoto does. potters pay in a spiff, and get
>the service. plenty expensive, but critical. like i have said. it is
>not hobby stuff, it is very serious. very.
>and, remember, good potters have status. they are like famous
>`rock stars`. collectors clamor for their attention. =20
I often visit the National Living Treasure site...... =20
>that is why i say...`when you make 5 pots a week, you are not
>working very hard`. you sure are not going to put bread on the table.
>ask `polly the potter`.
I started my new year off with a bang, getting a large order from a
chic design store (my first!!) and making a ton of pots on a tight
deadline. It's great. the worn down fingernails on my left hand
prove to the world I am indeed a busy, hardworking, and I am proud.
--------------------------------------------
=46ine Craft Porcelain - New and Updated for 2003!!
http://www.loisaronow.com=20
John Rodgers on tue 11 feb 03
mel jacobson wrote:
> potters and artists are near the top in japan.....
Mel, my experienced with the Japanese visiting America supports your thesis.
Once in Anchorage, Alaska, I went with one of my distributors to deliver
some of my porcelain figurines to the Gift Shop in the Base Exchange at
Elmendorf AFB on the edge of the city. While there, a group of Japanese
visitors - mostly older Japanese, but some in their late teens and some
in late 20's - probably three generations of a family - came into the
gift shop. They were attracted to the porcelain figurines.
My distributor (it was his account and I was just there to observe)
decided to step forward and show that each piece was signed on the
bottom. Then he turned and introduced me as the designing and executing
artist.
All of a sudden there was more bowing and scraping, and expressions of
honor than I have ever seen before or since. I didn't understand a word
of the Japanese but I got the message. Each one of them selected a
piece, turned and bowed again, reaching to shake my hand, which as I
understand of their culture, must have said quite a bit in itself. Then
they marched to the counter to pay for their selection. My figurines
were to be their souvenirs of their visit to Alaska. I was honored!
Those pieces were not inexpensive, but they had something that to them
would be very special to take home with them that they would treasure
always.
It was an overwhelming impromptu event. And, it left a very strong
impression on me about the Japanese and matters of dignity and respect.
John Rodgers
Birmingham,AL
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