2026.4の窯焚きを振り返って
昨年末に火を入れて以来の窯焚きになりました。というのも、煙突の改修を行っていたためです。煙突の内径が狭くて、私の焚き方では焚き口から炎が激しく噴き出してくるため、煙道と煙突の幅を広げようと、煙突全体を一度崩していたのです。このため再建後の4月に入り、久しぶりの窯焚きとなりました。
内径を広げたものの、高さを抑えたためか、スムーズに昇温はしましたが煙突の引きが弱く、1000度を超えても黒煙が立ち上り、不完全燃焼を起こしていたため、急遽、広葉樹の炭を用いて温度を上げ切りました。
1330℃まで温度を上げ、14時間ほどで窯を閉じました。次回に向けては、煙突のさらなる改修が必要であることがわかりました。
Reflecting on the April 2026 Firing
This was my first firing since the end of last year. I had to pause production to renovate the kiln chimney. Previously, the chimney's inner diameter was too narrow, causing flames to erupt violently from the firebox during my firing process. To address this, I dismantled the entire chimney to widen both the flue and the stack. Consequently, this April firing was my first opportunity to use the kiln after the reconstruction.
Once I began, the temperature rose smoothly at first. However, the chimney's draft proved to be insufficient. Even after exceeding 1,000°C, thick black smoke persisted, indicating incomplete combustion. To resolve this, I had to urgently switch to hardwood charcoal to bring the temperature up to the target.
I managed to reach 1,330°C and closed the kiln after about 14 hours. This experience has made it clear that further modifications to the chimney will be necessary for the next firing.
焼締茶碗
銘 望月
手捻りで原型を作り、ヘラで表面を削ります。丸みのある形が好きで、こんな形になりました。光悦が好んだ形です。
Yakishime Tea Bowl
I first hand-form the basic shape, then use a spatula to carve and refine the surface. I am fond of soft, rounded forms, which is how my work takes this shape.
焼締大壺
銘 驟雨去て
前の棚で焼成した大壺、自然釉が全面を覆いました。幾重にも降りかかる灰が、まるで雨垂れのように流れ落ち景色になりました。
Large Yakishime Jar
Title: After the Downpour (Shu-u Sarite)
Fired on the front shelf of the kiln, this large jar is completely enveloped in natural ash glaze. The layers of ash that fell upon it have flowed down like raindrops, creating a scenic landscape across its surface.
焼締花入
穴窯の火床（薪を投じる場所）で焼成した花入です。下の部分は熾に埋もれていたため黒く炭化し、少し右に曲がりました。
Yakishime Flower Vase
This vase was fired in the firebox (stoking area) of the anagama kiln. Because the base was buried in glowing embers throughout the firing, it carbonized into a deep, dark hue, and the heat caused the form to warp slightly to the right.
焼締花入
この作品も火床で焼成したものです。炭化した黒い肌とブルーの灰とのコントラストがとても目に鮮やかです。
Yakishime Flower Vase
Like the previous piece, this work was fired directly in the kiln’s firebox. The dramatic contrast between the blackened, carbonized body and the vibrant blue natural ash creates a visually stunning effect.
焼締茶碗
越前の土で作りました。丹波土よりもさらにシックな表現とでもいうのでしょうか、深い味わいが出ています。
Yakishime Chawan (Tea Bowl)
This piece is made using Echizen clay. It has a profound depth to it, perhaps even more sophisticated and understated than the work produced with Tanba clay.
焼締茶碗
信楽の土味です。パッと明るい緋色がアクセントになり、茶碗の印象が華やかになります。ビードロの垂れも爽やかに映ります。
Yakishime Chawan (Tea Bowl)
Crafted with the characteristic texture of Shigaraki clay. The sudden burst of bright scarlet creates a beautiful accent, giving the bowl a lively and elegant feel. The dripping of the bidoro (natural ash) glaze appears notably crisp and refreshing.
焼締茶碗
渋い表現の茶碗です。後ろの棚の作品は前の棚と比べて降りかかる灰の量は控えめになります。ねらい通りの景色になりました。
Yakishime Chawan (Tea Bowl)
This piece carries a somber and mature elegance. By positioning it on the rear shelf, the accumulation of falling ash was kept subtle compared to the front row. It has developed into the very landscape I intended.
焼締茶碗
傾けて棚に置いた茶碗です。右下に丸く灰がかかっていない部分が見られます。棚板との活着を防ぐために粘土を輪にして下に敷いた跡です。
Yakishime Chawan (Tea Bowl)
Fired while tilted on the kiln shelf, this piece features a distinct circular mark on the lower right where the ash did not settle. This is the impression left by the clay ring placed underneath to prevent the bowl from sticking to the shelf during firing.
焼締徳利
上部の自然釉は結晶化し、途中から幾筋にも分かれて流れ落ちています。徐冷と還元の微妙な加減がこの景色を生みます。神のみぞ知る景色です。
Yakishime Sake Bottle (Tokkuri)
The natural ash glaze on the upper section has crystallized, cascading down the surface in multiple distinct streams. This breathtaking scenery is born from the delicate balance of slow cooling and reduction firing—a masterpiece created by the grace of nature.
焼締徳利
同じ窯で焼成しても、多様な景色が生まれます。後の下段の棚に置いた作品です。温度が低めで灰は溶け切らず、こんな渋い表現になりました。
Yakishime Sake Bottle (Tokkuri)
Even when fired in the same kiln, each piece emerges with its own unique "scenery." This particular piece was placed on the back lower shelf. The slightly lower temperature there resulted in the understated, sophisticated aesthetic I personally admire.
焼締小壷
熾に埋もれていた本作を最後に掘り起こし、熾の上に乗せて窯を閉じました。熾から顔を出した上部の灰が、流れ出した姿をとどめました。
Yakishime Small Jar (Tsubo)
This piece was buried in the embers until the very end, when I unearthed it and placed it directly atop the remaining hot coals before sealing the kiln. As the piece emerged from the embers, the ash on its upper surface was captured in the very moment it began to melt and cascade down.
焼締ぐい呑み
Yakishime Sake Cup (Unglazed Stoneware)
焼締ぐい呑み
Yakishime Sake Cup (Unglazed Stoneware)
