#166 小代焼 焼物師　西川 智成　|　明日への扉 by アットホーム

At home presents The Door to Tomorrow Snow-like white Space-like blue Moon-like yellow A variety of sunsets A panoramic view Kumamoto Prefecture's Shodaiyaki Its symbol is a white sunset dancing on a vessel It's a technique called Nagashigake In the northwest of Kumamoto Prefecture Araoshi faces the Ariake Sea Supporting the modernization of Japan as a single city World cultural heritage, Mandako It conveys the memories of that time to the present The distance is 6 meters The Araohigatawa in the Ariake Sea A cradle of life that embraces many creatures It is said to be an oasis for precious birds to rest their wings The symbol of this land is Shodai In the center of Shodai, there are 11 Kamamoto One of them is Nakadera-gama From a vessel that colors daily life Teapots, large plates, etc. A free and spacious vessel is made Here, a young man who lights the traditional flame for the future Mr. Tomonari Nishikawa, 29 years old It's free and spacious But it's also powerful and elegant I think that's what makes it attractive Mr. Tomonari has been helping with work since he was young In order to have a future He studied pottery at university After graduating, he became a disciple of his father, Kosei This time, Mr. Tomonari, who is in his 7th year He was entrusted with a big job It is the first time to take all the orders Kamataki of Noborigama I want to learn how to make Kamataki I think that will be our weapon Kamataki is an important job It's a job that takes a year or two to build It's an important job that ends in the last moment Observing the state of the kiln calmly Determination to stop the fire The only one who can draw the ideal scenery Is the person who can control the fire But I want to control it I want to figure it out myself Doing that is the joy of the kiln This is the first record of fire in Kamataki Shodai-yaki is about 400 years old Hosokawa Tadatoshi of Hanshu changed the country Togou, who moved to this land with him He was born because he built a kiln in Shodai The teapot of Hosokawa-han, which was deep in the tea water, was burned The technology has been protected by the Ichi-Soden In the late Edo period, it spread to the common people Tomonari-san's vessel-making starts with digging the soil This is inside the workshop It's called Shodai clay It comes from the soil around Shodai-san This layer is Shodai clay There is a lot of iron, and it's rough It creates a simple soil I think it will be the key part of making Shodai-yaki It is the foundation of making Shodai-yaki By rubbing it many times with a water tank Remove impurities Then transfer it to a matte pot Drain the water and let it sit for a few months It changes its shape to clay What Tomonari-san pulls out of the furnace is a matcha bowl It is said to be a copy of a teapot made in the Edo period He created the advanced technique and passed it on to his fingertips Shodai-yaki made in the Edo period The simple appearance of Shodai-yaki has a healthy beauty There are fish in it There are things that are thought to have been used in rituals There are precious things that cannot be seen in other places Tomonari-san is particular about the reproduction of Shodai-yaki In addition to the daily utensils There are traces of the finger of the person at the time When I look at it, I can see how I was holding it I put my thumb here I was holding it with my index and middle fingers I do movements that I haven't done before I feel that my range spreads as a result of discovery In addition, he challenges this technique Pile up the clay in the form of an obi What was caught was a pot Hit with a board to make a shape Light and strong to tighten the clay This technique, which is often seen in Koshodai, has now become valuable Make a mouth with finishing Rotate the Kero-kuro, which is manipulated by the feet, vigorously When the clay is spread sideways, it is folded back Finally, if you add a decoration called ear A solid pot is completed After molding, bake it and apply glaze The symbol of Shodai-yaki is the white glaze of Nagashigake One of the raw materials is the ash that burned the straw It is called straw glaze and becomes white when baked Then, how do you draw the pattern that runs freely on the vessel? The secret is Hishaku This is the new feature of Shodai-yaki It's Nagashigake Dynamic Kishaku Sabaki Yu-yaku dances How to express with this full shaku It's a life line It's a seven-sided hair, so if you put it in a pot I wonder if you can feel the charm in such a place The colors that represent Shodai-yaki are white, blue, and yellow Mr. Tomonari turns the pot into a blue Shodai Three Yu-yaku are hung on the blue Shodai By mixing them complexly, they create a mysterious scenery If the Yu-yaku is flowing perfectly For example, it looks like a waterfall It looks like a natural landscape Even if it is baked, I am impressed First, put the Yu-yaku with a lot of iron in the base By doing this, the flow of the straw glaze will be better On top of that, put a lot of blue Yu-yaku And Hold the pot and pour the finish Strengthen the line and play the rhythm The blue Shodai is said to go well with Noborigama What kind of scenery do you draw Kamataki of Noborigama, which was left for the first time Mr. Tomonari decides everything Noborigama is a waterfall called Douginoma Three rooms are connected there It is a structure that conveys heat efficiently This time, fill the vessel to the second room What kind of scenery do you want to draw on the vessel How to run the flame and how to wear the ash Arrange while imagining them There is a best place for one Yu-yaku For example, if it is a blue Shodai, the place where the fire is strong is more beautiful Conversely, if the sweet one is an interesting Yu-yaku, it is a place where the fire is weak While being aware of that In my head, in this vessel, in this place, in this direction I imagine that it will be the best Yakiagari The pot of the blue Shodai is full of flames called Himae in Douginoma The vessel was finished in about 10 days I made a pot that I think is the best Kamataki has begun 30 hours from now Leave the vessel to the flame Mr. Tomonari has to make all the important decisions I'm going to make the best decision I can make now First, remove the moisture from the pot When there is moisture, the temperature does not rise It also affects the color of the Yu-yaku After 10 hours, when the moisture is removed From Douginoma, it is baked in order in each room Of course, if the temperature is not enough, the Yu-yaku does not melt as much as I thought It's not very interesting On the contrary, if it is baked too much, it is easy to get scratches What is stored in the fire is a charcoal called Oki The role of warming the air in the kiln The way the smoke comes out, the color of the wall in the kiln I look at everything and see if there is enough firewood here I'm changing the number of firewood and the place Change the number of firewood so that the temperature in the kiln cannot be uneven The temperature has risen a lot I think the left side will come I think the right side will come too The expression of the vessel changes depending on how you bake Mr. Tomonari eats a lot of firewood The state in which there is little oxygen in the kiln How to bake I thought that if I did this kind of baking, I would get a beautiful blue color Even in the same Yu-yaku, there is a difference in temperature and oxygen If you can't control the fire I can't draw the scenery I was aiming for It's been 16 hours since the fire started The temperature has exceeded 1200 degrees The surface of the pot is shining It feels like it's in the middle of giving out the color as a firewood After that, it's up to you to decide how much to bake and how much to melt Timing to stop the fire is more important than anything I have to make a decision that is said to be the most difficult in Kamataki After the temperature rises, the color changes in the last 5 minutes It's just a lot of time to concentrate Doing that kind of thing feels like the joy of a barbecue When I stop, I look at it carefully and seriously Just by giving out a lot of firewood once or twice, the Yu-yaku becomes transparent The game of Kamataki is the last 5 minutes The scenery of the vessel changes 180 degrees It's just a decision to God Even so, Mr. Tomonari has a scenery that he dares to aim for I'm aiming for a beautiful blue with a sense of transparency just before the color flies It's a delicate job to decide whether the color will fly or a beautiful color will come out Kamataki, 18 hours have passed The last 5-minute decision, the time to stop is approaching What should I do? Is it okay to stay a little longer? As long as you don't have enough experience, you can decide for yourself that now is the best Just before the color of the Yu-yaku flies, he attacks the last minute Yes, it's over As soon as he rests, he goes to the next room From here, he throws firewood from the side By using a long firewood, it reaches deep The short firewood is for adjusting the temperature I'm thinking about how much I can eat depending on the temperature The temperature has already risen with the heat of the firewood I can't help but look inside the kiln and don't miss even a slight change Oh, it's coming I feel like it's heavy His father, Kosei, is watching It's going well I've gained one more experience The last push Oh, it's coming He also checks the melting condition of the Yu-yaku on the other side of the kiln I think it's good to stop I think it's good to stop, so I'll go to the next room He goes to the last room I'd like to aim for a more interesting baking I'd like to see a lot of ash and a natural change in the Yu-yaku Mr. Tomonari says that each room changes the way it is baked I'm going to bake it well this time and melt the straw I think it will flow a little The kiln has been burning for 30 hours, and now it's time for the climax I think it's getting more and more interesting Every time I take out the firewood, ash is on the vessel The temperature of the kiln is just before 1300 degrees, the last spurt The final five-minute decision is approaching Then, Mr. Tomonari inserted a stick into the kiln and took out something This is a sample called Iromi Judging when to stop from the melting condition of the Yu-yaku It's hard to make a decision It seems that he decided to melt the Yu-yaku a little more Fire is blowing up from the ceiling And finally, that time It's over When he made the final decision and closed the kiln, the curtain of the kiln was closed It turned out the way I wanted it to be Basically, I'm relieved It was the next five minutes in the future I think that I was entrusted with this last one will be a big asset later It's one step, but I'm glad I took a step that I absolutely had to take After cooling the kiln for a few days, the kiln dashi was waiting I think it's pretty good if I don't scratch it It's perfect, but I think I was able to do a good job thanks to the kiln Kamataki of Noborigama, which was entrusted with everything for the first time The final five-minute decision became a landscape and was drawn on the vessel The pot of Aoshodai is a deep blue before the color flies White Yu-yaku flows The beauty of the target and the beauty of chance A miracle scene born between them The burnt color of Tomonari's soul is a work of art that colors life What does Kosei, the father, think of Kamataki, which he entrusted for the first time? Isn't it great? I think it was a step up for him to finish the first stage and enter the second stage I was relieved that I could leave it to him Mr. Tomonari, who finished Kamataki, went to Nankan Town, next to Arao City This is the birthplace of Shodai-yaki Two Noborigama, built in the Edo period, exist The traditional flame that has been lit in this land without disappearing The flame illuminates the future What is the door to tomorrow that the young man, who has taken a new step, opens with his own hands? I want to make a vessel that moves people's hearts The feelings in the eyes of the young man draw the scenery that resonates in his heart into a vessel Open the door to tomorrow and take another step closer to the dream