Craig Dunn Clark on mon 28 jun 04
Lee, I did not know that this was done. I have a basic understanding =
of the
history of Raku and it was most probably "discovered" by Japanese =
potters
who were making roof tiles and unloaded their kilns in haste to get to =
the
next firing.....I also have a basic understanding of the development of =
the
"Western" raku process in this country as it was introduced and promoted =
by
Paul Soldner, Robert Pipenberg and others beginning back in the early to =
mid sixties.
Do the Japanese potters literally take the pots out of a kiln at
stoneware temperatures? Are they placed into post firing reduction =
chambers?
WHat type of clay body are they using? What types of forms do they make? =
Do
they have any luck using this method with wide open forms such as large
platters?
You mentioned the "great blacks" that the Japanese potters are able =
to
achieve. Are these more along the lines of a smoke firing type of black? =
Are
the Japanese potters able to achieve any of the "Western" types of
coloration that are more typical of the raku that has been popularized =
here
in the West over the past 35 years? Do you have a link to any of the =
sights
or where the work can be viewed?
Thanx for the help
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org
Lee Love on tue 29 jun 04
Craig Dunn Clark wrote:
> You mentioned the "great blacks" that the Japanese potters are able to
>achieve. Are these more along the lines of a smoke firing type of black?
>
Hi Craig. It is one of the many techniques that aren't well known back
home. It is thought that the method began simply as glaze tests. A tea
master or Castle lord probably saw the tests on the shard pile and asked
to potter if he could do a teabowl the same way.
These are saturated iron glazes. They do not achieve to strong black
unless they are pulled from the kiln at high temperature.
> Do you have a link to any of the sights
>or where the work can be viewed?
>
>
Hikidash, which means “to open drawer and remove” originates from the 16
th century Japanese Mino wood kilns. Tea bowls were placed near the spy
holes and pulled out at the height of the firing to gage if the kiln had
reached mature temperature. The rapid cooling of the ware by air or
submersion in water gave a rich variety of deep black. Black ware known
as Setoguro was made for only a brief time. There was a revival
hikidashi-guro (“pulled out black”) in the 1920's and is currently
practiced by only a few Japanese ceramic artist/potters today.
A site where my friend Doug Black has some of his work (A UofNM site.
Looks like they use reduction materials):
http://www.unm.edu/~ceschiat/hikiFIRESHOW.htm
See Doug pulling cone 10 from a hot kiln:
http://www.unm.edu/~ceschiat/hikidashi.htm
Google images: setoguro
http://images.google.com/images?q=setoguro&num=100&hl=en&lr=&ie=UTF-8&safe=off&sa=N&tab=wi
*SETOGURO WARE (Black Seto)*
A high-fired ware that originated in the late 16th century. Black glaze
is achieved by removing the iron-glazed pots from the kiln when they are
red-hot (a technique called /hikidashi guro/).
http://www.e-yakimono.net/guide/html/mino.html#setoguro
Hank Murrow on thu 11 nov 99 (hmurrow@efn.org
)
> Good Morning Steve & Ronan; A few words about Black Seto may be in
> order, so bear with me. In the mid 1500s potters at the Seto kilns
> finally
> benefited from some military trickledown and were allowed to have iron
> tools made for them. Now they were finally able to pull draw trials from
> their anagamas; and they were no doubt surprised to see the
> saturated-iron
> glazes come out blackish on the drawrings instead of rusty. The iron was
> trapped in the black reduced form of the oxide by the quick cooling,
> while
> the same glazes remaining in the kiln for a normal cooling had time to
> crystalize to rust colors. They soon figured out that they could increase
> the iron content to get a truly deep black (which if left in the kiln
> would
> be terribly scummed with precipitated metal) which the Tea masters loved
> for its contrast with the frothy green matcha tea. Trouble was, they
> could
> only pull a few from the stoke holes in each firing, so these wares were
> relatively scarce. Of couse, by about 1600, Hideyoshi brought back
> potters
> from Korea who introduced the new Noborigama (multi chambered) kiln
> design;
> and long firings were out, higher temperatures were achieved, and the
> Shino
> glazes started looking like Oribe. Arakawa ressurected the process in the
> thrirties when he built his famous anagama near the site of the original
> Shino kilns. Gorgeous Shino and Black Seto pieces were produced there by
> him.
> Cut to the present, and your local anagama has those wonderfully
> large stoke holes and you can place a tea bowl or two where you can reach
> them at the end of the firing. You can take a weathered andesite (KNa
> .24,
> Ca .44, Mg .31, Fe .26, Al .81, & Si 3.8)and add a little unwashed
> wood ash
> (for melt & irridescence) and because it's so plastic, green glaze your
> bowl or vase(for a nice crawl) and pull it out of the anagama for a quick
> cool and a black glaze with some nice tong marks for decoration.
--
in Mashiko, Japan http://mashiko.org
http://journals.fotki.com/togeika/Mashiko/ Commentary On Pottery
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