Bizen Yaki
- What gives Bizen ware is character is it’s reddish brown color showing through its soil traits. It is left unglazed so the essence of the soil remains. The soil used for bizen has a very high iron content. The surface of Bizen ware is entirely dependent on the combination yohen, or “kiln effects.” It is the world of “ Wabi Sabi”. This has allowed Bizen ware to catch and maintain the attention and deep admiration of the masters of the tea ceremony since the Muromachi period.
- Japan’s skill with ceramics began when the technology was brought to the shores of the island country from Korea in the fifth century. A potter’s wheel was used initially to make “Sueki”. All six of the ancient kilns from Japan’s middles age “Bizen-Yaki”, “Tanba-Yaki”, “Echizeen-Yaki”, “Seto-Yaki”, “Tokoname-Yaki” and “Shigaraki-Yaki” began by making “Sueki”. Over time, other styles have changed to glazed ware for its use in decorating with patterns and its waterproof qualities, and only Bizen ware has been left unglazed. Generally, the reason is because the clay in Bizen (especially clay from the Imbe area) is of a very high quality, and so glazing is unnecessary. Clay in Imbe is made more waterproof and durable through slow firing over a prolonged period of time, usually ten days to two weeks.
- The high iron content and large amount of organic matter creates beautifully simple patterns. In fact, it is said that the clay doesn’t match with glaze well because it is too sticky, not waterproof enough, shrinks easily and is too high in iron. However, that incompatibility is what lead us to the wonderful and beautiful “Bizen ware of today”, which combines the character of clay and natural fusion.
- Bizen ware is fired with specially selected red pine wood in a special kiln. The surface treatments of Bizen ware is entirely dependent on kiln conditions.
- Goma
- When pine ashes melt in high heat, they create an ash glaze on the surface. It looks as if it were covered with sesame seeds.
- Sangiri
- When a piece gets buried in the ashes at the bottom of the kiln, it gets only indirect fire and poor air circulation, causing oxidation-reduced firing. It creates colors of gray, dark gray and blue.
- Hidasuki
- Placing rice straws between pieces and wrapping a piece with them makes this effect. White or light brown pieces with red lines results.
- Botan-mochi
- When a small piece of clay is placed in a bowl during firing, the small spot leaves an unfired red spot.
- Ao-Bizen
- When a piece is placed in a rice straw sack in a certain part of the kiln, it turns blue gray.
- Fuseyaki
- When a piece is covered with another piece on top, it creates two different colors at the top and bottom.
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