Let's See Your Teaware!
Posted 28 April 2010 - 08:52 PM
Today I am celebrating the arrival of my first Yunomis, two pieces made by a Swiss potter whose work I discovered in another forum. So far just a cellphone snap to give the general picture of the first one, already hard at work in the office, holding the An Ji white tea:
It is small, about 5 cm x 7 cm with a little raised foot, feels solid with comfortable heft in the hand, yet looks delicate and sparkling. I will have to work with the lighting a lot to capture the true beauty of this one.
Posted 28 April 2010 - 09:19 PM
It was 2nd cup in this blog post that finally got me hooked, but this less dramatic little blue/green and white said, "I'd like to be a soothing presence in your office, buy me too." So I did.
Posted 30 April 2010 - 12:44 AM
I love hiking in California's Sierra Nevada mountains: the granite itself is beautiful, shiny, a sparkling kaleidoscope of color that merges to gray at the scale of a landscape photo. This cup reminds me of granite up close, sparkly with colorful inclusions and fine crystalline appearance, but unlike granite, it is softly rounded and feels wonderfully gentle in my hand. Today it was baptized with Den's Sencha Shin-ryoku and then helped with a tasting of Lao Ban Zhang this evening.
I did gain some new insight today into the value of handles, when I filled the green/white yunomi at work with freshly infused Tie Guan Yin brewed at about 185 degrees. I had better results iwth the Lao Ban Zhang puerh, despite infusing it hotter, by the simple expedient of not filling the cup. No more burning fingers!
different side, different lighting, still beautiful
It is a bit larger than the blue/green/white yunomi, probably large enough to serve as chawan for matcha, if and when I'm ready to try that again.
I will continue to enjoy some teas in my glass cups especially to enjoy the color of the tea, and the small matched cups for comparative tasting sessions, but expect these to be my best companions on many tea drinking adventures from now on.
Edited by Wholemeal Crank, 30 April 2010 - 12:51 AM.
Posted 30 April 2010 - 12:48 AM
The weather has just turned here, so my teas will all be room-temperature soon. I'm wondering - what's appropriate equipment for not hot tea?
Posted 09 May 2010 - 05:19 PM
A few better shots of the 'seafoam' yunomi pictured a few posts ago, in a not very flattering phone shot. It's already getting 'broken in' with the glaze crackles now emphasized by the stain of the tea
It looks good with tea in it too
and when you get to the bottom of your cup, you get this little detail to brighten up a sad situation (the empty cup is a little sad, when the tea was good)
This one is like seafoam--white with bits of blue breaking through
Posted 22 May 2010 - 09:05 AM
How worried should I be about this leading to mold or other distasteful stuff? Is this a situation where any of you would occasionally dunk the whole pot in boiling water, or set it in the oven to heat through from time to time, or should I just ignore it?
The pot sees water at something between 150 and 180 degrees F nearly every day.
Posted 22 May 2010 - 06:31 PM
Posted 22 May 2010 - 07:39 PM
Posted 23 May 2010 - 03:22 PM
I know some people leave them upside down and like the results, but my guess is that this can trap moisture, rather than allowing it to evaporate. A cupboard may also block the air flow.
Posted 05 July 2010 - 01:51 PM
Posted 05 July 2010 - 02:32 PM
Posted 08 August 2010 - 09:01 AM
Posted 08 August 2010 - 09:09 AM
The stand is growing on my every time I look at it--it too has a delicate subtle sparkle and shine--but the roughness of the feet will not be nice on my plastic countertops or laminate top desk. How would you handle that--fabric or bamboo coaster underneath it? Little felt stick-on pads on the feet just would seem so....wrong.
Posted 11 September 2010 - 08:07 PM
The box passes muster, ok for the next step
You may proceed to the next step
pat, pat, pat.....feels ok, smells ok....
I approve this one too!
More and better pics later. They're gorgeous, but a little larger than I'd hoped--too large for a gaiwan's worth of tea (it appears they can hold four or more of my little ones' worth), but very nice for one of the larger teapots, and for sharing tea when I have visitors. Now I don't have to feel like I'm stinting on them by offering a very generic mug or worse, styrofoam cup!
Posted 23 October 2010 - 08:56 PM
Today, I took out my Seigan hagi and started shooting. It was hard to stop, as they are so amazing, closer and closer with the camera, playing with flash, window light, and filtered sunlight.
Eventually I ended up with two sets of images on my flickr, one for the Seigan blue and one for the Sansai terbineri.
The Seigan blue is very dramatic
and the glaze has translucency in areas almost as ethereal as the 'Spirit' cups
and I'm just a sucker for swirly gorgeous variegated colors
and the clay foot just feels powerful with the embedded larger gravels
The Sansai is more subtle
with different moods on different sides
A vast white interior, with abundant crackles
Clay peeking through at the rim
And again, that very powerful-looking clay at the foot
Posted 07 May 2011 - 09:49 PM
The newest, tiniest member of the household....first, trying to give a sense of scale--how tiny it is:
It matched sizes beautifully with the tiny green cup from a scent cup set.
Tiny teapot by debunix, on Flickr
I admit I bought it mostly as a novelty, but while it is so tiny that it's a bit awkward, the tea brewed in it (an aged puerh sample from Essence of Tea) was delicious. It's from Dragon Tea House on Ebay. While I was there, I also bought a very small gaiwan:
This is about the same size as some that I got as part of 'travel' sets, but more practical for routine use because it has a saucer that fits it snugly and helps me avoid burnt fingers.
Posted 19 June 2011 - 10:06 AM
I have been looking for an especially fine handmade kyusu with more personality than my Tokoname pots for more than a year, and this one by Petr Novak spoke to me:
Beautiful inside and out
And for the first time, I did a comparative tasting of plain hot water in several of my teapots, to see whether there was any effect of the clay on the water in the absence of tea. I was pleased to note some slight sweetening of the water from this pot's iron-rich clay.
I also ordered some cups and a pitcher (a ridiculous number of additional photos of all of these pieces, and links to more info about the artist, are here on my flickr)
And shortly after I ordered those, I saw the first really small pots by another artist whose work I'd been admiring, and I picked this bouncy little pot (holds just 60mL), which has a little more neutral impact on the water, and already seems perfect for green oolongs.
Even being so tiny, it still has nice details
A few more pictures and links to more info about the artist are in my flickr set here.
I still haven't figured out how to capture the sparkle of the subtle and complex glaze.
Posted 19 June 2011 - 11:18 AM
Posted 19 June 2011 - 11:14 PM
It's time for a thinning of the less-used pieces for goodwill or gifts--the ones that sometimes burn my fingers, or that just aren't the right size for the volumes I usually brew. I've already gone through some of the obvious culls over the past year, and now some of the nicer but neglected pieces need to go. Not looking forward to this part.
Posted 20 June 2011 - 03:04 AM
Very nice. I really like the little carbon-trap shino pot. I tend not to like a lot of black in the glaze but it works very well here. I particularly like the thumb print from dipping the pot in the glaze - a nice personal touch.
This week I received two orders of teawares--I think my sales resistance was down after the first order!
Posted 20 June 2011 - 06:53 PM
Shino is generally a reduction-fired glaze, which means that during the firing air intake to the kiln is restricted relative to the amount of fuel. This changes the chemical state of the iron and other metals in the glaze and clay to give that nice toasty colour. With heavy reduction, the fuel doesn't completely combust and produces carbon - soot. If the potter does this at the point before the glaze melts the carbon gets into the glaze then is trapped in the melt and doesn't reoxidize.
haresfur or WC, do you know how the carbon trap effect is created?
The challenge for the potter is to control the atmosphere during the firing to achieve the desired effect. The potter may use several cycles of oxidation through reduction in the firing. This takes quite a bit of skill and there is still plenty of room for the kiln gods to work their magic. I would say it is easier to control in a gas kiln than wood (you have to go to great lengths to get reduction in an electric kiln, like popping moth balls through the peep holes or introducing some gas and it is rarely done). Still even with gas, my experience is that it can be hard to get the reduction while still maintaining the proper temperature climb. Things like barometric pressure and humidity can have an impact as does the kiln design.
For those of you not as into pottery, Shino is interesting in that several of the desireable characteristics (and the desirability varies with the potter/tradition) such as carbon trap and crawling (pulling away from the clay, leaving bare spots) are usually seen as defects in other glazes. It's really its own universe with whole galaxies to explore.
Interesting, I think of the bright orange colour as being a characteristic of "American Shino", and quite different from much of the Japanese. And if I recall, Japanese shino doesn't tend to show a lot of carbon trap. Shino without much reduction can look a bit like congealed spit (not that that is necessarily a bad thing!). But pottery making has a wonderful tradition of global exchange for thousands of years so maybe the Americans have inspired the Koreans who had inspired the Japanese, who inspired the Americans...
Posted 20 June 2011 - 07:42 PM
Posted 21 June 2011 - 03:44 AM
That's a difficult question. To me it looks like the glaze is thicker where it is white, but hard to tell from the photos. The oxidation/reduction could vary through the kiln, as could temperature. The cooling rate may also change and that can have an effect on how things turn out. I'm not sure if those are major players, here though.
Does local oxidation/reduction 'microclimate' in the kiln also explain the variation in color between the more orange parts of the Kyusu and cup's glazes? It looks like a uniform glaze up close by texture, but the color differences are signficant.