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TRADITIONAL CRAFTS

Shodai YakiShodai Ware

Tadatoshi Hosokawa becomes change seal in Higo country from Buzen country in 1632 (Kanei 9) and ceramist source seven (the female alley house first generation) and eight Court Security Office (the Katsuragi house first generation) which followed this are ordered potter and are broken including Shodai Yaki.
Shallows Uebayashi gate-guard office of mountain prefect receives order of feudal clan in 1836 (Tenpo 7) and builds kiln for industrial development plan in the shallows, and technique of Shodai Yaki is inherited and we are succeeded more to the Nodas, kinjuka and continue up to the present day afterwards.

When Hosokawa Tadatoshi moved from the fief of Buzen to take control of the fief of Higo in 1632, two master potters were appointed. One of these was Genhichi, the first of a long line of potters of the Hinkoji family, and the other was Hachizaemon, the first of successive generations of potters from the Katsuragi family. It was the appointment of these two men that is said to have marked the beginnings of the making of Shodai Yaki.
Much later on in 1836 and under a directive from the local clan, Senoue Rinemon, an official of the Shogunate, built the Senoue kiln as part of a program promoting industry in the area. The skills and techniques associated with the production of Shodai Yaki have been handed down over the years and it is the Noda and Chikashige families, which have inherited them and still use them to this day.

Made from a local iron rich clay, a particular feature of this ware is its bold and yet simple character. By modifying the blend of glazes and by utilizing the changes which take place at different firing temperatures, delicate control is exercised over the production of colors for the blue, yellow and white Shodai Yaki. In addition, the dribbled, extravagant patterns and the depth of color of the glazes harmonize with the forms of the pieces, to produce this sense of bold simplicity.

  • Notification

    skills and techniques

    1
    Mix womb soil by elutriation.

    2
    Molding is thing by potter's wheel molding, direct copy molding, hand twist molding, tatara molding or molding made with string.

    3
    When do design charge account of basis material, carve, and inlay, fine striped pattern, chamfering, line carving, combed line, pressing a flower design in intaglio stick, and thin ring flower, and carve, and fly; thing due to plane, itchin or melanian snail buttocks.

    4
    "Hit, and or "two folds hang" is flowing constantly from the source" "blow" "is about to paint" "hang itchin" "bull's-eye design" to glaze hook "take ladle" "is about to dip"; niyorukoto. In this case, glaze has with "Japanese nutmeg ash glaze" or "iron glaze" "bamboo grass ash glaze" "straw ash glaze" "tree ash glaze".

    Raw materials

    It be said that potter's clay to use has materials which are equal to small clay or these.

  • Work scenery

    Process 1: Collection of soil sample

    We gather clay from the clay layer of the neighborhood of small huge mountain.
    Iron content and pebble grain-rich this clay is called small clay.
    zararitoshita temperaments characterizing Shodai Yaki are born from small clay.

    Process 2: Drying

    We dry clay which we gathered outdoors.

    Process 3: Elutriation

    We crush clay which we dried and we put in the water tank with water and stir and remove garbage or sand, stone.
    We precipitate transference, clay to different cistern while filtering clay which became into muddy water form and take.
    Clay which we took out can enter unglazed bowls and dries by the sun until it becomes moderate hardness.

    Process 4: Lay

    We store indoors when clay becomes moderate hardness. "Let this idle"; toiimasu. Bacteria of clay multiply by laying, and stickiness of clay is strengthened and is in a condition to be easy to play tricks.

    Process 5: Soil kneading on fire

    We knead matured clay and remove air in clay. At first, we make "wild kneading on fire" using foot and soil kneading on fire machine and work out using hand carefully next. Because clay to work out by hand looks like chrysanthemum, it is called "chrysanthemum kneading on fire" (chrysanthemum fir tree).
    Growth of clay improves by working out carefully, and molding becomes easy.

    Process 6: Molding

    For molding, there is technique such as "making of string molding" to make form with clay which "tatara molding" to make form with clay which "hand twist molding" that "model push molding" to push clay to gypsum mold, and to make form gathers up clay by hand and stretches out, and to make form "potter's wheel molding" using potter's wheel did into a board form did into a string form.

    Process 7: Basis material finish

    After molding, we process finish such as cut soup stock of hill when 1-2 days pass, and clay becomes reasonable hardness.
    We perform mouths such as teapots or installation, chamfering of the hand at this stage.
    "We fly, and, "carving," "openwork" performs decoration such as planes" "pasting up" "combed line" "chamfering" "inlay" at this stage when we give.

    Process 8: Drying

    We dry slowly and carefully in the shade until moisture falls out.

    Process 9: Unglazed

    We do unglazing at temperature of 800-900 degrees Celsius. We make bite of glaze better by unglazing.

    Process 10: Glaze compounding

    We mix miscellaneous small trees, oak, cedar, ash which assumes tree of pines raw materials, feldspar which we crushed finely with ash which assumes plants such as straw, bamboo grass, Japanese nutmeg raw materials and make glaze.
    In addition, we crush ore containing iron called crest finely and may combine.

    Process 11: Glaze hook

    In Shodai Yaki, ash glaze, straw ash glaze, bamboo grass ash glaze, Japanese nutmeg ash glaze, iron glaze are used.
    Colors such as blue small, yellow small, white small are created by state of temperature and flame at the time of compounding and burning of glaze.
    In addition, "beat, and "blow" "is about to paint" "hang itchin" "bull's-eye design" flowing constantly from the source" "hangs two folds" in technique of glaze hook "taking ladle" "is about to dip"; nadogaarimasu.

    Process 12: Kiln filling

    We cut down instrument in kiln while considering the circumference of fire and street of fire.

    Process 13: This roast

    We bake at high temperature of 1,300 degrees Celsius. When we burn in ascending kiln, we work because we dry, and conditions light, and they influence condition of kiln season and temperature, weather, the situation of wind, quantity of firewood while grasping those situation.

    Process 14: Getting out kiln

    After this roast, we take instrument out of the kiln when temperature of kiln falls.

     

  • Close-up

    Shodai Yaki which condenses the history of 400 years in instant

    There is mountain called small huge mountain in place that is close to North Kumamoto, prefectural border with Fukuoka. It is dark, and clay becoming smooth unique temperaments produces when we make a fried one from the foot of this mountain. Using this clay called small clay, earthenware which has been made for several hundred years from the Edo era is Shodai Yaki.
    In this neighborhood, various earthenware utilized fugo of small clay is produced in each potter now. We visited Yasuaki Inoue who made works which were particular about "the origin of Shodai Yaki" in that in "Shodai Yaki foot kiln" in the foot of small huge mountain.

     

    For the origin of Shodai Yaki

    To Inoue, there is collection of much old Shodai Yaki which we continued collecting from the study era. White glaze which opens as nailed on the basis material of dark, simple temperaments. Fun and strength of Fumi of Shodai Yaki of the old times called "old small" big; become attractive.
    Inoue produced various types of ceramic ware while we had a strong interest in such an "old small" without establishing kind in particular out of creative curiosity for approximately two years just after independence. In this way, it is said that we came to understand splendor and the strength of "we beat and are flowing constantly from the source" of glaze which is representative technique of Shodai Yaki more. , deepening of understanding to Shodai Yaki "wants to introduce splendor of Shodai Yaki into more world"; when came to feel hot, opened kiln which moved production base to the foot of small huge mountain, and baked Shodai Yaki. It is "Shodai Yaki foot kiln".
    It is the origin of Shodai Yaki to have aimed. Formulas of straw ash and ash to use for glaze studied "old small" which oneself collected in search of clay as signpost. Accumulation of steady efforts supports current work.

    Beat; the powerful charm flowing constantly from the source

    "We beat, and technique called constant flowing" has characteristic of Shodai Yaki. We sprinkle glaze which we took on ladle on the surface of instrument like a brick, and this technique to express pattern lasts for 400 years from the Edo era, and it is inherited by flow and drop.
    Craftsman will image approximate design to instrument to be for wielding ladle from now on before doing "we beat and are flowing constantly from the source". And we wield ladle in order to express the image. By movement that does not have the settlement of arm of expert craftsman, glaze becomes generous Fumi and gets down on the surface of instrument.
    "We do not readily go even if we do it with tens of thousands of times as we think. But there is depth there. Saying is infinite; as for saying is; Inoue talks.
    When the skill of expert craftsman won chance over to its side, exclusive work is born in the world. Shodai Yaki has the powerful charm of "we beat and are flowing constantly from the source" there.

    All with flame

    Shodai Yaki is divided into yellow small, blue small, white small, candy small by the color taste. It is ingredient of used glaze and state of flame in kiln to decide these colors.
    Raw materials of glaze of Shodai Yaki burn plants such as straw, bamboo grass, Japanese nutmeg, and, depending on ash which we made and miscellaneous small trees, oak, cedar, ash which we burn trees such as pines and made and feldspar, glaze which we crushed finely, ore containing iron called crest is used more, too. We combine these, and glaze is made. By kind or the combination ratio of plant to use then, color and condition of baking change.
    In addition, in the case of ascending kiln, condition of the finish changes by kinds of thing which lights, and is filled position, kiln in addition and subtraction and kiln with of kiln even if we use the same glaze.
    Glaze may develop different color taste on one container.
    "Ascending kiln puts firewood by hand one by one and lights. Form and hue change with one firewood, and, in side and the backside warming themselves by fire, there is thing which we dissolve, and different clearly, and doneness of condition and basis material is seen of glaze. This is the wonder of "soil thing" and is interesting place. Inoue says, different place is good one by one.

    Ceramic ware which wears well

    Hue to delicately change in response to flavor, basis material brought on by fun to be born from flowing glaze, unevenness and blur condition of glaze. Various expressions to emerge in Shodai Yaki do not let thing to look at get tired.
    Inoue expresses charm of such a Shodai Yaki in plain form.
    Sloppy caliber for day when Inoue makes has many simple things. When thing to have in the hand every day, and to use is too much elaborate in form too much, it is said that this is because it becomes hard to rather use.
    Though "it is ordinary, we always put on own table because it is easy to use. We think that it is the best"
    If which "it was easy to use" is glad at all of hearing voice "that we still use", from people who bought work, Inoue smiles.
    "We want to put on side forever when we go together. They wanted to be such ceramic ware, and product rizuketai and Inoue talked from now on.

    Craftsman profile

    Taishu Inoue

    (we are and learn sea bream)

    1941 student. In 1957, we enter Kumamoto industry examination room ceramics (ceramic art) part. It is "Shodai Yaki foot kiln" open kiln in 1968, Fumoto, Arao-shi. It is kiln old in 1977, ascending kiln. 1989, West Japan ceramic art art exhibition award (Prime Minister Prize receiving a prize). 2001, ceramic art exhibition in Japan, winning Mainichi Shimbun prize.
    Kumamoto culture social gathering director, association of Kumamoto folk handicraft's chairperson, member of association of Kumamoto art. Picture in Japanese style society friend, Mainichi Shimbun woman culture classroom lecturer.

    Gleanings

    Shodai Yaki display museum

    Shodai Yaki from early period of Edo era to Meiji is called old small. Inoue spent long time and collected many old small. From bowl and small dish, small thing including earthenware teapot to tea caddy, jar, big thing such as brazier, a little less than 100 points of collection is exhibited in "Shodai Yaki display museum" built in "foot kiln" site.
    In addition, there is trace of Furuhata kiln considered to be kiln of Shodai Yaki origin close to museum and we put ostrakon or kiln tools which we excavated from there together and are displayed.

     

Summary

Industrial art object name Shodai Yaki
Phonetic symbol Shoda comes no
Classification of industrial art object Ceramics
Main product Tea set, vase, tableware, accessories
Main production area Kumamoto / Arao-shi, Kumamoto-shi, Uki-shi, Nankan-machi, Tamana-gun, Choshu town
The designation date March 17, 2003

Contact information

■local production associations

Meeting of Shodai Yaki pottery
〒864-0166
1712-2, Fumoto, Arao-shi, Kumamoto
sho**matsuyasukamanai
TEL: 0968-68-1623
FAX: 0968-68-1623

http://www.chihirogama.com/kai.html

■Associated exhibit space, facility

Characteristic

Shodai Yaki features style that is powerful with simplicity using small clay with much iron content. Can use delicate color development technique to be said to be blue small, yellow small, white small by compounding ratio, change of burning temperature of glaze properly, and design that is deep beauty and freewheelingness of glaze not finished draining is simple in harmony with container form; is dynamic inside; is tasteful.

Shodai Yaki features simple and robust touch made from Shodai clay, which contains abundant iron. Proportion of glaze and firing temperature creates their subtle colorings varying from blue, yellow to white. The patterns created by dynamic glazing makes the unique harmony with its shape.

How to make

We dry, and bare roast does thing which molded clay which performed elutriation by methods such as potter's wheel molding, tatara molding at around 800 degrees Celsius. Furthermore, we are about to soak straw ash, glaze based on ash and perform glaze credit by methods such as speculation sinks and bake at high temperature of 1,300 degrees Celsius.

Elutriated clay is formed through wheel throwing and other methods. The clay is dried and then biscuit fired at around 800℃. The biscuit is immersed or flushed with glaze that are mainly composed of straw ash or wood ash, and then baked at 1,300℃.