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Note
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Entries that have a hyperlink are audible (MP3)
and spoken by a native speaker of Japanese (Shiori). Due to some button pushing
incompetence on my part - some entries do not have an associated sound.
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Bi-doro
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From the Portuguese "vidrol" meaning "glass". This refers
to glossy streams of natural-ash glaze (shizenyu) which
terminate in a shiny bead of glass. They may flow over areas on
which little or no natural-ash glaze has developed. Sometimes, the
streams of glaze drip over areas where the underlying ash-glaze has a
contrasting matte finish. It is important to note that Furutani did
not refer to streams of glaze with a matte texture as bi-doro.
Instead, depending on the qualities of such a drip, he would have
used the terms haikaburi, shizenyu, or youhen.
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Botamochi Shape
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Round rice-cake shape.
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Bu
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Old Japanese linear measurement. There are 10 bu per sun.
As used in this book, it is approximately 0.12 in. (0.3 cm).
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Chawan
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Rice bowl or tea bowl.
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Endou
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The sloping flue between the kiln and the chimney.
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Fukidashi
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Typically, a row of holes at the bottom of the last chamber of a
noborigama which allows venting of fire and smoke.
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Gairome
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Literally, "frog's eye". There are a couple definitions of this
clay. "[C]lass of kaolinic, vitrifiable
secondary clay only partially decomposed through transport.
Consequently, it tends to include much mineral debris from the parent
rock, including quartz, feldspar, and sericite
mica." Richard L Wilson, Inside Japanese Ceramics, A Primer of
Materials, Techniques, and Traditions 44 (1st paperback ed. 1999).
Penny Simpson et al., The Japanese Pottery Handbook 52 (1979), defines gairome
as "ball clay".
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Gotoku
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Three or four pronged stand placed in a hibachi to support a
kettle above the layer of coals. See diagram on page 108.
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Hagi
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A white crackled and/or crawled glaze. With hagi
ware, the color changes over time as it is used.
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Haikaburi
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Literally
"ash-covered". In wood-fired kilns, wood ashes fall on the
pottery during firing and melt into a natural-ash glaze. Haikaburi
is one type of natural-ash glaze
which has as its fundamental characteristic, a matte texture. This
matte texture results when the ash deposits which pile up on the
pieces do not fully melt into a glossy surface. Haikaburi
and shizenyu occupy
different points on the natural-ash glaze continuum. Haikaburi
is simply less melted. It may
be helpful to imagine haikaburi
as being the precursor to shizenyu
(shizenyu being a type
of natural-ash glaze which has fully melted and begun to stream down
the sides of the pottery).
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Hanaire
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These are vessels for flower arrangement. Materials include metal,
porcelain, stoneware, bamboo, and wood.
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Hi Iro
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Literally "fire color". This is perhaps similar to "flashing"
in the West, but Furutani's examples of hi iro seem to have
additional characteristics. Hi iro refers to changes in the
color of the clay body itself due to the interaction between the
flames and minerals in the clay. Hi iro pottery does not have
a buildup of ash glaze. In fact, if ash glaze does develop, the hi
iro tends to be obliterated. Furutani developed specialized
kilns and firing techniques to attain hi iro effects.
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Hibachi
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Traditional hibachi are round ceramic utensils used for
boiling water or as a heater. Do not confuse these with the
"Hibachi" brand charcoal grills. For an example, see the diagram
for "Charcoal Brazier" in Penny Simpson et al., The Japanese Pottery Handbook 85 (1979).
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Hibuse
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Hibuse is a term reserved for
certain fire-effects that are produced in noborigama kilns.
Noborigama kilns can be used to produce glazed pottery. However,
because noborigama kilns are fired with wood, there is a risk that
ashes falling on the glazed pottery could cause unwanted effects in
the glaze. In order to protect the glazed pottery, unglazed
pottery is placed at floor level right next to the "firebox" (in
reality, this is an open space traveling the width of the chamber
into which wood is thrown - it is not physically separated from the
loading area). The unglazed "guard" pots are placed in front of
the glazed ware and stand between the burning wood and the glazed
pottery, thereby protecting the glazed pieces. The unglazed "guard"
pots are greatly affected by heat and ash from the wood burned in the
chamber. As a result, these pots may develop effects akin to
bi-doro, haikaburi,
koge, shizenyu,
and/or youhen. For
pottery fired in noborigama kilns, these effects are collectively
referred to as "hibuse".
Please take note however, hibuse
is not used to describe these fire-effects for pottery produced in
anagama kilns. For further discussion and picture, see Jack
Troy, Wood-Fired Stoneware and Porcelain 3 (1995).
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Hiki Dashi Kuro
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This method involves removing the pottery from the kiln during
firing to make the pottery very black through sudden cooling.
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Hitoeguchi Mizusashi
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This is one style of mouth. The rim is not
folded toward the inside nor is it curved outwardly. Instead, it is
cut so the rim stands straight.
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Hitotsu Narabe
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Method of loading pottery directly on the kiln floor
without shelving. Literally means "standing in one line".
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Iga
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Unglazed high fired ware that appeared first in the 16th century in
the Iga area of Japan. Furutani used this term in an manner
individual to his own work. He built a unique kiln in Iga and fired
it in a unique manner (see page 109). Usually, the pottery he fired
in the Iga kiln, was made of clay mined in the Iga region. However,
Furutani also sometimes referred to pottery made out of Iga clay but
fired in one of his Shigaraki kilns, as Iga pottery. Finally,
Furutani would refer to pieces as Iga pottery when the pieces were
stylistically similar to Iga pottery and possessed Iga firing
effects. The stylistic characteristics of Iga pottery include lugs
("ears") attached to the pieces and thick, abundant, flowing
shizenyu effects.
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Iwagama
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Name of a specific kiln. Literally means "rock kiln".
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Jagama
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Snake kiln.
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JIS Bricks
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Japanese Industrial Standard. JIS bricks are 230 mm
long, 114 mm wide, and 65 mm thick. In other words, approximately 9
x 4.5 x 2.5 in.
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Ken
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Old Japanese linear measurement. There are 6 shaku per ken.
As used in this book, it is approximately 5.9 ft. (1.8 m).
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Koge
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Pots
near the firebox may be covered with embers during the firing.
Burying pots in embers causes cooler firing temperatures for those
pots (or the buried portions of those pots). When natural-ash glaze
is not allowed to develop on the pieces buried in embers,
burial in embers causes the clay to develop dark charcoal-colored or
pastel-hued qualities. On the other hand, if haikaburi
or shizenyu is allowed
to develop prior to burying the piece in embers, and the
firing temperature is sufficiently high, the buried portions of
natural-ash glaze will develop a coal encrusted surface. Note that a
piece which is partially buried may exhibit koge
on the buried portion and haikaburi
or shizenyu on the
exposed portion.
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Mizusashi
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One of the tea utensils. This lidded vessel holds the water supply
to be heated for tea and also holds water for rinsing the chawan.
The chawan are not rinsed in the vessel, it simply holds the
water that will be used in rinsing.
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Mousou Bamboo
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Mousou refers to a type of bamboo in the sense that "maple" refers to a
type of tree. This is the most common type of bamboo available in
Japan. The full word is, mousoudake,
"dake" meaning
"bamboo". This type of bamboo originated in China and as an
interesting side note, it is a type Pandas like to eat. Importantly
for kiln building, it is elastic.
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Oribe
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A high-fired ware that originated around 1600. This ceramic style is
named after tea master and warrior Furuta
Oribe (1545-1615). General features include a dark green copper
glaze, white slip, underglaze brush work,
and use of clear glaze.
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Rokkouyou
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The six famous ancient kilns of Japan, i.e., Seto, Tokoname,
Shigaraki, Echizen, Tanba, Bizen. Louise A. Cort,
Shigaraki: Potter's Valley 20-22 (1st Weatherhill
ed. 2000).
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Sama Ana
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Openings at the bottom of the kiln wall which vent fire
and smoke.
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Shaku
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Old Japanese linear foot. As used in this book, it is approximately
11.8 in. (30 cm).
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Shino
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Pottery which was made in Mino during the
Momoyama period (1573 - 1603). The technique was imported from
China.
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Shizenyu
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Literally
"natural glaze". In the case of wood-fired kilns, a natural ash
glaze develops when ashes fall on the pottery and melt. Shizenyu
usually develops in the hotter parts of the kiln and refers to
natural-ash glazes which are fully melted and glassy. Shizenyu
and haikaburi
occupy different points on the natural-ash glaze continuum.
Shizenyu is simply more melted,
glossy, and shows more streaming than haikaburi.
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Sun
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Old Japanese linear measurement. There are 10 sun per shaku.
As used in this book, it is approximately 1.2 in. (3 cm).
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Sutema
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This is a small chamber immediately behind the main anagama body
which stabilizes the firing conditions. Pieces may be fired in the
sutema but it is typically
not used for firing pottery.
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Takiguchi
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Firemouth.
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Toukan
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Fired ceramic pipe sections.
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Tsubo
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From ancient times, vessels with a mouth which is comparatively
smaller than their rounded bodies have all been called tsubo.
These have been made not only from clay, but out of
lacquer ware and metal as well.
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Uma
no Tsume
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Literally, a horse's
hoof. In this case, it is a stand placed on the lower end of the
slope beneath an individual pot to give that pot a flat place to
rest. See page 100 and the top diagram at page 101. Further
discussion can be found at Louise A. Cort, Shigaraki: Potter's Valley
84 (1st Weatherhill ed. 2000).
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Waritake
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Cut bamboo.
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Yakishime
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After a piece is formed out of clay, it is fired "as is" without
the addition of glaze.
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Youhen
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Literally "kiln change". This term refers to pieces which
undergo unexpected changes in color and/or texture during the firing.
Note that textural changes in natural-ash glazes are almost always
accompanied by color changes. This effect can be seen in the
transition zones between shizenyu and haikaburi or
haikaburi and koge.
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