Karatsu ware Nakagawa Jinenbo kiln

Chosen / Korean

Chosen Karatsu, in which the white straw ash glaze and the black iron glaze are applied separately, or in which the two glazes are mixed together, was the most striking pottery of the Old Karatsu.　
Chosen Karatsu is the most eye-catching of the ancient Karatsu ware, where the skills of the potters
are fully demonstrated.

The most difficult part of making Chosen Karatsu is the firing. The melting points of the white straw ash glaze and the black iron glaze are different, so if the firing temperature is too low, the straw ash glaze will not flow, and if too high will cover the black iron glaze.
However, when the glaze application and the firing are correct, the black and white designs are wonderful, and the subtle blue, purple, and yellow colors that are created on the border between the two is also a testament to the skill of the potter.

Among the many types of Karatsu ware, Jinenbo Kiln’s Chosen Karatsu ware has intense dynamism and rich colors, and is sure to catch the eye in any situation.
The reason for this is that the coarse, iron-rich clay, which is made by the artist himself, is compatible to the glaze, enriching the color and texture, and of course the beauty of the glaze can be seen from the top of the clay.
However, because of this, individual differences occur in each piece, which is also a characteristic of Jinenbo Kiln’s Chosen Karatsu.

Please enjoy to your heart’s content the Chosen Karatsu of the Nakagawa Jinenbo Kiln, which cannot be seen anywhere else in terms of both individuality and color.

Hakeme / Brush Decorated

In Karatsu ware, which has a strong influence from its roots in Korean pottery, Hakeme Karatsu is a technique that, along with Mishima Karatsu, is thought to have been handed down directly from the Korean pottery.
Hakeme Karatsu is a technique in which brush strokes of white clay are used to decorate vessels made of dark Karatsu clay.
Hakeme Karatsu was popular throughout the Edo period in a wide range of areas as Karatsu pottery after the Old Karatsu ware came to an end with the appearance of Imari porcelain.

The difference between the brushwork of Jinenbo Kiln and other kilns is that there are many
powerful pieces with thick brushwork that looks three-dimensional.
The surface and rim of vessels molded with coarse clay become uneven, and transparent glaze accumulates on the dark brush marks and finger marks that are unique to Jinenbo Kiln. Air bubbles are formed in the glaze. Please pick up a piece of the dynamic Hakeme Karatsu of the Jinenbo Kiln painted in this way and take your time to enjoy each of the finished pieces.

Kohiki / White Slip-ware

In general, Kohiki is a decorative technique in which a vessel is soaked in a solution of white clay to whiten the surface and also the underside of the vessel. It is also called Kofuki because sometimes it has the appearance of white powder. The technique developed mainly during the mid to late 16th century.

However, Kohiki is not just a simple technique but rather a result of careful selection of form and color to reveal the inner power and beauty of the form.

The Kohiki of Jinenbo Kiln ranges from orthodox white to a wild ware because of kiln change.

This can be said to be the breadth of the range obtained by firing in two kilns, the split bamboo climbing kiln that I inherited from my father and the continuous chamber type climbing kiln that I have newly started to use.

Each of them has their own interesting character, and all customers who come to Jinenbo Kiln spend a lot of time choosing which one they want to use.

The reason why I have included a photograph of each piece is because I want you to choose as if you were just visiting the Nakagawa Jinenbo Kiln.

Please enjoy the richly varied Kohiki Karatsu of “Nakagawa Jinenbo Kiln” using two climbing kilns.

TERMS: Yohen＝Kiln Change
Kiln Change is created when all the natural conditions, such as the power of the flame at the time of
firing, the season, the weather, and humidity, which act separately from the will of the artist, come
together.
Therefore, each one is a special piece of art that is never the same. It is said that pottery is 80 percent maker and 20 percent user. The life of our pottery does not end when it arrives in your hands rather it continues, after it arrives in your hands. I have seen many people who have become attached to them and enjoy the changes. Please do not put them away, but spend time with them as a member of your family and nurture them into your own unique pieces.

TERMS: Leak
The water has soaked into the surface and left a trace. Tea ceremony masters and tea
masters consider this scene to be a highlight.
The appearance of leaking water is a matter of taste. However, one of the characteristics of Kohiki is that it absorbs water, which is a good point to consider when choosing a piece.
In other words, Kohiki is attractive as a pottery that can be enjoyed to the fullest.

Madara / Mottled

The mottled white glaze blended into the rough clay is called Madara Karatsu, and it’s popular for tea bowls and sake cups.
It was made at the foot of Mt. Kishidake during the 1580s and 1590s, the earliest period of Old Karatsu.
Madara Karatsu of Jinenbo Kiln comes in a variety of colors, from milky white to bluish or reddish.
There are amazing changes depending on the firing process, and the richly colored Madara Karatsu produced by using different blends is a characteristic of the kiln.
Even if we say “Madara Karatsu” in one word, there are many different colors in our kiln, and even the colors that are standard have their own scenery that pleases the eyes of the user. We have prepared some images that allow you to see the characteristics.
Please find your favorite.

Mishima / Stamp, Slip Inlay

This is a tea bowl with a simple line engraving on the body.
There is no pattern in the inside bottom of the vessel and the red clay is covered with a white slip.
The contrasting colors of the body and the inside bottom of the vessel, and the colors of the clay and the tea stand out by contrast.
Moreover the prospect of change due to use is high and easy to see allowing for a lifetime of enjoyment.

Kuro / Black

The black candy glaze flows and accumulates over the uneven shapes that seem to have been carved out of a lump of clay, and when it becomes one with the melted base at high temperatures, it is covered with ash. The color tones be come diverse, such as brown, green and black and the texture varies from gloss to matt. I finally made a ceramic board with the unique kiln changes of the Jinenbo Kiln.