Fire
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the msword file)
The
excitement of burning fire, which can be clearly
seen in the campfire-dance performed by primitive
tribes people, is a mystical and sacred ritual
which makes one’s blood surge! During
the firing, the tense and dramatic effect of
the scene excites the wood-firers and keeps their
spirits high. Blending with their expectations
toward their works, this energy feeds them both
physically and spiritually during the days of
firing, or even a dozen days of firing.
Abraham
Harold Maslow (1908~1970) explained that the
highest motivation for creation is metamotivation,
which means, “delight in the joy and bliss during
the process of creation; a happiness that has
no other purpose than to satisfy one’s
own creative desire.”
Unpredictable
The result of firing is often unpredictable and the causes
vary. It involves many elements, such as the type of kiln, the kind of
wood used for firing, clay, how the mold is staked in the kiln, moisture, temperature,
and time allowed for firing. These factors influence the color and texture
of the finished work. What determines the appearance of the final work
are the ash deposit, the layers of thickness, coloration, and luster. The
potter can only accommodate all these “pre-conditions” instead
of controlling them. With this unique feature, wood-fired ceramic art
is full of fun and surprises. When the work is unloaded from the kiln,
the potters are always awed by the results. No wood-firer is able to
predict what the final work will look like.
Ideal
There are those who regard the creative process of wood-fired
ceramics as the ideal life style. They therefore go to Japan to study
from masters of this art. During their stay in Japan, they come to understand
Zen philosophy, which frees them from the material world, and inspires them
to create ceramics free from restraints. Some artisans
even leave the city and become recluses, leading a self-sufficient, simple,
and quiet life.
There are certainly schools where one can
learn the art of wood-fired ceramics. These schools emphasize the use
of materials, and the art of wood-fired ceramics is merely one of many methods
of artistic creation. However, it provides sufficient fun and adventure
during the firing process. The new generation of potters seemingly has
little concern about the history or culture of wood-fired. They simply
use the nature of this art to express their creativity, which in turn, adds
more color and increases the possibilities for the world of wood-fired art.
2. The Spiritual realization of the Wood-firers
(1). Recognition of the primal value of
manual labor and the quest to restore it: during
the long and exhaustive process of firing, arranging
the mold in the kiln, and preparing firewood,
the potters profoundly experience the life cycle
of the natural world and its rhythms. They
have found warmth and unchanging truth through
the exploration of materials (wood, fire, kiln)
and the earth tone (the clay, ash).
(2). During the postwar search for Life’s
meaning, they tended to be anti-social and anti-civilization. For
them, the art of wood-fired ceramics became a
simple and peaceful consolation and escape.
(3). Rural life brought its own contentment. Each
individual could create their private Utopia
and delusions of grandeur.
(4). The sacrament of creation with flame
satisfies an ineffable longing for the magical
attraction of mysticism.
This way of thinking has spread among them, strengthening
their determination to devote their entire life to wood-fired ceramic art. Some
potters went to Japan to study under a master. In their capacity as apprentices
they gained a better understanding of respect for nature, as practiced by the
Zen style of the Orient. Their attitude toward life affected their works,
which were created with simple skills and forms. These works are fascinating
in their simplicity, and strongly resemble Japanese wood-fired ceramics. The
style is a little bit deliberate but somehow, is free from any limitations. They
are different from the salt glaze style found in traditional European artwork,
which is, in turn, more rational, practical and functional.
3. Wood-fired Ceramics in Different
Cultures
In the world of wood-fired ceramic art, different aesthetic
values are found among people from different regions, races and cultures. Even
though the multicultural phenomenon is becoming more and more popular, people
can only “acknowledge” the beauty of wood-fired ceramics rather
than “feel” it. Sometimes, they even show a completely different
attitude toward this art.
In Japan, people take wood-fired ceramic art very seriously. However,
in Taiwan, it has become a group activity with an emphasis on fun and surprise. In
view of the fact that the kilns and their locations can be easily rented, together
with the unpredictable outcomes of firing, the teamwork required in dividing
up the considerable labor involved, and the working out of firing schedules,
it is easy to understand how firing ceramics has become a group holiday activity. This
is the consequence of the sudden increase in the number of kilns in Taiwan
during 2000 and 2003. Thisenthusiasm has since cooled
down.
4. What Do the Chinese (Taiwanese) Think
about Wood-fired Ceramic Art?
In the concept of modern wood-fired ceramic art,
wood is not only used for fuel, it is also a
medium. The ash deposit resulting from
the burned wood falls on the ceramic. After
the application of high temperature in the kiln,
this ash deposit becomes the ash glaze. Coupled
with the marks created by flash contact, the
ceramic item displays a visual effect that has
nothing to do with practicality. This “effect” is
very important aesthetic for evaluation, and
is what the artisans pursue.
Since ancient times, the Chinese have not been
impressed by the final effect created by the
marks caused by flash contact and ash deposit. In
fact, in the Shang Dynasty (1751 BC-1111BC),
judging from the glaze ash seen on their urns,
potters were inspired to discover the method
of making a glaze material treated by high temperature. However,
the Chinese seem to have been more interested
in applying the glaze so that it covered the
entire ceramic, evenly and smoothly. Beginning
in the Song Dynasty (960 –1127AD), celadon,
with the elegance of its soft luster, became
highly prized because of its similarity to jade,
a gem stone that has always been valued by the
Chinese. The raw ash deposit and random
marks created by flash contact are kept out by
a saggar. In the old days, Taiwan potters
regarded products with too much ash deposit as “defective
products”, claiming that they were “dirty”.
Actually, as late as 1990, most Taiwanese still
did not fully comprehend the admiration accorded
the natural, spontaneous beauty of wood-fired
ceramics, much less the ability to admire or
treasure it. People always wondered why,
in today’s advanced society, electric kilns
or gas kilns, with their programmed temperature
control, were not used, instead of cumbersome
kilns, the products of which demanded such close
monitoring of the wood-fed flames in order to
produce ceramic works. Moreover, they did
not understand why any one would spend 4 or 5
sleepless nights to fire the kiln!
Take myself, for example. Most of the wood
I use for kiln firing is from Lichee trees. Every
year after the harvest, orchard owners prune
the decayed branches from their trees to encourage
denser growth. They are happy to give me
these branches; free of charge; because they
always think that I am so poor I can’t
even afford to pay my electricity bills.
Starting in 1996, I began to hold my own wood-fired ceramic
exhibitions. After I started publishing articles, giving speeches, and
hosting workshops, private collectors and government organizations became interested
in collecting my works. Some potters also began trying to build their own kilns
to fire ceramics. The year 2000 witnessed a steady growth of enthusiasm
for “wood-fired ceramics”. The number of kilns increased
dramatically as, one by one, school and art centers began building their own
kilns, thereby raising the creative level of wood-fired ceramics. Living
in the midst of an environment where maximum information is available, each
potter sets forth to find their own aesthetic values.
(2). The study of the aestheticism of wood-fired
ceramic art can place more emphasis on the psychological
aspect of the creators. It seems that most
of the wood-firers stress that, “the process
is more important than the results”. During
the process of artistic creation, wood-firers
often have to take into account changes in environment
and climate. The supply of wood is especially
dependent on nature’s life cycle. The
frame of mind and physical condition of the wood-firers
during the firing will also influence the rhythm
by which he adds wood to the fire. From
the standpoint of the artist the importance of
going through all these steps exceeds by far
any other consideration.
( published at “20+1 Years of Tozan Kiln,
International Wood Fire Conference”
Northern Arizona University, Oct.11~14
Flagstaff ) |
