“THE RICE BOWL” made of the same shape, the same color, five different ceramic production areas.
For those who do not have much familiarity with ceramics, the rice bowl that has finished all in white to understand the features of each producing area, such as earth and stone, glaze, finishing, is a popular item of THE.
In case, This time, I cooperated with the pottery of KARATSU (Saga Prefecture) , BIZEN (Okayama Prefecture), MINO (Gifu Prefecture) which has deep involvement in the culture of tea ceremony which has made a great contribution to the development of ceramics, which unfolds further the history of ceramics, and made a new rice bowl.
I do not use any type, I finish it the same shape handmade one by one.
By imitating color, earth, glaze, finish, which are transmitted from old to each producing area, it is a product that you can enjoy the difference of each production area more.
*Because it sticks to the finish which can produce expressive rich feature of each production area, none of the same baked rise will be totally the same depending on the degree of fire in the kiln, place, season and time.
Potter: Nakazato Taroemon Gama
Material: “Korean Karatsu”
“First Ido, Second Raku, Third Karatsu.”
This phrase expresses the ranking of tea bowls by the old masters in the world of the tea ceremony, perfected by Sen no Rikyū.
The origins of Karatsu ware, counted third among the ceramic teaware masterpieces, are uncertain, but its first firing may have been in the territories of the Hata clan, lords of Kishitake Castle during the Azuchi-Momoyama period. Korean pottery techniques such as the Noborigama chambered climbing kiln and pottery kick wheels were adopted, and widely circulated and expanded during the Edo period, particularly in Western Japan.
“THE RICE BOWL – KARATSU” is finished inside with an iron glaze and outside with a straw ash glaze, emulating the Korean Karatsu rice bowls of the early Edo period made in the workshop of the renowned Nakazato Tarouemon Gama, which has been making Karatsu ware for over 400 years. A rice bowl brought to life by the search for the archetype of Korean Karatsu.
Among the six ancient kilns in Japan boasting a history of over a thousand years, Bizen has inherited and maintained a unique production process for unglazed pottery since the era of Sue pottery.
Early Edo period「The Korean Karatsu rice bowls」
Karatsu City Collection
Potter: Bishu Gama
Material: Rice field soil / Unglazed / Climbing kilns
Bizen pottery is a form of unglazed pottery that takes shape under the combustion of pine wood, with its history as tea-ware dating back to the Muromachi period, when the founder of the wabi-cha tea ceremony, Murata Juko, had specified it as an exemplar of traditional Japanese craft.
Earth is said to be source of life in Bizen. In Bizen, clay is amassed from fields that are thoroughly irrigated by rivers and then exposed to wind and rain for a period of around three years. After which, the clay is kneaded by foot and molded by hand before being stored in a chamber for a further three years to amplify the material’s adhesive properties and plasticity. It is said that every single Bizen pottery work has its own secret production method.
“THE RICE BOWL – BIZEN” is produced in the climbing kilns of Bishu, where kilns are fired only once a year. These kilns at Bishu were conceived by the late Toshu Yamamoto who was a legendary figure in Japan.
Made from earth and shaped by hand using a potter’s wheel, these “Bizen” rice bowls take on unique characteristics that cannot be found elsewhere as they are shaped by the heat in the climbing kilns.
※As the “Bizen” rice bowls are produced in climbing kilns, each individual piece possesses unique yohen (patterns and variations as a result of the firing process) on its external surface.
Material: Shihaze scarlet / Monochrome Oribe
Developing from unglazed ceramic ware of the Heian period, Mino ceramic ware with over 1,300 years of history.
Following the start of ceramic ware production in the Kamakura period, Oda Nobunaga’s economic policy prompted the construction of the Ōgama kiln, which became a major center of production.
Under the guidance of Sen no Rikyū’s pupil, the Daimyō and tea master Furuta Oribe, the unconventionally and innovatively shaped and patterned tea ceremony utensils and other ceramics favored by Oribe (known as “Momoyama Mino Ceramics” during the Momoyama period) were mass produced in the Renboshiki Noborigama multi-chambered climbing kiln adopted from Karatsu.
“THE RICE BOWL – MINO”, made in in the Shuhoe Pottery, which specializes in the production of ceramic items for top class hotels and Japanese-style luxury restaurants, emulates green Oribe, distinctive even among the numerous Oribe glazes, which include black Oribe, green Oribe, red Oribe, and Shino Oribe.
“THE RICE BOWL” is a rice bowl that is designed to fit perfectly in the user’s hand. The 12 centimeter diameter of the rice bowl is derived from the average diameter of a Japanese person’s hand when a half-circle is made with the thumb and pointing finger(①). In other words, it is the perfect size that naturally fits in the hands of the user. The height is set at half the diameter, which is 6 centimeters(②). The ratio between the pointing finger and thumb is said to be exactly 2:1, and this ratio does not change in any configuration of the hand.